I am very happy to get your videos. I think your 7 minute limit is a good idea also in that your subject simplification leaves one with an easy thought to hold onto and contemplate. I think you get the most bang for your buck that way, both you in explaining something important and us in getting it. Thank you for the inspiration.
I always, always enjoy your videos and really appreciate that they're short. Sometimes I still save it to watch later, but I always watch them, because I love your simple and grounded approach.
I've recently discovered your videos and you're answering so many of my questions. There are plenty of great painters doing demos here but easily understandable answers to questions about technique are few and far between. For a self-taught painter identifying mistakes isn't always easy so thanks for deconstructing things. I'm subscribed and ploughing through your videos. Seven minutes is fine but I don't mind if they're fifteen. I can spare that time if it's helping my painting!
This whole series is wonderful. The 7 minute brevity is ideal, enough time to delve into a subject, easy to watch over coffee, and I find it sticks in my mind due to it's singularity. You are definitely changing the way I see paintings and my own work. Thanks so much. I am fascinated by your colors, I will buy your color lesson but anytime you can include your paint mixing it is very helpful.
Great talk on how masters divided very large painting into manageable parts, so each piece then can become a study to eventually combine into a whole. The whole is greater than the sum of its parts..... thought process. Great insight in how to begin to think big. Thanks so much!
I learned a lot of important point and issues in painting from your videos that have important effects in any painting, thank you so much for all your advises.
I’m finding all of your videos on composition very eye opening. Your instruction is organized and easy to understand. And the length of each video is just right. In fact, I went from one to next to the next before I realized! I’m a portrait watercolorist, but I’m hopeful I can translate your info to my medium and subject. Thank you so much for your generosity in teaching us these principles of composition.
These videos are a marvel! They arrive in my inbox and are a good length to watch - sometimes more than once. They provide such a lot of ideas and information- lots to think about. Thanks again for taking the time to share your knowledge.
thank you Ian. I am finally sitting down and just watching all your videos in batches right now. This is going to help me tremendously. Thank you. I will be purchasing your book aswell.
I have watched this video twice in the last few years, and I *got* it each time, but with so many things to hold in my still-unpracticed hands, these considerations have slipped my mind thus far in favor of more clear-cut things like over-all value and color desaturation. I hope that now I have some paintings under my artist's belt and have ingrained the aforementioned concepts, I can now combine them to approach edges more conscientiously beyond the "hard" and "soft" edges you first showed. Thank you!
Ariadne is waving good bye or a "don't go" to Thesius. You can see the ship. She is not turning in terror as she's simply standing by two cheetahs. Point of the story, when dumped get loaded. That's the story I've always heard about this painting. It is beautiful. I used to keep a print of it on my wall at school.
Absolutely enjoying your videos! You are right, with so much information available to us everywhere, the 7 minute length is perfect! Thank you for taking your time and talent while conferring your expansive knowledge. I am inspired to continue learning about art and what makes a masterpiece. Great work!
I recently started watching these videos and find them helpful. I am not so much a landscape painter, I am a wildlife oil painter and have been planning to include some of their natural habitat it the painting. Very interesting . Thank you
Thanks so much for your clarification regarding edges. It was very helpful. I have found it confusing that the meaning changes among artists and since your presentation feel that I have a much more comprehensive idea of how it affects my paintings. I enjoyed looking and analyzing Titian's painting!
Thank you for the suggestion of taking out a sketchbook and pencil, looking at a painting, and determine if there is a structure to the painting and how it (the structure) is pulling it all together. "You don't just start laying something like this in and hope for the best." You got that right! Three women, three men, two children, three cheetas, one dog. The man on the right is holding what looks like a bit foot! One cheetah is the only one looking at us, the viewer, while the other cheetah is looking at the water or the cheetah facing it. Lots going on in this painting. Whew!
Brilliant advice in each video. Simple, direct and easy to comprehend. Always something new and educational for the budding artist and the more experienced one. Not long winded, they are concise and engaging. Thanks very much.
I am watching your excellent videos and get so much from each 7 minutes. Am currently spending more time on composition which is a pleasure so I am not racing to put brush to canvas. Amazing
Thank you Ian, I am a newbie to art as a hobby since November. I enjoy listening to your sessions and look forward to them. I can't believe it took a pandemic fo me to take up painting.
Thank you Ian. Nothing trumps HVI contrast! I have always focused just on value and ,as a result, believe I have created a few eyetraps. Looking forward to the discussion of how to move the eye without creating competing focal areas as I have done a few of those as well. I might have strongest value contrast at a chosen focal area but then have not understood the role of intensity and hue contrast and how to keep the overall design, if that makes sense :)
It's a tricky balancing act, creating a strong primary structure, and then secondary ones that engage the eye but don't overwhelm the main structure. Balancing act. Best wishes, Ian.
That's such a clear analysis, both when you describe the hard/ soft edges and the structure of th5Titian painting. Thank you so much for doing these videos..... they're great tutorials!
Very important lesson about understanding qualities of contrasts - fir me metaphorically speaking its very much about the breath and vibrational feel of a painting
Good to hear ideas like this coming from one person. I appreciate Ian’s videos. Although remember that you do not have to paint like someone else. There could be numerous versions of this painting that would work very well in different ways. Paint what you like and remember that rules are descriptive and not literal.
Yes, for the reasons you outlined, Ian, the length is just about perfect. You're right- any longer and one might put off watching it although it can then get buried. And I did enjoy the 'menotaur' and your smooth recovery afterward. Quite right to keep going! I also appreciated your term 'visual grip', succinct and it got me thinking. Looking forward to your next video!
This is a great way to demonstrate this. Helpful for me in showing my students. Thank you for clarifying the soft and hard edges in this way. I enjoy receiving your weekly videos by email, nice to look forward to.
Very very interesting for me. I feel I learned a lot from this video. First what you explained about hard and soft edges, second your beautiful analysis of the composition of Titian's painting. Thank you.
This was super helpful! I have always been confused about edges, but somehow, the way you explained it made so much sense. Thank you!!! Because of your help, my paintings are going to improve.
I first came across that Titian painting many years ago on the cover of a Crash Test Dummies album. I always thought it was pretty cool, but had never (consciously, perhaps?) noticed the structure in it before. Subconsciously though, I could feel the draw to certain areas. Now I understand why. Thanks for the very informative lesson, I'm learning so much from your videos.
I really appreciate this video regarding breaking down structure. It really gives a great visual on how to analyze the geometry of the paintings.Thank you.
This was fascinating. I am a watercolour painted and I always thought soft and hard edges were like your first 2 examples, so thank you for the explanation. I didn't understand the numbers you used when breaking up the Titan painting though?
Hi , I just purchased your book mastering composition What a feast of information it gives to art and its complex involvement , but made clear and understandable ,iam about to read it for the third time so enjoyable thank IAN.
Hi Ian Just found you and love what you're doing. Such clear instruction and information. Have read many composition books but a lot of what you are saying is not mentioned or not made as clearly understandable as you made it also the edges more clarity there too . Some I had come across before but your explanation have given me much more understanding and added something else to the subject Thanks Sheila
As usual, straight forward, simple explanations of practical points from Ian. IMO, excellent example of teaching skills from someone who might not (?) have a formal degree in education. Good points to remember about the various types of contrast that make for effective edges. Thank you.
The Titian example at the end is amazing! I've never noticed structures like these before. I would love to see more examples of these structures (and also other things you teach like guiding the eye etc) in other historic paintings
Thank you, Ian! For getting me motivated again. I've been trapped with a painting that feels flat to me. The painting originally had an "eye trap and good movement but then I had a "drive-by shooter" comment by an onlooker ( my Husband) :) and he said, "I see a nostril in your cloud... ugh." I then flattened the whole painting and I have been stuck for over a week. I'm playing with an adjusted layout now and will see if I can bring back a "stronger grip for the viewer". How do you handle hidden images in your painings like the "nostail in the cloud" or or the cookie cutter animal in a clouds. All the best, and have an awesome day. Lynette Kirk- Gordon
Thank you for the insight very helpful, I never thought you can treat color as a type of edge. always thought black and white (pun intended) always had focused specifically whether the brush stroke was good or not.
Great objective paintings always contain some version of the "5 C's" Content, Contrasts (ideological as well as visual), Composition (balanced geometric structures underlying overall placement of objects), Color Balance, and Clarity.
These are great videos. What I taught but much more elegant. Don't know if you saw the video of Titian, Bacchus painting, but. An art critique described the entire painting as a poofing contest. Each one of the characters could be relieving gaseous pressures.
Can you explain more about that numbering system, is it just basic numbers along vertical and horizontal axis. And/Or in our own comp, do we alter elements so they correspond to a structure. Are there given structures to design with?
Another great video. I wanted to verify that the visual interest should have the strongest hue, value and intensity? I bought your book with CD awhile back and find your YT videos brings it to the next level. Thank you!
Hi Jamie. So the place of strongest visual interest, i.e. the focal point, will have the strongest contrast on the picture plane. But you can imagine a tonal painting with very little color, so then there might be no contrast of color intensity. As an example. It will be the strongest contrast for the key of that particular painting. Does that make sense? All the best, Ian.
That would be a good idea. I think if you go to my youtube channel you'll see that they are at least sort of put in category playlists. Best wishes, Ian
It has to do with how he sub-divided the sides of his canvas. So if he divides the top into 5, or 7, then those points, along with the ones on the other sides, are where he anchors the structure of the painting.
Ian, the information is very useful. But when you make it so technical with H V I & T the fun goes out the window! Do we want to engineer a painting or should it be a creation of the heart?
There's a great line Ashwin by I think the author Ann Patchett, that art stands on the shoulders of skill. Would you say the same to someone learning to play piano and didn't want to learn music theory. It's lovely to want to express yourself, but if it is in the tradition of Western representational painting there are some things that are good to know. Like grammar syntax if you're a writer. That's the way I think anyway.
I have a question. I'm a total amateur, who has had ZERO formal art training. You talked about the artist's structure of the painting. Here is my question. Do we KNOW that the artist deliberately created this structure? Or did he just have an eye for it, did it happened instinctually for him? Or is this just what others interpret today? I mean do we know the man/artist this personally to make this conclusion that he KNEW about the structure he was creating. I hope my questions makes some sense.
HI Maggie, if you look at large multi figure paintings, say by someone like Titan for example, it is pretty clear they used a structure before beginning. People analyze that structure and whether it is exactly right is secondary to the idea that they definitely needed one to do large complex paintings. If you are talking say a plein air painting, 10 x 12 perhaps the painter didn't. Maybe they saw what they had in mind and felt the structure intuitively as you suggest. But for me the more I think about that structure, using viewfinder and thumbnails the more consistent my results.
I am very happy to get your videos. I think your 7 minute limit is a good idea also in that your subject simplification leaves one with an easy thought to hold onto and contemplate. I think you get the most bang for your buck that way, both you in explaining something important and us in getting it. Thank you for the inspiration.
Thanks so much for your feedback. With best wishes, Ian.
Thoughts seconded, thanks.
I always, always enjoy your videos and really appreciate that they're short. Sometimes I still save it to watch later, but I always watch them, because I love your simple and grounded approach.
So glad you found it helpful.
I've recently discovered your videos and you're answering so many of my questions. There are plenty of great painters doing demos here but easily understandable answers to questions about technique are few and far between. For a self-taught painter identifying mistakes isn't always easy so thanks for deconstructing things. I'm subscribed and ploughing through your videos. Seven minutes is fine but I don't mind if they're fifteen. I can spare that time if it's helping my painting!
This whole series is wonderful. The 7 minute brevity is ideal, enough time to delve into a subject, easy to watch over coffee, and I find it sticks in my mind due to it's singularity. You are definitely changing the way I see paintings and my own work. Thanks so much. I am fascinated by your colors, I will buy your color lesson but anytime you can include your paint mixing it is very helpful.
Glad you are enjoying them James.
Please don't worry about brevity. Your videos are well worth the time. Thank you so much.
Thanks Sally. Appreciate your letting me know you are enjoying the videos. Best wishes, Ian.
Great talk on how masters divided very large painting into manageable parts, so each piece then can become a study to eventually combine into a whole. The whole is greater than the sum of its parts..... thought process. Great insight in how to begin to think big. Thanks so much!
Glad it was helpful.
I learned a lot of important point and issues in painting from your videos that have important effects in any painting, thank you so much for all your advises.
I’m finding all of your videos on composition very eye opening. Your instruction is organized and easy to understand. And the length of each video is just right. In fact, I went from one to next to the next before I realized! I’m a portrait watercolorist, but I’m hopeful I can translate your info to my medium and subject. Thank you so much for your generosity in teaching us these principles of composition.
These are new to me and a great adjunct to my drawing and painting studies, thank you!
you are putting language and structure to my intuition! Wonderful teacher. Thank you.
These videos are a marvel! They arrive in my inbox and are a good length to watch - sometimes more than once. They provide such a lot of ideas and information- lots to think about. Thanks again for taking the time to share your knowledge.
Thanks Fran. I'm enjoying doing them.
These short and information packed videos are VERY helpful! You make the subjects easy to understand. Thank you!
Peach, so nice of you to let me know you are enjoying the videos. I really appreciate it. With best wishes, Ian.
thank you Ian. I am finally sitting down and just watching all your videos in batches right now. This is going to help me tremendously. Thank you. I will be purchasing your book aswell.
I have watched this video twice in the last few years, and I *got* it each time, but with so many things to hold in my still-unpracticed hands, these considerations have slipped my mind thus far in favor of more clear-cut things like over-all value and color desaturation. I hope that now I have some paintings under my artist's belt and have ingrained the aforementioned concepts, I can now combine them to approach edges more conscientiously beyond the "hard" and "soft" edges you first showed. Thank you!
It's all about practice - for every artist. I'm glad you found it helpful.
Ariadne is waving good bye or a "don't go" to Thesius. You can see the ship. She is not turning in terror as she's simply standing by two cheetahs. Point of the story, when dumped get loaded. That's the story I've always heard about this painting. It is beautiful. I used to keep a print of it on my wall at school.
Another GREAT video lesson - thanks for all the effort you put into these!
Thank you Catherine. I appreciate your letting me know your are enjoying them.
Absolutely enjoying your videos! You are right, with so much information available to us everywhere, the 7 minute length is perfect! Thank you for taking your time and talent while conferring your expansive knowledge. I am inspired to continue learning about art and what makes a masterpiece. Great work!
I recently started watching these videos and find them helpful. I am not so much a landscape painter, I am a wildlife oil painter and have been planning to include some of their natural habitat it the painting. Very interesting . Thank you
That becomes an interesting problem, integrating the animal, as if he belongs in the setting and doesn't overpower it.
Thanks so much for your clarification regarding edges. It was very helpful. I have found it confusing that the meaning changes among artists and since your presentation feel that I have a much more comprehensive idea of how it affects my paintings. I enjoyed looking and analyzing Titian's painting!
Happy to hear it Robin. Best wishes, Ian
Thank you for the suggestion of taking out a sketchbook and pencil, looking at a painting, and determine if there is a structure to the painting and how it (the structure) is pulling it all together. "You don't just start laying something like this in and hope for the best." You got that right!
Three women, three men, two children, three cheetas, one dog. The man on the right is holding what looks like a bit foot!
One cheetah is the only one looking at us, the viewer, while the other cheetah is looking at the water or the cheetah facing it. Lots going on in this painting. Whew!
Brilliant advice in each video. Simple, direct and easy to comprehend. Always something new and educational for the budding artist and the more experienced one. Not long winded, they are concise and engaging. Thanks very much.
Short and sweet is the way to go! Holds my attention better. Thank you!
A great amount of knowledge, We never stop learning. Happy Painting Mate from Sydney Australia 😊🎨
So true! That’s what makes painting so fascinating. Happy painting also from Sydney (Sylvania in fact) Australia.
@@LeftHandedMarion Yes and many great artistic moments. Cheers (From Umina Beach )🎨👍
I am watching your excellent videos and get so much from each 7 minutes.
Am currently spending more time on composition which is a pleasure so
I am not racing to put brush to canvas. Amazing
Thank you Ian, I am a newbie to art as a hobby since November. I enjoy listening to your sessions and look forward to them. I can't believe it took a pandemic fo me to take up painting.
Dear Ian, very well explained. I watch every video n learn something new. Thx million.
Thank you Ian. Nothing trumps HVI contrast! I have always focused just on value and ,as a result, believe I have created a few eyetraps. Looking forward to the discussion of how to move the eye without creating competing focal areas as I have done a few of those as well. I might have strongest value contrast at a chosen focal area but then have not understood the role of intensity and hue contrast and how to keep the overall design, if that makes sense :)
It's a tricky balancing act, creating a strong primary structure, and then secondary ones that engage the eye but don't overwhelm the main structure. Balancing act. Best wishes, Ian.
That's such a clear analysis, both when you describe the hard/ soft edges and the structure of th5Titian painting. Thank you so much for doing these videos..... they're great tutorials!
Very important lesson about understanding qualities of contrasts - fir me metaphorically speaking its very much about the breath and vibrational feel of a painting
I am enjoying everything you have to teach. Thank you.
Good to hear ideas like this coming from one person. I appreciate Ian’s videos. Although remember that you do not have to paint like someone else. There could be numerous versions of this painting that would work very well in different ways. Paint what you like and remember that rules are descriptive and not literal.
what a interesting teacher so in depth , certainly a gift to serious artists thank you IAN.
You are very welcome. All the best.
Yes, for the reasons you outlined, Ian, the length is just about perfect. You're right- any longer and one might put off watching it although it can then get buried. And I did enjoy the 'menotaur' and your smooth recovery afterward. Quite right to keep going! I also appreciated your term 'visual grip', succinct and it got me thinking. Looking forward to your next video!
Lyn, so nice to hear from you. Hi to Chip. Thank you for your thoughtful critique. Very best wishes, Ian.
These are brilliant flashes of info - enough to spur further observations...
So glad you found it helpful.
this was really good. I looked like the beginnings of the armature of a rectangle.. I've just discovered your videos. Thank you
Thank you! Your videos and book are enlightening, and I'm trying to absorb all I can.
Thanks Brian.
I would quite honestly appreciate 15 min tutorials. I always learn, appreciate your point of view/anslysis. Thank you.
This is a great way to demonstrate this. Helpful for me in showing my students. Thank you for clarifying the soft and hard edges in this way. I enjoy receiving your weekly videos by email, nice to look forward to.
Very very interesting for me. I feel I learned a lot from this video. First what you explained about hard and soft edges, second your beautiful analysis of the composition of Titian's painting. Thank you.
Thanks for letting me know you enjoyed it. With best wishes, Ian.
Thank you so much!
I find you really easy to listen to. I’m learning so much.
This was super helpful! I have always been confused about edges, but somehow, the way you explained it made so much sense. Thank you!!! Because of your help, my paintings are going to improve.
Love these videos! Thank you so much Robert for the wonderful insights into the world of painting! 😊
Glad you like them!
I first came across that Titian painting many years ago on the cover of a Crash Test Dummies album. I always thought it was pretty cool, but had never (consciously, perhaps?) noticed the structure in it before. Subconsciously though, I could feel the draw to certain areas. Now I understand why. Thanks for the very informative lesson, I'm learning so much from your videos.
Your videos are all great! I've been watching them and they start to form a bigger picture. Fairly complex like the Titian painting :).
I really appreciate this video regarding breaking down structure. It really gives a great visual on how to analyze the geometry of the paintings.Thank you.
Glad it was helpful!
Can’t wait to hear about secondary loops. It’s a control challenge, for sure.
I love your videos, they are helping me a lot to understand many, many things about painting. Thank you so much!
Love your videos Ian. Great work.
I hope you will address “lost” and “found edges” as these terms are often confused with soft vs hard edges.... similar but important differences.
YES ENJOYING THESE VIDEOS! Just discovered you a few days ago and have watched many of them. So rich with teaching and info!
Most definitely enjoying this a lot!!! Thank you!
Glad you enjoyed it!
Perfect length. Great information. Thanks!
Thanks Janet. Glad you liked it. Best wishes, Ian.
Thank you Ian. Most enlightening . Looking forward to more.
Thanks Katherine. Best wishes, Ian.
Thank you very much! Excellent presentation 👏👏👏
Thanks Ria.
This is awesome !!!
Because of all you are talking about its good to see Poussin's paintings
I supose.
I'm learning a lot from your videos & appreciate the education behind painting. Thank you 😊
Oh my Gosh!! I have been understanding this wrong all along! Face palm! Thank you!!!
Just recently discovered your videos (I'm new to painting). I really love them and this is exactly what I was looking for. Thank you!!
hey thank you, I am learning many lessons from your clear explanations and yes the short and sweet videos are working! thank you
This was fascinating. I am a watercolour painted and I always thought soft and hard edges were like your first 2 examples, so thank you for the explanation. I didn't understand the numbers you used when breaking up the Titan painting though?
Thank you. Still haven't got my head around this, but I'm working on it.
Hi , I just purchased your book mastering composition What a feast of information it gives to art and its complex involvement , but made clear and understandable ,iam about to read it for the third time so enjoyable thank IAN.
Wonderful. That makes me so happy to hear. All the best.
Thank you for the very valuable information and for your willingness to share.
So glad you found it helpful
Hi Ian
Just found you and love what you're doing.
Such clear instruction and information.
Have read many composition books but a lot of what you are saying is not mentioned or not made as clearly understandable as you made it also the edges more clarity there too .
Some I had come across before but your explanation have given me much more understanding and added something else to the subject
Thanks
Sheila
As usual, straight forward, simple explanations of practical points from Ian. IMO, excellent example of teaching skills from someone who might not (?) have a formal degree in education. Good points to remember about the various types of contrast that make for effective edges. Thank you.
CJ, appreciate your kind critique. All the best , Ian
Love your series. Been sharing it with all my painter friends.
HI Margaret, I am delighted you are enjoying the course. Thank you for letting me know and for telling your friends. All the best.
@@IanRobertsMasteringComposition well I think it’s the most important thing you can learn as a painter. Composition!!! Thanks again!!
The Titian example at the end is amazing! I've never noticed structures like these before. I would love to see more examples of these structures (and also other things you teach like guiding the eye etc) in other historic paintings
Very useful for me at this time. I have so much more to think about!
Thank you, Ian! For getting me motivated again. I've been trapped with a painting that feels flat to me. The painting originally had an "eye trap and good movement but then I had a "drive-by shooter" comment by an onlooker ( my Husband) :) and he said, "I see a nostril in your cloud... ugh." I then flattened the whole painting and I have been stuck for over a week.
I'm playing with an adjusted layout now and will see if I can bring back a "stronger grip for the viewer". How do you handle hidden images in your painings like the "nostail in the cloud" or
or the cookie cutter animal in a clouds. All the best, and have an awesome day. Lynette Kirk- Gordon
Thanks Ian, very useful and interesting!
Thanks Scott.
Thank you for the insight very helpful, I never thought you can treat color as a type of edge. always thought black and white (pun intended)
always had focused specifically whether the brush stroke was good or not.
I found it interesting, engaging and educational. Your stuff is some of the best out there. Thanks for including me in these emails.
Thank so much for commenting. I really appreciate it. You know, so I don't feel I are wailing in the wilderness.
so glad I found your channel! thank you :)
Glad you are here Michael. Welcome.
Thank you for some great insights . . .
Absolutely fascinating thank you
Great objective paintings always contain some version of the "5 C's" Content, Contrasts (ideological as well as visual), Composition (balanced geometric structures underlying overall placement of objects), Color Balance, and Clarity.
I like those 5 Cs.
These are great videos. What I taught but much more elegant. Don't know if you saw the video of Titian, Bacchus painting, but. An art critique described the entire painting as a poofing contest. Each one of the characters could be relieving gaseous pressures.
Nicely done. Fun to learn !
Glad you enjoyed it. All the best, Ian.
Very interesting and thoughtful. Thank you.
Can you explain more about that numbering system, is it just basic numbers along vertical and horizontal axis. And/Or in our own comp, do we alter elements so they correspond to a structure. Are there given structures to design with?
Hello ! the length of the videos are perfect.
Great video !
Another great video. I wanted to verify that the visual interest should have the strongest hue, value and intensity? I bought your book with CD awhile back and find your YT videos brings it to the next level. Thank you!
Hi Jamie. So the place of strongest visual interest, i.e. the focal point, will have the strongest contrast on the picture plane. But you can imagine a tonal painting with very little color, so then there might be no contrast of color intensity. As an example. It will be the strongest contrast for the key of that particular painting. Does that make sense? All the best, Ian.
@@IanRobertsMasteringComposition Thank you Ian. It does make perfect sense. :)
Great videos. There are so many I'd like a catalogue where I could search the subject I want.
Thanks
Stephanie
woops used the wrong account
That would be a good idea. I think if you go to my youtube channel you'll see that they are at least sort of put in category playlists. Best wishes, Ian
I LOVE them, short or long😁
Thanks, also ordered you book
Thanks Debra. Hope you find the book helpful.
I'm a bit confused -- you mentioned numbers that relate to the points on the Titian painting??? I don't know what those are???
It has to do with how he sub-divided the sides of his canvas. So if he divides the top into 5, or 7, then those points, along with the ones on the other sides, are where he anchors the structure of the painting.
Love learning this language
This is sooooooo helpful! Wow! Just Subscribed :)
Yeah! Welcome. Glad you liked it Lisa Maria
Brilliant ...
Thx Ian!
How would you build structure in your painting
What do you mean by 'sesuras' ? Didn't he use the golden ratio (Tavis Leaf Glover)?
Very interesting!
Love your 7 minute theory
Ian, the information is very useful. But when you make it so technical with H V I & T the fun goes out the window! Do we want to engineer a painting or should it be a creation of the heart?
There's a great line Ashwin by I think the author Ann Patchett, that art stands on the shoulders of skill. Would you say the same to someone learning to play piano and didn't want to learn music theory. It's lovely to want to express yourself, but if it is in the tradition of Western representational painting there are some things that are good to know. Like grammar syntax if you're a writer. That's the way I think anyway.
very, very helpful
Thank you.
Fascinating
I have a question. I'm a total amateur, who has had ZERO formal art training. You talked about the artist's structure of the painting. Here is my question. Do we KNOW that the artist deliberately created this structure? Or did he just have an eye for it, did it happened instinctually for him? Or is this just what others interpret today? I mean do we know the man/artist this personally to make this conclusion that he KNEW about the structure he was creating. I hope my questions makes some sense.
HI Maggie, if you look at large multi figure paintings, say by someone like Titan for example, it is pretty clear they used a structure before beginning. People analyze that structure and whether it is exactly right is secondary to the idea that they definitely needed one to do large complex paintings. If you are talking say a plein air painting, 10 x 12 perhaps the painter didn't. Maybe they saw what they had in mind and felt the structure intuitively as you suggest. But for me the more I think about that structure, using viewfinder and thumbnails the more consistent my results.
@@IanRobertsMasteringComposition Thank you so much for the reply. You really make me think!
thank you