I remember my mom, on a ladder, with her paintbrush, making little improvements to her painting that was already framed and hanging on the wall. (She would have loved this video).😊
Great, as always Ian. I would encourage everyone to join your class. It was the best thing I’ve ever done for my art practice! Ian is a generous, gracious and masterful teacher!
Very helpful explanation of the function of the telephone pole to break up the negative shape. Okay. I get it. Your painting makes me want to go up that driveway and meet the people in the house. I wish you great, great success in your class!
Great advice Ian when you talk about taking a break while correcting your painting. I give the same advice to my microbiology students (teaching is my day work, painting is my plaisir de la soirée) when they write a scientific article. The longer the period before going back to correct the text, the easier it is to spot the unclear parts (because of the increased detachment from the initial idea). I guess the brain works the same with visual/graphical information. Un grand Merci !
Hi Ian , I was making notes , stopping and starting the video trying to absorb what you were saying and I forgot to comment , sorry! So I had to come back! Great video , I liked your explanation for the pole , and the process of evaluation. Thanks Craig
Great reminders to leave and come back to your paintings, but so much more helpful understanding when to leave and what to look for - the distracting parts - and resolve. Thank you Ian.
All your work is exceptional. Thank you for sharing. Certainly "POLErised" your audience Facinating seeing a master at work. How blessed we see as art students to have discovered your teaching.
Fantastic control of greens! I thought at the end it was the contrast in the tree in front of the white dot. I hadn’t seen the white dot. Now I do and wonder, I guess you are right! I’d love to take the class but decide next week. Thanks.
Hi KC, that white dot was happening because the greens on both sides were dark. Another solution would be to lighten the green right beside the white dot. And listen to the video next week and see if the course seems like a good fit. I''d be delighted if you joined us. All the best.
I like your idea of leaving the room for a few minutes between steps! There is nothing like a fresh point of view. Thank you for sharing your insights into painting with us!
You are indead a wonderful teacher Ian. My painting has gone from rubbish to poor with your guidance (english humor) No really I love your work and want to thank you so much.
Hey Jon, great decision on taking your art seriously. I'll be describing my course next week. I hope you find it a good fit for what you are waning to do. All the best.
Hello Mr Roberts it's Juliana from Melbourne Australia. I have just started water colour. I love your videos 💖. I really enjoyed The 25 min demonstration video. How to Mix Subtle Greens. I would love more of them. Mr Roberts I can't work out shadows if they are cool or warm. What colours are they?. Yours sincerely Juliana🌹
Oh my! Dear Ian, this is SO helpful. I’m such a ‘muddler’ 😆 (ya, not funny while I’m struggling with a painting though). I thoroughly enjoy your videos and I especially love this painting of yours. The colours are so warm. 👍👏 Thank you!
Hi Ian ! You provide so many insights to learn from ! Thank you ever so much for everything you teach us ! Truly appreciate week after week ! Wish you the very best...Lorraine 🤗🎨
Ian, the telephone pole really is a good touch in this painting. However, I have a question: Would it be right to fill that negative space with clouds?
Brilliant channel Ian. I stumbled upon and have been watching your videos for the last week or so. Every subject is so very concisely covered, it's been a great refresher for me. One never stops learning. Thank you.
Excellent video…..one of your best! I am so excited to learn more about your online class…..next Tuesday seems too far away! The process you have suggested about evaluating your concerns and problem-solving is so simple and easy to follow: step away from your painting so that can return with fresh eyes, and repeat until you have identified all of the problem areas of your composition….. Using this process is a much more time-consuming and intellectual activity……..one has to change their attitude about completing a painting in one session. I can see how the pole breaks the negative shape and engages the whole of the negative shape…..the question is deciding how and when to use the vertical to break your negative shape….does an horizontal line do the same to break a negative shape? I love how you have exaggerated the problem areas…..the integration of the buildings, the addition of another structure, the shadow of the tree, and the contrast in the bushes………it makes it easier for me to follow when you identify the areas where there are questions that need resolution. Your explanation of your thought process is invaluable. I can see it when you do it, but it is a skill one needs to develop and learn to actually see and allow for a visceral response, too. Thank you, once again!
Glad you found lots to engage on the video this week Ann Marie. You could have a horizontal in a negative shape. Maybe in a still life I could imagine where it might work. Hope you find the course seems a good fit for you. I'd be delighted if you joined us. All the best.
Hi Ian. Thanks for the insights on the telephone pole. I figured it was to break up the sky shape but its nice to hear it from the proverbial horse's mouth. Great work!!! Your insights on the graduating length of time looking at a painting for problems and adjustments was very useful and confirming. Ive often thought it increasingly becomes a staring match as the painting progresses. Not just for looking for problems but once found, what to do to fix the issue. Great stuff, looking forward to next Tuesday's session.
Glad you liked it Mark. There is an interesting dialogue that starts up as the painting progresses. I think your comment here reminds me of that negotiating sales idea of the first person to say something loses. But normally I find there is something that distracts me and it is where I can re-enter the dialogue. Until it's done.
I'm delighted you are enjoying the videos. First in terms of composition, because it is the structure beneath the painting, the foundation you could say, the medium is not really important. But I did do a video (because so many people had asked) on watercolor on Dec. 21. So you should be able to find that on my youtube channel. all the best
Thanks for explaining the pole :) I'm excited to hear about your class and whether it will be applicable for watercolor painters as well as oil painters.
Hi Carla, I think you'll find it will help watercolor painters as well because it's about the structure beneath the painting not the medium being used. All the best.
Thanks for this. Seeing the adjustments helps a lot. I also feel the very light sky on the water horizon kept pulling me to the right. Might be video lighting, but I expected you to adjust that too.
I like the explanation of the pole. Without it the painting really is a less strong composition. Personally I like the idea of some diagonal clouds with some light gradation but u are right as always
Such a lovely painting and so cleverly simplified. One question: the roof tiles on the building are obviously of the terracotta style; is there a specified reason why they are not so on the finished painting?
Hi Therese, I was wanting to pull the buildings into more of a unit with the trees around it. So I diminished most of what would advance them. Including the tiles. Now looking at it, outside of the demonstration I might add a bit of color to them. All the best.
Once again, thank you Ian. This is very helpful, as always. I'm really looking forward to your online course! Currently I'm in the process, as time permits, of viewing all your previous videos. So much to learn! So much to remember! All good!
Great video! I always get stuck part of the way through my paintings and I tend to overwork them. Your explanation was very eye opening for me- thank you!
I found your 4 tips to be very useful. I also take a phone pic and look use the editing features to reverse the image and adjust values and colors. The smaller picture helps me see the image from a contrived distance.
Hi Summer, glad you found it useful. I tend to do it all this a pencil. Partly because photographs of landscape often are spread out more horizontally than I like and when I draw it I tend to exaggerate the vertical stretch of everything. It just happens when I draw it. If I were looking at a photo I'd probably start to let it dictate things. But I do see the advantage of pushing and pulling values and colors. And to your point the small image can force you to see the big shapes. All the best.
Hi Ian, Learning much from your sessions and looking forward to your on-line sessions. Just a comment on your painting. I find the blue to the right of the picture (below the sky) distracting. If I crop the picture at the tree on the right, I enjoy the painting so much more.
HI Bob, I'll have a look. I'm not sire I'd crop the picture. Because I like the way that right hand side works with the rest. Would be easier to just reduce the intensity of the blue so it held less attention. But what I like is everyone is seeing this stuff. Once you see it it's much easier to do something about it. Otherwise you can just dab away not really sure what the problem is. All the best.
THANK YOU Ian, for your excellent tutorial..I wonder why you didn't give those roofs a bit of a muted red clay color...think it might have balanced out all that green!!
If you look at the painting when I'd finished blocking them in the roofs were more red. Then when I started softening the contrast between the background and buildings I reduced that tile color so the buildings would sit better with the buildings. I was trying to make that point and reducing the tile color I thought helped show that. If I was painting it just on my own, I'd probably have more of the tile color in the those roofs.
Exciting news Ian. Thank you for this great tutorial. Do you block in still life? Do you think using the method gamut is a good tool to find colours for your work? I look forward to hearing more about your workshop though sad your weekly will become monthly but understandable. Thank you for everything you do. I feel your love for painting and helping others.
Hi Rosee, glad you enjoyed the video. I'm not sure what the gamut method is related to finding colors. I thought it was a way to relax or something. All the best.
@@IanRobertsMasteringComposition Hi. Basically it's varying sizes of triangles or square shapes in the same principle triad tetrad shapes etc on a colour spectrum circular providing more values of each colour on a regular wheel. That was a mouthful :)
That was awesome Ian. I will sorely miss my Tuesday cup of coffee with you! I really appreciated that your info bites were small so that I could try to absorb them, but I will have to see you monthly with a pot I guess! Will the course be applicable for all mediums? Currently I’m working acrylic because I don’t have good ventilation. Thanks as always!
Hi Andrea, the course is about mastering composition so it doesn't matter what medium you use. You'll see in next week's video. See you then. And yes I guess a pot of coffee would do it. Not sure how you'd be after though.
My eye goes to the charming building. I’m curious, why did you not paint the roof of the building the typical burnt sienna color of Italian roofs? Would you then have to include that color somewhere else in the painting?
HI Julie, the main idea is I was diminishing the pop of all the buildings against that trees so I toned everything done. If I looked at the painting now maybe I'd push the color back up on one of those roofs. But mainly I wanted all the buildings to nestle into those trees.
I LOVE using telephone poles in my paintings. I'm going out of my way to find a place to put tbem. They add so much life and depth and interest to a painting.
Thank you , Ian , for your wonderful videos! I always learn so much but still struggle to “get painting” and get stuck halfway through almost paralyzed to finish. Before I relied on the local community college courses to keep me going but even though reopened many art classes have been canceled for lack of enrollment. I’m excited for your online course to get me going again. I’ve also read you’re book Creating Authenticity which contains so much wisdom! Will this class feature any figure/portraiture lessons? Or maybe a future class dedicated to figure and or portraiture? Thanks for providing this wonderful series!
Hi Dee, you'll see in next Tuesday's video I address those problems of getting started and getting bogged down half way through. It is very common. I'd be delighted if you joined us. All of the images for the first 4 weeks are landscapes but for the very specific reason they are the most useful for crafting a shift in how you "see" the picture plane and being away of carving depth in it. By week 5 you will start to introduce your own images and if you want to shift to figures you can. All the best to you.
Hi Diana, I just give the smaller panels (12 x 16 say) a light coat of damar varnish from a can. The large paintings I don't tend to varnish. All the best
That took SO long for me to learn - to walk away and leave it alone - always wanting to mess with it until it became way overdone. Now I wait to see what the painting is telling me it needs where before it was - get it done and over with. I love telephone poles, too!
I'm really interested in finding out more about your course! I already have both of your books, and have purchased your videos. How will the course differ?
Hi Susan, I'd be delighted if you joined us for the course. I wrote that book almost 15 years ago now. I have learned a lot since then and developed the online courses 2 years ago to reflect everything I had learned since from teaching workshops. So all new material I would say. But I'll be talking about it in detail on the video on Tuesday so see if it seems like a fit. All the best.
"Eddy of interest", I love it. I was wondering if you had planned to keep the pole with that in mind during the planning stage, or is it something you intuitively liked and analyzed why afterwards? Nice video.
Hi Dan, it's hard to answer your question really. But I'd say unless there was a really good reason not to put that pole in I'd just put it in. It did create a lot of opinions. Both for and against. But hey it's my painting. I get to wreck any way I want.
Painting is an expression of freedom. Freedom to just let it be and move on in the science of self discovery and the joy of learning by the experience. Frequently the best discovery is the "accident" that wasn"t a part of the intended experiment.
To Daniel York: "science of self discovery" ? what does that even mean.? Telling people they will achieve "freedom" by slopping on paint mindlessly is a lie. What you actually do is discourage people who rarely even like the product they produce. Freedom come from having the ability to make choices that result is satisfaction and pleasure. Painting landscapes is an abstraction of the real world full of visual information Ian Roberts is a landscape painter and he understands that we are working from a 3 dimensional world translated to a flat surface in paint. It's not magic. Paint is the tool here. Learning how one colour effects another visually and mentally is fundamental to engaging and satisfying composition as is eliminating visual clutter and looking for patterns and design elements. Thinking does not destroy freedom. Failing to think or plan, destroys freedom, in peoples lives, and in any task they do or skill they wish to acquire. Example: banging mindlessly on a piano does not create music.
Hi Daniel, there's a great quote by Branford Marsalis, the jazz sax player, "There is no freedom in freedom, my man, there is only freedom in structure." You can look at a million drawings by representational painters, at least until the beginning of the 20th century, of artists working out ideas first before just starting to lather on paint. If your working method likes to just dive in with no planning, that's fine. Each to his own. But if you are doing representational paintings some planning helps. Like having a map before you go into the woods. And even with all that planning there are all kinds of accidents that sill happen and that can be enveloped into the painting,. If you love no planning, who can argue. All the best.
You are by far the master of greens....in my opinion i was drawn to the pole more. I think the pole framed the painting eliminating the right side. To me if you were to cut/crop the painting at the pole or eliminate it,, that would make more sense. My brain cant stop seeing or wondering what that line is or purpose. If you didnt say that was a pole i wouldnt know.
HI RT well that pole certainly created opinions. But you know just thinking about now it's probably good. Because as you push into what you'd do instead you feel your own aesthetic guiding you. There were a lot of greens in that painting it's true.
Your explanation about the telephone pole is very helpful. My first thought is that I would go for a sky gradation instead BUT that could also be distracting from the composition as a whole. I wouldn't want viewers to look at the sky instead of the building as the focal point. Thanks so much for illustrating this for us! Question: I'm primarily painting abstracts. Would your new course apply to that kind of work or only for landscapes/realistic paintings?
Glad you found that useful Dondi. Putting in a gradation is just like anything else, you can do it softly or more boldly so you could put in a gradation in the sky that gently pushes the viewer's eye. As for my course and abstraction. There's a great expression You want a map before you go into the woods. With a representational painting that makes a lot of sense. For me I would think through ideas before beginning anything otherwise I'd find myself working and reworking the painting trying to find the structure that holds it together. So the question really comes down to: do you want a means and tool to explore ideas for paintings before you begin, work things out, try different possibilities. Or do you prefer to wade in and just dig your way out of the situation you find yourself in. I am not judging either, because the second possibility can happen even with planning. And that second way of painting can create surfaces and results you could never plan. So I think it has to do with how much a practice to work out ideas before painting seems useful to you. Hope that answers your question.
hello Ian ,as always great to watch your videos. At 6.05 you put that dark colour just off centre, is that the alizarin and phalo green? it looks a bit like indigo to me . Many thanks
Hi Sande, composition is really the foundation of all paintings. So building off a good foundation will help you in any medium. When I taught the course 2 years ago I had lots of watercolor painters and it clearly helped them. The techniques are the easier thing to learn. Principles underlying them will help you structure a more consistent result.
@@IanRobertsMasteringComposition excuse me being not very specific. in the beginning of your video there are two drawings and two paintings of your trainees. The improvement they've made is impressive. However, the painting created before the course is beautiful to me too 😊. Thank you Sir for your work on TH-cam. All you show and say here is very inspiring and valuable. God bless you and your art.
Excellent, as always, Ian. I'm interested in taking your online course but I paint in watercolour. I know the composition part of your course would be highly relevant but thinking the painting part, not so much.🙁
Hi Laurel-Lea, first glad you liked the video. Watch the video next week. I think you'll see it doesn't matter what medium you use, the course will be very helpful to improve your painting. All the best.
Thank you Ian! Great video and as always, very useful. It takes me back to a question I posed on another of your videos but I don’t think you saw it. I had asked you what you think of under painting the canvas with a single wash of color. I was told long time ago that it was a good idea to cover the canvas white with another color before drawing or blocking in. It made sense that the contrast of the white was reduced immensely and allowed for greater cohesion in the work. Since I often do sunny landscapes, I usually under-paint with a yellow ochre wash. I haven’t seen you doing it so am intrigued. What do you think?
Hi Rafiya, glad you like the video. I usually put a wash of yellow ochre and black, very light, just to get an off white surface. Yellow ochre wash is fine too. Or maybe some burnt sienna. The thing is not to get it too intense. Just a soft light value so if a little bare canvas shows through it sits as a neutral (white canvas does not or does a more vibrant toned canvas).
I purchased your online course for mastering composition; is there going to be something additional in the coming weeks? I ask because you mention focusing on the students that signed up for Mastering Composition.
Hi Laura, I haven't open the course yet. I will open registration on Tuesday. It is a 6 week course. It is not the one available on my website now. Watch the video on Tuesday, have a look at the additional information on the link below the youtube video and decide if it seems a good fit for you. If you do want to sign up I can refund your purchase of the older course. Whatever you like. All the best.
Another very informative video, thank you Ian. I do have a question about the online course. Will it be available only at one time or can I see it when I can find the time; also, will the content of the course be applicable to subject matter other than landscapes, such as figures? BTW, I don't mind that telephone pole AT ALL, lol. It's a beautiful piece of art.
Hi Evan, I will be teaching this course I think for the last time with me giving the Saturday talk live on zoom and there taking Q&A. I'll be recording all that and probably making the whole course recorded after that. But that will be available later. Also I tend to focus on landscape in the course because it really forces the brain to think in terms of carving depth on the picture plane, as well as seeing in value masses and deisgn. So as that develops it applies to any kind of subject matter. Glad you liked the video and all the best.
Hi Lesley, the point of the course is to master composition. You'll see it doesn't matter what medium you use. I'll explain it all next week on the video.
Hi Mary, I'm not much good with computers either. But don't worry about that. We have a tech person you can email if you have a problem. There are a couple of things that the first time might seem hard. But I taught this last time and at first oh how do I do that? And then by the second week it is easy and they don't think about it. So I wouldn't let that stop you. I'd be delighted if you joined us. All the best.
Ian Roberts. If your insight stops at outdated neo-impressionism then its necessary you investigate a deeper sense of consciousness. And that will allow for a far more detailed mode of painting. I suggest you read The Doors of Perception by Aldous Huxley.
Hi Foxglove. You make a lot of assumptions here I think. I painted abstract paintings back in the 80s. I don't think my insight "stops" at "outdated" neo-impressionism. It is what I am drawn to. You can't really argue with what pulls a person artistically. We are each different, we each are drawn to our own unique areas of interest. You may not like what interests me. But that doesn't make it invalid, for me. And I have read The Doors of Perception. All the best.
From what I can see the Italian pine placed right in in front of the background building is a little intrusive there and I find myself trying to look around it as if it is in the way…
Hi Ian thanks for such great tips! What would happen if you move the pole slightly - the reason I'm asking is it bothers me that it comes right up out of the tree - sort of like taking a picture of someone in Paris having the Eiffel Tower come out of their head. I would love your insight. Thank you
Hi Enika, you could make the tree taller. But then it isn't just taller it is a bigger mass, right there in the foreground. Might work. Might find it creates another problem you hadn't thought of.
That might be a good idea. Move a bit to the left or right so it is off center to the tree. It just didn't bother me where it was. But that pole certainly created some dialogue. All the best/
Yes! The next round will start in late winter [US]. If you're on my email list, you'll be notified as soon as we have details. Sign up for the email list at ianroberts.com
Hi Ian, interesting stuff once again! I'll look into the course once it's up... might be good to help me move forward with my paintings and composition. Just a quick question: would you suggest doing the block in, taking a break and coming back also for plein air work?
Hi! I'm not Ian of course😅, but I would say no, when painting plein air you gotta be quick because the light changes all the time and also there are other things around that would bother you, like hot weather for example. What most of plein air painters do is that they step back constantly from the painting so they can see it as a whole and see what's not working and so on😊
Also, I've seen that they try to do most of the painting in plein air, but they also take a picture of the view so they can go back home to add the final details there
Hi Edward, well that's a good point. When I am doing a plein oil painting, I stand back a lot during the process of painting, so some of those things pop out earlier in the process, and then to take 10 minutes once it's all blockin and you are now assessing if you are really done, then is the moment to step away. You'd probably have time to do it the once. But it helps. Then of course when you get home the process can continue, an adjustment here and there.
I remember my mom, on a ladder, with her paintbrush, making little improvements to her painting that was already framed and hanging on the wall. (She would have loved this video).😊
Great, as always Ian. I would encourage everyone to join your class. It was the best thing I’ve ever done for my art practice! Ian is a generous, gracious and masterful teacher!
Thanks so much Diana. Really appreciate it. My very best wishes to you.
The demonstration helps so much, thank you. I love the painting.💐
Glad you found it helpful
I found that demo so helpful. I struggle to keep greens fresh and contrasting and yet still making sense.
Thanks for showing the finished painting process. Beautiful.
Thanks for watching Sue!
Very helpful explanation of the function of the telephone pole to break up the negative shape. Okay. I get it. Your painting makes me want to go up that driveway and meet the people in the house. I wish you great, great success in your class!
Thanks Ralph. Nice to hear from you.
Extremely useful video. I like it so much. Ian have so great way of explaining things
Looking forward for info on class next week. Thanks for this week’s lesson.
Glad you liked it. Thanks Katie!
Great advice Ian when you talk about taking a break while correcting your painting. I give the same advice to my microbiology students (teaching is my day work, painting is my plaisir de la soirée) when they write a scientific article. The longer the period before going back to correct the text, the easier it is to spot the unclear parts (because of the increased detachment from the initial idea). I guess the brain works the same with visual/graphical information. Un grand Merci !
Hi Ian , I was making notes , stopping and starting the video trying to absorb what you were saying and I forgot to comment , sorry! So I had to come back! Great video , I liked your explanation for the pole , and the process of evaluation. Thanks Craig
Makes me happy someone is actually studying the video. Thank you1 All the best Craig.
Great reminders to leave and come back to your paintings, but so much more helpful understanding when to leave and what to look for - the distracting parts - and resolve. Thank you Ian.
You are welcome Lana. Nice to hear from you. All the best.
All your work is exceptional.
Thank you for sharing.
Certainly "POLErised" your audience
Facinating seeing a master at work. How blessed we see as art students to have discovered your teaching.
Jan it is interesting how that pole did create opinions. That's good I guess. Delighted you enjoy the videos. All the best.
Thank you so much for discussing about this. I learned more the ideas and techniques. You new friend with the same hobby
Glad you are enjoying the videos. Thanks for letting me know.
Great as excersise for total beginner! Would love to see more videos like this!
Nicely done. Very pleasing.
Thank you, Ian. Very informative, as always. Take care, g
You are welcome Gayle. All the best.
Fantastic control of greens! I thought at the end it was the contrast in the tree in front of the white dot. I hadn’t seen the white dot. Now I do and wonder, I guess you are right! I’d love to take the class but decide next week. Thanks.
Hi KC, that white dot was happening because the greens on both sides were dark. Another solution would be to lighten the green right beside the white dot. And listen to the video next week and see if the course seems like a good fit. I''d be delighted if you joined us. All the best.
I am blown away by your advice. They are incredible and little by little I put them into practice. Thanks Ian.
Thank you so much for letting me know. Best wishes.
Excellent advice.
WOW .Very good work, I like painting very much, thank you LAN🤩🤩🤩
Thank you so much!
I like your idea of leaving the room for a few minutes between steps! There is nothing like a fresh point of view. Thank you for sharing your insights into painting with us!
You are so welcome!
Hope your week is going well. I am really looking forward to the unveiling of your new online classes. Best Wishes, Natalie
Thanks Natalie and hope the course seems like a good fit. All the best
You are indead a wonderful teacher Ian. My painting has gone from rubbish to poor with your guidance (english humor) No really I love your work and want to thank you so much.
Paul, I'm so delighted your painting has graduated to poor with my help. I'm so honoured. Delighted you enjoy the videos. Very best wishes.
An excellent video. Thank you yet again.
Thank you! You are a great teacher. Where can I sign up for online courses
Will be interested to hear about your course! I've decided this is the year I start taking my art seriously and take a proper course.
Hey Jon, great decision on taking your art seriously. I'll be describing my course next week. I hope you find it a good fit for what you are waning to do. All the best.
@@IanRobertsMasteringComposition looking forward to it! I've learnt a huge amount from your videos.
Useful & timely advice - thank you Ian!
Glad it was helpful!
Thank you very much for your videos. I keep working and improving I would love to take your classes. Thank you so much again. Namaste
Thanks so much Ryan. Glad you are finding the videos helpful.
Excelent, as aleyas!!!👍👍👍💪
Thanks for all the tips in these videos...very helpful. Doris
Glad it was helpful!
Great tips and advice, thanks! Looking forward to next week and info on the on-line course. Thank you
Excellent, thank you!
Hello Mr Roberts it's Juliana from Melbourne Australia.
I have just started water colour.
I love your videos 💖.
I really enjoyed The 25 min demonstration video. How to Mix Subtle Greens. I would love more of them. Mr Roberts I can't work out shadows if they are cool or warm. What colours are they?. Yours sincerely Juliana🌹
Another week of some great advice as always Ian, and I look forward to your discussion on your course, many thanks, Neil
Glad you enjoyed it Neil. Thank you
Oh my! Dear Ian, this is SO helpful. I’m such a ‘muddler’ 😆 (ya, not funny while I’m struggling with a painting though).
I thoroughly enjoy your videos and I especially love this painting of yours. The colours are so warm. 👍👏
Thank you!
Hi Ian ! You provide so many insights to learn from ! Thank you ever so much for everything you teach us ! Truly appreciate week after week ! Wish you the very best...Lorraine 🤗🎨
My pleasure Lorraine!
Ian, the telephone pole really is a good touch in this painting. However, I have a question: Would it be right to fill that negative space with clouds?
Another great video Ian.
Glad you enjoyed it Maureen
Brilliant channel Ian. I stumbled upon and have been watching your videos for the last week or so. Every subject is so very concisely covered, it's been a great refresher for me. One never stops learning. Thank you.
Welcome aboard! Thank you. Delighted you are enjoying them so much.
Truly enlightening!
Thanks so much!
Love your videos. Even great for a rewatch!!❤️👍🏻
Glad you liked it Margaret!
Excellent video…..one of your best! I am so excited to learn more about your online class…..next Tuesday seems too far away!
The process you have suggested about evaluating your concerns and problem-solving is so simple and easy to follow: step away from your painting so that can return with fresh eyes, and repeat until you have identified all of the problem areas of your composition….. Using this process is a much more time-consuming and intellectual activity……..one has to change their attitude about completing a painting in one session.
I can see how the pole breaks the negative shape and engages the whole of the negative shape…..the question is deciding how and when to use the vertical to break your negative shape….does an horizontal line do the same to break a negative shape?
I love how you have exaggerated the problem areas…..the integration of the buildings, the addition of another structure, the shadow of the tree, and the contrast in the bushes………it makes it easier for me to follow when you identify the areas where there are questions that need resolution. Your explanation of your thought process is invaluable. I can see it when you do it, but it is a skill one needs to develop and learn to actually see and allow for a visceral response, too.
Thank you, once again!
Glad you found lots to engage on the video this week Ann Marie. You could have a horizontal in a negative shape. Maybe in a still life I could imagine where it might work. Hope you find the course seems a good fit for you. I'd be delighted if you joined us. All the best.
Hi Ian. Thanks for the insights on the telephone pole. I figured it was to break up the sky shape but its nice to hear it from the proverbial horse's mouth. Great work!!! Your insights on the graduating length of time looking at a painting for problems and adjustments was very useful and confirming. Ive often thought it increasingly becomes a staring match as the painting progresses. Not just for looking for problems but once found, what to do to fix the issue. Great stuff, looking forward to next Tuesday's session.
Glad you liked it Mark. There is an interesting dialogue that starts up as the painting progresses. I think your comment here reminds me of that negotiating sales idea of the first person to say something loses. But normally I find there is something that distracts me and it is where I can re-enter the dialogue. Until it's done.
I'm learning a lot from your great videos, but I paint watercolor and wondered if you could do a couple of videos on that medium, thanks
I'm delighted you are enjoying the videos. First in terms of composition, because it is the structure beneath the painting, the foundation you could say, the medium is not really important. But I did do a video (because so many people had asked) on watercolor on Dec. 21. So you should be able to find that on my youtube channel. all the best
Thanks for explaining the pole :) I'm excited to hear about your class and whether it will be applicable for watercolor painters as well as oil painters.
Hi Carla, I think you'll find it will help watercolor painters as well because it's about the structure beneath the painting not the medium being used. All the best.
Thank you Ian. Always learn so much from your videos.
Glad to hear it Priscilla. Thank you
Thanks for this. Seeing the adjustments helps a lot. I also feel the very light sky on the water horizon kept pulling me to the right. Might be video lighting, but I expected you to adjust that too.
Hi Len, Glad you liked it. I'll have to go look again at that mountain.
Thank you so much for all you do----Dale
You are so welcome Dale
I just purchased your book. It should arrive today.
Yeah. As it says in the introduction, I hope it brings you many happy hours. All the best
I like the explanation of the pole. Without it the painting really is a less strong composition. Personally I like the idea of some diagonal clouds with some light gradation but u are right as always
Such a lovely painting and so cleverly simplified. One question: the roof tiles on the building are obviously of the terracotta style; is there a specified reason why they are not so on the finished painting?
He avoids minor details like that, as they aren’t important.
Hi Therese, I was wanting to pull the buildings into more of a unit with the trees around it. So I diminished most of what would advance them. Including the tiles. Now looking at it, outside of the demonstration I might add a bit of color to them. All the best.
@@nickfanzo well … as this is where the eye is meant to lead us ,I would not have qualified putting a hint of colour on the roof a minor detail🤔😉
@@Undergroundgirl1000 that depends on who painted it.
Once again, thank you Ian. This is very helpful, as always. I'm really looking forward to your online course! Currently I'm in the process, as time permits, of viewing all your previous videos. So much to learn! So much to remember! All good!
Delighted you are enjoying them all Ria. All the very best.
Great video! I always get stuck part of the way through my paintings and I tend to overwork them. Your explanation was very eye opening for me- thank you!
Delighted you found that helpful. All the best.
I found your 4 tips to be very useful. I also take a phone pic and look use the editing features to reverse the image and adjust values and colors. The smaller picture helps me see the image from a contrived distance.
Hi Summer, glad you found it useful. I tend to do it all this a pencil. Partly because photographs of landscape often are spread out more horizontally than I like and when I draw it I tend to exaggerate the vertical stretch of everything. It just happens when I draw it. If I were looking at a photo I'd probably start to let it dictate things. But I do see the advantage of pushing and pulling values and colors. And to your point the small image can force you to see the big shapes. All the best.
@@IanRobertsMasteringComposition I was referring to taking pictures of my painting in various stages, not the scenery itself. Sorry for the confusion!
Thanks again Ian for the very insightful tutorial. Can't wait to apply the principles to a future painting. I'm excited about your upcoming class!!!!
You are very welcome Jan. And that makes me happy to hear!
Thank you.
Hi Ian, Learning much from your sessions and looking forward to your on-line sessions. Just a comment on your painting. I find the blue to the right of the picture (below the sky) distracting. If I crop the picture at the tree on the right, I enjoy the painting so much more.
HI Bob, I'll have a look. I'm not sire I'd crop the picture. Because I like the way that right hand side works with the rest. Would be easier to just reduce the intensity of the blue so it held less attention. But what I like is everyone is seeing this stuff. Once you see it it's much easier to do something about it. Otherwise you can just dab away not really sure what the problem is. All the best.
Cropping is way easier in watercolor...
THANK YOU Ian, for your excellent tutorial..I wonder why you didn't give those roofs a bit of a muted red clay color...think it might have balanced out all that green!!
If you look at the painting when I'd finished blocking them in the roofs were more red. Then when I started softening the contrast between the background and buildings I reduced that tile color so the buildings would sit better with the buildings. I was trying to make that point and reducing the tile color I thought helped show that. If I was painting it just on my own, I'd probably have more of the tile color in the those roofs.
Brilliant 👏 thanks!
You're welcome!
Exciting news Ian. Thank you for this great tutorial. Do you block in still life? Do you think using the method gamut is a good tool to find colours for your work? I look forward to hearing more about your workshop though sad your weekly will become monthly but understandable. Thank you for everything you do. I feel your love for painting and helping others.
Hi Rosee, glad you enjoyed the video. I'm not sure what the gamut method is related to finding colors. I thought it was a way to relax or something. All the best.
@@IanRobertsMasteringComposition Hi. Basically it's varying sizes of triangles or square shapes in the same principle triad tetrad shapes etc on a colour spectrum circular providing more values of each colour on a regular wheel. That was a mouthful :)
@@IanRobertsMasteringComposition Anyway, thank you and I look towards hearing about your
classes.
Thank you very much for all these tips.
Glad you like them!
That was awesome Ian. I will sorely miss my Tuesday cup of coffee with you! I really appreciated that your info bites were small so that I could try to absorb them, but I will have to see you monthly with a pot I guess! Will the course be applicable for all mediums? Currently I’m working acrylic because I don’t have good ventilation. Thanks as always!
Hi Andrea, the course is about mastering composition so it doesn't matter what medium you use. You'll see in next week's video. See you then. And yes I guess a pot of coffee would do it. Not sure how you'd be after though.
My eye goes to the charming building. I’m curious, why did you not paint the roof of the building the typical burnt sienna color of Italian roofs? Would you then have to include that color somewhere else in the painting?
Thank you. In the picture the roof of the building is more terra cotta colored, what is your thought process of keeping it more neutral?
HI Julie, the main idea is I was diminishing the pop of all the buildings against that trees so I toned everything done. If I looked at the painting now maybe I'd push the color back up on one of those roofs. But mainly I wanted all the buildings to nestle into those trees.
Masterful!
Thanks so much Franco
I LOVE using telephone poles in my paintings. I'm going out of my way to find a place to put tbem. They add so much life and depth and interest to a painting.
I'm with you on the poles Norm
What are the dates and times of Mastering Composition class?
Thank you , Ian , for your wonderful videos! I always learn so much but still struggle to “get painting” and get stuck halfway through almost paralyzed to finish. Before I relied on the local community college courses to keep me going but even though reopened many art classes have been canceled for lack of enrollment. I’m excited for your online course to get me going again. I’ve also read you’re book Creating Authenticity which contains so much wisdom! Will this class feature any figure/portraiture lessons? Or maybe a future class dedicated to figure and or portraiture? Thanks for providing this wonderful series!
Hi Dee, you'll see in next Tuesday's video I address those problems of getting started and getting bogged down half way through. It is very common. I'd be delighted if you joined us. All of the images for the first 4 weeks are landscapes but for the very specific reason they are the most useful for crafting a shift in how you "see" the picture plane and being away of carving depth in it. By week 5 you will start to introduce your own images and if you want to shift to figures you can. All the best to you.
Very helpful. Thanks
Glad it was helpful!
Always inspiring videos. Loved it. 😍
Glad you liked it Swapneel!
I can’t wait to learn about your online workshop.
How do you protect your work after you finish it? What kind of varnish do you use?
Hi Diana, I just give the smaller panels (12 x 16 say) a light coat of damar varnish from a can. The large paintings I don't tend to varnish. All the best
@@IanRobertsMasteringComposition thank you! I couldn’t take the online workshop because it was out of my budget.
That took SO long for me to learn - to walk away and leave it alone - always wanting to mess with it until it became way overdone. Now I wait to see what the painting is telling me it needs where before it was - get it done and over with. I love telephone poles, too!
Hi Joani, that is it too. You come back and as you say the painting tells you. It becomes a dialogue.
Thanks for the demo again Ian!!! Also I just have to sign up to enroll for the course?
Glad you liked it Paresh and I'd be delighted if you joined us for the course. All the best.
I'm really interested in finding out more about your course! I already have both of your books, and have purchased your videos. How will the course differ?
Hi Susan, I'd be delighted if you joined us for the course. I wrote that book almost 15 years ago now. I have learned a lot since then and developed the online courses 2 years ago to reflect everything I had learned since from teaching workshops. So all new material I would say. But I'll be talking about it in detail on the video on Tuesday so see if it seems like a fit. All the best.
"Eddy of interest", I love it. I was wondering if you had planned to keep the pole with that in mind during the planning stage, or is it something you intuitively liked and analyzed why afterwards? Nice video.
Hi Dan, it's hard to answer your question really. But I'd say unless there was a really good reason not to put that pole in I'd just put it in. It did create a lot of opinions. Both for and against. But hey it's my painting. I get to wreck any way I want.
Painting is an expression of freedom. Freedom to just let it be and move on in the science of self discovery and the joy of learning by the experience. Frequently the best discovery is the "accident" that wasn"t a part of the intended experiment.
To Daniel York: "science of self discovery" ? what does that even mean.? Telling people they will achieve "freedom" by slopping on paint mindlessly is a lie. What you actually do is discourage people who rarely even like the product they produce. Freedom come from having the ability to make choices that result is satisfaction and pleasure. Painting landscapes is an abstraction of the real world full of visual information Ian Roberts is a landscape painter and he understands that we are working from a 3 dimensional world translated to a flat surface in paint. It's not magic. Paint is the tool here. Learning how one colour effects another visually and mentally is fundamental to engaging and satisfying composition as is eliminating visual clutter and looking for patterns and design elements. Thinking does not destroy freedom. Failing to think or plan, destroys freedom, in peoples lives, and in any task they do or skill they wish to acquire. Example: banging mindlessly on a piano does not create music.
Hi Daniel, there's a great quote by Branford Marsalis, the jazz sax player, "There is no freedom in freedom, my man, there is only freedom in structure." You can look at a million drawings by representational painters, at least until the beginning of the 20th century, of artists working out ideas first before just starting to lather on paint. If your working method likes to just dive in with no planning, that's fine. Each to his own. But if you are doing representational paintings some planning helps. Like having a map before you go into the woods. And even with all that planning there are all kinds of accidents that sill happen and that can be enveloped into the painting,. If you love no planning, who can argue. All the best.
Well Diane I have to say I couldn't agree more. Thank you.
You are by far the master of greens....in my opinion i was drawn to the pole more. I think the pole framed the painting eliminating the right side. To me if you were to cut/crop the painting at the pole or eliminate it,, that would make more sense. My brain cant stop seeing or wondering what that line is or purpose. If you didnt say that was a pole i wouldnt know.
HI RT well that pole certainly created opinions. But you know just thinking about now it's probably good. Because as you push into what you'd do instead you feel your own aesthetic guiding you. There were a lot of greens in that painting it's true.
Your explanation about the telephone pole is very helpful. My first thought is that I would go for a sky gradation instead BUT that could also be distracting from the composition as a whole. I wouldn't want viewers to look at the sky instead of the building as the focal point. Thanks so much for illustrating this for us! Question: I'm primarily painting abstracts. Would your new course apply to that kind of work or only for landscapes/realistic paintings?
Glad you found that useful Dondi. Putting in a gradation is just like anything else, you can do it softly or more boldly so you could put in a gradation in the sky that gently pushes the viewer's eye. As for my course and abstraction. There's a great expression You want a map before you go into the woods. With a representational painting that makes a lot of sense. For me I would think through ideas before beginning anything otherwise I'd find myself working and reworking the painting trying to find the structure that holds it together. So the question really comes down to: do you want a means and tool to explore ideas for paintings before you begin, work things out, try different possibilities. Or do you prefer to wade in and just dig your way out of the situation you find yourself in. I am not judging either, because the second possibility can happen even with planning. And that second way of painting can create surfaces and results you could never plan. So I think it has to do with how much a practice to work out ideas before painting seems useful to you. Hope that answers your question.
hello Ian ,as always great to watch your videos. At 6.05 you put that dark colour just off centre, is that the alizarin and phalo green? it looks a bit like indigo to me . Many thanks
HI Brian, glad you liked the video. Yes, that was alizarin and phthalo green.
Composition and drawing are key to all painting. I’m only working on watercolor skills. Will your composition class still apply?
Hi Sande, composition is really the foundation of all paintings. So building off a good foundation will help you in any medium. When I taught the course 2 years ago I had lots of watercolor painters and it clearly helped them. The techniques are the easier thing to learn. Principles underlying them will help you structure a more consistent result.
When it comes to that person painting mountains, I love the previous painting.
Not sure what you are referring to.
@@IanRobertsMasteringComposition excuse me being not very specific. in the beginning of your video there are two drawings and two paintings of your trainees. The improvement they've made is impressive. However, the painting created before the course is beautiful to me too 😊. Thank you Sir for your work on TH-cam. All you show and say here is very inspiring and valuable. God bless you and your art.
Excellent, as always, Ian. I'm interested in taking your online course but I paint in watercolour. I know the composition part of your course would be highly relevant but thinking the painting part, not so much.🙁
Hi Laurel-Lea, first glad you liked the video. Watch the video next week. I think you'll see it doesn't matter what medium you use, the course will be very helpful to improve your painting. All the best.
Is there a new course coming, or is the one on the website?
Hi Gosia, there is a new course coming. I'll be announcing it next Tuesday in the video.
Thank you Ian! Great video and as always, very useful. It takes me back to a question I posed on another of your videos but I don’t think you saw it. I had asked you what you think of under painting the canvas with a single wash of color. I was told long time ago that it was a good idea to cover the canvas white with another color before drawing or blocking in. It made sense that the contrast of the white was reduced immensely and allowed for greater cohesion in the work. Since I often do sunny landscapes, I usually under-paint with a yellow ochre wash. I haven’t seen you doing it so am intrigued. What do you think?
Hi Rafiya, glad you like the video. I usually put a wash of yellow ochre and black, very light, just to get an off white surface. Yellow ochre wash is fine too. Or maybe some burnt sienna. The thing is not to get it too intense. Just a soft light value so if a little bare canvas shows through it sits as a neutral (white canvas does not or does a more vibrant toned canvas).
@@IanRobertsMasteringComposition Thank you Ian - I’ve got my answer. I think my base wash has been too intense.
About the pole situation: Would it also be related to rabatment it creates?
I have the same question! I’m see the pole and think rabatment. 🙂
Hi Seniz, I actually didn't think about it that way but I'll bet you are right it is very close to the rabatment. Good point.
Hi Lisa, as I mentioned to Seinz, I hadn't thought of it but I think it is very close. Good observation.
I purchased your online course for mastering composition; is there going to be something additional in the coming weeks? I ask because you mention focusing on the students that signed up for Mastering Composition.
Hi Laura, I haven't open the course yet. I will open registration on Tuesday. It is a 6 week course. It is not the one available on my website now. Watch the video on Tuesday, have a look at the additional information on the link below the youtube video and decide if it seems a good fit for you. If you do want to sign up I can refund your purchase of the older course. Whatever you like. All the best.
Another very informative video, thank you Ian. I do have a question about the online course. Will it be available only at one time or can I see it when I can find the time; also, will the content of the course be applicable to subject matter other than landscapes, such as figures? BTW, I don't mind that telephone pole AT ALL, lol. It's a beautiful piece of art.
Hi Evan, I will be teaching this course I think for the last time with me giving the Saturday talk live on zoom and there taking Q&A. I'll be recording all that and probably making the whole course recorded after that. But that will be available later. Also I tend to focus on landscape in the course because it really forces the brain to think in terms of carving depth on the picture plane, as well as seeing in value masses and deisgn. So as that develops it applies to any kind of subject matter. Glad you liked the video and all the best.
Does it matter if you paint with acrylics to do your course or should we be painting in oils like you do?
Hi Lesley, the point of the course is to master composition. You'll see it doesn't matter what medium you use. I'll explain it all next week on the video.
Thank you
You're welcome!
Thanks for the explanation on telephone poles. I always wonder why 🤔.
It was apparently a common thing people were wondering about! Thanks Melinda
Hi Ian I want to join the course please but im not good on computers.
Hi Mary, I'm not much good with computers either. But don't worry about that. We have a tech person you can email if you have a problem. There are a couple of things that the first time might seem hard. But I taught this last time and at first oh how do I do that? And then by the second week it is easy and they don't think about it. So I wouldn't let that stop you. I'd be delighted if you joined us. All the best.
Ian Roberts. If your insight stops at outdated neo-impressionism then its necessary you investigate a deeper sense of consciousness. And that will allow for a far more detailed mode of painting. I suggest you read The Doors of Perception by Aldous Huxley.
Hi Foxglove. You make a lot of assumptions here I think. I painted abstract paintings back in the 80s. I don't think my insight "stops" at "outdated" neo-impressionism. It is what I am drawn to. You can't really argue with what pulls a person artistically. We are each different, we each are drawn to our own unique areas of interest. You may not like what interests me. But that doesn't make it invalid, for me. And I have read The Doors of Perception. All the best.
Could you confirm for me that the online course would be applicable to any medium? Watercolor artist here.
Hi Catherine, yes it will. I doesn't matter what medium you use. You'll see when I talk about it next week.
From what I can see the Italian pine placed right in in front of the background building is a little intrusive there and I find myself trying to look around it as if it is in the way…
Whu not a higher tree instead of te the telepphone pole?
Hi Ian thanks for such great tips! What would happen if you move the pole slightly - the reason I'm asking is it bothers me that it comes right up out of the tree - sort of like taking a picture of someone in Paris having the Eiffel Tower come out of their head. I would love your insight. Thank you
Hi Enika, you could make the tree taller. But then it isn't just taller it is a bigger mass, right there in the foreground. Might work. Might find it creates another problem you hadn't thought of.
That might be a good idea. Move a bit to the left or right so it is off center to the tree. It just didn't bother me where it was. But that pole certainly created some dialogue. All the best/
Do you still teach Mastering Composition courses?
Yes! The next round will start in late winter [US]. If you're on my email list, you'll be notified as soon as we have details. Sign up for the email list at ianroberts.com
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Hi Ian, interesting stuff once again! I'll look into the course once it's up... might be good to help me move forward with my paintings and composition. Just a quick question: would you suggest doing the block in, taking a break and coming back also for plein air work?
Hi! I'm not Ian of course😅, but I would say no, when painting plein air you gotta be quick because the light changes all the time and also there are other things around that would bother you, like hot weather for example. What most of plein air painters do is that they step back constantly from the painting so they can see it as a whole and see what's not working and so on😊
Also, I've seen that they try to do most of the painting in plein air, but they also take a picture of the view so they can go back home to add the final details there
@flopy: that's how I Plein air too!
Hi Flopy, that's right most plein air painters wear a path in the dirt or grass by the time they've finished a painting.
How do I register for the class?
Next week the whole video will describe the course and there will be a link to sign up. I'd be delighted if you could join us for the course.
Mindlessly muddling, that’s me! NOw I have a few clues, thanks
Glad I could help Suzanne. You're welcome
These adjustments, while important, require a dramatic time shift in thinking and action for plein air watercolourists.
Hi Edward, well that's a good point. When I am doing a plein oil painting, I stand back a lot during the process of painting, so some of those things pop out earlier in the process, and then to take 10 minutes once it's all blockin and you are now assessing if you are really done, then is the moment to step away. You'd probably have time to do it the once. But it helps. Then of course when you get home the process can continue, an adjustment here and there.