"... the thinking that goes on before you pick up a brush." Oh! 3rd time watching and learning more each time. Thank you Ian. You explain everything so well.
If I am grasping this correctly, the drawing is the “middle plane” of your painting break down, then you decide which if any details you eventually put in after painting the block in. A notan, or quick thumbnail sketch would be the “back” plane to check compositional structure. I have such a difficult time choosing which details to put in my sketch. This was very helpful.
Hi Cynthia, I don't always do the drawings. Only if I'm not clear on something. Often I can pretty tell what'll happen. The thumbnail I almost always to as you say for structure of the whole. But I like doing these drawings just for themselves. And I will say when I do it does help with being really clear on the main value masses since that is really the only tool you have to make the drawing. All the best.
Thank you, I was pretty sure that this type of drawing would not be practical in a lot of cases, but often very helpful when you do them serving as a road map for the block in. I imagine using this more for larger studio paintings. And of course they are quite lovely on their own. BTW, do you teach this drawing style in one of your courses?
This is exactly what I need to get my head around. I'm forever struggling with this. Would you use this method to cut out too much detail in a close up of a hedgerow? Thank you.
@@cynthiahale9888 Hi Cynthia, I often use these drawings, about 6” along the bottom edge, in advance of, as you say, larger studio painting. So the big masses are really clear to me before doing a fairly fast block in of the whole thing. I use thumbnails which, mine at least if you see them, are really just sketch maps of the main structure. And sometimes it’s just nice to draw for it’s own sake. I do teach exactly this in my Mastering Composition course. How to draw like as a way to think through your paintings before you put brush to canvas. It in the end saves so much time and really helps build confidence. If you are getting my RU-vid videos as an email, like today, then when I teach it again, which might not be until next spring, then you will get word. If you are not on my email list go to ianroberts.com and sign up and you’ll get the free 4 themed videos monthly. All the best.
@@juliegriffiths4272 Hi Julie, if you have a hedgerow in front of you there are two major considerations to painting that without getting caught up in detail. One is the sun shining and are parts of the hedge in light and are parts in shadow. Perhaps the top in light and the side in shadow. Then THAT is the main thing you want to get across. We know already the hedgerow is made of masses of leaves. You don’t need to tell us that. Then the second thing is the edge of the hedgerow against what is behind it. Or the edge between the lit side of the hedge and the shadow side of the hedge. Most of the information about the hedgerow we give to the viewer right along that edge. That is where the “detail” is. Along the edge. The main mass you paint very simply. Hope that helps.
Wow, I’ve watched endless videos around sketching, watercolor, etc. This is the first one that really spoke to me. I’ve been looking for something to do on a daily basis to help build my skills and to be fun. I’ve been getting so lost in the details that my daily projects have all failed. What you have shown me here is a way to focus on the tones, something I’ve done for decades with B&W photography. Thank you for this, this summer, we are touring Newfoundland. I hope to have many great opportunities to test this out.
I've never been to Newfoundland. And have always wanted to go to paint. Every painter I know who goes says it is fantastic. Have a great trip. And delighted you found the video helpful. All the best.
Ian, thanks for re-releasing these videos as a monthly theme. I think if people really want to see in shapes they need to take your drawing class. My problem with simplifying is that I have been letting my left brain take over but I am working on it.
Hi Paula, it really is just a constant leaning into the design side of the painting. It takes as you know a neurological shift. Just takes some time. Good luck and all the best to you.
You have finally given me the answer I have been searching for. I know I include too much detail in my paintings but I couldn't find an answer on how to simplify. Your explanation is so clear and logical. This will become part of my process. Thank you.😮
Dear Ian, I only recently discovered your video tutorials, and must say I’m in love with your style of painting and teaching and your compelling demeanor! I am retired now after a lifetime of work as an advertising and graphic designer. I had my own business. You could say that I’m a skilled ‘conceptual creative’. But I have been stumbling along with painting and felt very frustrated by my inclination to focus on detail yet I yearn to paint more loosely, like you do. Your guidance has helped me to realize that I can see the composition of a drawing or painting more as a graphic design. (Insert head smack emoji here!) You gave me permission to purposely make the composition the strongest aspect of the narrative. With this epiphany I am so excited to explore painting again! Thank you. Thank you.
I've had a lot of students over the years and for me the ones that were graphic designers get the whole idea fastest. Because as you say I explain the idea of you are developing first and foremost a design, a dramatic design. Oh you mean like I"ve been doing all my life! Yes exactly that.
@obmaps I also had a career in Graphic Design. I started taking Ian’s classes two years ago and have found them to me super helpful, and instructive. I highly recommend them. 😊
Hi Ian. As an avid watcher of your vids for the last 4 years or so,I would like to thank you, and it is with the greatest joy that I will look forward to your new direction of travel, and wish you the very best on your new path. (Old dogs can't learn new tricks EH) Sincerest thanks again Cheers Paul
Well Paul we'll see how those new tricks work out. But I'm excited and that of course is a good start. Delighted you have been enjoying the videos. All the best.
What a rich and meaningful blessing it is to have these, your videos, your excellent instruction and direction. I’m grateful to have these, to learn from your experience, and to benefit from your very excellent teaching. Thank you.
Thank you Ian I have been in the dead zone Art wise for a while .Watching you videos inspire me to take up the pencils once again. I so appreciate your teaching style and generosity Miriam .
I love these videos, especially this topic of simplifying! I’m a decades long extreme beginner who only tries to paint once in a blue moon! But excited to try out simplification!
Hi Mary, you see those marks I make one after another close together to create a large simple value shape. Try that. I mean it is not rocket science but it does take practice. You take a sharp pencil and grind one surface so it is a bit flat and then draw using that chiselled edge. It stops your drawings from what one of my students call his chicken scratches. Good luck.
I skipped my study step on a little in between the painting last week because I wasn’t feeling like making a sketch first, let me tell you it was one big struggle and not of the good kind. The chances of succes exponentially increase by not skipping the thumbnail! I’ve got to thank you and Diane mize for learning this.
Hi Katrin, maybe 30-40 minutes. I can lay down those flat value masses pretty quickly. At first you have to go slower to make sure they look like flat shapes and we don't get distracted by the marks themselves.
I like telephone poles. Not a lot of them. But one say gives a good vertical placeholder in space. Really clear where it sits in space. And helps engage the vertical structure on the picture plane. I put them in for design reasons.
Arigatou! No one told me how to simplify and that made me nuts! At the beginning the explanation graphic didn’t help because I didn’t know the tech terms but then the whole video was crystal clear. Wow! Amazing! I went back to the graphic at the beginning and ah! okay, I took a photo of the graphic so I can use it when I’m drawing. Thanks from 🇯🇵
Your drawing is so good…all those perfectly spaced strokes you make to show shapes and values! Where would you suggest we begin to study how to draw as proficiently as you do? Thanks for your videos Ian!
Well not a great one for self-promotion but I do teach exactly how to do that once a year. Probably the next one will be in the spring. I'm not sure how else teaches it. Someone must.
This was a very educational video. I always fall into the trap of trying to show too much detail. I think on your awesome restaurant photo though you may have lost something in the simplification. I found the closest chair to be a major component as well as the glassware on the table. The picture is an amazing study in varieties of light, from the diffused window behind the standing woman and her translucent apron to the glaring white on the other window, sparkling glassware, geometrical highlights on the chairs and finally the hard to replicate polished waves on the bench. Really beautiful.
If I were painting it I might include more. But in a small drawing I just leave things, like say the glasses, out because it's just too small to really show. But in a painting, say 16 or 20 inches wide, well then you're probably right they would be worth including. Best wishes.
Usually this approach of minimalizing comes intuitively when painting from the beginning to the end. It's nice to show and remind us artists the basics about structure and to have it broken down and explained. It's also interesting to note that he's using photo as an important reference for the reduction process. A photo is still in charge here. So no sign of adding items from elsewhere to possibly change the structure. Staying true to the photo source. Why is that?
I think there are two reasons I worked from the photo as it was. One is I chose the photo because I liked it pretty much (structurally) as it was. And second if I am trying to explain one idea in a video I don't want to add confusion by introducing new elements, like pulling things from other photos say at the same time. One thing at a time is sort of my motto for each video. All the best.
This has been incredibly instructional for me as someone who started fairly late on this journey and felt overwhelmed by all I have to learn. Thank you dweply and profoundly.
This has helped me tremendously. I've been working on a sketch of a motorcycle that up until now has been giving me fits. This video has now shown me a better way forward. 😎
