Dianne, I don’t know how to express my appreciation for your teaching skills, artistic skills, generosity, warmth and sense of humour except by declaring you an International Living Treasure! I Your encyclopaedic knowledge is to be expected after decades of painting and teaching, but your ability to communicate that to artists of all levels is exceptional. Thank you! I hope the Easter bunny visited you but kept its distance.
Hi Dianne. I love your videos. Thank you very much. I paint folk art in oil, but love watching fine art instruction, many concepts still apply. - Along the lines of the 1 to 10 scale (black to white). I bought 9 tubes of "Golden Artist Colors" acrylic. The tubes are labeled "Bone Black", "N2 Neutral Gray", "N3 Neutral Gray", "N4 Neutral Gray", "N5 Neutral Gray", "N6 Neutral Gray", "N7 Neutral Gray", "N8 Neutral Gray", and "Titanium White". So Golden's scale is from 1 to 9 (black to white). I have painted the back of my glass pallet with N5, and I also have a scale painted on one edge. Definitely have to squint to determine the value of many colors like yellow and orange. Thanks again, happy painting, stay safe.
Thanks for sharing that, Robert. You are right: the value principles are universal regardless of your genre of painting. I think of it as how an engine in a car works--the same basic principles are needed regardless of the brand of the car.
I think you're asking about the saturation of the color. To reduce saturation, mix in the color's complement. A saturate color moving into shadow will become less saturated, darker and a bit cooler.
Thank you Dianne for another great video! I'm still a little confused by this in shadow/not in shadow thing. How does local value come into play with it, e.g. if you have a black and white form where part of the black is in light and part of the white is in shadow? Would in this case some values in light be darker than some values in shadow and vice versa?
Direct light hitting any dark surface will show that area of the surface in a light value. Observe it for yourself. Look at a dark tree trun in direct light. Notice how, on the side where the sun rays are striking it, just how light it is. It is what light is doing that causes value more than the local value itself.
Alicia, that need not be. Every art has a technical side. We learn the technical in order to be free to create. Playing a violin requires knowing how to tune the instrument, how to hold the bow, how-to---and I could keep going. Painting is no different. Without building skills, we are limited in what we can do.
Dianne, I don’t know how to express my appreciation for your teaching skills, artistic skills, generosity, warmth and sense of humour except by declaring you an International Living Treasure! I Your encyclopaedic knowledge is to be expected after decades of painting and teaching, but your ability to communicate that to artists of all levels is exceptional. Thank you! I hope the Easter bunny visited you but kept its distance.
Wow, thank you!
A very clever way to describe it (as always). Thank you Dianne :)
Thanks, Christer.
I never considered putting holes in the grey scale. Great idea! 🎉
I think you will find it most helpful.
In photography Ansel Adams worked with what was essentially a value scale system.
Yep. Thanks for sharing that.
Thank you Dianne. Considering aerial perspective, do we have highlight at the farthest away of scene in painting or it is only a high value?
Not really, Reza. A highlight usually appears on a form when a plane of the form is directly perpendicular to the light source.
Excellent tutorial. Thanks for sharing your expertise, its much more clearer now how to plan my work.
Great to hear!
Amazing explanation clear and genuinely this is a key thanks for helpful instructions Dianne!!
Thank you. I'm delighted it is helpful
A lot of the 10 value scale came from photography because people wanted to know a more precise percentage of light
Thanks for that!
The first really logical value scale!
Thanks.
Hi Dianne. I love your videos. Thank you very much. I paint folk art in oil, but love watching fine art instruction, many concepts still apply. - Along the lines of the 1 to 10 scale (black to white). I bought 9 tubes of "Golden Artist Colors" acrylic. The tubes are labeled "Bone Black", "N2 Neutral Gray", "N3 Neutral Gray", "N4 Neutral Gray", "N5 Neutral Gray", "N6 Neutral Gray", "N7 Neutral Gray", "N8 Neutral Gray", and "Titanium White". So Golden's scale is from 1 to 9 (black to white). I have painted the back of my glass pallet with N5, and I also have a scale painted on one edge. Definitely have to squint to determine the value of many colors like yellow and orange. Thanks again, happy painting, stay safe.
Thanks for sharing that, Robert. You are right: the value principles are universal regardless of your genre of painting. I think of it as how an engine in a car works--the same basic principles are needed regardless of the brand of the car.
You painted a grey scale on your palette!!!??? What an absolutely brilliant idea! You should patent that.
Super duper, Dianne - love your Free Stuff! Thank you!
You are so welcome!
Thank you Dianne. I love your teaching!
You are so welcome! And thank you.
Thank you Dianne. This has really helped clarify values!
Great!
I think this is a very helpful tool. Thank you Diane
My pleasure.
Your videos are most enlightening!
Thank you!
This was a great lesson for me. Super helpful. This is what I’m working on learning at the moment. 👩🏻🎨 Thank you Dianne.
I am delighted it was helpful. Thanks for watching.
Hope you are safe and well in Ga.
I am safe and well and doing by best to stay so.
Do you think a picture can have both accents - darkest dark and lightest light, and still look realistic?
I can't think of any reason why not.
Maybe the modern way to communicate value scale started with half tones used in printing?
Could very well be.
Dianne, I really appreciate your generosity and teachings!
My pleasure.
Thank you for all you do. Where can I find the Free downloads for value scales?
Go to the website at diannemize.com and click on Free Stuff in the menu.
Excuse me the question is irrelevant, how to degrade orange from shade to light, and red too tank you
I think you're asking about the saturation of the color. To reduce saturation, mix in the color's complement. A saturate color moving into shadow will become less saturated, darker and a bit cooler.
Excellent video Dianne. The website is a wealth of information. Thanks!
Thanks. I enjoy doing these.
Yes this all makes perfect sense. This is fabulous. Thank you. Kim
My pleasure.
Thank you Dianne for another great video! I'm still a little confused by this in shadow/not in shadow thing. How does local value come into play with it, e.g. if you have a black and white form where part of the black is in light and part of the white is in shadow? Would in this case some values in light be darker than some values in shadow and vice versa?
Direct light hitting any dark surface will show that area of the surface in a light value. Observe it for yourself. Look at a dark tree trun in direct light. Notice how, on the side where the sun rays are striking it, just how light it is. It is what light is doing that causes value more than the local value itself.
Yeah, got to observe more - and use the value finder! Thanks for your answer!
I downloaded the scale for printing. Thank you for sharing!
My pleasure. Enjoy!
Wonderful teacher...
Thank you! 😃
Excellent! Thank you!
You are welcome! Thanks for watching.
I'm the first one to like
Thanks!
Thank you
You're welcome
Painting is becoming too technical for enjoyment!
Alicia, that need not be. Every art has a technical side. We learn the technical in order to be free to create. Playing a violin requires knowing how to tune the instrument, how to hold the bow, how-to---and I could keep going. Painting is no different. Without building skills, we are limited in what we can do.