Thank you so much! I have watched all your videos in this series and have just finished my blue and orange chart. While I fudged on it a little bit, as I kept running out of my neutrals, it really sunk in what you were trying to get through to us. I am a new painter, and can see what a treasure trove of information you have imparted! Many thanks, Dianne! 🙏
Wonderful! If you want to expand the exercise, Laura, try doing the entire set in different value ranges where each set keeps all the values the same. For example, aim one set for value 3, then another for value 5, then 7. It's an eye opener!
Just wanted to say a great big thank you for sharing your wisdom and knowledge. Really all of them, but the color videos in particular are being ever so helpful to me right now. Just the knowledge I needed at this point!
DEAR DIANNE...YOU ARE THE BEST TEACHER I HAVE KNOWN!...THANK YOU VERY MUCH FOR SHEARING YOUR KNOWLEDGE ....YOUR TIPS ARE A TREASURE FOR ME...GOD BLESS YOU! UN SALUDO DESDE MÉXICO! !!!
I cant thank you enough. I would like you to know that i have downloaded your free things and I am working this as you have done here. Next to drawing.... this feels ESSENTIAL You really teach with such generosity. God bless. Maretta Western Australia
I am not good with value and relationship colors, but I get in the field better now with your lessons. You are great teacher as my a best guide ever. Thank you very much for all knowledge.
You are a gifted teacher, Diane! Colors can be so intimidating. I really enjoy your approach which balances the technical and the intuitive. Your intentional and consistent choice of words makes the concepts inviting and do-able! Learning from you has given me such a boost in motivation and confidence. Your videos are invaluable treasure!
I’ve watched this before but wasn’t totally grasping it. Today, I really got it and plan to do my own study as soon as possible. I know I will benefit from this and I so appreciate your detailed instructions. Thanks so much Diane 😊
Thank so much for all your lessons. I am a slow learner, even after completing a Certificate and Diploma in Fine Art, my anxiety got in the way of following on everything I learned. Your lessons have gift wrapped my fears and told me to slow down, be patient. Perfectionists versus those can work through the yucky phases of the artwork is important go with the flow, throw judgement away. Relax, keep it simple, breathe. I, you can do it. Thank you best wishes. x
Bonsoir Madame Encore merci pour vos explications claires concernant la valeur et intensité, je comprends mieux maintenant grâce à vous! bonne fin de semaine
I am just a self-taught hobbyist painter and I’m killing myself laughing because in my ignorance I thought when you squeezed out some blue and you squeezed out some orange they were the highest intensity and deepest values of those colours LOL, you can see how much help I need LOL! Thank you so much for your wisdom and your education, I learned so much from this video and the 1a video on the same colour topic. Absolutely fantastic!
In the Studio Art Instruction Yes those are true words and most of the time I don’t even know that I need to know LOL. I watched red and green last night I’m still processing such great info I can’t thank you enough Dianne for all your quick tips!
Thank you, Dianne. This is amazing. So, the lightest value can be the highest intensity. Nobody has explained these colour relationships like this before. What colour is the darkest value on the orange side? Burnt Umber? Oh, I just had a thought. Can we say complementary colours control intensity (purity) and white controls values?
Burnt Umber is closer to red. Burnt Sienna is closer to orange, but some manufacturers' Burnt Sienna is too light. Quinacridone Burnt Orange works well and so does Rembrandt Transparent Oxide Red (called red, but leans more towards orange).
Thank you so much for these quick tips! They are helping me take my painting to another level. Please do a video of sunset colors over a mountain landscape. It's hard to tell what color to paint the distant mountains when the sun is setting behind them.
Thanks Dianne, for another excellent teaching! I have a question which is not related to this video: How should we organize/keep/save all the painted studies which needs to be dried, sorted and stored. I like organized house/studio/work place and I am not sure how to handle this aspect. What are your suggestions?
First,, (for oils) rather than do studies on stretched canvases, do them on sheets of canvas, preferably from a canvas roll. One of the best ways to manage their drying to get or build a drying rack. (Here's one at Jerry's:www.jerrysartarama.com/stack-n-dry-floor-drying-rack) Once they are dry to touch, you can stack them, one on top of another which takes very little space. I always label each study so that I can know what it was about. That will help in sorting.
Hi, Dianne! I've been reviewing all of your materials on the subject of the relationship betwen value and saturation, which I thought I had understood. Suddenly I find myself confused. What is the actual purpose of the finished chart? Is it, as you point out, to learn that changes can be made and to adjust them if necessary? For what purpose? Is there a Chat on the subject I forgot about? I hope you can clear this up for me. (It is now midnight. Maybe that's my problem.) Thank you, as always, Carol.
Carol, it's all about understanding and being able to mix colors according to the behavior of hue--hue in the way it loses its quantity when desaturated and hue in the way it changes in different degrees of light and shadown. These charts help us see the degrees in which it loses its intensity (amount of visible hue) in various degrees of desaturation. Check out any of the chats on color.
@@IntheStudioArtInstruction Thank you, Dianne. I do understand the principles of both saturation and tonal value-- and apply them. I was just wondering if the purpose of these completed charts was to learn how to arrive at the correct neutral for a hue at its specific intensity level together with its primary on its own specific value level???
The colour charts are so important, every artist should be making these charts also the black and white value chart so, so, important. The only waste of time is not doing them. Great tutorial. Thanks.
Thank you so very much! I learn so much from you. l hope to succeed this exercise in water colour, what would be necessarily preferable using white colour or the white of the paper?
In watercolor, the paper is our white meaning, in proportion, more water/less paint for lighter colors. White can be added to change the character of the color, but not to change just the value.
I really appreciate you instruction, but I use acrylics. I have looked for a chart of color equivalents, but have failed. Are you aware of any or where I might find one. Color is hard enough without this added complication.
The name of tube colors by Winsor & Newton's Professional Acrylics is very close to their names for oils. Liquitex and Golden colors are also very similar to oils in name. If you need further help locating colors to create these charts, please name for me specific colors you can't find and perhaps I can guide you in locating them.
I watched you do it - after the rebel way (you're right - this is so much better LOL) yet I have no idea how you kept your palette so beautifully organized - amazing!
Thank you for amazing content. Well I was told to use limited pallette, and I prefer to do so as well. I tried this with orange pigment straight from tube and also mix of yellow and red and both cases gave me different results. I also don't use purple rube rather mix. So what do you advise on using Pallette of 5-6 colours for doing this exercise?
The exercise is about how to find exact color compliments in full saturation, then how to find their neutral as well as a neutralized version of each hue that sits between fully saturated and fully neutralized. Then this charting takes each of those mixes into five degrees of value from their darkest potential to their lightest. It doesn't matter whether you mix the compliments or use them from tubes. What matters is that you adjust them to be exact compliments before beginning the charting. I explain this process in QT 225, prior to the charting of QT 226.
I love charting, there is so much information in a completed chart, but it takes patience! For the next set of colors I will be sure to mix enough of the individual values FIRST so that I don't have to stop and make more...
To answer--color has three characteristics that function independently as well as in concert--hue (the color name), value (how light or dark the color is) and intensity (how saturated or neutral a color is). When we use the word "neutral" we are referring to the hue's saturation, but when we use the term "value", we're referring to how light or dark it is. How we use these depends upon what we want them to do in a painting. A yellow jonquil in full sunlight most likely will contain highly saturated, light value yellow where the light is hitting its surface, but as it goes into shadow, the hue gets darker and becomes less saturated therefore more neutral. Hope this helps.
Cool colours are Ultramarine Blue, Lemon Blue, Alizarin Crimson. Warm colours are Pthalo blue, Cadmium Red, and Cadmium yellow. This is important limited palette to learn for the Australian landscapes and vibrant colours here in Summer. Just sharing with you a Master of painting. Cheers.
It would be best to call it a principle rather than a formula. It applies to all materials that use pigment with which to paint. The difference is when working with watercolor, rather than use white to lighten values, you add a bit of water.
Just adding this was the most challenging lesson for me. Learning the Australian limited palette. Warm and cool primary 2 red 2 blue 2 yellow. Warm blue, is it Ultramarine blue or Phthalo Blue, some say Ultramarine is the warm colour and Phthalo blue the cool colour. So if you get the warm and red wrong mixing together you end up with grey or mud.
You could use either Phthalo blue or Ultramarine for this exercise. You avoid mud by finding the exact complement. I discuss this in Quick Tip 225, and you will hear it again in 227 & 229 upcoming. The key to not getting mud when neutralizing is finding an exactly complement to any color. As to the Ultramarine/Phthalo warm/cool debate. I don't try to counter those any more. They depend upon whether the person arguing one way or another considers yellow or red to be the warmer color. I come from the old school which considers yellow the warmer of the two. It's all a matter of whether one bases that perception on theory or on sensation. In the old school, a yellow flame is hotter than a red flame. The idea warm/cool is based on our sensory perception thus yellow feels like the warmer color. But if a person has trained his/her perception to "feel" red as warmer, then that's the route he/she will take.
We have a free intensity wheel on our website - www.diannemize.com . Click on free stuff and find it among our many free materials. As to a chart that shows all values of all intensities of every hue, Munsell created such charts and many others have done versions. Check out this link to further investigate: www.bing.com/images/search?q=Munsell+Color+Hue+Chart&mmreqh=udxXHuUb6kEa6vQceEuxsJ8Rzz%2fVMyW0qEpBTdlbZ%2f4%3d&form=IDINTS&first=1&tsc=ImageBasicHover
You observe the close value relationship of what the sunrays are doing. I think Quick Tip 133 can give you some clues about how to do that. Study to movement and angles of the rays, and with those close values, stroke your brush in that direction.
One helpful lesson I learned. Phthalo blue mixed with Alizarin will give you a dull almost grey violet. This is because Phthalo blue is a warm colour. It will take you to the beautiful turquoise, greens with lemon yellow and titanium white. Ultramarine blue on the other hand, is a Cool Colour, mix Ultramarine blue with Alizarin Crimson also a Cool colour, mixed together with Titanium white, gives you the beautiful violets needed in the sky or snow shadows or glows on a shady snowy side of a house rooftop.
I can not thank you enough Dianne for sharing your wisdom and knowledge
Always a pleasure. Thanks for watching.
Mrs.Mize you're such a delight to listen and learn from! MUCH THANK YOU SO MUCH and RESPECT!
My pleasure.
Thank you so much! I have watched all your videos in this series and have just finished my blue and orange chart. While I fudged on it a little bit, as I kept running out of my neutrals, it really sunk in what you were trying to get through to us. I am a new painter, and can see what a treasure trove of information you have imparted! Many thanks, Dianne! 🙏
Wonderful! My pleasure.
This exercise is fun and helpful. Thanks once again Dianne. I’m enjoying catching up binge watching your QTs on a cold day in the NE.
Wonderful! If you want to expand the exercise, Laura, try doing the entire set in different value ranges where each set keeps all the values the same. For example, aim one set for value 3, then another for value 5, then 7. It's an eye opener!
@@IntheStudioArtInstruction I’m on it! Thank you 🙏 😊
Just wanted to say a great big thank you for sharing your wisdom and knowledge. Really all of them, but the color videos in particular are being ever so helpful to me right now. Just the knowledge I needed at this point!
I am delighted you are finding these helpful.
You are the best teacher Dianne. Many, many thanks.
Thank you, Laura. It's something I really love doing.
DEAR DIANNE...YOU ARE THE BEST TEACHER I HAVE KNOWN!...THANK YOU VERY MUCH FOR SHEARING YOUR KNOWLEDGE ....YOUR TIPS ARE A TREASURE FOR ME...GOD BLESS YOU!
UN SALUDO DESDE MÉXICO! !!!
Thanks you, Alma. That is quite a complement.
I cant thank you enough. I would like you to know that i have downloaded your free things and I am working this as you have done here. Next to drawing.... this feels ESSENTIAL You really teach with such generosity. God bless. Maretta Western Australia
My pleasure, Maretta. Enjoy the journey!
Thanks Dianne Mize you are too great a teacher of art and life. ..you won't believe how I wait for your tutorials each time.
Thanks, Alka.
I am not good with value and relationship colors, but I get in the field better now with your lessons. You are great teacher as my a best guide ever. Thank you very much for all knowledge.
You CAN become good with value and color relationships by working with them and watching what they do.
You are a gifted teacher, Diane! Colors can be so intimidating. I really enjoy your approach which balances the technical and the intuitive. Your intentional and consistent choice of words makes the concepts inviting and do-able! Learning from you has given me such a boost in motivation and confidence. Your videos are invaluable treasure!
Thank you, Reed. My intention is to teach the way I wish I had been taught and I love knowing that it's working.
I’ve watched this before but wasn’t totally grasping it. Today, I really got it and plan to do my own study as soon as possible. I know I will benefit from this and I so appreciate your detailed instructions. Thanks so much Diane 😊
Great! Charts are excellent tools for understanding how color works.
Thank you Dianne, this is what gets more important by time, the more one is painting! Very important!/🌺🇸🇪
It really is!
Thank so much for all your lessons. I am a slow learner, even after completing a Certificate and Diploma in Fine Art, my anxiety got in the way of following on everything I learned. Your lessons have gift wrapped my fears and told me to slow down, be patient. Perfectionists versus those can work through the yucky phases of the artwork is important go with the flow, throw judgement away. Relax, keep it simple, breathe. I, you can do it. Thank you best wishes. x
Thanks for sharing this with me. So many artists fight fear and anxiety. There's nothing to risk when you can relax and enjoy the process.
Bonsoir Madame
Encore merci pour vos explications claires concernant la valeur et intensité, je comprends mieux
maintenant grâce à vous! bonne fin de semaine
Je t'en prie. Je suis ravi que vous ayez trouvé cette leçon utile.
I am just a self-taught hobbyist painter and I’m killing myself laughing because in my ignorance I thought when you squeezed out some blue and you squeezed out some orange they were the highest intensity and deepest values of those colours LOL, you can see how much help I need LOL! Thank you so much for your wisdom and your education, I learned so much from this video and the 1a video on the same colour topic. Absolutely fantastic!
I'm delighted these are enlightening you. I always say self-teaching can go a long way as long as you know what you are teaching yourself.
In the Studio Art Instruction Yes those are true words and most of the time I don’t even know that I need to know LOL. I watched red and green last night I’m still processing such great info I can’t thank you enough Dianne for all your quick tips!
Thank you, Dianne. This is amazing. So, the lightest value can be the highest intensity. Nobody has explained these colour relationships like this before. What colour is the darkest value on the orange side? Burnt Umber? Oh, I just had a thought. Can we say complementary colours control intensity (purity) and white controls values?
Burnt Umber is closer to red. Burnt Sienna is closer to orange, but some manufacturers' Burnt Sienna is too light. Quinacridone Burnt Orange works well and so does Rembrandt Transparent Oxide Red (called red, but leans more towards orange).
Thank you so much for these quick tips!
They are helping me take my painting to another level. Please do a video of sunset colors over a mountain landscape. It's hard to tell what color to paint the distant mountains when the sun is setting behind them.
The key is to look for the color and value, not as mountains or as sun setting on mountains, but only as color. I'll put this one on our schedule.
Thanks Dianne, for another excellent teaching!
I have a question which is not related to this video: How should we organize/keep/save all the painted studies which needs to be dried, sorted and stored. I like organized house/studio/work place and I am not sure how to handle this aspect. What are your suggestions?
First,, (for oils) rather than do studies on stretched canvases, do them on sheets of canvas, preferably from a canvas roll. One of the best ways to manage their drying to get or build a drying rack. (Here's one at Jerry's:www.jerrysartarama.com/stack-n-dry-floor-drying-rack) Once they are dry to touch, you can stack them, one on top of another which takes very little space. I always label each study so that I can know what it was about. That will help in sorting.
Hi, Dianne! I've been reviewing all of your materials on the subject of the relationship betwen value and saturation, which I thought I had understood. Suddenly I find myself confused. What is the actual purpose of the finished chart? Is it, as you point out, to learn that changes can be made and to adjust them if necessary? For what purpose? Is there a Chat on the subject I forgot about? I hope you can clear this up for me. (It is now midnight. Maybe that's my problem.) Thank you, as always, Carol.
Carol, it's all about understanding and being able to mix colors according to the behavior of hue--hue in the way it loses its quantity when desaturated and hue in the way it changes in different degrees of light and shadown. These charts help us see the degrees in which it loses its intensity (amount of visible hue) in various degrees of desaturation. Check out any of the chats on color.
@@IntheStudioArtInstruction Thank you, Dianne. I do understand the principles of both saturation and tonal value-- and apply them. I was just wondering if the purpose of these completed charts was to learn how to arrive at the correct neutral for a hue at its specific intensity level together with its primary on its own specific value level???
The colour charts are so important, every artist should be making these charts also the black and white value chart so, so, important. The only waste of time is not doing them. Great tutorial. Thanks.
Thanks for that input.
Thank you so very much! I learn so much from you. l hope to succeed this exercise in water colour, what would be necessarily preferable using white colour or the white of the paper?
In watercolor, the paper is our white meaning, in proportion, more water/less paint for lighter colors. White can be added to change the character of the color, but not to change just the value.
I really appreciate you instruction, but I use acrylics. I have looked for a chart of color equivalents, but have failed. Are you aware of any or where I might find one. Color is hard enough without this added complication.
The name of tube colors by Winsor & Newton's Professional Acrylics is very close to their names for oils. Liquitex and Golden colors are also very similar to oils in name. If you need further help locating colors to create these charts, please name for me specific colors you can't find and perhaps I can guide you in locating them.
I watched you do it - after the rebel way (you're right - this is so much better LOL) yet I have no idea how you kept your palette so beautifully organized - amazing!
It was an accident. Wait until you see how messy it got with the yellow/purple exercise.
@@IntheStudioArtInstruction LOL thank heavens!
Thank you for amazing content. Well I was told to use limited pallette, and I prefer to do so as well. I tried this with orange pigment straight from tube and also mix of yellow and red and both cases gave me different results. I also don't use purple rube rather mix. So what do you advise on using Pallette of 5-6 colours for doing this exercise?
The exercise is about how to find exact color compliments in full saturation, then how to find their neutral as well as a neutralized version of each hue that sits between fully saturated and fully neutralized. Then this charting takes each of those mixes into five degrees of value from their darkest potential to their lightest. It doesn't matter whether you mix the compliments or use them from tubes. What matters is that you adjust them to be exact compliments before beginning the charting. I explain this process in QT 225, prior to the charting of QT 226.
@@IntheStudioArtInstruction thank you ma'am you have always been kind. I wish to be coached by you face to face. May be someday...
a very good exercise to learn to control the color, Thank you so much for sharing!
Enjoy doing the exercise.
of course!
I love charting, there is so much information in a completed chart, but it takes patience! For the next set of colors I will be sure to mix enough of the individual values FIRST so that I don't have to stop and make more...
Good point.
when does one use neutral values. have a very good 2020 in good health and thanks for your wonderful quick tips
To answer--color has three characteristics that function independently as well as in concert--hue (the color name), value (how light or dark the color is) and intensity (how saturated or neutral a color is). When we use the word "neutral" we are referring to the hue's saturation, but when we use the term "value", we're referring to how light or dark it is. How we use these depends upon what we want them to do in a painting.
A yellow jonquil in full sunlight most likely will contain highly saturated, light value yellow where the light is hitting its surface, but as it goes into shadow, the hue gets darker and becomes less saturated therefore more neutral.
Hope this helps.
Cool colours are Ultramarine Blue, Lemon Blue, Alizarin Crimson. Warm colours are Pthalo blue, Cadmium Red, and Cadmium yellow. This is important limited palette to learn for the Australian landscapes and vibrant colours here in Summer. Just sharing with you a Master of painting. Cheers.
Sorry, edit to say, Lemon yellow. X
Thanks for this, too, Aubrey. It has always been interesting to me how different geographical locations require unique limited palettes
Thank you for your time
Thanks for watching.
Does this same formula apply to water color, acrylic and oil pastels?
It would be best to call it a principle rather than a formula. It applies to all materials that use pigment with which to paint. The difference is when working with watercolor, rather than use white to lighten values, you add a bit of water.
Just adding this was the most challenging lesson for me. Learning the Australian limited palette. Warm and cool primary 2 red 2 blue 2 yellow. Warm blue, is it Ultramarine blue or Phthalo Blue, some say Ultramarine is the warm colour and Phthalo blue the cool colour. So if you get the warm and red wrong mixing together you end up with grey or mud.
You could use either Phthalo blue or Ultramarine for this exercise. You avoid mud by finding the exact complement. I discuss this in Quick Tip 225, and you will hear it again in 227 & 229 upcoming. The key to not getting mud when neutralizing is finding an exactly complement to any color.
As to the Ultramarine/Phthalo warm/cool debate. I don't try to counter those any more. They depend upon whether the person arguing one way or another considers yellow or red to be the warmer color. I come from the old school which considers yellow the warmer of the two. It's all a matter of whether one bases that perception on theory or on sensation. In the old school, a yellow flame is hotter than a red flame. The idea warm/cool is based on our sensory perception thus yellow feels like the warmer color. But if a person has trained his/her perception to "feel" red as warmer, then that's the route he/she will take.
You rebel you! 😉 Thank you for another great video!
😇
Where can I buy a value/intensity chart with instructions?
We have a free intensity wheel on our website - www.diannemize.com . Click on free stuff and find it among our many free materials. As to a chart that shows all values of all intensities of every hue, Munsell created such charts and many others have done versions. Check out this link to further investigate: www.bing.com/images/search?q=Munsell+Color+Hue+Chart&mmreqh=udxXHuUb6kEa6vQceEuxsJ8Rzz%2fVMyW0qEpBTdlbZ%2f4%3d&form=IDINTS&first=1&tsc=ImageBasicHover
Super useful tip!!
Great! Thanks for watching.
How do you paint rays of sun streaming through a forest ? You are a gem!
You observe the close value relationship of what the sunrays are doing. I think Quick Tip 133 can give you some clues about how to do that. Study to movement and angles of the rays, and with those close values, stroke your brush in that direction.
wow that was hard work but I managed it and it all made sense. Thank you.
Wonderful! Thanks for watching.
One helpful lesson I learned. Phthalo blue mixed with Alizarin will give you a dull almost grey violet. This is because Phthalo blue is a warm colour. It will take you to the beautiful turquoise, greens with lemon yellow and titanium white. Ultramarine blue on the other hand, is a Cool Colour, mix Ultramarine blue with Alizarin Crimson also a Cool colour, mixed together with Titanium white, gives you the beautiful violets needed in the sky or snow shadows or glows on a shady snowy side of a house rooftop.
Thanks for spelling this out.
Thank you so much ma'am. How to know the exact colours of shadows?
Check out Quick Tip 204- Working with Shadows. ua-cam.com/video/to0WUA4hNUI/v-deo.html
Thank you for your amazing lesson :)
My pleasure.
Thank you so much for sharing!
It's a pleasure to do so.
fantastic video = thank you
A pleasure.
Thanks Ma'am 🙏
Thanks so much!👍
My pleasure.
Thanks for much💯💖
Thanks for watching.
🙏❤️❤️❤️❤️
😊
Thank you so so so much ❤
Always a pleasure.