Hi Ean, cant wait to see who she is....... Thank you again, tring to anderstand, my english is good,but hard to follow a subject that is new to me merci anyway.
Whao! I am totally confused with all the visual direction you have indicated. Direction, eye focus, and what all else! So confusing, what is the main information?
As I was painting today, I was thinking of sitting in a theater. Your tips stay in my mind. Then I thought, “where are you entering your painting?” Hmmm I thought , I guess I’m sitting in the car! Lol
I purchased your book years back, ( I highly recommend it ), when I was living in Skagit and then Island counties. I now live in the NEK in VT, a very mountainous and forested areas of limited vistas. The idea of simplification is so important in capturing this congested landscape. I work in watermedia, and your principles are not at all media dependent. Every video includes wonderful examples and explanations presented with humility. What more could one ask of a teacher. I loved the Provence painting, with the extra little light path into the painting, what a wonderful gem.
Hi Ian. First, let me say how much I admire your finished painting of Provence. Many moons ago I acquired your book of the same name as your video series on UA-cam. It is so timely for me as after a long career in Illustration, Graphic Design and Teaching, I am turning to landscape painting in earnest, blissfully expectant of unfolding revelation. So I just wanted to say a heartfelt thank you Ian! P.S. I bought 'Mastering Composition' when you lived on Georgian Bay. Living in Mississauga, I half expected to cross paths with you someday! Thanks again!!! BTW: To all your viewers, there are many, many bad books on composition. Ian's book is highly readable, engaging and, as you know from watching this video series, immediately applicable!
i've found you on YT just last week, been looking at the video's chronologicaly, liking everyone of them. The content, the quality, the length, just perfect for me. I shall now pursue my quest through the video's. Tks
I really appreciate your insight and direction. I want to paint a a row of old mailboxes lined up with a dirt road leading into the background. Very little vegetation. The row has about 15 boxes with the largest being in the foreground-getting smaller as it draws the eye to the background/sky. Composition-wise, is it a good idea to have the row of mailboxes drawn this way? I hope my question makes sense. Thank you.
Wonderful video. I am continually amazed by how you lead the eye purposely through your paintings. I am really going to be more thoughtful to the foreground ,mid, and background. Your painting, as well as your student's is so lovely. Thank you for your concise teaching! and willingness to share!
Very helpful Ian. The last one reminds me of a split primary pallet where each plane is divided into two but works because the structure of the foreground, middle ground and background are preserved. interesting. Thanks.
Thank you! Thank you! Thank you! I have been painting for the last 45 years of my life and feel like I’m starting all over. Going to art school in Cleveland in the 1970s only brought me a lot of conceptual gobbledygook. No one ever really showed me the fundamentals except for another artist that I work with for a few years. I turned away out of frustration from plein air painting about 10 years ago. Now as I am focusing on some of your drawing exercises I am getting closer to re-approaching plein air painting. Thank you Ian!
Hi Cecilee, you responded to several of the videos. Rather than a long lecture with a ton of points, each video just tries to cover one small topic but it is always contained in this large arena of composition. Big pool of topics to cover. Glad you are enjoying them. With best wishes, ian.
Hi Ian. Thank you this week's video. Your new painting is very well done with all the various shapes of color and values. It was a good example to show how to carve depth in to a flat picture plan. Be well.
I guess I never said how much I love your classes! So I'm going to say this today, even before I see the content, because the truth is, you never disappoint! A lot of kisses from your Brazilian fan. ❤🧡💛💚💙💜🤎💗
Wow, seeing how you mapped out actors on the stage really brought the lesson home for me. Thanks so much Ian, you are an amazing teacher.
Glad you enjoyed it!
Thank you, seems so simple the way you lay it out. Just got to rearrange my brain!
Hi Annie.I think so much of creating art is about rearranging the brain. That is a good way to put it. Glad you liked it. Thank you.
Brilliant!
Hi Ean, cant wait to see who she is....... Thank you again, tring to anderstand, my english is good,but hard to follow a subject that is new to me merci anyway.
one of the best channels I have been able to see on youtube, enlightening, very useful and simple, thank you very much
Hi Jordi, I am so glad you think so and for letting me know. All the best.
You’re a wonderful teacher, the examples you use are so clear and helpful!
Whao! I am totally confused with all the visual direction you have indicated. Direction, eye focus, and what all else! So confusing, what is the main information?
As I was painting today, I was thinking of sitting in a theater. Your tips stay in my mind. Then I thought, “where are you entering your painting?” Hmmm I thought , I guess I’m sitting in the car! Lol
Hi Pam, it is a useful image isn't it? I mean the one in theatre, not the car.
Ian Roberts yes!
Very clear, as usual. Your final painting is magnificen.
Hi Helen, thanks. Hope all's well out West. Ian
I purchased your book years back, ( I highly recommend it ), when I was living in Skagit and then Island counties. I now live in the NEK in VT, a very mountainous and forested areas of limited vistas. The idea of simplification is so important in capturing this congested landscape. I work in watermedia, and your principles are not at all media dependent. Every video includes wonderful examples and explanations presented with humility. What more could one ask of a teacher. I loved the Provence painting, with the extra little light path into the painting, what a wonderful gem.
Hi Ian. First, let me say how much I admire your finished painting of Provence. Many moons ago I acquired your book of the same name as your video series on UA-cam. It is so timely for me as after a long career in Illustration, Graphic Design and Teaching, I am turning to landscape painting in earnest, blissfully expectant of unfolding revelation. So I just wanted to say a heartfelt thank you Ian!
P.S. I bought 'Mastering Composition' when you lived on Georgian Bay. Living in Mississauga, I half expected to cross paths with you someday! Thanks again!!! BTW: To all your viewers, there are many, many bad books on composition. Ian's book is highly readable, engaging and, as you know from watching this video series, immediately applicable!
Ahh Gary, a toast to the blissful expectance of unfolding revelation. Something we all need more of. Good Luck and best wishes, Ian.
I enjoyed that. Thank you.
Loved this formation. Wished i have watched this before very helpful.
What a simple way to explain how to make the middle ground shine! I learn from every lesson you do. Thank you for your generosity in sharing.
Hi Cathy, thanks so much for letting me know. All the best, Ian
i've found you on YT just last week, been looking at the video's chronologicaly, liking everyone of them. The content, the quality, the length, just perfect for me. I shall now pursue my quest through the video's. Tks
Excellent sir
I do Appreciate your Artistry!! Thank YOU MUCH for Sharing. From Cape Town.
Thanks for this Ian. I love the illustration of the stage set as seen from above! That's a very clear way of thinking about it.
Glad you found it helpful Dale. All the best, Ian
Thank you for a very wonderful explanation that I can apply to my compositions. Thanks Ian!
Glad you found it helpful Jamie. Best wishes, Ian.
I really appreciate your insight and direction. I want to paint a a row of old mailboxes lined up with a dirt road leading into the background. Very little vegetation. The row has about 15 boxes with the largest being in the foreground-getting smaller as it draws the eye to the background/sky. Composition-wise, is it a good idea to have the row of mailboxes drawn this way? I hope my question makes sense. Thank you.
Thank you
Nice.
Thank you; be well.
Great lesson Ian, good explanation of how to alter thebrelationships between forgraound, middlenand pushing the background further.
Thanks so much for this! Exactly what I needed to see.
Glad you found it helpful.
What a beautiful drawing this is amazing! 😍☺
Thanks Chloe.
I appreciate your efforts and enjoy the clarity and brevity of your thoughts. Big fan of this.
This is excellent. I have struggled for years with this, but having worked on stage settings, this completely makes sense.
Thanks a bunch Ian, I wish our teacher could learn from you.
You give excellent advice! Thanks.
Thanks that was a perfect demonstration.
Genius idea to use the theatre stage as an illustration as to how and where to focus.
Brilliant insight as always - thanks
Thanks so much.
I adore the last painting , so beautiful
Very interesting! Thank you!
I really like your teaching.
This was great. Thank you so much.
Another great lesson! Thank you.
Wonderful video. I am continually amazed by how you lead the eye purposely through your paintings. I am really going to be more thoughtful to the foreground ,mid, and background. Your painting, as well as your student's is so lovely. Thank you for your concise teaching! and willingness to share!
Thanks Lynette. All the best, Ian.
Very helpful Ian. The last one reminds me of a split primary pallet where each plane is divided into two but works because the structure of the foreground, middle ground and background are preserved. interesting. Thanks.
Hi Katherine, I'm glad you enjoyed and found it helpful. Best wishes, Ian.
A truly excellent explanation of how foreground, middle ground, and background interplay! Bravo!
Hi Ralph, glad you enjoyed the video. All the best to you, Ian
You are a great teacher, thank you✊
Thank you. Clear and very good examples to help us understand. I really like your last painting. Gorgeous !
Thanks Hannah. Glad you enjoyed the video and I appreciate your comment on my painting. Thanks.
Great Ian. thanks. Like the way you are incorporating "technology".
Hi Greg, Anne used to call me analog man. Look at me now. Best wishes to you, Ian
Great information again I look at the paintings I have done and I see what you mean and what I can do better... Thankyou
Hi Yvonne, glad you found it helpful. Best, Ian
Your lessons are truly improving my artistry......thanks much !
That is great to hear. Thank you.
Thank you! Thank you! Thank you! I have been painting for the last 45 years of my life and feel like I’m starting all over. Going to art school in Cleveland in the 1970s only brought me a lot of conceptual gobbledygook. No one ever really showed me the fundamentals except for another artist that I work with for a few years. I turned away out of frustration from plein air painting about 10 years ago. Now as I am focusing on some of your drawing exercises I am getting closer to re-approaching plein air painting. Thank you Ian!
Thank you Again Ian
Thanks, really looking forward to next week after that description.
Glad you liked it Patrick
I did so much enjoy this .....so much information to absorb
Hi Cecilee, you responded to several of the videos. Rather than a long lecture with a ton of points, each video just tries to cover one small topic but it is always contained in this large arena of composition. Big pool of topics to cover. Glad you are enjoying them. With best wishes, ian.
I just got to see this episode and learned so much from your discussion of foreground to background.
Love it Javanthi!
that was awesome!!
Thank you. You always make it so clear to understand. I appreciate it.
Thanks Pam. Glad it was helpful. Best, Ian
Explained perfectly! 👍👍👍
Glad it was helpful!
great explanation ! thank you so much !
Hi Christine, glad you liked it. Hope things are OK where you are. Ian
Hi Ian. Thank you this week's video. Your new painting is very well done with all the various shapes of color and values. It was a good example to show how to carve depth in to a flat picture plan. Be well.
Hi Gayle. You're starting to sound like me! Best wishes, Ian.
@@IanRobertsMasteringComposition Thank you! You are an excellent teacher and artist!
Thank you! 😀
You are welcome Chloe.
@@IanRobertsMasteringComposition ☺
Excellent!! Thank you!
Glad it was helpful.
I guess I never said how much I love your classes! So I'm going to say this today, even before I see the content, because the truth is, you never disappoint! A lot of kisses from your Brazilian fan. ❤🧡💛💚💙💜🤎💗