HI David, you know they call watercolor the medium of the masters because one most watercolor artists are looking for that nice loose look and using the accidents AND it takes a lot of planning so that is possible. But I'm delighted you find the videos helpful.
Yes, someone told me about and it and I went and watched. I thought that was very kind and generous. I left a message thanking him on his Instagram account.
That was a bit more in depth analysis of how our attention moves through the painting: loved it! Very informative and soothing to watch. So much to learn still... pfff. Thanks!
Loved how you led the eye to the center of interest way back and not only the value shifts, but the subtle color temperature shifts. This painting sings!
Great timing for me, with this video. I'm at the point in painting to learn these things. Not using values had been what kept my paintings from the next level. The way you've explained it in this video is so helpful and such an important thing for painters to learn. Especially when you point out "its the values WITHIN the painting that matter." Not the plein air in front of you, or the photo you're working from, but the painting. Its priceless information. All of your videos are great, but this one is really special.
Hearing you walk through the composition of this painting was so helpful, Ian. I really appreciated learning about the choices you were making and what you were changing versus what you left in from the photo. Thank you so much for sharing your knowledge and expertise with us so generously!
Hello. This painting of yours suggests to me, yet again, the importance of knowing when to stop. For me, as a novice, my wife plays an important role in my development, especially when I'm painting outdoors. Namely, she tells me when to stop by sweetly saying in this coaching whisper of hers, "Stop messing with it or you're going to screw it all up!" Thanks, again, Ian.
Hi Daryl, it's true thought. You can get your head so into the details that you lose sight of the whole. And an outside viewer can see the whole and isn't buried in the weeds. With practice you start to keep both those visions alive at the same time - the whole and the parts. But one thing I'd say is spend way more time standing back and looking at how it is coming together because lots of things that you can get buried in you can't even see from 8-10 feet away. Viewing distance. But bravo to your wife's eye.
@@IanRobertsMasteringComposition Early on, I followed the oil painter Mark Carder who said to regularly move back to 7 ft. and assess the painting. This is consonant with your advice. Some paintings just look better from a distance since the small flaws are less obvious. It seems that the trouble with submitting a photograph of a painting for a contest is that it is typically photographed in a close-up crop to the edge of the canvas. One wonders, then, if the judge will look at the photo from his/her desktop or from 7 ft. away.
This is so helpful. Perhaps I'm just getting dialled in, but listening to your thinking and watching paint go onto your canvas at the same time has really resonated for me this morning. I may try a 'copy' of this painting to reinforce the learnings. Thank you
Hi Joanne, makes me happy to hear the video resonated with you. Making a copy's a good plan if that idea inspires you. Good luck with it. All the best.
This seascape 'design' creates a longing in me; the actual immensity of it is calling me to the place of mists and tides and mysteries. The values of which you speak are in full play here. ❣
Beautiful painting, and SUCH useful teaching . . . . thank you so much Ian! Again and again youre helping me to remember that I'm doing a painting that works, not copying a scene or photograph. I'm really enjoying being a "member of your art school"!
I have been watching you for over a year, you are my saving Grace as I struggle with value and light. You are the best with explaining. Your a beautiful artists and I admire you and your work. Thank you for taking the time to helping other artists. Bless you.
This 11 minute lesson was more informative and powerful than watching a 2 hour demo in a workshop. Pure and without interruption and chit chat. I enjoy every Tuesday morning because of your lessons. Thank you.
Just beautiful, Ian. I see your point exactly about serving the outcome of the painting not the photo. I see what drew you to take the picture, but your painting is just much more striking. LOVE IT.
As a former English teacher and art teacher, I really appreciate the perfectly narrated and articulated information alongside the art. A feast for the eyes and ears!
I was just admiring his way of speaking and wondering how it is possibile that I understand everything what Ian is talking about ☺️ 🙄 as I have no contact with English at all 😄 I really love listening to him 🧡 ( sorry for my English 🤦)
@@ewadochniak6583 Yes, he is a humble person and that is very refreshing. He is also generous and giving of his time and talent. I learn a lot from him. Are you from Poland?
@@ewadochniak6583 My grandparents were from Poland. I think from Krakow area. I am from Atlanta, Georgia (USA). I have not been to Poland but I got a chance to go to Koenigsburg near you. Everyone looked like my relatives. It was great!
Thank you, Ian. This may be the most helpful lesson yet. It is inspiring to see that a shift in thinking can lead to such subtlety in the painting-and yet such a profound difference in the satisfaction of creating it. This was very helpful.
The idea of using value to serve the painting is very valuable. My tendency is always to try and portray the picture accurately but this idea will really expand my compositional approach. Thanks
This really helped tremendously. I so often get stuck with photos trying to match values in frustration sets in and never finish. This is so exciting to know and be aware of. Thank you again for such an excellent video.
Also a watercolor painter and what you're teaching us about "value masses" is the best lesson I've heard re values. Watercolor painters tend to obsess abiut how many levels of value a given color can achieve by adding water. And, frankly that has (had) created an irrational fear of painting in me!!!! Because, I simply cannot see those six or ten or twelve steps. Value masses I CAN SEE and achieve without obsessive swatching of my watercolor palette.
Wonderful demonstration of establishing and painting accurate values. You give affirmation and permission to the individual artist to determine the intent of the painting…..to create an interpretation of what is seen not an exact copy of a photograph, nor even an actual rendering of what is real, that which is being seen in person. The most important point is keeping the values appropriate for your vision, making sure that they relate to one another in the painting. The purpose of values is either to show contrast or gradation, and each painting determines to what extent these two factors occur. As you stated, the values must serve the painting, not the photograph, not reality. Value is subjective and relative, yet contemplated, intended. To me, it appeared, that you lightened the shadows in the foreground, and even the mid-ground…..they really weren’t as dark as what was seen in the photo reference…..a very similar result to what you achieved in last week’s painting. This approach allowed us to see more colors in the shadows, colors that were not evident in the photograph. You demonstrated value contrasts in half tone shifts. The values remain very close to each other with minimal contrast. The painting adhered more to your initial thumbnail sketch. Once again, illustrating the value of a preliminary ‘map.’ Also, it never ceases to amaze me at how dark initially a value needs to be painted, keeping the deep saturation, to create the greatest contrast for the light and details of highlights that will follow. Without the dark, there is no light! The dark values also give the painting its structure, with the lighter values leading the eye from the foreground to the background. We see the light gently dancing across the foliage, the fluidity of its movement as it glides across the landscape, slowly sweeping to the soft blush of the sky and the mist of the sea! I am excited for next week’s discussion of plein air materials! Happy Thanksgiving!🦃
Hi Ann Marie, that's a really good summary of the video. I am delighted all those ideas got generated from the video. Yes next week plein air painting and I hope you have a terrific Thanksgiving as well.
No-one has helped me more with helping to transition around a painting, you made it easy to understand and apply to my paintings with confidence! Thank you
WOW! I see the light! Thank you Ian. I have struggled with value for so long. I knew what value was but never explained to me how to use it. Instead I tried hard to make it match what I saw in front of me. Wasn’t working!
Simply helping to understand what is values but I think the composition of painting will be a very important too ? I believe my eye what I could see much better than photo. Thank you so much. Ian Roberts .
I am so enjoying Ian’s advice and find him to be an excellent teacher, as a person who’s been just getting back into making art after a very long pause. Thank you Ian
I'm an accomplished drawer. I even teach drawing and won a few prices. But painting is incredibly hard to master. No matter how hard I try, it always look amateurish and uninteresting. I understand what you say, I just can't put it in practice. You are amazingly talented, mister Roberts.
Thank you. I appreciate the distinction you just drew between the value needed for the painting vs being true to the photo. That is a leap I really need to make.
My Tuesday treat whichI look forward to with a mug of black coffee - you have me well trained! A very good complement to last week's demonstration - this time you showed how effective blues and green/greys can be in creating a sense of distance. The sense came over of a misty warm autumnal day where the salt spray changes the visual and atmospheric conditions. Yet the foreground with its deep shadow, creates the sense of a sheltered nook away for the onshore wind. I liked you analysis of the different modes of seeing - what you see mediated through a lens, what you see when looking at a photographic print, what one sees after software in a digital or phone camera has processed an image and what the human eye picks - all these things are different. When painting en plain air you then have to cope with light changing and unless trained, the eye does not always pick up on the subtleties that you have brought out today.
Hi Ian. Glad you enjoyed the video, with your coffee. You nailed what I was trying to convey. It was exactly that, early morning autumn light with the thin layer of fog burning off. You bring out a good distinction. The advantage of the photo in that is doesn't change but looses a lot of information. And plein air where you have too much information but it is obviously accurate, but it's changing all the time as well.
Lovely painting, Ian. I liked your tip on painting the foreground shrubs...putting in just a few of the spikes instead of a larger mass of shaggy edges.
This is one of my most favorite paintings. And the explanation of the relative values was very enlightening. I'm sure that you may have explained the same thing before, but this time, with this illustration, the light simply turned on in my mind. I understood the difficulty I've struggled with in some of my maritime paintings, and more importantly, how to fix it. Thank you.
Hi Gail. I did a long form demo on how to paint greens ( ua-cam.com/video/t4JCRPWt1eA/v-deo.html ). You can also type in July 27, 2021 on my UA-cam channel and you'll find it. and the week before July 20. Hope that helps.
Making that scene look easy! Great painting and explanation of value choices for the scene to read the way the artist wants instead of having to stick with what’s live or how a photo looks. A lot of freedom in the idea that you could go on location and paint a bright sunny scene in a different way such a overcast, moody :)
Wonderful painting It's 100% working as a very adequate work about raking light/shadow and atmospheric perspective. Congrats. We're indeed painters, nót machines merely copying photo's or copying what we literally see. We interpret our sensations, we arrange and show how wé see the world around us. Very liberating thoughts ... Thanks
Tea and Tuesday mornings with Ian, yay! Getting used to having my head shake with respect and wow! You make it so easy to understand. Such a master! So glad I found your book and that you continue sharing with your groupies.. this was amazing light and shadow and mist and rationale for it all. Thank you!
Thank you so much Alison. Very happy to hear that you are enjoying both the books and the videos. "Tea and Tuesday mornings with Ian" - sounds like a new reality show!
Absolutely terrific video here, Ian, thank you. I often struggle with whether I should be painting what the eye sees in terms of value/dynamic range, or whether to paint as the camera sees. What I'm getting from you here is that it just needs to be a choice? A design choice, essentially?
A landscape painting of such strong composition and depth a viewer can easily and joyously fall into. Your carefully orchestrated values of mass and hue make magic. Happy Thanksgiving for another memorable art lesson, Ian.
Thankyou Ian that was great, values that serve the painting ,wow amazing and great to hear such a statement, we should never be fixed but flexible in our choices of what may improve a scene , after all artistically we adapt the colours all time the time so why not adjust values if it improves the painting.
Wow that was fantastic Ian , thank you for your clarity of vision and explanation of value masses. I have always been bothered by my photos and why they didn't portray what I remembered when taking them. Thank you for taking us along as you produced a beautiful work of art. Craig
Inspirational! I can imagine the wind in this painting, just look at the waves and the trees in the background. Just the certain amount of light and "wind". I am learning a lot from you. Thank you!
This is a very helpful video. I'm halfway through a painting that's just kind of "sittin' there" and I think pushing the values based on today's video will bring it alive. Thank you for being so generous with your experience.
Absolutely scrumptious use of color, value and design. New to the channel but going back over the many different lessons. Big Thanks because your content is easy to understand and thus useful and engaging.
New to your channel & enjoying your instruction. I’m a tight painter & studying how to loosen up with your explanation. I really need work on values, so this was a perfect one for me.
Hi William I'm trying to think if I have ever done that. I mean I have taken a photo of a scene that I am plein air painting and done a studio painting from the photo. I'm not sure I have had both the photo and the painting there as reference. I think when I do the painting from the photo I want to use it as a new way of seeing the image rather than "redoing" it using the decisions made in the plein air painting. I'll have to think about whether I've done that before. All the best.
I haven’t done much with this yet but will be painting with both future. Just looking for your insight about this. I believe the plein air would be primary info especially for colors in shadows while photo would be great for cropping and final details. Cheers from Montana
Fantastic! This was the example I needed. I think I am finally getting how the lit-side and dark-side tension informs the human eye (brain) and moves us through a painting with interest and excitement. Your painting offers my eye the primal pleasure of beauty. Wonderful to understand how you do it. I have been watching your channel for awhile (and have read your books) but finally getting it. Very generous of you. Thank you.
This was so helpful, especially the idea of letting go of those values in the photo but also in the real life view, in order to serve my idea of the painting is liberating! Thank you once again.
This is magical! So glad I found your channel. I never understood values, but you explain it so well that I can finally begin to comprehend. Your videos convey this crucial but often vaguely-explained information incredibly well and I believe they might just be what I need. A subscription well-earned. Looking forward to all your videos. Thank you so much for sharing your knowledge with us, it is greatly appreciated.
Bought your Mastering Composition book years ago. So grateful you're sharing this ongoing wealth of experience and knowledge here! This one especially will let me go back and review / critique some of my seascape plein air work. Thank you 'cousin' Ian :-)
![Lp. Сердце Вселенной #60 РОЖДЕНИЕ ЛОЛОЛОШКИ [Финал] • Майнкрафт](http://i.ytimg.com/vi/YoR0pAV9FVQ/mqdefault.jpg)
A simple, yet huge take away: ensure that the values SERVE the painting. Thank you Ian, for these gems of insight.
Well said. Thank you and glad you liked it Mark
As a watercolorist things are not as simple and require more planning but the essence of what you teach is still invaluable.
Ditto David, I work in Acrylics but yes, Ian's insights are applicable across materials
yes I apply this to watercolours too. He covers the basics of painting and visualising very well!
I agree. Composition and value are relevant to all media. Get lots from Ian's tutorials.
HI David, you know they call watercolor the medium of the masters because one most watercolor artists are looking for that nice loose look and using the accidents AND it takes a lot of planning so that is possible. But I'm delighted you find the videos helpful.
Delighted to know it Gerald.
The Painting Coach was singing your praises just yesterday if you haven't hear already.
Yes, someone told me about and it and I went and watched. I thought that was very kind and generous. I left a message thanking him on his Instagram account.
That was a bit more in depth analysis of how our attention moves through the painting: loved it! Very informative and soothing to watch. So much to learn still... pfff. Thanks!
Wonderful! Enjoy the process, and have fun.
This is amazing break down of values. Usually I got the impression that accurate value is what accurate like in real life!
Loved how you led the eye to the center of interest way back and not only the value shifts, but the subtle color temperature shifts. This painting sings!
Thank you very much! What a compliment.
A real artist. He knows well the craft. He is the one we should seriously learn from
Great timing for me, with this video. I'm at the point in painting to learn these things. Not using values had been what kept my paintings from the next level. The way you've explained it in this video is so helpful and such an important thing for painters to learn. Especially when you point out "its the values WITHIN the painting that matter." Not the plein air in front of you, or the photo you're working from, but the painting. Its priceless information. All of your videos are great, but this one is really special.
Thanks so much Alan. Really glad that idea hit home. All the best.
Hearing you walk through the composition of this painting was so helpful, Ian. I really appreciated learning about the choices you were making and what you were changing versus what you left in from the photo. Thank you so much for sharing your knowledge and expertise with us so generously!
You are most welcome. Glad you found it helpful.
Hello. This painting of yours suggests to me, yet again, the importance of knowing when to stop. For me, as a novice, my wife plays an important role in my development, especially when I'm painting outdoors. Namely, she tells me when to stop by sweetly saying in this coaching whisper of hers, "Stop messing with it or you're going to screw it all up!" Thanks, again, Ian.
Hi Daryl, it's true thought. You can get your head so into the details that you lose sight of the whole. And an outside viewer can see the whole and isn't buried in the weeds. With practice you start to keep both those visions alive at the same time - the whole and the parts. But one thing I'd say is spend way more time standing back and looking at how it is coming together because lots of things that you can get buried in you can't even see from 8-10 feet away. Viewing distance. But bravo to your wife's eye.
@@IanRobertsMasteringComposition Early on, I followed the oil painter Mark Carder who said to regularly move back to 7 ft. and assess the painting. This is consonant with your advice. Some paintings just look better from a distance since the small flaws are less obvious. It seems that the trouble with submitting a photograph of a painting for a contest is that it is typically photographed in a close-up crop to the edge of the canvas. One wonders, then, if the judge will look at the photo from his/her desktop or from 7 ft. away.
This is so helpful. Perhaps I'm just getting dialled in, but listening to your thinking and watching paint go onto your canvas at the same time has really resonated for me this morning. I may try a 'copy' of this painting to reinforce the learnings. Thank you
Hi Joanne, makes me happy to hear the video resonated with you. Making a copy's a good plan if that idea inspires you. Good luck with it. All the best.
Fantastic demo !
Glad you like it!
Great lesson on where to place the contrast and stronger values. Thanks.
You are so welcome
no shenanigans. just incredibly helpful. what great resource you are. Thank you.
You're very welcome!
This seascape 'design' creates a longing in me; the actual immensity of it is calling me to the place of mists and tides and mysteries. The values of which you speak are in full play here. ❣
Delighted that you found it useful.
Beautiful painting, and SUCH useful teaching . . . . thank you so much Ian! Again and again youre helping me to remember that I'm doing a painting that works, not copying a scene or photograph. I'm really enjoying being a "member of your art school"!
You are very welcome Jonquil! Delighted you are enjoying the videos so much
Wow the atmosphere created with the background is so amazing!!!
Thank you Paresh!
I have been watching you for over a year, you are my saving Grace as I struggle with value and light.
You are the best with explaining. Your a beautiful artists and I admire you and your work. Thank you for taking the time to helping other artists.
Bless you.
This 11 minute lesson was more informative and powerful than watching a 2 hour demo in a workshop. Pure and without interruption and chit chat. I enjoy every Tuesday morning because of your lessons. Thank you.
Makes me very happy to hear. Thank you so much
You are a genius when it comes to composition and colors.
Just beautiful, Ian. I see your point exactly about serving the outcome of the painting not the photo. I see what drew you to take the picture, but your painting is just much more striking. LOVE IT.
Thank you so much Martha!
Great lesson thank you Ian! First time I've heard a Master say that the artist chooses the values🙏
Thank you! Like
Thank you! Glad you liked it
you're an incredibly good teacher and you help with genuine problems artists have, you're like a guardian angel😇
As a former English teacher and art teacher, I really appreciate the perfectly narrated and articulated information alongside the art. A feast for the eyes and ears!
I was just admiring his way of speaking and wondering how it is possibile that I understand everything what Ian is talking about ☺️ 🙄 as I have no contact with English at all 😄
I really love listening to him 🧡 ( sorry for my English 🤦)
@@ewadochniak6583 Yes, he is a humble person and that is very refreshing. He is also generous and giving of his time and talent. I learn a lot from him. Are you from Poland?
@@scraytonify1 Yes, I'm from Poland 😊
@@ewadochniak6583 My grandparents were from Poland. I think from Krakow area. I am from Atlanta, Georgia (USA). I have not been to Poland but I got a chance to go to Koenigsburg near you. Everyone looked like my relatives. It was great!
Thank you so much. Really appreciate your telling me. All the best.
Thank you, Ian. This may be the most helpful lesson yet. It is inspiring to see that a shift in thinking can lead to such subtlety in the painting-and yet such a profound difference in the satisfaction of creating it. This was very helpful.
Glad it was helpful! Thank you Don
The idea of using value to serve the painting is very valuable. My tendency is always to try and portray the picture accurately but this idea will really expand my compositional approach. Thanks
Delighted you found the concept so helpful. All the best
This really helped tremendously. I so often get stuck with photos trying to match values in frustration sets in and never finish. This is so exciting to know and be aware of. Thank you again for such an excellent video.
Also a watercolor painter and what you're teaching us about "value masses" is the best lesson I've heard re values. Watercolor painters tend to obsess abiut how many levels of value a given color can achieve by adding water. And, frankly that has (had) created an irrational fear of painting in me!!!! Because, I simply cannot see those six or ten or twelve steps. Value masses I CAN SEE and achieve without obsessive swatching of my watercolor palette.
P.S. Light and dark. 👍🏼 great demo. Thank you
Thanks so much. Delighted you found the video helpful and perhaps freed something about painting values in watercolor. All the best.
such a helpful video...my takeaway just like Mark Donovan..."ensure that the values serve the painting". Thank you so much for this.
A true master class. Just brilliant. Thank you, Ian!
Bravo , lm an accomplished painter, but l needed to see your work, l tend to get lost in detail, rather than the vital components, thank you so much.
Wonderful demonstration of establishing and painting accurate values.
You give affirmation and permission to the individual artist to determine the intent of the painting…..to create an interpretation of what is seen not an exact copy of a photograph, nor even an actual rendering of what is real, that which is being seen in person.
The most important point is keeping the values appropriate for your vision, making sure that they relate to one another in the painting. The purpose of values is either to show contrast or gradation, and each painting determines to what extent these two factors occur. As you stated, the values must serve the painting, not the photograph, not reality. Value is subjective and relative, yet contemplated, intended.
To me, it appeared, that you lightened the shadows in the foreground, and even the mid-ground…..they really weren’t as dark as what was seen in the photo reference…..a very similar result to what you achieved in last week’s painting. This approach allowed us to see more colors in the shadows, colors that were not evident in the photograph. You demonstrated value contrasts in half tone shifts. The values remain very close to each other with minimal contrast. The painting adhered more to your initial thumbnail sketch. Once again, illustrating the value of a preliminary ‘map.’
Also, it never ceases to amaze me at how dark initially a value needs to be painted, keeping the deep saturation, to create the greatest contrast for the light and details of highlights that will follow. Without the dark, there is no light! The dark values also give the painting its structure, with the lighter values leading the eye from the foreground to the background. We see the light gently dancing across the foliage, the fluidity of its movement as it glides across the landscape, slowly sweeping to the soft blush of the sky and the mist of the sea!
I am excited for next week’s discussion of plein air materials!
Happy Thanksgiving!🦃
Hi Ann Marie, that's a really good summary of the video. I am delighted all those ideas got generated from the video. Yes next week plein air painting and I hope you have a terrific Thanksgiving as well.
Thank you for helping the world get some values. They certainly are lacking these days.
No-one has helped me more with helping to transition around a painting, you made it easy to understand and apply to my paintings with confidence! Thank you
You are so welcome Dom!
WOW! I see the light! Thank you Ian. I have struggled with value for so long. I knew what value was but never explained to me how to use it. Instead I tried hard to make it match what I saw in front of me. Wasn’t working!
Simply helping to understand what is values but I think the composition of painting will be a very important too ? I believe my eye what I could see much better than photo. Thank you so much. Ian Roberts .
You are an amazing teacher. I learn something new, or understand something better, with each video lesson. Thank you.
this place is a treasure, easily one of the very best (and in some aspects, actually the best) youtube painting channel
Thank you so much. That is very nice of you to say
So glad you have a copy of Patrick George’s painting on your shelf. A great British painter, Andrew Wykes
I am so enjoying Ian’s advice and find him to be an excellent teacher, as a person who’s been just getting back into making art after a very long pause. Thank you Ian
You are most welcome Brenda. Good luck reengaging. All the best.
I'm an accomplished drawer. I even teach drawing and won a few prices. But painting is incredibly hard to master. No matter how hard I try, it always look amateurish and uninteresting. I understand what you say, I just can't put it in practice. You are amazingly talented, mister Roberts.
Thank you for the explanation about values in photography.
Nice tutorial, I think I recognize this location in Cambria. Great place for walks and painting!
Great demo of a complicated scene. Thank you!
Thank you. I appreciate the distinction you just drew between the value needed for the painting vs being true to the photo. That is a leap I really need to make.
Thank you Laura. I hope you find it useful!
I am so grateful I stumbled upon your UA-cam channel. Your a gifted teacher. Thanks
You are so welcome Lucille
My Tuesday treat whichI look forward to with a mug of black coffee - you have me well trained! A very good complement to last week's demonstration - this time you showed how effective blues and green/greys can be in creating a sense of distance. The sense came over of a misty warm autumnal day where the salt spray changes the visual and atmospheric conditions. Yet the foreground with its deep shadow, creates the sense of a sheltered nook away for the onshore wind. I liked you analysis of the different modes of seeing - what you see mediated through a lens, what you see when looking at a photographic print, what one sees after software in a digital or phone camera has processed an image and what the human eye picks - all these things are different. When painting en plain air you then have to cope with light changing and unless trained, the eye does not always pick up on the subtleties that you have brought out today.
Hi Ian. Glad you enjoyed the video, with your coffee. You nailed what I was trying to convey. It was exactly that, early morning autumn light with the thin layer of fog burning off. You bring out a good distinction. The advantage of the photo in that is doesn't change but looses a lot of information. And plein air where you have too much information but it is obviously accurate, but it's changing all the time as well.
Lovely painting, Ian. I liked your tip on painting the foreground shrubs...putting in just a few of the spikes instead of a larger mass of shaggy edges.
Glad you enjoyed it!
A gem of knowledge & simplified.thank you sir ian "GOD BLESS & TAKE CARE."
This is one of my most favorite paintings. And the explanation of the relative values was very enlightening. I'm sure that you may have explained the same thing before, but this time, with this illustration, the light simply turned on in my mind. I understood the difficulty I've struggled with in some of my maritime paintings, and more importantly, how to fix it. Thank you.
Love the greens. It would be great to know what colors you use to get these muted greens.
Hi Gail. I did a long form demo on how to paint greens ( ua-cam.com/video/t4JCRPWt1eA/v-deo.html ). You can also type in July 27, 2021 on my UA-cam channel and you'll find it. and the week before July 20. Hope that helps.
What a wonderful way to wake up! I really like Tuesdays, watching you paint and having my first cup of coffee. It’s a beautiful painting. Thanks👍
Wonderful! I hope you enjoy your cup of coffee. All the best
You are a fabulous teacher. Thank you.
Thank you for clarifying the point of value 'in service of' the photograph vs 'in service of' the painting. Lovely painting!
Glad you enjoyed it!
Making that scene look easy! Great painting and explanation of value choices for the scene to read the way the artist wants instead of having to stick with what’s live or how a photo looks.
A lot of freedom in the idea that you could go on location and paint a bright sunny scene in a different way such a overcast, moody :)
I'm delighted you enjoyed it. Thank you!
Wonderful painting
It's 100% working as a very adequate work about raking light/shadow and atmospheric perspective. Congrats.
We're indeed painters, nót machines merely copying photo's or copying what we literally see.
We interpret our sensations, we arrange and show how wé see the world around us.
Very liberating thoughts ...
Thanks
HI Peter. Glad you liked the video. And yes, we are not slaves to copying.
Tea and Tuesday mornings with Ian, yay! Getting used to having my head shake with respect and wow! You make it so easy to understand. Such a master! So glad I found your book and that you continue sharing with your groupies.. this was amazing light and shadow and mist and rationale for it all. Thank you!
Thank you so much Alison. Very happy to hear that you are enjoying both the books and the videos. "Tea and Tuesday mornings with Ian" - sounds like a new reality show!
@@IanRobertsMasteringComposition 😂😂except a good one!
Super content as always! Thank you!
You are so welcome
Excellent demonstration. Thankyou !
Wonderful insight in dulling the white/blue contrast in the waves of a seascape to move the eye elsewhere. Hmmm. :-) Thank you.
You are so welcome Ralph. All the best
Brilliant tutorial!! 👏 thank you!!
You are welcome Bibi.
Very helpful I struggle with getting the value right. Great lesson
Glad it was helpful!
merci pour tout ce que vous partgez en veritable professeur, j"ai enormement appris de vos enseignements😊
Very cool lesson, would have loved to see the mixing of values as an aid to this lesson
Absolutely terrific video here, Ian, thank you. I often struggle with whether I should be painting what the eye sees in terms of value/dynamic range, or whether to paint as the camera sees. What I'm getting from you here is that it just needs to be a choice? A design choice, essentially?
Very talented :) And you have a calm, soothing voice to paint to
A landscape painting of such strong composition and depth a viewer can easily and joyously fall into. Your carefully orchestrated values of mass and hue make magic. Happy Thanksgiving for another memorable art lesson, Ian.
Thanks so much Christina. Glad you liked the video, and the painting. All the very best for Thanksgiving to you as well.
Love this painting and demonstration - thank you!
Thanks. Clear. Concise. Instructive.
Glad it was helpful Glenda.
Such well explained information. And your painting is way more gorgeous than the photo
Thankyou Ian that was great, values that serve the painting ,wow amazing and great to hear such a statement, we should never be fixed but flexible in our choices of what may improve a scene , after all artistically we adapt the colours all time the time so why not adjust values if it improves the painting.
Thank you for the color guide
Wow that was fantastic Ian , thank you for your clarity of vision and explanation of value masses. I have always been bothered by my photos and why they didn't portray what I remembered when taking them. Thank you for taking us along as you produced a beautiful work of art. Craig
Glad you enjoyed it Craig. All the best
You are an awesome teacher! What a lesson in subtlety.
Thanks so much Deborah.
Inspirational! I can imagine the wind in this painting, just look at the waves and the trees in the background. Just the certain amount of light and "wind". I am learning a lot from you. Thank you!
You are most welcome Selma.
If I had one wish, I just wish someone would see me draw like you. I really admire your talent, thank you for giving everyone a relaxing moment.
Thank you so much. That is nice of you to say
You make it look so easy!!! Aghhh. I love your work.
Thanks so much.
Values are the pillars of any painting. Very informative Ian !!! Thank you.
Glad you liked it Kunal.
This is a very helpful video. I'm halfway through a painting that's just kind of "sittin' there" and I think pushing the values based on today's video will bring it alive. Thank you for being so generous with your experience.
Glad it was helpful! All the best Barbara
Absolutely scrumptious use of color, value and design. New to the channel but going back over the many different lessons. Big Thanks because your content is easy to understand and thus useful and engaging.
New to your channel & enjoying your instruction. I’m a tight painter & studying how to loosen up with your explanation.
I really need work on values, so this was a perfect one for me.
Hi Barbara, delighted you are enjoying the videos.
Wonderful transition from a very dark composition through the different stages showing the lights and pulling us in…. Thank you Ian.
Values, Values, Values, as usual my primary problem, back to reworking my Cliffs and River, Thanks Ian
Happy to help Gerald. Have fun and enjoy the process
It would be great to see what you do in the studio with a photo and a plein aire painting to produce a studio painting
Hi William I'm trying to think if I have ever done that. I mean I have taken a photo of a scene that I am plein air painting and done a studio painting from the photo. I'm not sure I have had both the photo and the painting there as reference. I think when I do the painting from the photo I want to use it as a new way of seeing the image rather than "redoing" it using the decisions made in the plein air painting. I'll have to think about whether I've done that before. All the best.
I haven’t done much with this yet but will be painting with both future. Just looking for your insight about this. I believe the plein air would be primary info especially for colors in shadows while photo would be great for cropping and final details. Cheers from Montana
Fantastic! This was the example I needed. I think I am finally getting how the lit-side and dark-side tension informs the human eye (brain) and moves us through a painting with interest and excitement. Your painting offers my eye the primal pleasure of beauty. Wonderful to understand how you do it. I have been watching your channel for awhile (and have read your books) but finally getting it. Very generous of you. Thank you.
Thanks so much Mary Ann. I'm delighted you are finding the videos and books helpful.
Phew, so great a lesson. I think I'm going to watch it a few times. Thanks, Ian !
Glad you enjoyed it Tzipora.
These are wonderfully informative movies Ian. Thankyou for all your efforts.
Great lessons - great presentation skills - you have hooked a new viewer.
Thank you Ernest!
Excellent lesson and tips! I found this extremely helpful. Thank you!
This was so helpful, especially the idea of letting go of those values in the photo but also in the real life view, in order to serve my idea of the painting is liberating! Thank you once again.
You are so welcome Helen!
Simply a remarkable concept, game changing
Thanks so much James
Value is so valuable.. great demonstration..! Thanks sir 👌😊
Thanks and welcome Mohan.
Ian...this is a very informative lesson in values when using a photo...something that would confuse me sometimes...thank you again
That was excellent. I love your lessons. I think I am learning more from you that will help my painting then... well, possibly from any teacher!
Love your perspective book!
So beautiful!!!!! I am really thinking about trying oils!!!!! Just to follow mr roberts!
What a fantastic lesson this was! Thank you.
You're very welcome!
This is magical! So glad I found your channel. I never understood values, but you explain it so well that I can finally begin to comprehend. Your videos convey this crucial but often vaguely-explained information incredibly well and I believe they might just be what I need. A subscription well-earned. Looking forward to all your videos. Thank you so much for sharing your knowledge with us, it is greatly appreciated.
Bought your Mastering Composition book years ago. So grateful you're sharing this ongoing wealth of experience and knowledge here! This one especially will let me go back and review / critique some of my seascape plein air work. Thank you 'cousin' Ian :-)
Hey cousin, glad you liked the video. All the best.