How to Simplify - Or, what do I do with all those details?

In relation to magazine/poster design, that also is applied here, an art teacher said to us, "In your mind's eye, 'shake the page'". That way, what is less relevant falls away and is a 'cure' for detail mania and the curse of perfectionism and to some degree the final image is less distracting for the viewer. And, as two other art teachers said, 'See each painting as an exercise'; that way your approach is less precious. Also, 'A painting is never finished'. We have to know when to walk away. There comes a point where we must not add any more, otherwise, like a good party, everything starts to go down hill pretty fast. The viewers mind can fill in what is 'unfinished'.

As someone who regularly gets bogged down in all the details of a scene, I found your tutorial very helpful. Thank you

It's interesting how the stroke directions and overlaps are kinda giving the illusion of detail in the drawings. You have the best lessons ever, it's encouraging me to leave digital for a while to work with actual paint.

I don't often draw because I get overwhelmed and easily get lost in the details, losing sight of the whole. I think I'll give it a try using this method! Thank you for your video

6:03 As in theatre you do not need to see what's going on in the wings. If you do see what's happening in the wings the power of what's happening is diminished. Imagine, if you will, seeing a cabbage being chopped in two - whilst on stage there is an exections in progress - you would probably laugh. Whereas, if you are unaware of the true source of the sound, relating to what's happening, you recoil empathizing with what's happening - your imagination doing most of the work. Or, as in writing, 'show don't tell'. Likewise here, albeit in milder form, we see the light crossing the floor; we do not need to see its obvious source and the the main focus is on the point of interest - the two women interacting. I think Ian Roberts' teaching methods are second to none and truly inspirational.

You are THE best at explaining and demonstrating concepts of composition. I've been successfully teaching art for 40 years and still find your direct approach inspiring and useful! THANK YOU!

Using a photo reference, I've actually gone in to edit it to crop it and then to edit it to be very pixellated and blurry. I know that's not as good as training your eyes to see things that way but it at least helps me start off on the right foot. I got into art by wanting to be a cartoonist as a kid, and it's really incredible how much the skills in one art area can help you learn faster in another. Cartooning would say: Pay attention to what draws the eye and lay everything out accordingly; consider silhouettes; imposing limits (eg limited palette, only putting detail in certain parts to avoid clutter) can make the piece stronger; etc. It's also where beginners tend to draw from imagination more than real life, so the difficulty is learning that you can and SHOULD pay attention to details and learn to draw from life. So for 6:29, I would probably be thinking most in terms of the body language of the waitresses and how to exaggerate them to amplify the mood I wanted to achieve - what style to choose and how extreme to lean into it. I would start by blocking out the major set pieces of the windows, tables, and the chair, then spend a lot of time on the women. For example, lifting up the arm of the one on the right so that you can more easily see that she's carrying a tray, which would be contrasted to the window in the back. Only after I figured out all that would I go in and do the color for the background and only work on as many details as would look good. I would probably keep the brick. I think what I would be emphasizing in that picture is the "rustic" vibe given by the pew-style seat, the old wooden chairs, the texture of the brick, and it's enhanced with the warmth already present in the photo. Keeping the wood on the ground may be a good contrast for where the light hits it, where you can't see individual planks. But when I say I keep those, I mean that I would add just enough to hint at those textures, not that I would draw out each individual plank of wood or brick. Some very sturdy set pieces to contrast against the light, breezy feeling of the conversation between the women, the thin brights of their clothes, the transparency of the glass (I would keep one or two on the table, might place them elsewhere though), and the way the light curves around the wood, the left woman's smile, and the right woman's hair. I don't paint often - most of what I do lately is with gouache, since I don't have access to oil right now - but I really value (lol) these tips. Subscribing now!

If you love these tutorials, you will simply adore taking his classes. My way of thinking and approach to painting has totally changed for the better. Few, and I mean few, artists teach the fundamentals. With this painter (part-time teacher) I am filling in huge knowledge gaps. Next time he offers an online class, don't miss it. I'm not a paid spokesperson nor affiliated with Ian Roberts, but happy to recommend his classes and approach to painting.✌🖌

Are we talking Life or Painting?

I love the way he goes over: "So we have this and that and some of those." And slowly lists off all the unimportant objects. The contrast between that and his expert simplification makes it feel almost palpable. It illustrates the getting bogged down feeling in a charming way.

This is a whole LIFE LESSON, not just Art.

Many painters are sometimes 'thing' oriented. In other words, they are attracted to stuff, like picturesque sunrises/sunsets, streams, waterfalls, horses, etc., cliche type subjects. The thought is that it will make an attractive painting. It may be attention-getting, but structurally it may not work without some serious adjustments. In my own experience early on, I subconsciously felt obligated to include everything I saw in a scene. I think that's true for a lot of painters. I appreciate how you used a drawing/diagram of how a good painting is actually constructed from the ground up. No amount of decoration or festoonery will save a badly constructed painting.

I’ve missed my weekly Ian fix. Lovely to get this post and reminder of what I should be aiming for.

CREATIVE AUTHENTICITY - Great book! I just got through reading it, and it is a treasure. I will keep re-reading it and feeding on it through my artistic days. Thank you Ian. Your video is right on. It can be said that the structure and values alone can make a painting, much like your sketches. Details not needed. That’s huge. That’s the gateway to getting there without getting lost in all the other stuff.

So good to see you. Now I'll go out to take some pictures and then I'll try to compose the masses.

I see the importance of drawing ,drawing,simplify. Thank you , I struggle w this all the time.

It's interesting how simplifying details tends to make the picture look more cinematic.

As a fatigued artist straddling the fence between traditional drawing/painting and the digital and 3D era, this video is an authentic oasis. A return to basic principles in the midst of a very hectic art industry. Thank you.

You have the best lessons about simplification in art. Without simplification paintings are messy. Thank you! I love Eduard Vuillard for his great simplification.

I LOVE your 2 waitresses painting! You're just a treasure. Thank you for sharing your knowledge.