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Richard is a talented full time artist, who loves painting and teaching.
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A friendly place to learn at your own pace.
with Richard Robinson
Join Richard for 4 Complete Landscape Painting Lessons as he guides you through each painting project step by step. Compare your work with other students and learn from the insightful student critiques that Richard has made.
This is a uniquely powerful learning experience based on comparison and solving common painters problems with simple and effective solutions. Enjoy!
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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.
“Mountain Path†11×11″ Oil on Canvas by Richard Robinson
“Morning Walk†Oil on Canvas by Paula Salmons
“Gray to Bright†Oil on Canvas by Sharon Repple
“Winter Walk†12×16″ Oil on Canvas by Tony Quinn
“Crown Range†11×14″ Oil on Board by Cheryl Lipham
“Crown Range†11×14″ Oil on Board by Cheryl Lipham - Photoshopped version
“The Golden Trail†12×16″ Oil on Board by June Stevens
Mountain Track Acrylic
Waipu Cove by Louise Villegas. Oil 12 x 12. Another challenge to paint loosely!
Hi Louise, thanks for your painting. The vibrant colour, strong contrast and bold brushwork make this a treat to look at. I like the softness in the light-filled background and your spotlight on the foreground sand. To push the depth, try separating the value families a touch more: lighten the shadow mass in the furthest tree - leaving it so similar to the darks in the foreground serves only to flatten the image. Similarly you could lighten the darks on the left. Also consider shortening the central sand bar at the right, so that the eye is invited to wander up and around the stream into the distance instead of being stopped by a solid bar. Try cooling the distant greens slightly with a hint of blue-violet to help them recede. To avoid having your signature get so close to the edge of the painting in future you might try working backwards from the S. Lovely, loose work—keep chasing that light!
Waipu Cove Study
Hi Geoffrey, strong colour and good drawing and shapes in here. Looks like you went nuts with blending with the soft brush at the end there, but, it's great to try that out a couple times till you find out what it does - generally just takes the excitement out of interesting brushwork. To be fair, it can help a bit with reflections, clouds and atmosphere, but, yeah it's easy to undo good brushwork with it. You could bring this one back with a few crisp strokes defining the waterline and midground details in the bank. Mind you keep strokes in reflections more vertical and horizontal too - it really helps.
Waipu Cove - my take. Now I know why Van Gogh cut off his ear!
Hi Nancy, there's a lot of good stuff going on in here: exciting brushwork, interesting organic shape design and a fairly harmonious colour scheme. One thing that would help create more depth in this would be to darken the foreground tree so it's clearly separate in value from background hill. Value is the lightness or darkness of a colour. A great exercise for you to really get the idea of using value in a painting is to repaint this using just black and white. Working from photos often makes colour work difficult, especially in photos like this where there's a dark object against the light because the camera tends to over-darken and desaturate (remove colour from) the darks. That's why it's so good to paint from life as often as possible so that we get a better understanding of light and colour. Long story short, darken that tree and try working over the water again, but work from dark to light - you've lost some of the darks in there - try squinting at the water resource to see what the big colour shapes are doing. Happy painting!
Weekly Class Recommendations- Waipu Cove 10”x10” oil on canvas by Karen Woodhouse (South Australia)
Hi Karen, really nice design and shaping of form here - great work. I appreciate the soft glow of the background light too and the colour variety there - nice. Love your spotlight work in the green bank too - beautiful! It's the colour you've pushed rather that the paint application to lean this towards abstraction, and that's working well to add interest, but I'd like you to try being bolder with the paint - thicker, stronger, faster! Use different tools. That the point of this lesson. Make the shape, break the shape, make and break, make and break. Go nuts! (That said, great painting!)
Waipu Cove
Hi David, great energy, colour and brushwork in this little piece - bravo! Just two things would solve this one for me. Lose the 3 dark blobs in the foreground water (They're too similar, and incongruous) and cover and then repaint that foreground waterline stroke with a line that starts thin and gets fatter at the bottom, or something like that - it just needs more finesse, more calligraphy, perhaps 3 lines. (By the way I can't use photos in the magazine that are out of focus. If you put a better photo in I'll be able to use that - but don't delete this one otherwise you'll lose the critique. Cheers).
"Waipu Cove." 12x12, Oil on canvas.
Hey Toni, nice work. Really good shadows and reflections. I'd just note that the background and foreground tree need to be separated by value, meaning the background hill etc needs to be a little lighter than the tree. The foreground grasses need to grow at a variety of angles. You probably feel this already, that the palette knife on the white beach is incongruous with the rest of the painting, which means you needs to tidy it up a bit, or introduce other paintwork like it throughout the painting. Other than that, great!
Mountain path practice
Artist: Chris Huang
Dinghy
Artist: Laura Searle
Roberton Island in acrylics, palette knife mostly
Artist: Adana VIRNA
“Beached as” 11x11” oil on panel , Mark Price … my own interpretation with distant hills .
Artist: Mark Price
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