Oh my goodness! I want to paint like the Impressionists, and you just taught me the first things about how to do that. Thank you SO VERY MUCH! This video is priceless!
I love your quick tips Dianne! I’ve learned so much in the year I’ve been watching. You’re a great teacher and so very inspiring. You keep me painting with enthusiasm. Thank you so much for these videos !
I have just watched this, I will now watch it again as so much information, I have made notes and will soon try to put into practice what I have learnt. Thank you so much.
You are always a light to me, showing me the JOY of painting. painting without the pressure and the stress that can make you go mad.. Often feel like I'm just banging my head against the wall. Im newer to art, I started painting last summer & I'm 27. I feel like I'm too old to do this now..to learn everything. I had no previous experience at all, until I started drawing portraits & fell in love. Now I'm trying landscapes and Oh My. I constantly hear "THERE'S NO RULES IN ART" "JUST PLAY AND HAVE FUN" then I go to the canvas and there's actually a billion rules I have to think of. So many rules that I don't even know what to do first, I just go blank. I think I am afraid to paint. lol. Do you have any advice on this? I want to grow as an artist, but it's often overwhelming & I end up just staring at the canvas crying lol. How can I grow my skills and figure out my creative process? sorry, I know that was a lot. lol
Sorry to be late responding to this, but I was incapacitated. I don't like to think of painting principles as rules, but as tools that can get the job done for us when we learn how to use them. Like any field, we learn to use a tool one step at a time, and we add more complex tools the same way. My approach takes one principle at a time and explores its potential. My advice is to focus your beginning attention on how to use the brush and how to mix colors. I have many free Quick Tips here on UA-cam that can guide you in both those areas. Just go to our channel page at ua-cam.com/users/inthestudioartinstructionvideos , and search for "brush" and "color". And take the attitude of having fun learning to use these tools.
Thank you Diane this was a great tip for painting white in the impressionist style. I really appreciate that you've taken time to show how to interpret and paint white.
The funny thing is, when you zoom in I would never perceive the bowl as white. But when you zoom out, my senses tell me it’s a white bowl. Thanks for sharing ❤️
I so appreciate you explaining how you transition from dark to light using neutralized color. Great demo! When you have a chance, could you please explain how you clean your brushes? I would love to see your method for doing this while you're painting and then after a painting session, as well. If you've already posted this tip, I apologize; I've not seen it and will search for it. Thanks!
Thank you so much for the excellent instruction. My only wish is that there were more close ups of the painting as you work and explain. When the camera is zoomed out to include all of you it is hard to see the result of the brush work. Thanks again.
Great video showing value and light, perhaps I don't understand, your bowl is purple with sunlight on it, but the photo shows a white bowl with sunlight on it. Possibly because impressionist did not use white or black while painting. How would Rembrandt interpret this white bowl? Thank you your tutorials are excellent.
Thoughtful question, Hal. For one thing, Rembrandt didn't have available to him the variety of color choices the Impressionists had. Also, Rembrandt's fascination was the luminosity of light whereas the Impressionists were more focused on what light does to color or how color behaves in various kinds of light. So one might image that Rembrandt would paint the shadow areas of the bowl in deep umbers and siennas and the not-in-shadow areas on ochres and warm whites. What do you think?
Exploring the way you are describing is the best way to discover how color mixtures behave and influence one another. I have put on our schedule your suggestion for a Tip on white. Stay tuned.
Amazing! Took my breath away - and I'm so glad to have the insight into such possibilities! I'd been sick this week and started watching your numerical list of quick tips grouped by Ruth Bennett, so there it wasn't convenient to add a comment. However in this case I wanted to thank you.
Thank you Dianne for a wonderful tutorial. Do you use Gamsol or walnut or another medium to thin the oil from the tube? Yours is so smooth and flows and mine is thick. Also, what do you rinse your brush in Gamsol or a Turpenoid? This tutorial reminds me of a NFS painting you created of squirrels playing in the snow. I love this and wonder if you could do a tutorial on it. The snow has some of the features you mention in this video. The snow in the foreground has a bright light white that makes it just pop off the page. The soft edges of the squirrels are gorgeous. They just melt away. And the snow in the background has playful, muted colors. Together.... it is magnificent. I think it is one of my favorites that you have painted - although I love all of them :) Could you do a tutorial that addresses the techniques you used in that painting? Thank you for all you do! I watch your tutorials every day! I just got two DVD's in the mail from your amazing classes. I can hardly wait to watch them.
Thanks, Marie. For making paint more pliable if it comes out of the tube too stiff, I mix in a drop of linseed oil. I use Turpenoid to rinse my brushes and Gamsol to mix with either linseed or poppy oil for dampening the canvas surface or mix with one of the oils if needed for thinning. The squirrel painting I think you're referring to was a study working with gradated value fields and lost edges. Since that is too complex for a Quick Tip, it is covered in Lessons 3 & 4 of Series 40. Lesson 3 will be published today and Lesson 4 next week. Stay tuned.
Thank you Dianne. I did purchase 4 Dvid's you did on Color and one download on painting The River. I will check out Series 40 Lesson 3 today and Lesson 4 of your recommendation next week. I wonder if the entire two hour lessons you paint would work for the squirrels and snow? :).
I am impressed by the way you manipulate colour. With me, oh i must have the wrong tube! Are you working with the same colours on your palette all the time or introduce other to change the effect. Could I possibly ask what colour do you have on your palette and if it varies what colours may you introduce.
Philip, see Quick Tip 115 to answer most of your question - ua-cam.com/video/RORenwUXMDI/v-deo.html . I determine a limited number of colors I will need, then mix value/color lines of those on the palette. My color mixtures for painting comes from these. If I see I need other colors as the painting progress, I add them.
hi Dianne thank u so much i think impressionism is the most wonderful style among arts, i wish u could teach us how to paint an white egg with impressionism because I'm still confused, i tried my best but really didn't know how to include all the four complimentray colors in one egg!!!!!
Nice one, Dianne! Just wondering about the selection of your two pairs - not the complements but the pairing of the lights and darks in conjunction with the other lights and dark? Thank you!
Each pair is a complimentary set of a double split complimentary scheme. The warms dominate in the light areas and the cools dominate in the shadow areas. Does this answer?
@@IntheStudioArtInstruction Hi Dianne, that does help - looking at the color wheel, looks like if you go around and select a hue and have two hues in between the next one, your selection will work - is this right? Thanks!
@@joanistotler8804 Lets say your wheel is divided into 12 colors, in that case I can see two choices that are common , two spaces in between like you mentioned. Also one space in between works. I have never seen it described with touching colors though. with two spaces in between it is shown as a square color scheme with one space inbetween it is shown as a rectangle color scheme. As far as I can tell both the square and the rectangle scheme are called "tetrad color scheme." now if you wanna have some fun why not try it with touching colors too and see if it works :) !
Hi Dianne, thank you for answering my questions! Just one more. Is you pochade box the large one or the medium sized one? Unfortunately it does appear to be exported here or that there are no distributors of it yet. I may have to import one with some 35% import duty. If you have wet oil paintings from an excursion out, how do you protect and transport the wet paintings?
Philip, the Sienna pochade box is available from Blick Art Materials. The one I use is the one pictured here - www.dickblick.com/products/craftech-sienna-plein-air-pochade-boxes-and-accessories/ . My wet paintings stay attached to the easel on the box for transportation. When I got out in the field, it is usually for a single session so I have only one wet painting to bring home. There are plenty of transporting systems available for protecting wet paintings for transportation. Check out this: www.dickblick.com/products/guerrilla-painter-wet-painting-carriers/
I love your tips but I can’t see them as you are painting! I would get so much more out of them if close up Shots would accompany your fantastic narration!!I LOVE your videos!!
Beautiful! Ms.Mize, you're the Best! I want to thank you on bended knee for this. I'm an untrained/self-trained "colorist" painter. I just keep fiddling with random colors until I get a painting I like. And, everyone likes my work; I've sold paintings even though I'm basically a hobbyist. I have taken a couple of short (noncredit) painting classes at local community colleges, but you're the first instructor who's ever given me a useful and usable tip that I can imagine using in real time! My only small critique is that you should REMAKE this (or a similar example) with the camera zoomed in on your hand and the painting more of the time. It's hard to see how you blend the strokes (or not) and it's hard to see the vibrancy of the colors next to each other. I'm on a large desktop with a big screen. I've changed to HD setting. I'll try mirroring this video on my TV to see if it's any better. Your cameraman/husband/neighbor/videologist keeps zooming out for the most part unless you're mixing paint on your palette. This tip, with the part about using four complementary colors is the most exciting painting tip I've seen in years/days/forever/minutes/something. You are most definitely a colorist. I've seen a lot of your videos and I might have to throw some money at you to buy your classes. Wow. I've heard a lot of dark/shadow/cool and light/sunlight/warm color tips before, but your explanation goes into more detail and makes more sense. I just wish I could see every brushstroke. I love your tutorials and I love seeing you as you speak, but most of us need to see each stroke more than your pretty face. Hugs, Tina E: I just hope I can translate this idea using acrylic paints. I have a reaction to oils or one of the related products. Maybe if I add a retarder and/or a mattifier medium, I can learn to mimic something similar without using oils.
Tina, you should be able to do this with acrylics by using the open acrylics or, as you say, add some retardant. It is my love of pushing wet paint that makes me partial to oils. I wonder--would the water mixable oils work for you?
Hello :) I wonder what is homevalue ? And how dark is the darkest compere to the homevalue, and what is halftones ? I understand that halftones belong in the light ereas ? How to make them ? Greatings :)
The term "home value" must be one invented by one of today's UA-cam artists as it is not a term I use nor have encountered before. My perception of the term is that it might apply to the inherent value found in areas in light and areas in shadow, but don't take that to the bank. The term "halftones" refer to the areas not in shadow between the lightest light (areas direction in line with the light source -- to those adjacent to the terminator where light and shadow meet. You might say that they are "halftones" because they are halfway between the lightest light and shadow.
@@IntheStudioArtInstruction Ok, Thank you so much :) I wonder, without referemce photo, if i start with value 5, is value 7 a good darkest shadow ? And, i wonder about value 4, sometimes i think it is in light and sometimes not ? Or if i start with value 4, what wil be a good darkest shadow ?
Dianne, You are brilliant! I want to take your color theory class once I recover from the horrors of the political campaign. Your website indicates that it's available until December 2019. Are you still teaching it?
Marilyn, I have converted that class into a self-directed course which includes a coaching session with me. Once the political horrors are history (can't come too soon!!), you can find it at diannemize.com/product/colorcode/ (Ignore that note about Sale Ends. It refers to a sale held last December, but the team is having trouble removing the note.)
I like how you did the inside of the bowl, very helpful. The outside though looked all one color, a flat tone mostly the same value. I think it would help if maybe you exaggerated a little bit the different tones, colors, etc. I know I watched a pencil drawing you were making once and it was barely visible on the paper. I think maybe the video technology is not picking up the distinctions you can see right there with the naked eye. Like your tips, very useful. Thanks.
I am very new in learning painting i am learning through internet help so my question may sound foolish but still I am confused are we learning how to paint white object in dark atmosphere or background ? Because in the image bowl is white in color and we painted some different color...
This Quick Tip is about how Impressionists interpret white. Anything white most likely is reflecting colors around it. When observing, we look for the colors we see as well as the values we see.
Thanks so much for the tips, but to me the bowl still looks blue not white. Sorolla's whites are the best and most beautiful examples of how to paint white objects in the light.
I love my pearl white. I don't think I like the titanium white unless it's to make opaque a color that's not covering. Or for a base coat over my homemade canvases.
Hi Dianne, you went into the lighter; warm side (yellow - orange) with what you said was its complement of blue - green. This is wrong, the opposite of yellow - orange, is blue - violet, so that mixture wouldn’t work, if it was based on the impressionist theory. And again for the shade, you’re mixing blue -green for the shade with violet…you create a shade with its complementary, again red - orange. It’s not my intention to be bothersome, I understand this is just a quick tip, and I’ve enjoyed a lot of them, they are useful and thank you for doing them. But this does need correcting; otherwise people will be empowered with wrong knowledge.
Oh my goodness! I want to paint like the Impressionists, and you just taught me the first things about how to do that. Thank you SO VERY MUCH! This video is priceless!
You are so welcome!
thanks Dianne, sixteen minutes of pure GOLD!
Thanks!
I love your quick tips Dianne! I’ve learned so much in the year I’ve been watching. You’re a great teacher and so very inspiring. You keep me painting with enthusiasm. Thank you so much for these videos !
You are so welcome, Marie. Thanks for your continued support.
I would not be the painter I am today without you Miss. Mize :)
Keep enjoying the journey.
I have just watched this, I will now watch it again as so much information, I have made notes and will soon try to put into practice what I have learnt. Thank you so much.
Our pleasure.
Wow, simply gorgeous! I love colour, but I love it more when it plays off each other, and when it’s unexpected, a surprise. Thank you!
It's a pleasure to do these.
I'm gonna watch this vid over and over again until it sticks. White has been my demon for ages. ;*)
Enjoy the journey.
Well, well, well...the lightbulb finally turned on regarding impressionists, impressionistic! Thank you for broadening my understanding.
Ah, thanks Linda. I love it when those lightbulbs go on!
Amazing. With this little demo you have opened a whole world of possibilities for art interpretation and practice. Thanks
Thanks. And have fun with this.
Such a great lesson !! I love it!! Thank you Dianne! You are so generous w/your time!
Nice to see YOU in a little color.
Thanks for the tips.
You are always a light to me, showing me the JOY of painting. painting without the pressure and the stress that can make you go mad.. Often feel like I'm just banging my head against the wall. Im newer to art, I started painting last summer & I'm 27. I feel like I'm too old to do this now..to learn everything. I had no previous experience at all, until I started drawing portraits & fell in love. Now I'm trying landscapes and Oh My.
I constantly hear "THERE'S NO RULES IN ART" "JUST PLAY AND HAVE FUN" then I go to the canvas and there's actually a billion rules I have to think of. So many rules that I don't even know what to do first, I just go blank. I think I am afraid to paint. lol.
Do you have any advice on this? I want to grow as an artist, but it's often overwhelming & I end up just staring at the canvas crying lol.
How can I grow my skills and figure out my creative process?
sorry, I know that was a lot. lol
Sorry to be late responding to this, but I was incapacitated.
I don't like to think of painting principles as rules, but as tools that can get the job done for us when we learn how to use them. Like any field, we learn to use a tool one step at a time, and we add more complex tools the same way. My approach takes one principle at a time and explores its potential.
My advice is to focus your beginning attention on how to use the brush and how to mix colors. I have many free Quick Tips here on UA-cam that can guide you in both those areas. Just go to our channel page at ua-cam.com/users/inthestudioartinstructionvideos , and search for "brush" and "color". And take the attitude of having fun learning to use these tools.
Dear Diane - this was just pure magic! Thank you.
My pleasure.
So helpful! I have been struggling with how to tackle the white bowl! You covered it all perfectly. Thank you!!!
Glad it was helpful!
Thank you Diane this was a great tip for painting white in the impressionist style. I really appreciate that you've taken time to show how to interpret and paint white.
Always a pleasure, Mary.
This was great. Thank you Dianne.
You are so welcome! Thanks for watching.
Thank you for a most fascinating tip, in fact a whole lesson on interpreting whites ! plenty to practice...
Practice is the key.
The funny thing is, when you zoom in I would never perceive the bowl as white. But when you zoom out, my senses tell me it’s a white bowl.
Thanks for sharing ❤️
Thing is white is white only because we call it white, but how we see it is caused by the light and shadow and other colors reflecting into it.
In the Studio Art Instruction Thank you ❣️
As always very helpful. I appreciate your methodical presentation.
Thanks.
Thank You Dianne That one just blew my mind
Tony...west hills, ca. usa
Try it!
Well.. that is fascinating.... I’d read about Impressionism and complimentary colours...but you really need to see it done to understand it. Thanks,
Give it a try.
I so appreciate you explaining how you transition from dark to light using neutralized color. Great demo! When you have a chance, could you please explain how you clean your brushes? I would love to see your method for doing this while you're painting and then after a painting session, as well. If you've already posted this tip, I apologize; I've not seen it and will search for it. Thanks!
Roxanne, check out Quick Tip #7, Caring for Brushes
Thank you! I wasn't sure how to find responses to questions. Just saw the notification! :) So happy.
Thank you so much for the excellent instruction. My only wish is that there were more close ups of the painting as you work and explain. When the camera is zoomed out to include all of you it is hard to see the result of the brush work. Thanks again.
Sorry about that. Noted.
Stunning explanation. I wouldn´t have realized by myself. Thanks a lot!!!
That's why the "teacher" was invented.
Thank you Dianne for very interesting explanation of two x two colours - fascinating. Caz.
Phenomenal explanation and instructs on this! Merci Beacoup!
Thanks.
You are a fantastic teacher! Thank you so much
Great video showing value and light, perhaps I don't understand, your bowl is purple with sunlight on it, but the photo shows a white bowl with sunlight on it. Possibly because impressionist did not use white or black while painting. How would Rembrandt interpret this white bowl? Thank you your tutorials are excellent.
Thoughtful question, Hal. For one thing, Rembrandt didn't have available to him the variety of color choices the Impressionists had. Also, Rembrandt's fascination was the luminosity of light whereas the Impressionists were more focused on what light does to color or how color behaves in various kinds of light. So one might image that Rembrandt would paint the shadow areas of the bowl in deep umbers and siennas and the not-in-shadow areas on ochres and warm whites. What do you think?
Exploring the way you are describing is the best way to discover how color mixtures behave and influence one another. I have put on our schedule your suggestion for a Tip on white. Stay tuned.
Amazing! Took my breath away - and I'm so glad to have the insight into such possibilities! I'd been sick this week and started watching your numerical list of quick tips grouped by Ruth Bennett, so there it wasn't convenient to add a comment. However in this case I wanted to thank you.
Thank you, Rosa. It's a pleasure to do these.
Yeah, that was pretty awesome and so easy to understand. Thank You, Ms. Mize!
Hi Dianne. Thank you for all of this wonderful information. I work in watercolour and will atempt to interpret this lesson in that medium
Great exercise! I am working on a snow scene. Any demo on snow?
See Quick Tip 145
Nice insight into how the impressionists work with complementary colours
Thanks.
Thank you Dianne for a wonderful tutorial. Do you use Gamsol or walnut or another medium to thin the oil from the tube? Yours is so smooth and flows and mine is thick. Also, what do you rinse your brush in Gamsol or a Turpenoid? This tutorial reminds me of a NFS painting you created of squirrels playing in the snow. I love this and wonder if you could do a tutorial on it. The snow has some of the features you mention in this video. The snow in the foreground has a bright light white that makes it just pop off the page. The soft edges of the squirrels are gorgeous. They just melt away. And the snow in the background has playful, muted colors. Together.... it is magnificent. I think it is one of my favorites that you have painted - although I love all of them :) Could you do a tutorial that addresses the techniques you used in that painting? Thank you for all you do! I watch your tutorials every day! I just got two DVD's in the mail from your amazing classes. I can hardly wait to watch them.
Thanks, Marie. For making paint more pliable if it comes out of the tube too stiff, I mix in a drop of linseed oil. I use Turpenoid to rinse my brushes and Gamsol to mix with either linseed or poppy oil for dampening the canvas surface or mix with one of the oils if needed for thinning. The squirrel painting I think you're referring to was a study working with gradated value fields and lost edges. Since that is too complex for a Quick Tip, it is covered in Lessons 3 & 4 of Series 40. Lesson 3 will be published today and Lesson 4 next week. Stay tuned.
Thank you Dianne. I did purchase 4 Dvid's you did on Color and one download on painting The River. I will check out Series 40 Lesson 3 today and Lesson 4 of your recommendation next week. I wonder if the entire two hour lessons you paint would work for the squirrels and snow? :).
In the Studio Art Instruction d
I am impressed by the way you manipulate colour. With me, oh i must have the wrong tube! Are you working with the same colours on your palette all the time or introduce other to change the effect. Could I possibly ask what colour do you have on your palette and if it varies what colours may you introduce.
Philip, see Quick Tip 115 to answer most of your question - ua-cam.com/video/RORenwUXMDI/v-deo.html .
I determine a limited number of colors I will need, then mix value/color lines of those on the palette. My color mixtures for painting comes from these. If I see I need other colors as the painting progress, I add them.
hi Dianne thank u so much i think impressionism is the most wonderful style among arts, i wish u could teach us how to paint an white egg with impressionism because I'm still confused, i tried my best but really didn't know how to include all the four complimentray colors in one egg!!!!!
You can do that just by controlling the values. Just gradate the values on the egg according to how the light moves into shadow.
Going to try it in watercolor
Good idea. But allow water to be your white.
Nice one, Dianne! Just wondering about the selection of your two pairs - not the complements but the pairing of the lights and darks in conjunction with the other lights and dark? Thank you!
Each pair is a complimentary set of a double split complimentary scheme. The warms dominate in the light areas and the cools dominate in the shadow areas. Does this answer?
@@IntheStudioArtInstruction Hi Dianne, that does help - looking at the color wheel, looks like if you go around and select a hue and have two hues in between the next one, your selection will work - is this right? Thanks!
@@joanistotler8804 Lets say your wheel is divided into 12 colors, in that case I can see two choices that are common , two spaces in between like you mentioned. Also one space in between works. I have never seen it described with touching colors though.
with two spaces in between it is shown as a square color scheme
with one space inbetween it is shown as a rectangle color scheme.
As far as I can tell both the square and the rectangle scheme are called "tetrad color scheme."
now if you wanna have some fun why not try it with touching colors too and see if it works :) !
Hi Dianne, thank you for answering my questions! Just one more. Is you pochade box the large one or the medium sized one? Unfortunately it does appear to be exported here or that there are no distributors of it yet. I may have to import one with some 35% import duty. If you have wet oil paintings from an excursion out, how do you protect and transport the wet paintings?
Philip, the Sienna pochade box is available from Blick Art Materials. The one I use is the one pictured here - www.dickblick.com/products/craftech-sienna-plein-air-pochade-boxes-and-accessories/ .
My wet paintings stay attached to the easel on the box for transportation. When I got out in the field, it is usually for a single session so I have only one wet painting to bring home. There are plenty of transporting systems available for protecting wet paintings for transportation. Check out this: www.dickblick.com/products/guerrilla-painter-wet-painting-carriers/
Excellant video thank you so much!!!
My pleasure.
I love your tips but I can’t see them as you are painting! I would get so much more out of them if close up Shots would accompany your fantastic narration!!I LOVE your videos!!
Our more recent lessons take care of this.
Interesting that you mention that. Diane always works so small.... I wonder why she doesn’t paint larger???
well done...thanks for sharing
Wow that was great 👍
Thanks 👍
WOW... sooo much to learn!!! t.u.
Beautiful! Ms.Mize, you're the Best! I want to thank you on bended knee for this. I'm an untrained/self-trained "colorist" painter. I just keep fiddling with random colors until I get a painting I like. And, everyone likes my work; I've sold paintings even though I'm basically a hobbyist. I have taken a couple of short (noncredit) painting classes at local community colleges, but you're the first instructor who's ever given me a useful and usable tip that I can imagine using in real time! My only small critique is that you should REMAKE this (or a similar example) with the camera zoomed in on your hand and the painting more of the time. It's hard to see how you blend the strokes (or not) and it's hard to see the vibrancy of the colors next to each other.
I'm on a large desktop with a big screen. I've changed to HD setting. I'll try mirroring this video on my TV to see if it's any better. Your cameraman/husband/neighbor/videologist keeps zooming out for the most part unless you're mixing paint on your palette. This tip, with the part about using four complementary colors is the most exciting painting tip I've seen in years/days/forever/minutes/something.
You are most definitely a colorist. I've seen a lot of your videos and I might have to throw some money at you to buy your classes. Wow. I've heard a lot of dark/shadow/cool and light/sunlight/warm color tips before, but your explanation goes into more detail and makes more sense. I just wish I could see every brushstroke. I love your tutorials and I love seeing you as you speak, but most of us need to see each stroke more than your pretty face. Hugs, Tina
E: I just hope I can translate this idea using acrylic paints. I have a reaction to oils or one of the related products. Maybe if I add a retarder and/or a mattifier medium, I can learn to mimic something similar without using oils.
Tina, you should be able to do this with acrylics by using the open acrylics or, as you say, add some retardant. It is my love of pushing wet paint that makes me partial to oils. I wonder--would the water mixable oils work for you?
Hello :) I wonder what is homevalue ? And how dark is the darkest compere to the homevalue, and what is halftones ? I understand that halftones belong in the light ereas ? How to make them ? Greatings :)
The term "home value" must be one invented by one of today's UA-cam artists as it is not a term I use nor have encountered before. My perception of the term is that it might apply to the inherent value found in areas in light and areas in shadow, but don't take that to the bank.
The term "halftones" refer to the areas not in shadow between the lightest light (areas direction in line with the light source -- to those adjacent to the terminator where light and shadow meet. You might say that they are "halftones" because they are halfway between the lightest light and shadow.
@@IntheStudioArtInstruction Ok, Thank you so much :) I wonder, without referemce photo, if i start with value 5, is value 7 a good darkest shadow ? And, i wonder about value 4, sometimes i think it is in light and sometimes not ? Or if i start with value 4, what wil be a good darkest shadow ?
Dianne, You are brilliant! I want to take your color theory class once I recover from the horrors of the political campaign. Your website indicates that it's available until December 2019. Are you still teaching it?
Marilyn, I have converted that class into a self-directed course which includes a coaching session with me. Once the political horrors are history (can't come too soon!!), you can find it at diannemize.com/product/colorcode/
(Ignore that note about Sale Ends. It refers to a sale held last December, but the team is having trouble removing the note.)
I like how you did the inside of the bowl, very helpful. The outside though looked all one color, a flat tone mostly the same value. I think it would help if maybe you exaggerated a little bit the different tones, colors, etc. I know I watched a pencil drawing you were making once and it was barely visible on the paper. I think maybe the video technology is not picking up the distinctions you can see right there with the naked eye. Like your tips, very useful. Thanks.
Thanks for those suggestions. Our camera team is refining the technology with each of these we make.
I am very new in learning painting i am learning through internet help so my question may sound foolish but still
I am confused are we learning how to paint white object in dark atmosphere or background ? Because in the image bowl is white in color and we painted some different color...
This Quick Tip is about how Impressionists interpret white. Anything white most likely is reflecting colors around it. When observing, we look for the colors we see as well as the values we see.
@@IntheStudioArtInstruction thank u so much teacher .. really appreciate the quick response .....
Thanks so much for the tips, but to me the bowl still looks blue not white. Sorolla's whites are the best and most beautiful examples of how to paint white objects in the light.
There could be a difference in the way your monitor is interrupting the color.
Brilliant!
How you get that dark colour for the background?
It's the combination of the dark transparent colors I name in the Tip.
Ah! I learn so much from you! You are such a good teacher! Thank you!
😊
What a great tip!
Thanks.
I love my pearl white. I don't think I like the titanium white unless it's to make opaque a color that's not covering. Or for a base coat over my homemade canvases.
Thanks for adding that.
Thank you, a great reminder for me -very helpful
Thanks for watching.
Are you using oil paint please?
Gail, yes, I am using oil paint for this one.
Je croyais qu'il s'agissait d'un sujet sur le blanc. Il s'agit plutôt d'un sujet sur le volume.
Comme vous l'aimez
Nope...not sure about this one, don't think it quite works.
I'd like to hear more, David. Why do you think it doesn't quite work?
Hi Dianne, you went into the lighter; warm side (yellow - orange) with what you said was its
complement of blue - green. This is wrong, the opposite of yellow - orange, is
blue - violet, so that mixture wouldn’t work, if it was based on the
impressionist theory. And again for the shade, you’re mixing blue -green for
the shade with violet…you create a shade with its complementary, again red -
orange. It’s not my intention to be bothersome, I understand this is just a
quick tip, and I’ve enjoyed a lot of them, they are useful and thank you for
doing them. But this does need correcting; otherwise people will be empowered
with wrong knowledge.
For me, it works. Don't forget she mentions using warm and cold in pairs. She uses the complement to help neutralize.
David Wood Art I think she exaggerated the saturation, to see her theory on video