Quick Tip 342 - Snow Road Angles and Values
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- Опубліковано 5 жов 2021
- Artist/art teacher Dianne Mize explains the process for setting up a painting of a dirt road receding into a snow covered landscape.
diannemize.com
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Dear Dianne, Thank you. Your tips on squinting to find the values are so helpful🌺
Thank you🌺
You are so welcome! Squinting is one of the most valuable tools a painter possesses. Enjoy it.
This is great! A very practical lesson:) Thank you Dianne, for another helpful lesson:)
You are so welcome! Thanks for being a Studio Insider member.
Thanks dear dianne, it’s an amazing video. I’m very lucky that I have found your channel. And I’m very happy that I’m starting a courses with you I’m a lucky student.
Wonderful! Have fun with the course.
Thank you Dianne. Very helpful!
You are so welcome!
Great tip Dianne. I’m always grateful that you guide us thru the thought process. 2 questions please? 1. Why did you use UMB for your initial wash as opposed to gray? 2. You indicated that to keep going on this study you would use a warm and a cool. I get the cool! But where in the photo is the warm? Many thanks!
Monica, I use UB here because it doesn't stain which lets it lift easily, and it is on my palette for the exercise. Also, at this stage, I don't want to use any mixture that has opaque in it.
The warm/cool is alternated to help create the luminosity. We painters learn how to see what's there, then enhance the colors for interpretation.
Thank you.
You bet!
Thanks again for wonderful tips!
My pleasure, as always.
Awesome QT, thanks Dianne!!!
Fun stuff, isn't it!
J'ai enfin compris toutes les nuances à utiliser, merci 👌🤗👍
De rien. Toujours un plaisir.
Amazing, coincidentally (again!) I just finished a painting using shadows and snow, so I am eager to watch this and learn (probably what I did wrong!)
I love those coincidentals, although i prefer calling them serendipity. And my get is that you got it at least mostly right.
Thank you!
You bet.
Thank you
You bet.
I have often heard artist's on youtube saying there are no secret's to painting when asked what the secret to painting is. Someone I have found to be enormously helpful is Stefan Bauman, he's phenomenal. He say's the secret to painting is temperature and this makes sense to me as you can only use so many value's before a painting begin's to fall apart structurally. I have not heard anyone else say this, albeit on youtube as this is how I've learned, and i am curious about your thought's on this. I have not watched all your video's that I missed before discovering your channel as there are so many and i apologise if you have talked about this before.
My take on that question is that there are NO secrets to painting. Stefan's answer is a good one, but first, I would change the word "secret" to "keys". I think the first key to good painting is intention, then observation, then masterful skills. Good painting is a skill with many components, no different from any other kind of creating such as being a good electrician.
@@IntheStudioArtInstruction Thank you for that. Stefan does talk about " key's ", from what I can remember there's 14 or 15 of them, his take of course, and when he spoke of temperature as being as important as value's, it intrigued me as i have heard everyone talk about temperature, but never the way he does, he says he's a temperature man. I think I need to take the plunge soon and study with someone who can structure the learning in such a way so I'm not going round in circle's. It's such a difficult craft to learn by yourself, for me at least. Thank you for the reply Diane. Your video's are truly fantastic and you're so generous with your time.
When Stefan refers to cool for the lights and warm for shadows, he is referring to the pigments used not the warm or cool hues of the color wheel. For example, ultramarine blue is a warm blue while cerulean is a cool blue: or cad yellow medium is a warm yellow and cad lemon is a cool yellow. So when he refers to using cool pigments for areas where light is hitting, he is referring to using cool pigments. Hence, the area in light a cool blue or cool yellow pigment can be used in these areas, while warm pigments are for those areas in shadow.
@@blroberts70 thank you for this info. Also doesn’t the temperature of the light matter? If it is a overcast day (cool light) the shadows will be warm (I believe?) but if it is a sunny day the light source is warm? But if it is a bright blue sky, that gives a cool light? I am sooo confused!
Thank you for another great video. I have a question if I may? I'm trying to paint a cream coloured wall in shadow but it just looks dirty. What am I doing wrong? Since cream is yellow based I'm trying to shadow it with violet, should I use something else? Many thanks for any hints! X
If you value correct your violet before mixing it, it should work just fine. To value correct, you raise the value of the darker color, then mix it into the lighter one.
Just wondering why you moved the tire track on the left into the snow space to the left. I saw four hatch marks at the bottom for the edges of the tracks and you painted in a different space. I suppose that was a correction but you didn't mention it.
I'm not really sure what your question is. The lesson is to show how to locate the general direction of angles and well as the degree of value contrast. It's not about trying to capture every detail.
Hi Diane, I would like to know :
Do you use acrylique and water to do your draw ( sketch) or oil paint with oderless paint thinner ?
I paint with oil paint not acrylique
Merci , thank you
I don't use acrylic at all. In this demo, I am using oil thinned with Gamsol for the preliminary work.
@@IntheStudioArtInstruction thank you
if I use linseed oil or safflower oil for prelimary work , is it ok ?
@@Leo-xs8bv Hi! I’m interested in Diane’s response too, but am guessing she will say that that would be adding too much “fat” to the bottom layer, using the “fat over lean” principle.
@@PLSassociates ah ! Ok thank you :)