Teacher
Richard is a talented full time artist, who loves painting and teaching.
with Richard Robinson
Clouds are one of the most requested workshop topics. They are an illusive subject, constantly changing and breaking the rules we might place upon their appearance. When you paint them you run the fine line between analytically constructing them and abstractly applying the paint.
When painted well they can be a true source of inspiration, but when painted poorly, well, let’s just learn how to paint good ones…
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Richard is a talented full time artist, who loves painting and teaching.
Hi I’m Richard. I’ve been painting my whole life and back in 2001 I traded my graphic design career for the humble life of a full time artist. I love painting, and as it turns out, I love teaching too.
Nowadays I balance my life between parenting, painting, surfing, travelling and teaching. My work is regularly featured in international art magazines, in galleries in New Zealand and America, on TV and in my Mum’s house.
I give outdoor painting workshops in interesting spots around this beautiful planet of ours and love encouraging people to paint. Two of my favourite artists are John Singer Sargent and Joaquín Sorolla.
My painting website: www.nzpainter.com
I’d love to be your new teacher.
Richard is a master artist with an exceptional skill in identifying and communicating key factors to making successful paintings. I have found his video workshops an excellent resource for improving my own work.
"Cloud Studies" 11x12" Oil on Canvas by Richard Robinson
'Remains of the Day' 55x39cm Oil on Canvas by John Main
Hi John, great painting! Love the composition and the totally organic cloud shapes. The only thing I want to bring to your attention is the value of the oranges in the 'silver lining' of your clouds. All that rim lighting should be lighter than the shadow side of the cloud. If you view it in grayscale (see my picture) you can see some of the orange lights are darker than the shadow. Other than that I love it.
'4 Cloud Studies' Oil on canvas by Pamela Meredith
Great work Pamela. There are a couple of areas in the two on the left where your sharp edges could have been a bit softer, but other than that you've done a great job of the colours and cloud forms.
'Cloud studies and reference photos' by Lyn Boyer
Fantastic studies Lyn! Great shapes, colours and compositions. Very deftly done. Beautiful work.
'Different Cloud Studies' 16x20" Oil on canvas by Helen Tyralik
Good work Helen. Mostly all good. Your best cloud forms are on the left whereas the ones of the top right got a bit confused in the darker values, as well as how the land connects to the sea and the clouds bottom left are a bit malformed. Notice there you reversed the idea of flattening the bases as the recede - you have the one closest to us with the flattest base. There's also the overpowering orange in that scene which stops abruptly behind the cloud rather than transitioning smoothly. Looking at these paintings in a mirror will give you a whole new feeling for what's going wrong (or right) with your could shapes. Great studying!
"Sunset Reflections" 16x20" Oil on Canvas by Michael J Severin
Michael I love the broken colour technique you've used here - adding different hues while keeping the value the same - it makes for a wonderful shimmering effect in the sky. Your cloud forms are great - smaller and flatter on the bottom as they recede which is creating all that wonderful depth in your painting. I'm also enjoying the painterly treatment of the foreground rocks. What I'd like to see done better is the small transition between the orange sky and the sky above it because it seems a little abrupt at the moment but I think the bigger issue could be the strength of all that orange which to me is verging on gaudy rather than beautiful, but hey that's just my opinion and everyone's gaudy-meter is set to different tolerances. I hear this little voice (sounds a lot like Clyde Aspevig) saying 'Taste equals restraint'. Sort of like 'discretion is the best part of valor'. Take out of that what you will but I personally prefer to save those highest saturated colours for the small area right around the sun. The blue in your water is too light (unless you wanted it to look like mist or ice). I would darken that a little and let the yellowy lights be the lightest part of the water. The distant blue land is too blue for it's proximity to all that powerful orange atmosphere - it should be closer to the colour of the atmosphere. Note that in my photoshopped version I just changed the colour of the atmosphere (mostly) and that made the land fit right in. The darkest values of your foreground and midground rocks are the same whereas if you'd made the midgrounds values very slightly lighter it would have added to the depth instead of subtracted. Overall my first impression was 'great!' so these are just some small points I would look at if I were you. Good work! By the way I couldn't poke any holes at all in your 'Manhatten Beach Pier' painting so I chose this one to pick on.
"Sunset Reflections" 16x20" Oil on Canvas by Michael J Severin - Altered
$15.00USD
$15.00USD
$15.00USD
$15.00USD
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