Richard Robinson's Posts - The Complete Artist2024-03-29T01:55:12ZRichard Robinsonhttps://thecompleteartist.ning.com/profile/RichardRobinsonhttps://storage.ning.com/topology/rest/1.0/file/get/2789450791?profile=RESIZE_48X48&width=48&height=48&crop=1%3A1https://thecompleteartist.ning.com/profiles/blog/feed?user=2jgqm726gxdr1&xn_auth=no3 Paintings from the Deep Southtag:thecompleteartist.ning.com,2020-08-28:2450081:BlogPost:8148442020-08-28T06:53:35.000ZRichard Robinsonhttps://thecompleteartist.ning.com/profile/RichardRobinson
<p>Here are three paintings I managed to squeeze into a family holiday in Glenorchy in the past few weeks. All painted in the great outdoors battling time, weather and insects. Enjoy.</p>
<p><img class="content-img" src="https://mypaintingclub.com/images/blog/Evening-Dusts.jpg"></img></p>
<p>Evening Dusts<br></br>Oil on Canvas</p>
<p><img class="content-img" src="https://mypaintingclub.com/images/blog/Evening-Dusts_photo.jpg"></img></p>
<p> </p>
<p><img class="content-img" src="https://mypaintingclub.com/images/blog/Towards_Earnslaw.jpg"></img></p>
<p>Towards Earnslaw<br></br>Oil on Canvas</p>
<p><img class="content-img" src="https://mypaintingclub.com/images/blog/Towards_Earnslaw_photo.jpg"></img></p>
<p> </p>
<p><img class="content-img" src="https://mypaintingclub.com/images/blog/0940_Towards-the-Rees.jpg"></img></p>
<p>Towards the Rees<br></br>Oil on Canvas</p>
<p><img class="content-img" src="https://mypaintingclub.com/images/blog/Rees_River.jpg"></img></p>
<p>As they say, a picture is worth a thousand words, so I…</p>
<p>Here are three paintings I managed to squeeze into a family holiday in Glenorchy in the past few weeks. All painted in the great outdoors battling time, weather and insects. Enjoy.</p>
<p><img class="content-img" src="https://mypaintingclub.com/images/blog/Evening-Dusts.jpg"/></p>
<p>Evening Dusts<br/>Oil on Canvas</p>
<p><img class="content-img" src="https://mypaintingclub.com/images/blog/Evening-Dusts_photo.jpg"/></p>
<p> </p>
<p><img class="content-img" src="https://mypaintingclub.com/images/blog/Towards_Earnslaw.jpg"/></p>
<p>Towards Earnslaw<br/>Oil on Canvas</p>
<p><img class="content-img" src="https://mypaintingclub.com/images/blog/Towards_Earnslaw_photo.jpg"/></p>
<p> </p>
<p><img class="content-img" src="https://mypaintingclub.com/images/blog/0940_Towards-the-Rees.jpg"/></p>
<p>Towards the Rees<br/>Oil on Canvas</p>
<p><img class="content-img" src="https://mypaintingclub.com/images/blog/Rees_River.jpg"/></p>
<p>As they say, a picture is worth a thousand words, so I leave it to you this time to compare the paintings to the photos to see what I changed and what I didn't change. Ask yourself why I might have made a change.</p>
<p>If you think you've got a good idea, please leave a comment!</p>
<p>Happy painting,</p>
<p>Richard.</p>
<p> </p>
<p>ps. Inspired to paint mountains? Here's a mountain painting bundle pack: <strong><span><a href="https://mypaintingclub.com/course/178-Mountains">https://mypaintingclub.com/course/178-Mountains</a></span></strong></p>
<p> </p>
<p><a href="https://mypaintingclub.com/course/178-Mountains"><strong><span><img src="https://mypaintingclub.com/uploads/images/Mountains_title3.jpg" width="800"/></span></strong></a></p>7 things sunset painters get rongtag:thecompleteartist.ning.com,2018-10-22:2450081:BlogPost:8054042018-10-22T23:30:00.000ZRichard Robinsonhttps://thecompleteartist.ning.com/profile/RichardRobinson
<p><iframe allowfullscreen="allowfullscreen" frameborder="0" height="315" src="//player.vimeo.com/video/91223370?title=0&byline=0" width="560"></iframe>
<br></br> Enjoy this free chapter from the <strong><a href="http://www.masteringsunsets.com" target="_self">Mastering Sunsets Course</a></strong>.</p>
<h3><span style="font-size: 18pt;">Everyone loves sunsets</span></h3>
<p>...but for painters like us they're particularly beautiful because they inspire us to paint them, so we're lucky in that…</p>
<p><iframe src="//player.vimeo.com/video/91223370?title=0&byline=0" width="560" height="315" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
<br/> Enjoy this free chapter from the <strong><a href="http://www.masteringsunsets.com" target="_self">Mastering Sunsets Course</a></strong>.</p>
<h3><span style="font-size: 18pt;">Everyone loves sunsets</span></h3>
<p>...but for painters like us they're particularly beautiful because they inspire us to paint them, so we're lucky in that way, but also unlucky, because sunsets can be very tricky to paint. Anyone can paint a sunset, but how can we paint them <strong>really WELL?</strong></p>
<div class="page" title="Page 7"><div class="section"><div class="layoutArea"><div class="column"><h3>What are the things we need to watch out for when we are painting a sunset?</h3>
</div>
</div>
</div>
</div>
<p> </p>
<div class="page" title="Page 7"><div class="section"><div class="layoutArea"><div class="column"><h3>1. Values</h3>
<p>The first thing we get wrong is the values. Values are particularly tricky with sunsets because sunsets often have some very high chroma colors in them and we tend to see high chroma colors as having higher value than they actually have and low chroma colors as having lower value than they actually have.</p>
<p style="text-align: justify;"><img src="https://livepaintinglessons.com/images/Glendaloughearlymorning.jpg" alt="" width="650" height="515"/></p>
<div class="page" title="Page 7"><div class="section"><div class="layoutArea"><div class="column"><p><em>Using too much white to lighten can result in chalky color. <br/> “Glendalough, Early Morning” - Acrylic 11x14” by Deb Hill</em></p>
<p style="text-align: justify;"><img src="https://livepaintinglessons.com/images/GlendaloughLake.jpg" alt="" width="650" height="410"/></p>
</div>
</div>
</div>
</div>
<p style="text-align: justify;"> <img src="https://livepaintinglessons.com/images/highchroma_lighter.jpg" alt="" width="650" height="231"/></p>
<p><em>Chroma affects our value perception. We see high chroma as lighter and low chroma as darker.</em></p>
<div class="page" title="Page 7"><div class="section"><div class="layoutArea"><div class="column"><p>These two swatches have the same value, but see how the high chroma appears to be lighter than the other? This means that when we are painting a sunset we will tend to paint the intense warm colors a little lighter than they actually are, which will make them look a little chalky as we add more white to raise their value.</p>
<p></p>
<p>What that means for us practically is that we need to hold off using our lightest value (which may not necessarily be white) till the last possible moment as in this painting by Albert Bierstadt.</p>
<p></p>
<p style="text-align: justify;"><img src="https://livepaintinglessons.com/images/deer_at_sunset-large.jpg?width=650" width="650"/></p>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
<div class="page" title="Page 7"><div class="section"><div class="layoutArea"><div class="column"><p><em>Save your white (if at all) right till the very last moment. <br/> “Deer at Sunset” Oil on paper 19.5 x 14” by Albert Bierstadt.</em></p>
<div class="page" title="Page 8"><div class="section"><div class="layoutArea"><div class="column"><p>Also, one might think that adding a ‘bright’ red to a sunset will make it more vibrant, but in fact red has a fairly dark value which can often look out of place amongst the other light values there.</p>
<p style="text-align: justify;"><img src="https://livepaintinglessons.com/images/sunset%20(fcp1).jpg" alt="" width="650" height="515"/></p>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
<div class="page" title="Page 8"><div class="section"><div class="layoutArea"><div class="column"><p><em>Painting from our ‘symbols’ tends to lead to over- saturated, simplified color. <br/> “Sunset” by Roy H. Scott.</em></p>
<p style="text-align: justify;"><img src="https://livepaintinglessons.com/images/sunsetboats.jpg" width="650"/></p>
<div class="page" title="Page 8"><div class="section"><div class="layoutArea"><div class="column"><p>Image courtesy: <a href="http://pixdaus.com/single.php?id=42456">http://pixdaus.com/single.php?id=42456</a></p>
<p> </p>
<div class="page" title="Page 8"><div class="section"><div class="layoutArea"><div class="column"><h3>2. Gradients</h3>
<p>Painting light is more about painting gradients than anything else. Each little section of sky you might look at always has at least two gradients happening within it. The sky gets lighter towards the horizon which gives us a vertical linear gradient and it also gets lighter and warmer towards the sun, which gives us a second overlapping radial gradation. Being aware of that is crucial to painting believable skies.</p>
<p style="text-align: justify;"><img src="https://livepaintinglessons.com/images/skygradient2.jpg" alt="" width="650" height="366"/></p>
</div>
</div>
</div>
</div>
<p><em>Every piece of sky contains 2 gradients - 1 radial, 1 linear.</em></p>
<p> </p>
<div class="page" title="Page 8"><div class="section"><div class="layoutArea"><div class="column"><h3>3. Warm and Cool</h3>
<p>Sunsets can be a prime example of the general painting guideline that "warm light makes cool shadows" and vice versa. Clouds that are fairly neutral in color during the middle of the day can display dramatic color compliments during a sunset - bright orange where they are touched by the sun and deep blue on their shadow sides. Yellow and violet is the other common complementary color scheme in sunsets.</p>
<p style="text-align: justify;"><img src="https://livepaintinglessons.com/images/AustralianoutbackSunset1.jpg" width="650"/></p>
<p><em>‘Australian Outback Sunset’. Photo by Kerry Heffernan</em></p>
<p style="text-align: justify;"><em><img src="https://livepaintinglessons.com/images/warmcool1.jpg" width="650"/></em></p>
<div class="page" title="Page 8"><div class="section"><div class="layoutArea"><div class="column"><p><em>Sunset clouds often display color complements - oranges and blues, yellow and violets.</em></p>
<p> </p>
<div class="page" title="Page 9"><div class="section"><div class="layoutArea"><div class="column"><h3>4. Chroma and Contrast</h3>
<div class="page" title="Page 9"><div class="section"><div class="layoutArea"><div class="column"><p>Something else we tend to get wrong is to oversaturate our colors, making them look too gaudy. There are two reasons for this. The first reason is that our eyes are being tricked into thinking things are brighter and more saturated than they actually are. How's that? Well, the usually warm bright colors in a sunset cover a fairly small area compared to the larger, darker and cooler sky, which makes the light area look lighter, warmer and more highly saturated than it really is. Conversely, that bright warm light makes the cool darks look cooler and darker by comparison.</p>
<p></p>
</div>
</div>
</div>
</div>
<p style="text-align: justify;"><img src="https://livepaintinglessons.com/images/chromasky.jpg" width="650"/></p>
</div>
<div class="column"><p><em>Sky colors are usually not as vibrant as you might think.</em></p>
</div>
</div>
<div class="layoutArea"><div class="column"><div class="page" title="Page 9"><div class="section"><div class="layoutArea"><div class="column"><p>In the color locators taken from this photo, the further the color point is from the top right of each locator, the more gray the color has in it (lower chroma). Notice how the blue of the sky in position A is actually very nearly gray. Notice too how much grayer and darker the orange cloud is in position C than it is in position B. It’s very easy to make these grayer colors too vibrant in a painting, which often tends to take away from the beauty of the sunset rather than adding to it.</p>
<p></p>
<p style="text-align: justify;"><img src="https://livepaintinglessons.com/images/bird1.jpg" width="650"/> </p>
<div class="page" title="Page 9"><div class="section"><div class="layoutArea"><div class="column"><p><em>”Florida Sunrise 2” 8x16” Acrylic by Peni Baker.<br/></em> <br/> This is a striking image, however the blue sky seems <strong>too</strong> blue to me - it might look better a little warmer and grayer.</p>
<p style="text-align: justify;"><img src="https://livepaintinglessons.com/images/bird3.jpg" width="650"/></p>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
<p style="text-align: justify;"> </p>
<h3 style="text-align: justify;">5. Painting our Symbols</h3>
<div class="page" title="Page 9"><div class="section"><div class="layoutArea"><div class="column"><p>The second reason we oversaturate our colors is that we all tend to paint from our current understanding of a subject (our symbols) than from what the subject really looks like. Skies are one of the first things we paint as children, using LOTS of BRIGHT BLUE!</p>
<p></p>
<p style="text-align: justify;"><img src="https://livepaintinglessons.com/images/DanisFireworks.jpg" width="650"/></p>
<div class="page" title="Page 9"><div class="section"><div class="layoutArea"><div class="column"><p><em>“Fireworks at the Park” Watercolor by Danielle Robinson (Age 6).</em><br/> <em>Our painting ‘symbols’ show our current understanding of a subject.</em></p>
<p></p>
<div class="page" title="Page 9"><div class="section"><div class="layoutArea"><div class="column"><p>So we have that symbol in our head to overcome when we come to paint a sky as adults. The sky is usually not as high in chroma as we think it is, and the same goes for sunsets. So what does all that mean practically? Just that sunsets overall are a bit grayer than they look and with not quite as much contrast as you'd think either, and if we want to paint them really well we need to stop painting our symbols and get outside and really analyze those colors.</p>
<p> </p>
<div class="page" title="Page 10"><div class="section"><div class="layoutArea"><div class="column"><h3>6. Clouds</h3>
<p>Where would a sunset be without clouds? Sunsets seem to be a little boring without them - they really add all the drama to the scene. Without them a sunset is just a big gradation of color - a big beautiful one which is very soothing to look at, but it's not something we really get excited about. Often beginner painters will avoid painting clouds because of the added complexity but it's when the clouds almost seem to catch on fire that we run outside to see it and parents around the world hold their children up for a better view.</p>
<p></p>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
<p style="text-align: justify;"><img src="https://livepaintinglessons.com/images/sunset_plain.jpg" width="650"/></p>
<p><img src="https://livepaintinglessons.com/images/AustralianoutbackSunset1.jpg" width="650"/></p>
<div class="page" title="Page 10"><div class="section"><div class="layoutArea"><div class="column"><p><em>‘Australian Outback Sunset’. Photo by Kerry Heffernan</em></p>
<p> </p>
<div class="page" title="Page 10"><div class="section"><div class="layoutArea"><div class="column"><h3>7. Making Mud</h3>
<p>For the painter, clouds can bring a sunset to life, but they can also very quickly get out of control and muddy all the colors in your sky. The reason is that when you mix warm colors with cool colors you are instantly graying or muddying those colors.</p>
<p></p>
<p style="text-align: justify;"><img src="https://livepaintinglessons.com/images/sonomacoast1.jpg" width="650"/></p>
<div class="page" title="Page 10"><div class="section"><div class="layoutArea"><div class="column"><p><em>“Sonoma Coast Sunset” 24x36” Oil by Jackie Lee. Warm/cool color variations in clouds make it all too easy to make mud.</em></p>
<p></p>
<p><img src="https://livepaintinglessons.com/images/sonomacoast2.jpg" width="650" height="492"/></p>
<div class="page" title="Page 10"><div class="section"><div class="layoutArea"><div class="column"><p><em>My photoshopped version.</em></p>
<p>In the Mastering Sunsets Course you'll learn how to avoid making mud.</p>
<p> </p>
<h3>Taking it Further</h3>
<div class="page" title="Page 10"><div class="section"><div class="layoutArea"><div class="column"><p>Those are some of the things to look out for when you’re painting sunsets and you’ll see all those in action in the painting projects in the <strong><span style="text-decoration: underline;"><a href="http://www.masteringsunsets.com" target="_self">Mastering Sunsets Course</a></span></strong>.</p>
<p></p>
<p><em>SPECIAL: Get 20% OFF when you use this coupon code in the checkout: <strong>MEMBERS55</strong></em></p>
<p></p>
<p><a href="http://www.masteringsunsets.com" target="_blank" rel="noopener"><img src="https://livepaintinglessons.com/images/122_title_masteringsunsets.jpg" class="align-full"/></a></p>
<p></p>
<p>Happy Painting,</p>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
<p>Richard.</p>
<p> </p>
<p> </p>7 things sunset painters get rongtag:thecompleteartist.ning.com,2018-10-22:2450081:BlogPost:8055012018-10-22T23:25:26.000ZRichard Robinsonhttps://thecompleteartist.ning.com/profile/RichardRobinson
<p><iframe allowfullscreen="allowfullscreen" frameborder="0" height="315" src="//player.vimeo.com/video/91223370?title=0&byline=0" width="560"></iframe>
<br></br> Enjoy this free chapter from the <strong><a href="http://www.masteringsunsets.com" target="_self">Mastering Sunsets Course</a></strong>.</p>
<h3><span style="font-size: 18pt;">Everyone loves sunsets</span></h3>
<p>...but for painters like us they're particularly beautiful because they inspire us to paint them, so we're lucky in that…</p>
<p><iframe src="//player.vimeo.com/video/91223370?title=0&byline=0" width="560" height="315" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
<br/> Enjoy this free chapter from the <strong><a href="http://www.masteringsunsets.com" target="_self">Mastering Sunsets Course</a></strong>.</p>
<h3><span style="font-size: 18pt;">Everyone loves sunsets</span></h3>
<p>...but for painters like us they're particularly beautiful because they inspire us to paint them, so we're lucky in that way, but also unlucky, because sunsets can be very tricky to paint. Anyone can paint a sunset, but how can we paint them <strong>really WELL?</strong></p>
<div class="page" title="Page 7"><div class="section"><div class="layoutArea"><div class="column"><h3>What are the things we need to watch out for when we are painting a sunset?</h3>
</div>
</div>
</div>
</div>
<p> </p>
<div class="page" title="Page 7"><div class="section"><div class="layoutArea"><div class="column"><h3>1. Values</h3>
<p>The first thing we get wrong is the values. Values are particularly tricky with sunsets because sunsets often have some very high chroma colors in them and we tend to see high chroma colors as having higher value than they actually have and low chroma colors as having lower value than they actually have.</p>
<p style="text-align: justify;"><img src="http://mypaintingclub2.site2.oddev.co.nz/uploads/images/mastering%20sunsets/Glendaloughearlymorning.jpg" alt="" width="650" height="515"/></p>
<div class="page" title="Page 7"><div class="section"><div class="layoutArea"><div class="column"><p><em>Using too much white to lighten can result in chalky color. <br/> “Glendalough, Early Morning” - Acrylic 11x14” by Deb Hill</em></p>
<p style="text-align: justify;"><img src="http://mypaintingclub2.site2.oddev.co.nz/uploads/images/mastering%20sunsets/GlendaloughLake.jpg" alt="" width="650" height="410"/></p>
</div>
</div>
</div>
</div>
<p style="text-align: justify;"> <img src="http://mypaintingclub2.site2.oddev.co.nz/uploads/images/mastering%20sunsets/highchroma_lighter.jpg" alt="" width="650" height="231"/></p>
<p><em>Chroma affects our value perception. We see high chroma as lighter and low chroma as darker.</em></p>
<div class="page" title="Page 7"><div class="section"><div class="layoutArea"><div class="column"><p>These two swatches have the same value, but see how the high chroma appears to be lighter than the other? This means that when we are painting a sunset we will tend to paint the intense warm colors a little lighter than they actually are, which will make them look a little chalky as we add more white to raise their value. What that means for us practically is that we need to hold off using our lightest value (which may not necessarily be white) till the last possible moment as in this painting by Albert Bierstadt.</p>
<p style="text-align: justify;"><img src="http://mypaintingclub2.site2.oddev.co.nz/uploads/images/mastering%20sunsets/deer_at_sunset-large.jpg?width=650" width="650"/></p>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
<div class="page" title="Page 7"><div class="section"><div class="layoutArea"><div class="column"><p><em>Save your white (if at all) right till the very last moment. <br/> “Deer at Sunset” Oil on paper 19.5 x 14” by Albert Bierstadt.</em></p>
<div class="page" title="Page 8"><div class="section"><div class="layoutArea"><div class="column"><p>Also, one might think that adding a ‘bright’ red to a sunset will make it more vibrant, but in fact red has a fairly dark value which can often look out of place amongst the other light values there.</p>
<p style="text-align: justify;"><img src="http://mypaintingclub2.site2.oddev.co.nz/uploads/images/mastering%20sunsets/sunset%20(fcp1).jpg" alt="" width="650" height="515"/></p>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
<div class="page" title="Page 8"><div class="section"><div class="layoutArea"><div class="column"><p><em>Painting from our ‘symbols’ tends to lead to over- saturated, simplified color. <br/> “Sunset” by Roy H. Scott.</em></p>
<p style="text-align: justify;"><img src="http://mypaintingclub2.site2.oddev.co.nz/uploads/images/mastering%20sunsets/sunsetboats.jpg" width="650"/></p>
<div class="page" title="Page 8"><div class="section"><div class="layoutArea"><div class="column"><p>Image courtesy: <a href="http://pixdaus.com/single.php?id=42456">http://pixdaus.com/single.php?id=42456</a></p>
<p> </p>
<div class="page" title="Page 8"><div class="section"><div class="layoutArea"><div class="column"><h3>2. Gradients</h3>
<p>Painting light is more about painting gradients than anything else. Each little section of sky you might look at always has at least two gradients happening within it. The sky gets lighter towards the horizon which gives us a</p>
<p>vertical linear gradient and it also gets lighter and warmer</p>
<p>towards the sun, which gives us a second overlapping radial gradation. Being aware of that is crucial to painting believable skies.</p>
<p style="text-align: justify;"><img src="http://mypaintingclub2.site2.oddev.co.nz/uploads/images/mastering%20sunsets/skygradient2.jpg" alt="" width="650" height="366"/></p>
</div>
</div>
</div>
</div>
<p><em>Every piece of sky contains 2 gradients - 1 radial, 1 linear.</em></p>
<p> </p>
<div class="page" title="Page 8"><div class="section"><div class="layoutArea"><div class="column"><h3>3. Warm and Cool</h3>
<p>Sunsets can be a prime example of the general painting guideline that "warm light makes cool shadows" and vice versa. Clouds that are fairly neutral in color during the middle of the day can display dramatic color compliments during a sunset - bright orange where they are touched by the sun and deep blue on their shadow sides. Yellow and violet is the other common complimentary color scheme in sunsets.</p>
<p style="text-align: justify;"><img src="http://mypaintingclub2.site2.oddev.co.nz/uploads/images/mastering%20sunsets/AustralianoutbackSunset1.jpg" width="650"/></p>
<p><em>‘Australian Outback Sunset’. Photo by Kerry Heffernan</em></p>
<p style="text-align: justify;"><em><img src="http://mypaintingclub2.site2.oddev.co.nz/uploads/images/mastering%20sunsets/warmcool1.jpg" width="650"/></em></p>
<div class="page" title="Page 8"><div class="section"><div class="layoutArea"><div class="column"><p><em>Sunset clouds often display color complements - oranges and blues, yellow and violets.</em></p>
<p> </p>
<div class="page" title="Page 9"><div class="section"><div class="layoutArea"><div class="column"><h3>4. Chroma and Contrast</h3>
<div class="page" title="Page 9"><div class="section"><div class="layoutArea"><div class="column"><p>Something else we tend to get wrong is to oversaturate our colors, making them look too gaudy. There are two reasons for this. The first reason is that our eyes are being tricked into thinking things are brighter and more saturated than they actually are. How's that? Well, the usually warm bright colors in a sunset cover a fairly small area compared to the larger, darker and cooler sky, which makes the light area look lighter, warmer and more highly saturated than it really is. Conversely, that bright warm light makes the cool darks look cooler and darker by comparison.</p>
</div>
</div>
</div>
</div>
<p style="text-align: justify;"><img src="http://mypaintingclub2.site2.oddev.co.nz/uploads/images/mastering%20sunsets/chromasky.jpg" width="650"/></p>
</div>
<div class="column"><p><em>Sky colors are usually not as vibrant as you might think.</em></p>
</div>
</div>
<div class="layoutArea"><div class="column"><div class="page" title="Page 9"><div class="section"><div class="layoutArea"><div class="column"><p>In the color locators taken from this photo, the further the color point is from the top right of each locator, the more gray the color has in it (lower chroma). Notice how the blue of the sky in position A is actually very nearly gray. Notice too how much grayer and darker the orange cloud is in position C than it is in position B. It’s very easy to make these grayer colors too vibrant in a painting, which often tends to take away from the beauty of the sunset rather than adding to it.</p>
<p style="text-align: justify;"><img src="http://mypaintingclub2.site2.oddev.co.nz/uploads/images/mastering%20sunsets/bird1.jpg" width="650"/> </p>
<div class="page" title="Page 9"><div class="section"><div class="layoutArea"><div class="column"><p><em>”Florida Sunrise 2” 8x16” Acrylic by Peni Baker.<br/></em> <br/> This is a striking image, however the blue sky seems <strong>too</strong> blue to me - it might look better a little warmer and grayer.</p>
<p style="text-align: justify;"><img src="http://mypaintingclub2.site2.oddev.co.nz/uploads/images/mastering%20sunsets/bird3.jpg" width="650"/></p>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
<p style="text-align: justify;"> </p>
<h3 style="text-align: justify;">5. Painting our Symbols</h3>
<div class="page" title="Page 9"><div class="section"><div class="layoutArea"><div class="column"><p>The second reason we oversaturate our colors is that we all tend to paint from our current understanding of a subject (our symbols) than from what the subject really looks like. Skies are one of the first things we paint as children, using LOTS of BRIGHT BLUE!</p>
<p style="text-align: justify;"><img src="http://mypaintingclub2.site2.oddev.co.nz/uploads/images/mastering%20sunsets/DanisFireworks.jpg" width="650"/></p>
<div class="page" title="Page 9"><div class="section"><div class="layoutArea"><div class="column"><p><em>“Fireworks at the Park” Watercolor by Danielle Robinson (Age 6).</em><br/> <em>Our painting ‘symbols’ show our current understanding of a subject.</em></p>
<div class="page" title="Page 9"><div class="section"><div class="layoutArea"><div class="column"><p>So we have that symbol in our head to overcome when we come to paint a sky as adults. The sky is usually not as high in chroma as we think it is, and the same goes for sunsets. So what does all that mean practically? Just that sunsets overall are a bit grayer than they look and with not quite as much contrast as you'd think either, and if we want to paint them really well we need to stop painting our symbols and get outside and really analyze those colors.</p>
<p> </p>
<div class="page" title="Page 10"><div class="section"><div class="layoutArea"><div class="column"><h3>6. Clouds</h3>
<p>Where would a sunset be without clouds? Sunsets seem to be a little boring without them - they really add all the drama to the scene. Without them a sunset is just a big gradation of color - a big beautiful one which is very soothing to look at, but it's not something we really get excited about. Often beginner painters will avoid painting clouds because of the added complexity but it's when the clouds almost seem to catch on fire that we run outside to see it and parents around the world hold their children up for a better view.</p>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
<p style="text-align: justify;"><img src="http://mypaintingclub2.site2.oddev.co.nz/uploads/images/mastering%20sunsets/sunset_plain.jpg" width="650"/></p>
<p><img src="http://mypaintingclub2.site2.oddev.co.nz/uploads/images/mastering%20sunsets/AustralianoutbackSunset1.jpg" width="650"/></p>
<div class="page" title="Page 10"><div class="section"><div class="layoutArea"><div class="column"><p><em>‘Australian Outback Sunset’. Photo by Kerry Heffernan</em></p>
<p> </p>
<div class="page" title="Page 10"><div class="section"><div class="layoutArea"><div class="column"><h3>7. Making Mud</h3>
<p>For the painter, clouds can bring a sunset to life, but they can also very quickly get out of control and muddy all the colors in your sky. The reason is that when you mix warm colors with cool colors you are instantly graying or muddying those colors.</p>
<p style="text-align: justify;"><img src="http://mypaintingclub2.site2.oddev.co.nz/uploads/images/mastering%20sunsets/sonomacoast1.jpg" width="650"/></p>
<div class="page" title="Page 10"><div class="section"><div class="layoutArea"><div class="column"><p><em>“Sonoma Coast Sunset” 24x36” Oil by Jackie Lee. Warm/cool color variations in clouds make it all too easy to make mud.</em></p>
<p><img src="http://mypaintingclub2.site2.oddev.co.nz/uploads/images/mastering%20sunsets/sonomacoast2.jpg" width="650" height="492"/></p>
<div class="page" title="Page 10"><div class="section"><div class="layoutArea"><div class="column"><p><em>My photoshopped version.</em></p>
<p>In the Mastering Sunsets Course you'll learn how to avoid making mud.</p>
<p> </p>
<h3>Taking it Further</h3>
<div class="page" title="Page 10"><div class="section"><div class="layoutArea"><div class="column"><p>Those are some of the things to look out for when you’re painting sunsets and you’ll see all those in action in the painting projects in the <strong><span style="text-decoration: underline;"><a href="http://www.masteringsunsets.com" target="_self">Mastering Sunsets Course</a></span></strong>.</p>
<p></p>
<p><a href="http://www.masteringsunsets.com" target="_blank" rel="noopener"><img src="http://mypaintingclub2.site2.oddev.co.nz/images/lessons/main/122_title_masteringsunsets.jpg" class="align-full"/></a></p>
<p></p>
<p>Happy Painting,</p>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
<p><img src="http://mypaintingclub2.site2.oddev.co.nz/images/blog/RR_Logo-200x33.png"/></p>
<p>Richard.</p>
<p> </p>
<p> </p>Painting on a vibrant canvastag:thecompleteartist.ning.com,2017-07-26:2450081:BlogPost:7842622017-07-26T07:30:00.000ZRichard Robinsonhttps://thecompleteartist.ning.com/profile/RichardRobinson
<p></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804207390?profile=original" target="_self"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/2804207390?profile=RESIZE_1024x1024" width="750"></img></a> <br></br> “Red Crested Cardinal” 12×12″ Acrylic on Canvas by Richard Robinson<br></br></p>
<p>The idea of painting on a ‘toned’ (coloured) canvas is not a new one. In fact it’s been used for centuries to banish the tyranny of the white canvas and to help thread colour through a painting. It’s tried and tested.</p>
<p>However, not many people paint on vibrant coloured canvas.…</p>
<p></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804207390?profile=original" target="_self"><img width="750" src="http://storage.ning.com/topology/rest/1.0/file/get/2804207390?profile=RESIZE_1024x1024" width="750" class="align-full"/></a><br/> “Red Crested Cardinal” 12×12″ Acrylic on Canvas by Richard Robinson<br/></p>
<p>The idea of painting on a ‘toned’ (coloured) canvas is not a new one. In fact it’s been used for centuries to banish the tyranny of the white canvas and to help thread colour through a painting. It’s tried and tested.</p>
<p>However, not many people paint on vibrant coloured canvas. A few do, but the vast majority paint on white or lightly toned canvases with warm or cool grays or earth colours. What would be the benefit of painting on a strong coloured ground? <strong>If you’re a fan of scintillating colour</strong>, this may be something for you. The colour effect can be quite powerful.</p>
<p>If you leave gaps in the subsequent layers to allow the base colour to thread its way through the painting you can achieve a shimmering ‘broken colour’ effect more easily than the alternative of painting threaded colour over the top layers. Attempting to leave gaps in your paintwork also leads you to more expressive, gestural painting, which can be really fun.</p>
<p></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804209937?profile=original" target="_self"><img width="750" src="http://storage.ning.com/topology/rest/1.0/file/get/2804209937?profile=RESIZE_1024x1024" width="750" class="align-full"/></a><br/> The brightly coloured ground, using cadmium red, alizarine crimson and a little white.</p>
<p></p>
<p>The strongest colour note I planned for the finished painting was the red in the bird’s head, and I also planned to counter that with a grey-green background, so I chose red as the toning colour.</p>
<p>This is all painted in acrylics, so I gave the background over an hour to dry before painting on it. It’s really important that it’s dry first so that the next layers don’t mix with it, which in this case would have caused a muddy mess with green and red mixing together to make brown. You can do the same with oil paints, though I’d advise toning the canvas with acrylics to avoid prolonged drying times.</p>
<p></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804214064?profile=original" target="_self"><img width="750" src="http://storage.ning.com/topology/rest/1.0/file/get/2804214064?profile=RESIZE_1024x1024" width="750" class="align-full"/></a><br/> Step 2</p>
<p>I started painting with my centre of interest, but first brushed over it with more cadmium red, so it would be as vibrant as possible. I painted the head into the red while still wet. This is called painting into a couch. (Don’t know why but there you go). I made sure my brushwork was as bold and gestural as possible, extending well past the edges of the bird so that I could easily work back into those shapes with the background, defining hard or soft edges. Planning each brushstroke allows me to let the toning red to show through where I want it.</p>
<p>The most difficult part of this technique may be the part that looks the easiest – painting the background in broad strokes that allow the toning to show through in places. It’s all too easy to just keep painting and brushing until it’s all perfectly coloured in. Resist the urge!</p>
<p></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804207390?profile=original" target="_self"><img width="750" src="http://storage.ning.com/topology/rest/1.0/file/get/2804207390?profile=RESIZE_1024x1024" width="750" class="align-full"/></a></p>
<p></p>
<p>I encourage you to give it a try on your next painting. You might be pleasantly surprised!</p>
<p></p>
<p>Happy Painting,</p>
<p>Richard.</p>
<p></p>
<p><iframe width="720" height="405" src="https://www.youtube.com/embed/khEdfKBGYdw?rel=0&wmode=opaque" frameborder="0" allowfullscreen=""></iframe>
</p>
<p></p>
<p>Get the video painting lesson here: <a href="http://www.livepaintinglessons.com/workshop61.php" target="_blank">http://www.livepaintinglessons.com/workshop61.php</a></p>
<p></p>
<p>Enjoy!</p>
<p></p>
<p></p>2 Techniques for more accurate drawingtag:thecompleteartist.ning.com,2017-07-06:2450081:BlogPost:7824592017-07-06T22:44:43.000ZRichard Robinsonhttps://thecompleteartist.ning.com/profile/RichardRobinson
<p>When drawing from life or from a photo there are 2 simple tips to make it easier for you to get it right consistently.</p>
<p><iframe allowfullscreen="" frameborder="0" height="405" src="https://www.youtube.com/embed/Bl0Ma86Ji7w?rel=0&wmode=opaque" width="720"></iframe>
</p>
<p></p>
<p><strong>They're both angle transfer methods.</strong></p>
<p></p>
<p><strong>Use your brush or pencil to measure the angle you're wanting to draw</strong>, then rotate your body without changing the angle…</p>
<p>When drawing from life or from a photo there are 2 simple tips to make it easier for you to get it right consistently.</p>
<p><iframe width="720" height="405" src="https://www.youtube.com/embed/Bl0Ma86Ji7w?rel=0&wmode=opaque" frameborder="0" allowfullscreen=""></iframe>
</p>
<p></p>
<p><strong>They're both angle transfer methods.</strong></p>
<p></p>
<p><strong>Use your brush or pencil to measure the angle you're wanting to draw</strong>, then rotate your body without changing the angle you've measured and mark that same angle on your canvas.</p>
<p>PROS</p>
<p>1. It's fast and gives you a good basic idea of where the angle sits relative to vertical and horizontal.</p>
<p>2. It makes you look cool, like a real artist.</p>
<p>CONS</p>
<p>1. It's easy to shift the angle as you rotate, and your canvas needs to be in a good position relative to your scene, so it's not as accurate as it could be</p>
<p></p>
<p><strong>Measure your angle against an imaginary clockface</strong>, remember the angle (eg. 10 o'clock) and then draw that 10 o'clock angle on your canvas.</p>
<p>PROS</p>
<p>1. It's more accurate than other methods, especially if you were to use a vertical plumbline, or horizon, to measure the angle against.</p>
<p>2. You can still hold your brush out and use it to measure, which again, makes you look cool, or like you're a brush inspector.</p>
<p>CONS: Kids these days won't be able to do it since most clocks don't have hands now. Oh well.</p>
<p></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804198842?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/2804198842?profile=original" width="650" class="align-full"/></a></p>
<p></p>
<p>Get the complete painting lesson here: <a href="http://www.livepaintinglessons.com/shop/daisy-bay" target="_blank">http://www.livepaintinglessons.com/shop/daisy-bay</a></p>
<p>Enjoy!</p>
<p></p>
<p></p>Improving your painting with glazestag:thecompleteartist.ning.com,2017-05-23:2450081:BlogPost:7757302017-05-23T06:18:44.000ZRichard Robinsonhttps://thecompleteartist.ning.com/profile/RichardRobinson
<p>Learn about how to use glazing to improve your oil paintings in this video.</p>
<p></p>
<p><iframe allowfullscreen="" frameborder="0" height="480" src="https://www.youtube.com/embed/T7R3Y_tr3ks?rel=0&wmode=opaque" width="853"></iframe>
</p>
<p></p>
<p></p>
<p>The same applies for acrylic painting, though you would use gloss medium varnish or some other clear fast drying medium to mix your glazes with.</p>
<p>With oils I currently either use walnut oil or alkyd walnut oil medium as a…</p>
<p>Learn about how to use glazing to improve your oil paintings in this video.</p>
<p></p>
<p><iframe width="853" height="480" src="https://www.youtube.com/embed/T7R3Y_tr3ks?rel=0&wmode=opaque" frameborder="0" allowfullscreen=""></iframe>
</p>
<p></p>
<p></p>
<p>The same applies for acrylic painting, though you would use gloss medium varnish or some other clear fast drying medium to mix your glazes with.</p>
<p>With oils I currently either use walnut oil or alkyd walnut oil medium as a glazing medium.</p>
<p>Learn more about painting at <a href="http://www.livepaintinglessons.com" target="_blank">http://www.livepaintinglessons.com</a></p>
<p></p>
<p>Enjoy!</p>Improving your painting with glazestag:thecompleteartist.ning.com,2017-05-23:2450081:BlogPost:7759612017-05-23T06:17:16.000ZRichard Robinsonhttps://thecompleteartist.ning.com/profile/RichardRobinson
<p><iframe allowfullscreen="" frameborder="0" height="480" src="https://www.youtube.com/embed/T7R3Y_tr3ks?rel=0&wmode=opaque" width="853"></iframe>
</p>
<p></p>
<p>Learn about how to use glazing to improve your oil painting. The same applies for acrylic painting, though you would use gloss medium varnish or some other clear fast drying medium to mix your glazes with.</p>
<p>With oils I currently either use walnut oil or alkyd walnut oil medium as a glazing medium.</p>
<p>Learn more about…</p>
<p><iframe width="853" height="480" src="https://www.youtube.com/embed/T7R3Y_tr3ks?rel=0&wmode=opaque" frameborder="0" allowfullscreen=""></iframe>
</p>
<p></p>
<p>Learn about how to use glazing to improve your oil painting. The same applies for acrylic painting, though you would use gloss medium varnish or some other clear fast drying medium to mix your glazes with.</p>
<p>With oils I currently either use walnut oil or alkyd walnut oil medium as a glazing medium.</p>
<p>Learn more about painting at <a href="http://www.livepaintinglessons.com">http://www.livepaintinglessons.com</a></p>Seeing the world like a Paintertag:thecompleteartist.ning.com,2017-05-21:2450081:BlogPost:7755672017-05-21T23:03:09.000ZRichard Robinsonhttps://thecompleteartist.ning.com/profile/RichardRobinson
<p>Here's how I look at the world as a painter...</p>
<p><iframe width="853" height="480" src="https://www.youtube.com/embed/kwCKxa9GV9s?rel=0&wmode=opaque" frameborder="0" allowfullscreen=""></iframe>
</p>
<p></p>
<p>This video is about Seeing the world like a Painter. Learn more about painting at <a href="http://www.livepaintinglessons.com" target="_blank">http://www.livepaintinglessons.com</a></p>
<p>Here's how I look at the world as a painter...</p>
<p><iframe width="853" height="480" src="https://www.youtube.com/embed/kwCKxa9GV9s?rel=0&wmode=opaque" frameborder="0" allowfullscreen=""></iframe>
</p>
<p></p>
<p>This video is about Seeing the world like a Painter. Learn more about painting at <a href="http://www.livepaintinglessons.com" target="_blank">http://www.livepaintinglessons.com</a></p>Painting with more VaRiEtY!tag:thecompleteartist.ning.com,2017-05-18:2450081:BlogPost:7750682017-05-18T22:00:00.000ZRichard Robinsonhttps://thecompleteartist.ning.com/profile/RichardRobinson
<p>Here's a brief clip from the First Snow painting lesson at: <a href="http://www.livepaintinglessons.com/shop/first-snow" target="_blank">http://www.livepaintinglessons.com/shop/first-snow</a></p>
<p></p>
<p><iframe allowfullscreen="" frameborder="0" height="480" src="https://www.youtube.com/embed/d9gtZ81zO6M?rel=0&wmode=opaque" width="853"></iframe>
</p>
<p></p>
<p></p>
<p>Beginners paintings are often distinguished by a lack of variety. They often display large areas of flat colour,…</p>
<p>Here's a brief clip from the First Snow painting lesson at: <a href="http://www.livepaintinglessons.com/shop/first-snow" target="_blank">http://www.livepaintinglessons.com/shop/first-snow</a></p>
<p></p>
<p><iframe width="853" height="480" src="https://www.youtube.com/embed/d9gtZ81zO6M?rel=0&wmode=opaque" frameborder="0" allowfullscreen=""></iframe>
</p>
<p></p>
<p></p>
<p>Beginners paintings are often distinguished by a lack of variety. They often display large areas of flat colour, brushwork that is all too similar, and shapes that are repetitious (eg, trees or hills the same shape and size).</p>
<p>That's all because of our natural tendency to simplify and make patterns. As painters it's our job to overcome these inbuilt tendencies, to make rich, interesting painting full of variety.</p>
<p>Have a think about that next time you're painting. Enjoy!</p>
<p></p>
<p>This is just a small snippet from the longer lesson which you can find here: <a href="http://www.livepaintinglessons.com/shop/first-snow" target="_blank">http://www.livepaintinglessons.com/shop/first-snow</a></p>
<p></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804199339?profile=original" target="_self"><img width="750" src="http://storage.ning.com/topology/rest/1.0/file/get/2804199339?profile=RESIZE_1024x1024" width="750" class="align-full"/></a></p>Painting Details in Dune Grassestag:thecompleteartist.ning.com,2017-05-14:2450081:BlogPost:7741252017-05-14T04:50:41.000ZRichard Robinsonhttps://thecompleteartist.ning.com/profile/RichardRobinson
<p>Here's a brief clip from the Sunset Dunes painting lesson at: <a href="http://www.livepaintinglessons.com/shop/sunset-dunes/" target="_blank">http://www.livepaintinglessons.com/shop/sunset-dunes/</a></p>
<p></p>
<p><iframe allowfullscreen="" frameborder="0" height="480" src="https://www.youtube.com/embed/aYWqMIxgiRw?rel=0&wmode=opaque" width="853"></iframe>
</p>
<p></p>
<p>When painting grasses or trees, or anything that we know is full of complex detail, it's all too easy to get carried…</p>
<p>Here's a brief clip from the Sunset Dunes painting lesson at: <a href="http://www.livepaintinglessons.com/shop/sunset-dunes/" target="_blank">http://www.livepaintinglessons.com/shop/sunset-dunes/</a></p>
<p></p>
<p><iframe width="853" height="480" src="https://www.youtube.com/embed/aYWqMIxgiRw?rel=0&wmode=opaque" frameborder="0" allowfullscreen=""></iframe>
</p>
<p></p>
<p>When painting grasses or trees, or anything that we know is full of complex detail, it's all too easy to get carried away with a little brush trying to put in every tiny little detail. That's fine if that's the way you <em>want</em> to paint, but if you're aiming for a looser painting style the key is to stick with your big brushes as long as possible, switching to a fine brush for only the last few strokes.</p>
<p></p>
<p>That way you get the best of both worlds - beautiful expressive brushwork up close, with the illusion of complex detail from a distance. Niiice!</p>
<p>Give it a try!</p>
<p></p>
<p>This is just a small snippet from the longer lesson which you can find here: <a href="http://www.livepaintinglessons.com/shop/sunset-dunes/" target="_blank">http://www.livepaintinglessons.com/shop/sunset-dunes/</a></p>
<p></p>
<p><a href="http://www.livepaintinglessons.com/shop/sunset-dunes/" target="_blank"><img src="http://storage.ning.com/topology/rest/1.0/file/get/2804199159?profile=original" width="650" class="align-full"/></a></p>Painting Transparent Watertag:thecompleteartist.ning.com,2017-04-13:2450081:BlogPost:7698032017-04-13T01:32:25.000ZRichard Robinsonhttps://thecompleteartist.ning.com/profile/RichardRobinson
<p><iframe allowfullscreen="" frameborder="0" height="480" src="https://www.youtube.com/embed/davM82Xk_N8?rel=0&wmode=opaque" width="853"></iframe>
</p>
<p></p>
<p>Here's a brief clip from the Chinaman's Bluff painting lesson at: <a href="http://www.livepaintinglessons.com/workshop2x.php" target="_blank">http://www.livepaintinglessons.com/workshop2x.php</a></p>
<p></p>
<p>Many beginner painters see water and assume it's all blue, or all green, without looking to see what's really going…</p>
<p><iframe width="853" height="480" src="https://www.youtube.com/embed/davM82Xk_N8?rel=0&wmode=opaque" frameborder="0" allowfullscreen=""></iframe>
</p>
<p></p>
<p>Here's a brief clip from the Chinaman's Bluff painting lesson at: <a href="http://www.livepaintinglessons.com/workshop2x.php" target="_blank">http://www.livepaintinglessons.com/workshop2x.php</a></p>
<p></p>
<p>Many beginner painters see water and assume it's all blue, or all green, without looking to see what's really going on.</p>
<p></p>
<p>As the water gets closer to us we see less of the reflection of the sky and we see more easily into the depths of the water, revealing whatever is there. We all know that from experience, but often forget it when it comes to painting water.</p>
<p></p>
<p><strong>The keys to painting transparent water effectively are:</strong></p>
<p><strong>1.</strong> Don't assume you know how water works. LOOK, and look again. Then SQUINT and look. Take your time.</p>
<p><strong>2.</strong> Note what the BIG colour changes are in the water from near to far.</p>
<p><strong>3.</strong> Paint those BIG areas first.</p>
<p><strong>4.</strong> Then paint the details. Note that details like rocks on the bottom will take on the colour of the water around it. The colours are all very similar in any one area. Another way to say that is that the colour contrast is low and gets lower the further away you look.</p>
<p>eg. The rocks under the water in the foreground here are all very greeny-brown and have a low contrast (their lights are not much lighter than their darks). As we look further away the rocks become bluer and the contrast between their lights and darks gets even less noticeable.</p>
<p></p>
<p>Give it a try!</p>
<p></p>
<p>This is just a small snippet from the longer lesson which you can find here: <a href="http://www.livepaintinglessons.com/workshop2x.php" target="_blank">http://www.livepaintinglessons.com/workshop2x.php</a></p>
<p></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804198774?profile=original" target="_self"><img width="750" src="http://storage.ning.com/topology/rest/1.0/file/get/2804198774?profile=RESIZE_1024x1024" width="750" class="align-full"/></a></p>
<p></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804199493?profile=original" target="_self"><img width="750" src="http://storage.ning.com/topology/rest/1.0/file/get/2804199493?profile=RESIZE_1024x1024" width="750" class="align-full"/></a></p>Painting a vibrant still lifetag:thecompleteartist.ning.com,2016-11-17:2450081:BlogPost:7384042016-11-17T04:55:59.000ZRichard Robinsonhttps://thecompleteartist.ning.com/profile/RichardRobinson
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804199258?profile=original" target="_self"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/2804199258?profile=RESIZE_1024x1024" width="750"></img></a> 'A Picnic in Tuscany' 40x40" Acrylic on canvas by Richard Robinson…</p>
<p></p>
<p></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804199258?profile=original" target="_self"><img width="750" src="http://storage.ning.com/topology/rest/1.0/file/get/2804199258?profile=RESIZE_1024x1024" width="750" class="align-full"/></a>'A Picnic in Tuscany' 40x40" Acrylic on canvas by Richard Robinson</p>
<p></p>
<p><iframe width="853" height="480" src="https://www.youtube.com/embed/Cov49_pehAc?rel=0&showinfo=0&wmode=opaque" frameborder="0" allowfullscreen=""></iframe>
</p>
<p></p>
<p></p>
<p></p>Pataua Pleasurestag:thecompleteartist.ning.com,2016-10-05:2450081:BlogPost:7285522016-10-05T04:12:22.000ZRichard Robinsonhttps://thecompleteartist.ning.com/profile/RichardRobinson
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804198305?profile=original" target="_self"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/2804198305?profile=RESIZE_1024x1024" width="750"></img></a> "Pataua Pleasures" 12x18" Oil on Canvas</p>
<p></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804199280?profile=original" target="_self"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/2804199280?profile=RESIZE_1024x1024" width="750"></img></a> Two thirds done.</p>
<p></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804199635?profile=original" target="_self"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/2804199635?profile=RESIZE_1024x1024" width="750"></img></a></p>
<p></p>
<p>Went to Pataua South today, crossed the…</p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804198305?profile=original" target="_self"><img width="750" src="http://storage.ning.com/topology/rest/1.0/file/get/2804198305?profile=RESIZE_1024x1024" width="750" class="align-full"/></a>"Pataua Pleasures" 12x18" Oil on Canvas</p>
<p></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804199280?profile=original" target="_self"><img width="750" src="http://storage.ning.com/topology/rest/1.0/file/get/2804199280?profile=RESIZE_1024x1024" width="750" class="align-full"/></a>Two thirds done.</p>
<p></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804199635?profile=original" target="_self"><img width="750" src="http://storage.ning.com/topology/rest/1.0/file/get/2804199635?profile=RESIZE_1024x1024" width="750" class="align-full"/></a></p>
<p></p>
<p>Went to Pataua South today, crossed the walkbridge and painted this great scene with a friend. This is about the fourth time I've painted at this spot. I get a little more expressive each time. Quite a complex scene and easy to get lost in all the details, proving the need to keep squinting at your subject and try to paint what you see when you squint - big shapes. Another thing this reminded me is that I'm not painting objects - I'm painting paint effects. I want each small area of the painting to be an interesting little abstract painting filled with clean expressive brushwork. Say a lot with a little. I zoomed in on the area that interested me most and simplified the background so it didn't compete with the tree.</p>
<p></p>
<p>You can get the video lesson of this same scene here: <a href="http://www.masteringpaint.com/northlandsummer/">http://www.masteringpaint.com/northlandsummer/</a></p>
<p></p>
<p>Happy Painting!</p>
<p>Richard.</p>
<p></p>
<p></p>Imagine a painting trip to Chinatag:thecompleteartist.ning.com,2016-05-04:2450081:BlogPost:6941112016-05-04T04:35:38.000ZRichard Robinsonhttps://thecompleteartist.ning.com/profile/RichardRobinson
<p class="p1"><span class="font-size-6"><span style="font-family: 'book antiqua', palatino;">Painting in China - the experience of a lifetime.</span><br></br></span></p>
<p class="p1"></p>
<p class="p1"><span class="font-size-6"><img src="http://storage.ning.com/topology/rest/1.0/file/get/2804197992?profile=original" width="640"></img></span></p>
<p class="p2"></p>
<p class="p1"><span class="s1"><b>Can you imagine a group painting trip in China? </b></span></p>
<p class="p1"><span class="s1">Having organised 5 such trips, every time I love to see that people are pleasantly surprised by how…</span></p>
<p class="p1"><span class="font-size-6"><span style="font-family: 'book antiqua', palatino;">Painting in China - the experience of a lifetime.</span><br/></span></p>
<p class="p1"></p>
<p class="p1"><span class="font-size-6"><img src="http://storage.ning.com/topology/rest/1.0/file/get/2804197992?profile=original" width="640"/></span></p>
<p class="p2"></p>
<p class="p1"><span class="s1"><b>Can you imagine a group painting trip in China? </b></span></p>
<p class="p1"><span class="s1">Having organised 5 such trips, every time I love to see that people are pleasantly surprised by how different and unexpected the experience is from what they had ever imagined.</span></p>
<p class="p1"></p>
<p class="p1"><span class="s1"><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804198030?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/2804198030?profile=original" width="640" class="align-full"/></a></span></p>
<p class="p2"></p>
<p class="p1"><span class="s1"><b>What’s it like?</b></span></p>
<p class="p1"><span class="s1">Honestly, it’s a life changing experience. China is not what you see in the news, polluted and overcrowded. Sure there are areas like that around Beijing, but 99% of this country is pure beauty and that’s what we go there to paint.</span></p>
<p class="p1"></p>
<p class="p1"><span class="s1"><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804198787?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/2804198787?profile=original" width="480" class="align-full"/></a></span></p>
<p class="p2"></p>
<p class="p1"><span class="s1">We go painting in the ancient picturesque villages and fairytale mountains of old China. Staying in lovely hotels, with a bus at the door, we have an array of subjects to choose from. Rivers, little old covered bridges, fields of flower tea, ponds of lotus, rustic little villages, and precipitous peaks.</span></p>
<p class="p1"></p>
<p class="p1"><span class="s1"><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804198961?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/2804198961?profile=original" width="640" class="align-full"/></a></span></p>
<p class="p1"></p>
<p class="p1"><span class="s1">This is a very rich and exotic environment, full of history and beauty. I LOVE IT! That’s why I want to take you there, and with Richard’s guidance I am really excited to see the paintings that come from the experience.</span></p>
<p class="p1"></p>
<p class="p1"><span class="s1"><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804198916?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/2804198916?profile=original" width="418" class="align-full"/></a></span></p>
<p class="p2"></p>
<p class="p1"><span class="s1">For contrast we start off in Shanghai, where we get to shop for art materials and anything else you could want in Shanghai’s most famous shopping street, offering high quality goods at very cheap prices. China is now the world’s largest consumer of luxury goods and the department stores in Shanghai, boutiques and restaurants are top international standard.</span></p>
<p class="p2"></p>
<p class="p2"><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804198940?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/2804198940?profile=original" width="480" class="align-full"/></a></p>
<p class="p2"></p>
<p class="p1"><span class="s1">Dining is very important on this trip. We go to some outstanding international restaurants in Shanghai, Hangzhou and Hong Kong, then concentrate on wonderful local dishes in the country locations. Amazing food! I have designed this trip to be a rich experience for the non painter as well, by having all our locations in interesting places.</span></p>
<p class="p1"></p>
<p class="p1"><span class="s1"><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804199335?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/2804199335?profile=original" width="427" class="align-full"/></a></span></p>
<p class="p2"></p>
<p class="p1"><span class="s1">Some of the cultural differences can be confronting for a Westerner, but you get to experience that within the comfort of the group and it’s always great fun and often hilarious sharing those new experiences. You might for instance feel a slight twinge in the tummy on eating your first deep fried scorpion (tastes like peanut butter), or find yourself gawking at the produce on display in an open food market. (very interesting!)</span></p>
<p class="p1"></p>
<p class="p1"><span class="s1"><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804199414?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/2804199414?profile=original" width="594" class="align-full"/></a></span></p>
<p class="p2"></p>
<p class="p1"><span class="s1">I often tell people before they arrive in China that a day there is worth two anywhere else, the sights, sounds and smells of this exotic beautiful country are enough to overwhelm you at every turn. Few people completely believe me when I tell them that, but by the end of the trip they’ve discovered exactly what I mean, and have a bunch of new friends that they’ve gained, enjoying the adventure together.</span></p>
<p class="p1"></p>
<p class="p1"><span class="s1"><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804199447?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/2804199447?profile=original" width="150" class="align-full" height="150"/></a></span></p>
<p class="p1"></p>
<p class="p1"><span class="s1">- Eve Skerrett</span></p>
<p class="p1"><span class="s1">China Painting Workshop Organiser</span></p>
<p><span class="s1"> </span></p>
<p><span class="s1"><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804199451?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/2804199451?profile=original" width="400" class="align-full"/></a></span></p>
<p class="p1"><span class="font-size-2">- Richard Robinson</span></p>
<p class="p1"><span class="font-size-2">Painting Tutor</span></p>
<p class="p1"></p>
<blockquote><p class="p1"><span class="font-size-4">Come join us this year for an unforgettable painting workshop!</span></p>
<p class="p1"><span style="font-size: 20pt;">HELLOOOO CHINA! October 15 – 30, 2016</span></p>
<p><span class="style3"><br/><span class="font-size-3">15 days of sightseeing and painting in 5 of China's iconic locations. Experience fine dining, excellent hotels, and an in depth encounter with both modern and ancient China!</span></span></p>
<p class="style3"><span class="font-size-3">Register at: <a href="http://www.paintchinatours.com/" target="_blank"><u><strong>www.paintchinatours.com</strong></u></a></span></p>
</blockquote>
<p class="p2"></p>
<p class="p2"></p>
<p class="p1"><span class="s1"> </span></p>The importance of shapestag:thecompleteartist.ning.com,2016-01-14:2450081:BlogPost:6704932016-01-14T00:00:00.000ZRichard Robinsonhttps://thecompleteartist.ning.com/profile/RichardRobinson
<p>The other day I had an email from an art teacher in Uganda asking that I critique some student work - ages 10 and 11.</p>
<p></p>
<p>Here's what I wrote:</p>
<p></p>
<div class="yiv9901566213" id="yiv9901566213yui_3_16_0_1_1452295946193_541291">Hello class, your teacher has asked me to critique some paintings for you. That’s a pretty cool teacher because he bugged me for you until I said yes. Good job teacher!<br></br> <br></br> Let me say first that each and every artist has their own idea of what…</div>
<p>The other day I had an email from an art teacher in Uganda asking that I critique some student work - ages 10 and 11.</p>
<p></p>
<p>Here's what I wrote:</p>
<p></p>
<div class="yiv9901566213" id="yiv9901566213yui_3_16_0_1_1452295946193_541291">Hello class, your teacher has asked me to critique some paintings for you. That’s a pretty cool teacher because he bugged me for you until I said yes. Good job teacher!<br/> <br/> Let me say first that each and every artist has their own idea of what makes a good painting, so I can only compare this painting to my own understanding of painting and make judgements based on that. So when I say this is good or this is bad, it’s just my idea, and everyone else has a different idea, so really my ideas should only be valuable to you if you like my own style of painting or at least like a impressionistic but also realistic style of painting, based on the beauty of nature.<br/><br/>Also, although I am now a professional painter and yes I sell my work for thousands of dollars (and yes it’s a great job!), I will remind you that I started out just like you with no particular special drawing or painting skills when I was young, but I liked doing art so I kept practicing and practicing as you know is what makes you good at anything. I did not go to art school, just kept painting and drawing, reading painting books and, oh yeah, painting and drawing. That’s all it takes if you want to get good, there’s no special magic.<br/><br/><br/><br/></div>
<div class="yiv9901566213" id="yiv9901566213yui_3_16_0_1_1452295946193_541313"><b id="yiv9901566213yui_3_16_0_1_1452295946193_541434">The Red Trees</b></div>
<div class="yiv9901566213"><b><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804198487?profile=original" target="_self"><br/><br/><img width="750" src="http://storage.ning.com/topology/rest/1.0/file/get/2804198487?profile=RESIZE_1024x1024" width="750" class="align-full"/></a></b></div>
<div class="yiv9901566213" id="yiv9901566213yui_3_16_0_1_1452295946193_541315"><br/><br/>This is a striking image with bold simple shapes and strong colour. It’s great that you’ve thought about the direction of the light and how that makes objects look three dimensional and also casts shadows. </div>
<div class="yiv9901566213" id="yiv9901566213yui_3_16_0_1_1452295946193_541321"><br/><br/>How could we make this painting better? Let’s think about what makes something interesting for us to look at. Usually it’s complex shapes and also variation in those complex shapes. So, could the trees be more complex? Yes they could. How about the background? Could it be more interesting? Yes it could. Look at the other paintings to see how the trees and background could be made more interesting.</div>
<div class="yiv9901566213" id="yiv9901566213yui_3_16_0_1_1452295946193_541327"><br/><br/>The second painting is mine and the third is by an artist named Tim Gagnon.</div>
<div class="yiv9901566213" id="yiv9901566213yui_3_16_0_1_1452295946193_541333"><b id="yiv9901566213yui_3_16_0_1_1452295946193_541457"><br/><br/><br/>The Waterfall</b></div>
<div class="yiv9901566213"><b><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804198765?profile=original" target="_self"><br/><br/><img width="750" src="http://storage.ning.com/topology/rest/1.0/file/get/2804198765?profile=RESIZE_1024x1024" width="750" class="align-full"/></a></b></div>
<div class="yiv9901566213" id="yiv9901566213yui_3_16_0_1_1452295946193_541343"><br/><br/>I’m impressed by this painting which shows a lot of movement in the water and a careful consideration of how to achieve the look of a waterfall with paint. This artist has also thought about light and shade as we can see in the rocks. Let’s compare it to the painting of Richard Schmidt. What’s the first and biggest difference? Again, it’s shapes. Richard’s waterfall has a more natural, interesting shape. The shape has more variation in it. The rocks also have more variation because some are big and some are small. There’s more variation in colour too because there are some grasses and little flowers in there.</div>
<div class="yiv9901566213" id="yiv9901566213yui_3_16_0_1_1452295946193_541349"><br/><br/>With both the tree and waterfall paintings we can see that complex and interesting shapes are the biggest part of making a more interesting painting. When we first start painting and drawing we tend to over-simplify things, to paint the ‘symbol’ or the ‘idea’ of the thing we have in our heads instead of painting the thing as it actually is. The more time we spend looking at our subject and figuring out how and why it actually looks the way it does, the more realistic our drawings and paintings can become. There is a saying that ‘every artist has spent an hour looking at the apple’. </div>
<div class="yiv9901566213" id="yiv9901566213yui_3_16_0_1_1452295946193_541355"><br/><br/>I encourage you to spend more time looking at your subject so that you can paint it even better. Draw your hand, your shoe, a bucket, a cup, a flower - lots of small simple things to get you really looking. To see the world as an artist sees it is a special thing, because we see beauty in everything, in every place and everyone. </div>
<div class="yiv9901566213" id="yiv9901566213yui_3_16_0_1_1452295946193_541361"><br/><br/>I wish you well on your journeys!</div>
<div class="yiv9901566213" id="yiv9901566213yui_3_16_0_1_1452295946193_541367"><br/><br/>Greetings from New Zealand!<br/><br/>Richard.</div>My brushes for oil and acrylic paintingtag:thecompleteartist.ning.com,2016-01-09:2450081:BlogPost:6692282016-01-09T01:00:00.000ZRichard Robinsonhttps://thecompleteartist.ning.com/profile/RichardRobinson
<p><iframe frameborder="0" height="315" src="https://www.youtube.com/embed/Lr3QC9MMxNU?rel=0&wmode=opaque" width="560"></iframe>
</p>
<p></p>
<p>Here's a wee video about why I use the brushes I do for oil painting and acrylic painting.</p>
<p></p>
<p><a href="http://www.rosemaryandco.com/gift-sets/richard-robinson-set" target="_blank"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/2804201374?profile=RESIZE_1024x1024" width="750"></img></a></p>
<p></p>
<p></p>
<p>Get the Richard Robinson Brush Set from Rosemary & Co. here:…</p>
<p></p>
<p><iframe width="560" height="315" src="https://www.youtube.com/embed/Lr3QC9MMxNU?rel=0&wmode=opaque" frameborder="0"></iframe>
</p>
<p></p>
<p>Here's a wee video about why I use the brushes I do for oil painting and acrylic painting.</p>
<p></p>
<p><a href="http://www.rosemaryandco.com/gift-sets/richard-robinson-set" target="_blank"><img width="750" src="http://storage.ning.com/topology/rest/1.0/file/get/2804201374?profile=RESIZE_1024x1024" width="750" class="align-full"/></a></p>
<p></p>
<p></p>
<p>Get the Richard Robinson Brush Set from Rosemary & Co. here:</p>
<p><a href="http://www.rosemaryandco.com/gift-sets/richard-robinson-set" target="_blank">http://www.rosemaryandco.com/gift-sets/richard-robinson-set</a></p>Painting Flowerstag:thecompleteartist.ning.com,2015-12-01:2450081:BlogPost:6593732015-12-01T01:19:36.000ZRichard Robinsonhttps://thecompleteartist.ning.com/profile/RichardRobinson
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804199319?profile=original" target="_self"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/2804199319?profile=original" width="420"></img></a></p>
<p></p>
<p>This month we're starting to paint flowers in the monthly online workshop. We're starting off nice and slow with a single yellow rose and the next 3 months will continue with flowers getting progressively more complex. So if you want to start painting flowers now is a great time to start. Mind you the demo video will always be available so you can start…</p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804199319?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/2804199319?profile=original" width="420" class="align-full"/></a></p>
<p></p>
<p>This month we're starting to paint flowers in the monthly online workshop. We're starting off nice and slow with a single yellow rose and the next 3 months will continue with flowers getting progressively more complex. So if you want to start painting flowers now is a great time to start. Mind you the demo video will always be available so you can start whenever you like: <a href="http://livepaintinglessons.com/workshop50.php#video" target="_blank">http://livepaintinglessons.com/workshop50.php#video</a></p>
<p></p>
<p>Enjoy!</p>Lost and Found Edgestag:thecompleteartist.ning.com,2015-07-01:2450081:BlogPost:6074612015-07-01T05:30:00.000ZRichard Robinsonhttps://thecompleteartist.ning.com/profile/RichardRobinson
<p>This month's workshop focuses partly on Lost and Found Edges which to me is one of the real beauties of working with oil paints - that you can soften off or completely lose an edge whilst leaving others sharply focused, adding an air of mystery and romance to a painting.</p>
<p></p>
<p>Here's the painting we're working with:</p>
<p></p>
<h3><a href="http://livepaintinglessons.com/images/Workshop45/critiques/OldTimers.jpg" target="_blank"><img alt=""Old Timers" 13 x 13" Oil on Canvas by Richard Robinson." border="0" height="650" src="http://livepaintinglessons.com/images/Workshop45/critiques/small/OldTimers_650.jpg" width="650"></img></a></h3>
<p class="style3">"Old Timers" 13…</p>
<p>This month's workshop focuses partly on Lost and Found Edges which to me is one of the real beauties of working with oil paints - that you can soften off or completely lose an edge whilst leaving others sharply focused, adding an air of mystery and romance to a painting.</p>
<p></p>
<p>Here's the painting we're working with:</p>
<p></p>
<h3><a href="http://livepaintinglessons.com/images/Workshop45/critiques/OldTimers.jpg" target="_blank"><img src="http://livepaintinglessons.com/images/Workshop45/critiques/small/OldTimers_650.jpg" alt=""Old Timers" 13 x 13" Oil on Canvas by Richard Robinson." width="650" height="650" border="0"/></a></h3>
<p class="style3">"Old Timers" 13 x 13" Oil on Canvas by Richard Robinson.</p>
<p class="style3"></p>
<p class="style3">and here's the Plein Air piece where I began to explore the idea of exaggerating lost edges:</p>
<p class="style3"></p>
<h3><a href="http://livepaintinglessons.com/images/Workshop45/critiques/53Chevy.jpg" target="_blank"><br class="Apple-interchange-newline"/><img src="http://livepaintinglessons.com/images/Workshop45/critiques/small/53Chevy_650.jpg" alt=""Old Timers" 13 x 13" Oil on Canvas by Richard Robinson." width="650" height="650" border="0"/></a></h3>
<p class="style3">"Old Timers" 13 x 13" Oil on Canvas by Richard Robinson. <span class="style3">Painted en plein air. (Outdoors on site).</span></p>
<p class="style3"></p>
<p class="style3"><span class="style3">See how crisp the details in the truck look and how intently our eyes become focused on it because of the vagueness of the edges surrounding it? Neat eh!? I love this effect and I plan to use it more and more in my work.</span></p>
<p class="style3"></p>
<p class="style3"><span class="style3">Another thing I cover in the demo video is obviously the process of how to build up to that crisp detail:</span></p>
<p class="style3"></p>
<table width="650" border="0" cellspacing="0">
<tbody><tr><td><a href="http://livepaintinglessons.com/images/Workshop45/critiques/Progress.jpg" target="_blank"><img src="http://livepaintinglessons.com/images/Workshop45/critiques/small/Progress.jpg" alt="Progress" width="650" height="650" vspace="10" border="0"/></a></td>
</tr>
<tr><td><p>If you focus on the details too early it's all too easy to get lost. Much better to paint the big shapes first and then put the icing on the top.</p>
<p></p>
<p>We also look at methods of simplifying the background:</p>
<p></p>
<p class="bigheader_black"><strong>Simplifying the background with unified colour</strong></p>
<table width="650" border="0" cellspacing="0">
<tbody><tr><td><a href="http://livepaintinglessons.com/images/Workshop45/critiques/BackgroundOptions.jpg" target="_blank"><img src="http://livepaintinglessons.com/images/Workshop45/critiques/small/BackgroundOptions.jpg" alt="Why the soft shadow o the beach?" width="650" height="129" vspace="10" border="0"/></a></td>
</tr>
<tr><td><p>Any of these background colour options could be used - it's a matter of preference, but the key is to keep the background simple by making its colours very similar. Let the foreground be the star of the show.</p>
<p></p>
</td>
</tr>
</tbody>
</table>
<table width="100%" border="0" cellspacing="0">
<tbody><tr><td align="center" valign="middle"><p><span class="font-size-5">Get the Demonstration Video</span></p>
</td>
</tr>
</tbody>
</table>
<p></p>
<p></p>
<p></p>
<table width="100%" border="0" cellspacing="0">
<tbody><tr><td width="47%" align="center" valign="top"><table width="92%" border="0" cellspacing="0">
<tbody><tr><td align="left" valign="top"><span class="style5"><img src="http://livepaintinglessons.com/images/video_workshop45.jpg" alt="Demo Painting from workshop" width="330" height="335" border="0"/></span></td>
</tr>
</tbody>
</table>
</td>
<td width="2%" align="left" valign="top"><span class="style4"><img src="http://livepaintinglessons.com/images/spacer.gif" alt="" width="1" height="1"/></span></td>
<td width="51%" align="left" valign="top"><table width="100%" border="0" cellspacing="0">
<tbody><tr><td align="left" valign="top"><table width="100%" border="0" align="center" cellspacing="0">
<tbody><tr align="left"><td height="18"><p class="lessonheader_big"><span class="font-size-4"><strong>Painting Workshop 45</strong></span><br/> <span class="font-size-3">Old Timers</span></p>
</td>
</tr>
<tr><td height="18" align="left" valign="top" class="style3bold"><p>I find this sort of nostalgic subject hard to pass by - call me sentimental. Follow me step by step as I show you the techniques I use to paint this classic scene of a 53 Chevy. Painting a consistent light effect, simplifying a background, lost and found edges and building up to crisp details are all demonstrated in the video.</p>
</td>
</tr>
<tr><td width="96%" height="18" class="style3"> </td>
</tr>
</tbody>
</table>
</td>
</tr>
</tbody>
</table>
<table width="350" border="0" cellspacing="0">
<tbody><tr><td align="left" valign="top"><table width="100%" border="0" cellspacing="0">
<tbody><tr><td><span class="style2"><img src="http://livepaintinglessons.com/images/paypal_verified.gif" alt="" width="107" height="82"/></span></td>
</tr>
<tr><td> </td>
</tr>
<tr><td align="left" nowrap="nowrap"><p><span class="style3">All prices are in US Dollars.<br/> Viewing online requires broadband.<br/> Running time: 20 minutes. <br/> Full Moneyback Guarantee.</span></p>
<p></p>
<table width="100%" border="0" cellspacing="0">
<tbody><tr><td align="center" valign="top" nowrap="nowrap"> </td>
</tr>
<tr><td height="30" align="center" valign="top" nowrap="nowrap"> </td>
</tr>
<tr><td height="30" align="center" valign="top" nowrap="nowrap" style="text-align: left;"><span class="style3header">View Online: $10</span><br/> <span class="style3">(also allows Download)</span></td>
</tr>
<tr><td align="center" style="text-align: left;"><a href="http://www.1shoppingcart.com/SecureCart/SecureCart.aspx?mid=D1A223EA-F5E6-442A-AC8D-53FAB6BD5661&pid=102638f9e0db491a9f408faf89ef31f8"><img src="http://www.mcssl.com/netcart/images/cart_buttons/cart_button_1.gif" alt="" border="0"/></a></td>
</tr>
<tr><td height="10" align="center"><img src="http://livepaintinglessons.com/images/spacer.gif" alt="" width="1" height="1"/></td>
</tr>
<tr><td align="center" nowrap="nowrap" style="text-align: left;"><span class="style2"><span class="style3"><a href="http://livepaintinglessons.com/currency.php"><u>$ Currency Converter</u></a><a href="http://livepaintinglessons.com/help_downloads.php"> ></a></span></span></td>
</tr>
</tbody>
</table>
</td>
</tr>
</tbody>
</table>
</td>
<td width="50" align="left" valign="top"> </td>
<td></td>
<td width="50"> </td>
<td align="center" valign="top"></td>
</tr>
</tbody>
</table>
</td>
</tr>
</tbody>
</table>
</td>
</tr>
</tbody>
</table>
<p></p>Plein Air Still Lifetag:thecompleteartist.ning.com,2015-06-22:2450081:BlogPost:6021122015-06-22T00:30:00.000ZRichard Robinsonhttps://thecompleteartist.ning.com/profile/RichardRobinson
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804199739?profile=original" target="_self"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/2804199739?profile=RESIZE_1024x1024" width="750"></img></a> "Plein Air Still Life" 15x15" Oil on Canvas</p>
<p></p>
<p>Been painting this out on the deck for a couple of days. Boy did I feel rusty! I must have repainted that apple about 20 times. A great painter I recently met in California named <a href="http://www.anneward.com/" target="_blank">Anne Ward</a> inspired me to get busy painting still life outdoors. Very glad she did. I…</p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804199739?profile=original" target="_self"><img width="750" src="http://storage.ning.com/topology/rest/1.0/file/get/2804199739?profile=RESIZE_1024x1024" width="750" class="align-full"/></a>"Plein Air Still Life" 15x15" Oil on Canvas</p>
<p></p>
<p>Been painting this out on the deck for a couple of days. Boy did I feel rusty! I must have repainted that apple about 20 times. A great painter I recently met in California named <a href="http://www.anneward.com/" target="_blank">Anne Ward</a> inspired me to get busy painting still life outdoors. Very glad she did. I set this up in the shade under the eaves so only cool light was falling on it due largely to the overcast conditions too. Nice thing about that lighting is that it seems to give you lots of rich colour in the mid values, and the shadows are not so dark either.</p>
<p>I was also experimenting with M Graham oil paints and Galkyd medium and Gamblin solvent free gel. Both interesting. The galkyd medium is stickier and slightly thicker than the walnut oil I've been using but it has the advantage of drying faster. The solvent free gel gives the paint a stiffer feel - the brushstrokes stay how you leave them without settling down at all. Interesting but I'm still getting used to it.</p>
<p>I was looking again at Quang Ho's still lifes and also Fechin but mostly <a href="http://www.sergeibongart.com/" target="_blank">Sergei Bongart</a> for his broad brave treatment, not that my painting turned out like that but it's certainly a goal of mine. Where would we be without goals? I've found that when I don't have them I very soon fall into boredom and despondency. Each goal is the starting point for another. Onward and upward.</p>
<p></p>Stretching a Canvas with tapetag:thecompleteartist.ning.com,2015-03-11:2450081:BlogPost:5609952015-03-11T01:30:46.000ZRichard Robinsonhttps://thecompleteartist.ning.com/profile/RichardRobinson
<p><iframe frameborder="0" height="360" src="https://www.youtube.com/embed/hCAAlw8W83k?rel=0&showinfo=0&wmode=opaque" width="640"></iframe>
</p>
<p></p>
<p></p>
<p></p>
<table align="center" border="0" cellspacing="0" width="646">
<tbody><tr align="left" valign="top"><td align="center" class="style7"></td>
</tr>
</tbody>
</table>
<table align="center" border="0" cellspacing="0" width="646">
<tbody><tr align="left" valign="top"><td align="center" class="style7"></td>
</tr>
</tbody>
</table>
<p><iframe width="640" height="360" src="https://www.youtube.com/embed/hCAAlw8W83k?rel=0&showinfo=0&wmode=opaque" frameborder="0"></iframe>
</p>
<p></p>
<p></p>
<p></p>
<table width="646" border="0" align="center" cellspacing="0">
<tbody><tr align="left" valign="top"><td align="center" class="style7"></td>
</tr>
</tbody>
</table>
<table width="646" border="0" align="center" cellspacing="0">
<tbody><tr align="left" valign="top"><td align="center" class="style7"><span class="font-size-6">Painting Workshops 2015</span></td>
</tr>
<tr align="left" valign="top"><td align="center" class="style3">Please Note: Spaces are limited and always fill quickly, so please register now to reserve your place.</td>
</tr>
<tr align="left" valign="top"><td align="center" class="style3"> </td>
</tr>
<tr align="left" valign="top"><td align="center" class="style3"> </td>
</tr>
<tr align="left" valign="top"><td align="center"><table width="90%" border="0" cellspacing="0">
<tbody><tr><td align="left" valign="top"><p><span class="bigheader_black">Coatesville, NZ</span><br/>March 21 – 22, 2015<br/><span class="style3"><br/>Two days of plein air painting in and around scenic coastville with Richard Robinson who will be giving demonstrations, group instruction and personal tuition. Stay in peaceful Whakata Country Retreat and have a weekend of fun and learning.</span></p>
<p class="style3">Workshop Cost: $200nzd, payable in cash on arrival. Not including accommodation which is charged separately. <a href="http://livepaintinglessons.com/workshop_pleinair.php"><strong><u>Register here</u></strong></a>.<br/><span class="style18"><br/>FULLY BOOKED.</span></p>
</td>
<td> </td>
<td align="right"><a href="http://livepaintinglessons.com/workshop_pleinair.php"><img src="http://livepaintinglessons.com/images/workshop_whakata.jpg" width="400" height="245" border="0"/></a></td>
</tr>
<tr><td align="left" valign="top"> </td>
<td> </td>
<td align="right"> </td>
</tr>
<tr><td align="left" valign="top"> </td>
<td> </td>
<td align="right"> </td>
</tr>
<tr><td align="left" valign="top"><p><span class="bigheader_black">San Francisco</span><br/>May 14 – 17, 2015<br/><span class="style3">8:45 am to 4:15 pm<br/><br/>Meet at San Francisco Women Artist Gallery 647 Irving Street (at 8th Avenue), San Francisco <br/>Outdoor sessions, painting in oil, acrylic or watercolor! Location will vary depending on weather and will include at least one bay or ocean view and one or more "urban" settings. Our goal is to have students complete these classes with completed paintings!<br/>Tuition $500usd per student;<br/>$450usd SFWA members<br/><br/><span class="style18">FULLY BOOKED.</span></span></p>
</td>
<td> </td>
<td align="right"><a href="http://www.sfwomenartistsorg.com/"><img src="http://livepaintinglessons.com/images/workshop_sanfrancisco.jpg" alt="" width="400" height="245" border="0"/></a></td>
</tr>
<tr><td align="left" valign="top"> </td>
<td> </td>
<td align="right"> </td>
</tr>
<tr><td align="left" valign="top"> </td>
<td> </td>
<td align="right"> </td>
</tr>
<tr><td align="left" valign="top"><p><span class="bigheader_black">Paso Robles, CA, USA</span><br/>May 25 – 26, 2015<br/><span class="style3">9am - 4pm<br/><br/>Students will be painting with Richard Robinson in beautiful Paso Robles offering views of vineyards, oak studded hills, and the Pacific Ocean</span></p>
<p><span class="style3">Workshop Cost: $327usd</span></p>
<p class="style3"><a href="mailto:sasha@studiosonthepark.org?subject=Richard%20Robinson%20Plein%20Air%20Oil%20Painting%20Workshop%20at%20Studios%20on%20the%20Park"><u>Email Sasha here</u></a> to register.<br/><br/><span class="style18">ONLY 2 SPOTS LEFT!</span></p>
</td>
<td> </td>
<td align="right"><a href="mailto:sasha@studiosonthepark.org?subject=Richard%20Robinson%20Plein%20Air%20Oil%20Painting%20Workshop%20at%20Studios%20on%20the%20Park"><img src="http://livepaintinglessons.com/images/workshop_pasorobles.jpg" width="400" height="245" border="0"/></a></td>
</tr>
<tr><td align="left" valign="top"> </td>
<td> </td>
<td align="right"> </td>
</tr>
<tr><td align="left" valign="top"> </td>
<td> </td>
<td align="right"> </td>
</tr>
<tr><td align="left" valign="top"><p><span class="bigheader_black">The French Alps<br/></span><span class="style38">July 18 - July 25, 2015<br/></span><span class="style38">Graydon, Haute-Savoie, France </span><br/><span class="style3"><br/>A luxury painting workshop experience in a beautiful secluded chalet in the mountains.</span><br/><span class="style3">Places are strictly limited to a maximum of 10 students.</span></p>
<p>Register <a href="http://www.livepaintinglessons.com/workshop_frenchalps.php" target="_self"><u>Here</u></a><br/><br/><span class="style18">NOW OPEN FOR REGISTRATION.</span></p>
</td>
<td> </td>
<td align="right"><a href="http://www.livepaintinglessons.com/workshop_frenchalps.php"><img src="http://livepaintinglessons.com/images/workshop_frenchalps" alt="" width="400" height="245" border="0"/></a></td>
</tr>
<tr><td align="left" valign="top"> </td>
<td> </td>
<td align="right"> </td>
</tr>
<tr><td align="left" valign="top"> </td>
<td> </td>
<td align="right"> </td>
</tr>
<tr><td width="37%" align="left" valign="top"><p><span class="bigheader_black">Spain</span><br/>September 9 – 19, 2015<br/><span class="style3"><br/>Ten full days devoted to art classes and fun. With world famous artist Richard Robinson as our tutor, we'll paint and sketch, go sightseeing, explore out-of-the-way places as well as see the legendary sights of Spain. We'll sample local cuisine, talk to people we meet on our travels and have a real traveller's experience. The very best painting locations have been selected so we can quickly get to work in a range of memorable painting spots.</span></p>
<p class="style3">Register at: <a href="http://www.paintinspain.com/" target="_blank"><u><strong>www.paintinspain.com</strong></u></a><br/><br/><span class="style18">ONLY 3 SPOTS LEFT!</span></p>
</td>
<td width="3%"> </td>
<td width="60%" align="right"><a href="http://www.paintinspain.com/"><img src="http://livepaintinglessons.com/images/workshop_spain.jpg" alt="workshop" width="400" height="245" border="0"/></a></td>
</tr>
</tbody>
</table>
</td>
</tr>
<tr align="left" valign="top"><td></td>
</tr>
</tbody>
</table>
<p></p>Finishing Monet's Paintingtag:thecompleteartist.ning.com,2015-03-02:2450081:BlogPost:5585662015-03-02T22:14:26.000ZRichard Robinsonhttps://thecompleteartist.ning.com/profile/RichardRobinson
<p><a href="http://www.livepaintinglessons.com/images/Compare_with_Monet.jpg" target="_blank"><img class="align-full" src="http://www.livepaintinglessons.com/images/Compare_with_Monet.jpg"></img></a></p>
<p></p>
<p>I'm very happy to release this month's new online workshop and demo video at <a href="http://www.livepaintinglessons.com/workshop41.php" target="_blank">http://www.livepaintinglessons.com/workshop41.php</a></p>
<p></p>
<p>This has taken quite some study and I found it exciting to follow Monet's footsteps through Venice (virtually), discovering the history there and to be…</p>
<p><a href="http://www.livepaintinglessons.com/images/Compare_with_Monet.jpg" target="_blank"><img src="http://www.livepaintinglessons.com/images/Compare_with_Monet.jpg" class="align-full"/></a></p>
<p></p>
<p>I'm very happy to release this month's new online workshop and demo video at <a href="http://www.livepaintinglessons.com/workshop41.php" target="_blank">http://www.livepaintinglessons.com/workshop41.php</a></p>
<p></p>
<p>This has taken quite some study and I found it exciting to follow Monet's footsteps through Venice (virtually), discovering the history there and to be able to add something to his legacy in my own small way. I'm excited to see what everyone else comes up with after watching the <a href="http://www.livepaintinglessons.com/workshop41.php#video" target="_blank">demo video</a>.</p>
<p></p>
<p>I'm also in discussions developing a workshop in Venice for 2016 which will retrace Monet's footsteps - staying in the same hotel, painting in the same locations, 108 years later. Should be fun.</p>
<p></p>
<p></p>A studio painting step by steptag:thecompleteartist.ning.com,2015-02-22:2450081:BlogPost:5542692015-02-22T22:06:36.000ZRichard Robinsonhttps://thecompleteartist.ning.com/profile/RichardRobinson
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804198948?profile=original" target="_self"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/2804198948?profile=RESIZE_1024x1024" width="750"></img></a></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804199598?profile=original" target="_self"> </a></p>
<p>Resource Photo: Pataua South, Northland, New Zealand</p>
<p>I've painted this scene several times before, all with slight variations on a theme. This one is a commission for a specific size so needed to be compressed into the shorter format. Each time I…</p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804198948?profile=original" target="_self"><img width="750" src="http://storage.ning.com/topology/rest/1.0/file/get/2804198948?profile=RESIZE_1024x1024" width="750" class="align-full"/></a></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804199598?profile=original" target="_self"> </a></p>
<p>Resource Photo: Pataua South, Northland, New Zealand</p>
<p>I've painted this scene several times before, all with slight variations on a theme. This one is a commission for a specific size so needed to be compressed into the shorter format. Each time I paint the same subject it gives me an opportunity to unleash my artistic licence and try out something a little different. Each new painting (hopefully) gets better and better as I gain a deeper understanding of the subject. In this version for instance I felt freer to invent the subtle shapes in the dunes grasses and also had fun playing with the impasto highlights. As in life, no path ever gives you the same journey.</p>
<p></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804199598?profile=original" target="_self"><img width="750" src="http://storage.ning.com/topology/rest/1.0/file/get/2804199598?profile=RESIZE_1024x1024" width="750" class="align-full"/></a></p>
<p>The Sketch : 19 x 38.5"</p>
<p>Palette of Cobra Water Mixable Oils:</p>
<p>Titanium White</p>
<p>Primary Yellow</p>
<p>Yellow Ochre</p>
<p>Primary Magenta</p>
<p>Pthalo Blue</p>
<p>Medium: Walnut Oil</p>
<p>Canvas: Fredrix Ultrasmooth (purchased in a roll, cut to size and stretched on a board using 3M masking tape.)</p>
<p>Brushes: 1" Bristle Varnishing Brush, Robert Simmons Signet Long Bristle Flat #8, #6 and a sable signing brush. </p>
<p></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804199675?profile=original" target="_self"><img width="750" src="http://storage.ning.com/topology/rest/1.0/file/get/2804199675?profile=RESIZE_1024x1024" width="750" class="align-full"/></a></p>
<p></p>
<p>Normally I work from Darks to Light all over the canvas. In this case however I've started at the centre of interest and set the darkest dark in that area to be about a 7/10 value so that it leaves room for darker darks in the foreground, creating depth and a sense of light through the air. I know I'm going to create a bright warm glowing area around the sun so I've made the area closest to the sun slightly lighter and warmer, and also added a touch more blue to the mountain on the right where it will take on some of the cooler sky colour there. No highlights have been painted at this early stage.</p>
<p></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804199735?profile=original" target="_self"><img width="750" src="http://storage.ning.com/topology/rest/1.0/file/get/2804199735?profile=RESIZE_1024x1024" width="750" class="align-full"/></a></p>
<p></p>
<p>Closest to the sun I used just primary yellow and white. Moving out from there I added more and more yellow ochre and less white. All of the elements surrounding it must get gradually darker and cooler, but dark objects like trees might transition through oranges and reds to eventually become cooler darker green further from the sun. I work with larger brushes (#8 bristle flats) to begin with so I don't get carried away with the details.</p>
<p></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804200028?profile=original" target="_self"><img width="750" src="http://storage.ning.com/topology/rest/1.0/file/get/2804200028?profile=RESIZE_1024x1024" width="750" class="align-full"/></a></p>
<p></p>
<p>I've blocked in the darks in the foreground quite thinly using enough walnut oil to let the paint cover the canvas easily, leaving room for the light areas to work down into these. I'm inventing the shapes so I just keep in mind that they need to get thinner and flatter as they recede to give the illusion of depth. Note that the brushstrokes in the foreground are much larger too - it all helps to trick the eye into believing there is real depth there.</p>
<p></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804199896?profile=original" target="_self"><img width="750" src="http://storage.ning.com/topology/rest/1.0/file/get/2804199896?profile=RESIZE_1024x1024" width="750" class="align-full"/></a></p>
<p></p>
<p>Now the lights have gone on top of the darks in the foreground and the are applied thicker, with no walnut oil and really much thicker, lighter and warmer closer to the sun. The sand has been blocked in with a slightly warm grey believe it or not, but it looks slightly cool because it's surrounded by all that warmth. A common mistake would be to paint it cooler than necessary, not allowing for this effect of 'simultaneous contrast'.</p>
<p></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804200295?profile=original" target="_self"><img width="750" src="http://storage.ning.com/topology/rest/1.0/file/get/2804200295?profile=RESIZE_1024x1024" width="750" class="align-full"/></a></p>
<p></p>
<p>The ocean and shadow sides of the clouds are placed in, again not going too blue because I want an overall warm tonality in this painting. I've also added a variety of cooler and warmer greys into the sand - cooler where it might reflect the sky to the right and warmer on the beach where it might reflect some of the warm light from the sunlit clouds, as the shallow water is doing.</p>
<p></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804203383?profile=original" target="_self"><img width="750" src="http://storage.ning.com/topology/rest/1.0/file/get/2804203383?profile=RESIZE_1024x1024" width="750" class="align-full"/></a></p>
<p></p>
<p>The finished painting. The sky and clouds got warmer and lighter as the approached the sun, a few small clouds lending scale to the big ones. The sun itself was painted in very smoothly with a palette knife in a circular fashion so no errant lumps of paint would cast tiny shadows there and spoil the illusion of intense light. The foam in the waves was painted in a light cool grey since all that area is cast in shadow. More thick impasto highlights were added to the landscape closer to the sun and a few darks strengthened in the foreground to again add more contrast between foreground and background.</p>
<p></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804213751?profile=original" target="_self"><img width="750" src="http://storage.ning.com/topology/rest/1.0/file/get/2804213751?profile=RESIZE_1024x1024" width="750" class="align-full"/></a></p>
<p>"Pataua" 19 x 38.5" Oil on Canvas by Richard Robinson</p>
<p></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804198948?profile=original" target="_self"><img width="750" src="http://storage.ning.com/topology/rest/1.0/file/get/2804198948?profile=RESIZE_1024x1024" width="750" class="align-full"/></a></p>
<p>The Resource photo.</p>
<p></p>
<p></p>
<p><a href="http://www.livepaintinglessons.com" target="_blank">www.livepaintinglessons.com</a></p>
<p></p>The 2015 Painting Calendar is ready.tag:thecompleteartist.ning.com,2014-12-12:2450081:BlogPost:5239782014-12-12T00:59:50.000ZRichard Robinsonhttps://thecompleteartist.ning.com/profile/RichardRobinson
<p><a href="http://www.lulu.com/shop/richard-robinson/richard-robinson-calendar-2015/calendar/product-21945903.html" target="_blank"></a></p>
<p>12 of my favorite paintings from this year - ready for you to enjoy all through 2015...…</p>
<p></p>
<p><a href="http://www.lulu.com/shop/richard-robinson/richard-robinson-calendar-2015/calendar/product-21945903.html" target="_blank"><img class="align-full" src="http://www.livepaintinglessons.com/images/CalendarCover2015.jpg"></img></a></p>
<p><a href="http://www.lulu.com/commerce/index.php?fBuyContent=14233528"><img alt="Support independent publishing: Buy this calendar on Lulu." border="0" src="http://static.lulu.com/images/services/buy_now_buttons/en/orange.gif?20141120080341"></img></a></p>
<p><a href="http://www.lulu.com/shop/richard-robinson/richard-robinson-calendar-2015/calendar/product-21945903.html" target="_blank"></a></p>
<p>12 of my favorite paintings from this year - ready for you to enjoy all through 2015...</p>
<p></p>
<p><a href="http://www.lulu.com/shop/richard-robinson/richard-robinson-calendar-2015/calendar/product-21945903.html" target="_blank"><img src="http://www.livepaintinglessons.com/images/CalendarCover2015.jpg" class="align-full"/></a></p>
<p><a href="http://www.lulu.com/commerce/index.php?fBuyContent=14233528"><img src="http://static.lulu.com/images/services/buy_now_buttons/en/orange.gif?20141120080341" border="0" alt="Support independent publishing: Buy this calendar on Lulu."/></a></p>
<p></p>
<p></p>
<p><object width="440" height="330" classid="clsid:d27cdb6e-ae6d-11cf-96b8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0"><param name="wmode" value="opaque"></param><param name="allowFullScreen" value="false"></param><param name="allowScriptAccess" value="never"></param><param name="flashvars" value="contentId=14233528&endpoint=http://www.lulu.com/author/previews/preview_endpoint.php"></param><param name="src" value="http://www.lulu.com/viewer/embed/EmbeddablePreviewer.swf?version=20141120080341"></param><param name="allowfullscreen" value="false"></param><param name="allowscriptaccess" value="never"></param><embed wmode="opaque" width="440" height="330" type="application/x-shockwave-flash" src="http://www.lulu.com/viewer/embed/EmbeddablePreviewer.swf?version=20141120080341" flashvars="contentId=14233528&endpoint=http://www.lulu.com/author/previews/preview_endpoint.php" allowfullscreen="false" allowscriptaccess="never"></embed> </object>
</p>
<p></p>
<p>Can't see the preview above? View it <a href="http://www.lulu.com/shop/richard-robinson/richard-robinson-calendar-2015/calendar/product-21945903.html" target="_blank">here</a>. </p>
<p></p>
<p>Merry Christmas!!</p>
<p></p>Painting a dappled light subjecttag:thecompleteartist.ning.com,2014-12-12:2450081:BlogPost:5239762014-12-12T00:48:45.000ZRichard Robinsonhttps://thecompleteartist.ning.com/profile/RichardRobinson
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804200422?profile=original" target="_self"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/2804200422?profile=RESIZE_1024x1024" width="750"></img></a></p>
<p></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804201389?profile=original" target="_self"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/2804201389?profile=RESIZE_1024x1024" width="750"></img></a></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804201780?profile=original" target="_self"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/2804201780?profile=RESIZE_1024x1024" width="750"></img></a></p>
<p></p>
<p><span>Enjoyed doing this painting today. Dappled light is always tricky - more so across striped,…</span></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804200422?profile=original" target="_self"><img width="750" src="http://storage.ning.com/topology/rest/1.0/file/get/2804200422?profile=RESIZE_1024x1024" width="750" class="align-full"/></a></p>
<p></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804201389?profile=original" target="_self"><img width="750" src="http://storage.ning.com/topology/rest/1.0/file/get/2804201389?profile=RESIZE_1024x1024" width="750" class="align-full"/></a></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804201780?profile=original" target="_self"><img width="750" src="http://storage.ning.com/topology/rest/1.0/file/get/2804201780?profile=RESIZE_1024x1024" width="750" class="align-full"/></a></p>
<p></p>
<p><span>Enjoyed doing this painting today. Dappled light is always tricky - more so across striped, curved objects. What's makes them so tricky is that they have a variety of edges and very complex shapes. You can see I've simplified the shapes somewhat but tried to maintain the idea of the shapes getting thinner and more vertical as they recede to the stern, whilst also getting slightly darker.</span></p>
<p></p>
<p><span><strong>Painting the dappled light is a 3 stage process...</strong><br/>I painted the shadow colour first, with a few holes left for the bigger light patches, and then painted the lights in using a slightly darker version first which I used to establish the variety of soft edges. Then I painted a lighter version in the centre of those light shapes. That was the blue part. Then I did the same process with all the different colours striped along the hull, trying to line them up with the light blue patches. Tricky! But can you do it!?</span></p>
<p></p>
<p><span>After all that I decided to really simplify the background to show off my hard work in the foreground.</span></p>
<p></p>
<p><span>Cameras really struggle with dappled light because they tend to make the lights too light and the darks too dark so you lose a lot of colour. Plein air wins again!</span></p>
<p></p>
<p>Funny, I went there because I'd seen this boat in flat light which appealed to me because it was so simple, but when the sun comes out it's so very hard to ignore.</p>
<p></p>
<p>Good luck with your next dappled light subject!</p>Last day painting in Queenstowntag:thecompleteartist.ning.com,2014-12-03:2450081:BlogPost:5207972014-12-03T03:08:53.000ZRichard Robinsonhttps://thecompleteartist.ning.com/profile/RichardRobinson
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804199768?profile=original" target="_self"><img width="750" src="http://storage.ning.com/topology/rest/1.0/file/get/2804199768?profile=RESIZE_1024x1024" width="750" class="align-full"/></a></p>
<p></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804199768?profile=original" target="_self"><img width="750" src="http://storage.ning.com/topology/rest/1.0/file/get/2804199768?profile=RESIZE_1024x1024" width="750" class="align-full"/></a></p>
<p></p>Painting in the Hidden Valleytag:thecompleteartist.ning.com,2014-11-28:2450081:BlogPost:5191402014-11-28T07:52:57.000ZRichard Robinsonhttps://thecompleteartist.ning.com/profile/RichardRobinson
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804194089?profile=original" target="_self"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/2804194089?profile=RESIZE_1024x1024" width="750"></img></a> "Hidden Valley Trek" 14x14" Oil on Canvas by Richard Robinson (plein air)</p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804194542?profile=original" target="_self"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/2804194542?profile=RESIZE_1024x1024" width="750"></img></a></p>
<p></p>
<p>Had a nice paint out today with John Crump and his grandson Sam. The weather was not the best - mostly grey and cold but by inventing a little light in the…</p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804194089?profile=original" target="_self"><img width="750" src="http://storage.ning.com/topology/rest/1.0/file/get/2804194089?profile=RESIZE_1024x1024" width="750" class="align-full"/></a>"Hidden Valley Trek" 14x14" Oil on Canvas by Richard Robinson (plein air)</p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804194542?profile=original" target="_self"><img width="750" src="http://storage.ning.com/topology/rest/1.0/file/get/2804194542?profile=RESIZE_1024x1024" width="750" class="align-full"/></a></p>
<p></p>
<p>Had a nice paint out today with John Crump and his grandson Sam. The weather was not the best - mostly grey and cold but by inventing a little light in the foreground of my painting I was able to use the moody landscape to my advantage. Having nearly finished the painting we were greeted by 5 women on horseback who'd snuck up ever so quietly to have a look at the paintings (amazing how you can zone out when you're in the middle of a painting). As they rode off I dabbed a couple of them into the painting. So nice when you're provided with bonus content on the spot - you don't get that so much with photographing a spot because you don't get to stand there for so long.</p>
<p>Good times.</p>
<p></p>Mural Paintingtag:thecompleteartist.ning.com,2014-11-23:2450081:BlogPost:5162262014-11-23T23:58:56.000ZRichard Robinsonhttps://thecompleteartist.ning.com/profile/RichardRobinson
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804194056?profile=original" target="_self"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/2804194056?profile=RESIZE_1024x1024" width="750"></img></a> Painted this Mural on the climbing wall at Ruakaka Primary School earlier this year. The concept is adapted from Van Gogh's Starry Night. "Reach for the Stars Kids" is the inscription. My biggest painting yet. Painted in a day with large speed brushes. Good…</p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804194056?profile=original" target="_self"><img width="750" src="http://storage.ning.com/topology/rest/1.0/file/get/2804194056?profile=RESIZE_1024x1024" width="750" class="align-full"/></a>Painted this Mural on the climbing wall at Ruakaka Primary School earlier this year. The concept is adapted from Van Gogh's Starry Night. "Reach for the Stars Kids" is the inscription. My biggest painting yet. Painted in a day with large speed brushes. Good fun.</p>
<p></p>Super Dooper Christmas Special on Painting Lesson Videostag:thecompleteartist.ning.com,2014-11-18:2450081:BlogPost:5148212014-11-18T20:48:21.000ZRichard Robinsonhttps://thecompleteartist.ning.com/profile/RichardRobinson
<p><a href="http://www.livepaintinglessons.com" target="_blank"><img width="667" src="http://storage.ning.com/topology/rest/1.0/file/get/2804192097?profile=RESIZE_1024x1024" width="667" class="align-full"/></a></p>
<p><a href="http://www.livepaintinglessons.com" target="_blank"><img width="667" src="http://storage.ning.com/topology/rest/1.0/file/get/2804192097?profile=RESIZE_1024x1024" width="667" class="align-full"/></a></p>Painting Last Light Ruakaka Beachtag:thecompleteartist.ning.com,2014-11-10:2450081:BlogPost:5125782014-11-10T20:27:01.000ZRichard Robinsonhttps://thecompleteartist.ning.com/profile/RichardRobinson
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804198183?profile=original" target="_self"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/2804198183?profile=RESIZE_1024x1024" width="750"></img></a> "Last Light, Ruakaka Beach" 11x25" Oil on Canvas by Richard Robinson</p>
<p></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804200758?profile=original" target="_self"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/2804200758?profile=RESIZE_1024x1024" width="750"></img></a></p>
<p></p>
<p>Wow what a stunning Spring evening we had yesterday. Couldn't resist going out for a paint. It was overcast when I started which meant the shadows were warmer…</p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804198183?profile=original" target="_self"><img width="750" src="http://storage.ning.com/topology/rest/1.0/file/get/2804198183?profile=RESIZE_1024x1024" width="750" class="align-full"/></a>"Last Light, Ruakaka Beach" 11x25" Oil on Canvas by Richard Robinson</p>
<p></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804200758?profile=original" target="_self"><img width="750" src="http://storage.ning.com/topology/rest/1.0/file/get/2804200758?profile=RESIZE_1024x1024" width="750" class="align-full"/></a></p>
<p></p>
<p>Wow what a stunning Spring evening we had yesterday. Couldn't resist going out for a paint. It was overcast when I started which meant the shadows were warmer and lighter, and I usually don't change the plan after the block in stage but when the sun finally came out it lit the scene up like a blow torch which stopped me in my tracks. Threw plenty of paint on this one, liberally using the palette knife and a 3 inch brush in a few places. Great fun!</p>TV Show - Colour in Your Lifetag:thecompleteartist.ning.com,2014-11-05:2450081:BlogPost:5112812014-11-05T22:07:59.000ZRichard Robinsonhttps://thecompleteartist.ning.com/profile/RichardRobinson
<p><iframe frameborder="0" height="360" src="www.youtube.com/embed/gZbHYD3Yxf0?rel=0&showinfo=0&wmode=opaque" width="640"></iframe>
</p>
<p></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804194986?profile=original" target="_self"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/2804194986?profile=original" width="730"></img></a></p>
<p><span>Summer at the Cove</span><br></br><span>Oil on Canvas </span><br></br><span>16 x 16"</span></p>
<p></p>
<p><span><span>I spent the day with the "Colour in Your Life" TV crew filming me painting this. (See the video…</span></span></p>
<p><iframe width="640" height="360" src="//www.youtube.com/embed/gZbHYD3Yxf0?rel=0&showinfo=0&wmode=opaque" frameborder="0"></iframe>
</p>
<p></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2804194986?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/2804194986?profile=original" width="730" class="align-full"/></a></p>
<p><span>Summer at the Cove</span><br/><span>Oil on Canvas </span><br/><span>16 x 16"</span></p>
<p></p>
<p><span><span>I spent the day with the "Colour in Your Life" TV crew filming me painting this. (See the video above). They were such a nice team it made it really easy to be in front of the camera the whole day. This is one of my favorite spots - Waipu Cove just 10km down the beach from us. A perfect summer's day for me is coming here to do a painting, having lunch at the cafe and then heading out for a surf. Good times.</span></span></p>