How to Paint Details
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- čas přidán 8. 09. 2024
- The past two weeks I've emphasizing the role of structure and design in a painting. This week, I finish the painting of the last two weeks. I show how detail in fact just enhances the design - helps lead the eye of the viewer on the path of the structure.
Rather than being this endless addition of marks leading nowhere in particular, detail as I outline it in this video becomes a less is more finish.
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I don't understand how you don't have over a 100,000+ subscribers, or more. You offer understandable information that actually can be applied immediately . Thank you for having this channel !!! It increases my knowledge and understanding of approaching a painting from a more experienced artists point of view. Once again, Thank you !
As a seventy year old wannabe you have opened my eyes to the possibilities and given me the ability to see my world in a painterly way. Thank you Ian.
I look forward to next week. Your weekly lessons are so helpful. “Objective painting is not good painting unless it is good in the abstract sense. A hill or tree cannot make a good painting just because it is a hill or tree. It is lines and colors put together so that they may say something.” - Georgia O’Keeffe
That's a great quote Catherine. Thanks for that.
I have only just stumbled across Ian within the last couple of weeks after following a Stuart Davis on CZcams who resides in France. Stuart has changed my painting dramatically and he gave me confidence to loosen up with his syle of painting. However, after watching Ian paint I feel that this is a good follow-on as he refines the composition and the structure of a painting, which for me the two syles work well together in that order. Another good aspect with Ian's videos is that they are of a reasonable length, long enough to take in the information and remember.
I am a pastellist/watercolorist and your teaching is both improving my work and helping me develop my way of seeing. Infinite gratitude and looking forward to more of your lessons.
Delighted to have found you. I started painting on a whim last June and have been happily, bumbling along ever since but your videos are terrific and I intend to make the very best of the knowledge they impart. Thank you
Congratulations, Ian. You got me to the point where I hit "like", and the watch the video...
Thank you Norm.
Ian, You have made this painting so much more vivid with the detail carefully placed and even calculated where it needs to be to get the viewer experience all the painting. Bravo!
Glad you enjoyed it
I alway enjoy watching your videos! Thank you so much, Ian!
Thank you Ian. I was fascinated to see that you added just a few things to enhance,this painting that I had thought was finished. So much information in each of these videos. Looking forward to next week!
Glad you enjoyed it Joanne.
You have such a clear way of covering the creative process and the crafting elements that make a painting- dynamic. Thank you so much
Seeing the painting develop over multiple sessions is very helpful
Glad to hear it Roberta. Best wishes.
We appreciate your articulate instructions. You do make it look so easy. I have to watch each video several times in order to watch your brush, strokes, and hand position and motion of the paint brush. Awesome. Thanks so much.
Glad you are enjoying them Catherine.
This was a fantastic demonstration. I learned so much. One I will review a couple of times.
Glad it was helpful Loretta.
The way you worked the base of the bushes closest to the viewer really anchored them and made them 'sit down'. Also, the contrast between the highlights and shadows between the picture planes created a nice sense of depth in the painting. It's remarkable how just a minimum of detail can bring a painting to life.
Along with another commenter below, I just got a copy of your book and will be doing a deep dive into it over the coming weeks and months.
I'm delighted you are enjoying the teaching (book and videos). All the best.
Ready to get my brushes and paint out!!! Thank you 🙏
Thank you. I loved how generously you've shared your techniques.
You are so welcome!
I bought your book, Mastering Composition a few years ago. Your channel has really helped me make the connections in the book.
Hi Tom, glad the videos are supplementing the ideas in the book. All the best
I just received your book. I am enjoying reading it. Thank you for being such a clear and concise teacher.
You are so welcome Josophine.
This lesson is really helpful. I've had critiques saying that I need more negative painting in my shapes but I think your method of detailing the edges is far more productive than trying to insert a lot of breaks in the masses. Aha moment :))
Glad it was helpful Carol. I should do a video one week on negative shapes. I see them as still the big masses in the design.
extremely helpful ! thanks Ian
Thank you for sharing your clear view of expression...I love the blocking values that you use ...I am learning to paint with values ...as oppose to colors ...using colors to create the right value ...
As always, you present new ideas that seem so obvious. I could have looked at my current painting on the easel for the rest of my life and not figured out that I needed to add subtle detail to counterbalance the mass on the left side. Arghhhhh! Thank you, Ian.
You are so welcome!
It really feels like I'm in the painting. Thanks for these videos.
You are so welcome!
That's a really helpful comment man about how curated and edited the videos are! That helps, thankyou!
In trying to keep them to 6-8 minutes with intro and conclusion, the demonstration part gets pretty short. Watching the whole thing would be a LONG video.
@@IanRobertsMasteringComposition it's perfect, long enough to engage properly, provide valuable content and be interesting. It echoes your painting philosophy in a way
Very interesting what you say, I don't think anyone else is doing this on the tube so thanks for making these videos :)
Glad you are enjoying them Polecat!
The color in this painting also pops the the masses forward or pushes the shapes back, beautiful and alive.
Incredibly helpful. Beautiful painting.
What a great lesson!!! Thank you!
You are such a great teacher! I’m so grateful for these sessions!
Glad to hear it Sarah. Thank you.
thanks a bunch for sharing
...color relationships was very interesting
Very usualful and it was also great to see that you too go back and keep adding enhancements/corrections. It's not just one and done.
Your lessons are always excellent sir. Learning so much.
Ian - I now watch your utube everyday- can’t get enough of your wisdom and really appreciate your generosity for putting up these valuable content. I tried landscape painting the other day and as I made corrections, the whole painting becomes a muddy something ( abstract muddy art !)🙀
Excellent demonstration with insightful commentary. Thank you.
Glad you enjoyed it!
Thank you for these videos Ian. Even in a short span of time you are able to convey so much. It was so interesting to see how you shifted the focus of the painting from the near trees to the further ones by adding just a few patches of light shining through the branches. Your paintings are the very epitome of ‘Less is more’.
Yes I like that Less is More. I remember an art teacher once said the person that says the most with the least wins. I'm not sure what the prize is exactly then but it's the same idea. All the best.
So very pleased to have come across your advice! Thank you!
I just want to thank you for the clarity of your videos, Ian. I have been painting in oils for almost 60 years and your work on simplification and composition has really helped me to take a long hard look at my own work. I think it is improving now - it is certainly changing!
Something that I found really fascinating this week was this: as you've explained it your details were added almost as a corollary to the way you more clearly identified the direction of the light and its effects - if I can put it like that. Having added more shadow onto the snow at rear you worked on that "hard" lower edge between the shrubs and the snow by breaking it up. You even added highlights! So far so good. Yet if I look at what you imply about the direction of the light overall, as defined by the way the shadows are cast, I cannot see any way at all in which that lower edge could be in sunlight - surely it must be cast in shadow? Yet... and my reason for making this comment at all - yet the painting is beautifully balanced. The "illogical" nature of it doesn't even enter.
Were it me attempting something like this I'd have gotten lost in all manner of "accurate" observation, thereby no doubt killing the painting.
You've provided such a great demonstration of the power of artistic interpretation. Thanks for this, I shall take this away with me and give it much further thought :)
I'm really glad you noticed that. You aren't the first one (see below) to say the shadows in fact didn't really make sense. But artistically, for the sake of the whole painting, I think , as you say also, it works fine. Glad you enjoyed it.
Thank you, Ian. This is the kind of information that I’m looking for. 🙏🙏
Ive seen a similar scene off I-25 northbound coming into Castle Rock, CO - Thank you for sharing your wisdom with us!
Your videos are very insightful, thank you so much!
Glad you like them!
Adding the fine details to the edges of your basic shapes puts your whole painting into focus. Unfortunately, so many landscapes display wonderful structure and compositional shapes, but the overall effect appears blurry and out of focus. It's those small details from the straggly bristles of your chip brush that give the bit of clarity needed to beckon the viewer into your painting. The Impressionists must have have similar thoughts - their works usually contain subtle details that give some focus and a sense of immediacy to their art - their tiny pointillist dots, contoured dashes, bold strokes, and expansive washes provide shape edge details that enhance the primary structure. Even abstract artists are acutely aware of the details they infuse into their work, including large color field paintings. Thank you for another informative Tuesday video, Ian. You certainly know how to avoid overworking your paintings.
Thanks Christina.
Really appreciate the knowledge you are sharing. Priceless.
That was so helpful. I often think I should just finish the painting in one go. So now I will give myself permission to go back and enhance the painting with detail. It was also really helpful to see how exactly you use your brushwork. Thank you!
The original small oil was done in about 45 minutes, one off. But in a larger studio painting you could do it all at once. Doing it in two or three passes adds layers of nuanced color that you can't necessarily get in one pass. Glad you liked it Susanne.
Thank you, Ian.
After watching several of your videos, one of the things I realised is, the need to update my oil paints! The new delicious oil paints arrived today,
I am excited to start a new painting, armed with a better understanding of what techniques to use, how to structure the painting, what to abstract etc and how to create the colours required.
So, I repeat...
Thank you!
Looking forward to next weeks video.
Glad you are enjoying the videos and have fun with the new paint.
Thanks so much, Ian! Great information 🎨
Glad you enjoyed it Nancy.
Just found your channel. You're GOOD! Thanks for all the great info. I'm a comPLETE beginner and really enjoy your instruction. Thanks!
Beautiful painting. The finishing touches really works 🥰👍🏻.
So nice…. indeed very helpful. Thank you so much for sharing the wonderful tips in such details.
That was an extremely enlightening process...Thank You 🙏
You are so welcome
Thankyou sir for sharing so in depth details .
Looking forward to abstract paintings sessions.
Glad you are enjoying them.
Excellent as always....
Thanks Greg.
Very Helpful painting advice put fourth in a very easy to understand manner. Thank you.
love how your wall always change with new ideas and compositions and sketches :)
I always find your videos helpful and so mind engaging. You make me think. Thanks, Ian.
Great little set of vids on this one image / sunbject set. Thanks..
Ian,thank you
You are very welcome
Thank you for your informative and inspiring weekly videos. I try to paint outdoors, but often use my ipad photos. Great to see that you approve and advocate this practice. :)
In today's art world can anything still be considered unacceptable. I think using photos from your ipad is very low on the "do we draw the line here" scale.My wife, also a painter, swears by procreate. With best wishes, Ian.
I would love to see seascape and sunsets as well as nightscape demonstrations
I m looking anxiously for the next video . Happy Easter for you and family !
Nice to hear Christine. All the best for Easter.
Thanks !
Always an inspiration! Tuesdays are the days to look forward to. :)
Happy to hear it Patricia. All the best.
So helpful! Thanks for pointing out how much slower your process is. It has reminded me to stop and consider my marks. As a pastel artist I don’t have that forced waiting time of drying!
Hi Helen, there is a strange sense of rush sometimes. But I don't find it often leads to better work. Particularly at the start. Rush at the start and you end up wasting so much time later trying to patch things up.
Extremely informative; thanks for sharing
My pleasure Joanne.
Just found your channel this week, poking around on YT. Thank you so much for sharing your insights in such palatable golden nuggets. You definitely inspire me to stand back from my canvas to remind myself what I’m trying to say with my composition. 🥳
Hi Sherri, I plan next week to talk about abstraction, which is what all painting is about and that fundamentally gets down to the image and your idea of what you are going to do with that image. Other than slavishly copying it which never usually amounts to much of a painting. To you point here about standing back..
Wish i could see it all like u do ☺️
Hi Ian, Thank You for this video. The subject of details is timely for me as I am doing details on a painting today and I was having trouble deciding what details to paint, so this helps. Looking forward to next week. Tom.
Glad it was helpful Tom.
I discovered your channel a week ago or so and I’ve been devouring them! I have been a fan of yours for years and have read your books. I can’t say enough how your videos have really helped me to see my subjects differently. Also, thank you for giving permission to use photographs as references- I have struggled with that not sure if it was ok or not. It’s just not always possible to get outside and I will no longer feel guilty for using my photographs. Thanks again and I can’t wait for your next one!
Krista, delighted you are enjoying the videos. With best wishes.
Excellent presentation, again, “Meat & Potatoes” & “Cut to the Chase”, So very pleased and engage with your technique and specific results.
I like that, meat and potatoes. Glad you liked the video.
I loved this series! I started watching about a year ago and really appreciate the focused, short video approach. I am a watercolor artist but I have learned so much from these sessions and am happy to see your subscriber growth! I too look forward to my Tuesday email.
Thanks so much Karen. Glad you are enjoying them and finding them helpful. Numbers have really jumped in the last couple of weeks. With best wishes, Ian.
Thank you so much Ian for your reply, I will try getting the hardboard from the store nearby and will try working out. Thank you once again.🙏🏾
Very welcome
This was very helpful. I am new at painting, drawing and art (I am 63 years old) , and I struggle with seeing shadows and light. This was helpful, thanks!
Glad it was helpful!
This is so helpful how you show your design process and reiterate “shapes, shapes, shapes...details are icing.” Your videos are wonderful. Thank you!!
Very helpful, especially how you worked in the top right to lessen the pull of the diagonal on the left bottom. Interesting! It's spring and I'm painting tulips. Happy Easter!
Tulips sounds like spring is here. All the best Ralph.
Dear Ian, thank u very much for prompt reply. Waiting for the paintings, hope those lessons will help me a lot. Best regards
Best wishes
Nicely done
Thanks Edith.
wow, great stuff! super helpful.
Each lecture provide a creative way to help with the same subject. Great. I often forget to click 'like'. Sorry. Anita (Mrs.James Rollo )
Hi Anita, glad you are finding them helpful. All the best.
Thank you Ian
Very welcome Frank
For me painting pure abstract at the far end of the spectrum is very difficult. How do I express feelings of happiness, determination and victory in an abstract form that inspires people? How do we view and interpret the abstract aspect of life in comparison to the ordered aspect of life? Great video, Thank You Always, Tom.
Thank you.
You're welcome!
Hi Ian,
I like very much your systematic approach! This enables me to fill some blank areas in my general amateur-painting-prospects.
Beyond this I like your personality and your speaking (British english, isn't it?).
Curious about what is to come... In the meanwhile I learn from your past videos.
Wolfgang Struve
Hi Wolfgang, Canadian. Delighted you are enjoying the videos.
Also, Ian, for those who say 'you make it look easy' (which you do), it might do to tell them that you've been honing your talent for years. Practice makes perfect. Or so I've heard.
Thank u vry much for detailed tutorials, helpful indeed. What's technique to choose color for blocking of a given landscape or find out the local tone, can u pls pls help. Regards,
So happy you are enjoying the videos Mohammad.
I really love the way you teach, with few words and lots of demonstration. But in this painting the shadows are in two opposite directions. In the picture the light comes from the left, so should there be a shadow in front of the back hedge?
Hello Ian.. I am just wondering if the shadow of the trees in the background should be on the other side? 🤔🤔
When you have dark shadow colors, do you put cool lighter colors in the cool shadows and warmer lighter colors in the sunny areas?
Hi Roxanne, I have one CZcams video that discusses this exactly. It is called something about Color Temperature. From a couple of months ago. That should answer this question. I hope. Best wishes.
Thank you Ian , you make it so simple ,what type of wooden board is best for oil painting, is MDF board of 3mm thickness , can we work .
Hi Usha, I often buy panels from RayMar (claessens linen). But if I am making my own I get 1/8" hardboard from the hardware store and cut it to size then glue (PCA glue - Aylmer's) the canvas to that.
I would make a lousy impressionist. My inner control freak keeps going till I get all the detail in.
Stumbled onto your channel and have been binge watching all weekend. Excellent videos & thank you.
Outside acrylic mostly with slight finishing inside. It will be tricky applying your design driven concepts to pleine air, but I need to compose instead of copying what I see (or trying to). Since outside work is a rush, how are you able to thumbnail & sketch during design while the light is shifting?
Just remembered your video "Painting with a Plan in Mind" from a month ago which addresses my question! I will binge watch your videos again! Thanks!
Hi Steven, first glad you are finding the videos helpful. First I"d say the more you see in design and shapes the quicker the painting process goes. Second, I don't generally do a sketch, just a thumbnail (road map) with plein air and a lot of time walking around and framing with a viewfinder. Or I find something one day, sketch it, get really clear on what I have in mind, then come back the next day, 30 minutes earlier, set up start blocking in and then I'm in the thick of it right when the light is the same as the day before (weather permitting of course). It takes away that rushing to find, set up and capture everything as it is disappearing almost before you begin.
Great vid once again. Could you expand on what you mean with the concept of counter balancing? The word makes it sound like you have a balancing point. I don't think that's what you mean though. Do you mean that you want another focus point in the painting that 'balances' (read: spreads) the attention over the painting and thus catches the viewers eye longer? Thanks!
Yes that is pretty much exactly what i meant. It keeps the eye moving throughout the picture plane. Not all compositions have it. But it also is a balance to creating too obvious a center of interest that pretty much sucks us to one point and makes it hard to travel around the rest of the painting.
@@IanRobertsMasteringComposition Thank you!
It would help a lot by close ups of your work. Need to see the brush work close .
I don’t see the link for materials. I’d like to know your brushes. Thanks for excellent demos and teaching!
Hi Barbara, I don't have a link for materials. That's a good idea thought. I now use (since my favorite brushmaker Manet went out of business0 is Escoda Clasico, Turkell, hogshair bristle filberts. Glad you are enjoying the videos.
Ian, how do we choose color for blocking process of various shapes in a landscape I am confused especially while painting foliage on mountain etc. Is there a rule to follow etc. Pls take yr time n advise me.
This week Mohammad, I show some pictures of two plein air paintings in stages, Just shape by shape as they take form. That might help. Also as things go further into the background the less information you want. SO maybe you would not even see foliage on a mountain, if just a soft value shift between the lit and shadowed sections of it. Hope that helps.
👍👍👍👍👍
Length and density of shadow cast by the large foreground reed stand seems disproportionate to shadows cast by the smaller adjacent clumps of reeds. Does this type of unresolved dissonance add interest or is it better for all shadows to agree with the same natural light position?
Hi Eileen, the shadows in the original photo were no where near as dense or long as I made them in the painting. That was all artistic licence. And as you say they probably didn't all add up but it doesn't bother me. That to my mind is about design being more important than subject (in this case meaning perhaps the specific reality of what those shadows would actually do) Best wishes.
@@IanRobertsMasteringComposition Thank you for your response. Good advice.
Should the softened edge also have a shadow?
Hi Annie, not sure what softened edge. If you mean the long one along foreground bushes it did get a shadow as the snow curves and starts down to the water. Not much but it helps soften that edge.
@@IanRobertsMasteringComposition My bad, I was thinking the light came from the other side. Pardon.
2-3 days to dry.. for oil ? I paint a rylic and it seems that after just an hour I can already paint on the last layer, should I wait more? Can I wait less ? How much time for acrylic ?
For acrylic you're really just waiting until its dry enough to put on the next layer without the smearing together. As you say an hour maybe.
@@IanRobertsMasteringComposition thanks 🙂
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