Thank you so much, Dianne! I was the person who requested this tip, and I love your video! You always give great tips, and the tips you shared today are super helpful. So many of my classes have focused on using a lot of darker values. In contrast, when I go to galleries or museums I’m always drawn to high key paintings. Unfortunately, it is hard to find workshops or classes focused on this type of painting, which is strange because so many of the impressionists did high key paintings. Thank you so much for doing this video! 😊🎉
I’d never even heard about this type of painting, makes me wonder about what else I’ve been missing, in the very best way; so much to learn and discover! Looking forward to playing around with this. Thanks again!
Hi Dianne! I am reading your book that just came in my mail yesterday! I love it and agree with your well written words! I 💖 Finding Freedom to Create!!
Although drawn to high key I have never heard of the term. Thank you again for all you share. I love learning from you. It’s delightful although not easy sometimes.
To me, the great thing about high key landscapes, is that a few dark brushstrokes can become a strong focal point. A lot of the impressionists did that.
💐Hello Ms. Mize. I think you are WONDERFUL. So full of knowledge and wisdom. A GREAT teacher. My art work has improved since I’ve been watching your channel. I want to join your membership program but could find access. I probably did something incorrect. Lol. Anyhow, I will join the beginning of June. Thank you so much for sharing your wisdom and guidance. You are practical and straight to the point with a bit of humor. ❤
Hi Dianne. I try your tip for getting a substitute of alizarin crimson. As you said, I mixed a low chroma green yellow (Raw umber) with a cool red (I used Quinacridone Permanent Rose). The masstone I got is incredible similar to original Alizarin and the tints are great too!. Just thanks!
My smart aleck answer would be to smile while you are painting, but the real answer is to observe how the light is influencing what you see on a sunny day. Master artists learn these things by observation, not by rules.
I've been wanting an exercise to get me out of the rut of how I normally paint. (a bit of tonalism mixed with who knows what) I think trying a high key approach may be just the thing.
The high-key paintings make me think of illustrations in some children's books. The unidentified artist's example feels a bit ethereal to me. On the other hand, both Monet examples have enough dark that they feel a bit sinister to me even though they are both quite bright. Definitely a fun way to add variety to one's painting style.
The marvelous thing about painting is the unlimited potential for expression as well as the unlimited kinds of perceptual responses viewers bring to a painting.
Thank you for sharing this, I also like high key painting and would like to learn how to do that. Your video came right in time. One question about how to block in when doing high key, shall I start with the lightest area and do the darkest next, then block in those in between? I assume doing this will help to maintain the value in between?
Peter, my practice when painting with oils is to always block in the darkest areas first because that creates the value structure around which to build the painting, even when it is high key.
Louise, for a plein air study, I prefer a very small canvas sheet taped to a board, rather than a stretched canvas, usually no larger than 10" x 14". I buy rolls of primed canvas and cut it into sheets. I do NOT recommend those tablet sheets because they are usually not properly primed.
@@IntheStudioArtInstruction Thanks so much for extending your answer to address primed canvas vs tablet sheets. I've been trying to use tablet sheets. This weekend I'll give primed canvas a try.
High key is my kind of painting.Nothing moves me like a sunset,and you get to use all the colours of the spectrum, highly saturated in a small area, relatively saturated in the rest.It's all about colour for me!A well respected artist once said that a great painting contains 10% - 15% of light,the rest is shadow.I wonder if this is what your listener was asking?
I just have to respond to the "well respected artist" quote. Examine the trove of paintings created by Monet and other master painters and you will discover how untrue that "10%-15% light" statement is. Great painting in our history represents a broad range of proportions of light to shadow.
I love all your tips. I think we are very lucky you decided to share your knowledge. Thank you very much!
Thanks, Luza. It's a pleasure doing these.
Thank you so much, Dianne! I was the person who requested this tip, and I love your video! You always give great tips, and the tips you shared today are super helpful. So many of my classes have focused on using a lot of darker values. In contrast, when I go to galleries or museums I’m always drawn to high key paintings. Unfortunately, it is hard to find workshops or classes focused on this type of painting, which is strange because so many of the impressionists did high key paintings. Thank you so much for doing this video! 😊🎉
Thanks, Laurie. Have fun with the process.
I’d never even heard about this type of painting, makes me wonder about what else I’ve been missing, in the very best way; so much to learn and discover! Looking forward to playing around with this. Thanks again!
The world of painting is indeed filled with wonders and potential for discoveries! Keep enjoying the journey.
This channel is amazing for artists, you are a wonderful teacher 🙂
Thank you!
Hi Dianne! I am reading your book that just came in my mail yesterday! I love it and agree with your well written words! I 💖 Finding Freedom to Create!!
Thanks, Nikki!
This lesson was so interesting and different and the final render so soft. I could watch you paint for an hour anytime☺️ Thank you very much.
My pleasure. Have fun with it.
Although drawn to high key I have never heard of the term. Thank you again for all you share. I love learning from you. It’s delightful although not easy sometimes.
Thanks, Eve. Keep enjoying the journey.
Thank you, Dianne! You put a name to a style that I have noticed and admired, but didn't know what it was called.
My pleasure, Pamela.
To me, the great thing about high key landscapes, is that a few dark brushstrokes can become a strong focal point. A lot of the impressionists did that.
Yes, Christopher. That can be very powerful.
I learned a lot from this high key demonstration. Thanks so much for sharing your extensive knowledge.
Have fun with it, Maril.
Thanks Dianne! Always learn from you.
Great. Keep enjoying the journey.
💐Hello Ms. Mize. I think you are WONDERFUL. So full of knowledge and wisdom. A GREAT teacher. My art work has improved since I’ve been watching your channel. I want to join your membership program but could find access. I probably did something incorrect. Lol. Anyhow, I will join the beginning of June. Thank you so much for sharing your wisdom and guidance. You are practical and straight to the point with a bit of humor. ❤
Adrion, there is a JOIN button underneath all the videos. Click that to Join here on UA-cam.
Hi Dianne. I try your tip for getting a substitute of alizarin crimson. As you said, I mixed a low chroma green yellow (Raw umber) with a cool red (I used Quinacridone Permanent Rose). The masstone I got is incredible similar to original Alizarin and the tints are great too!. Just thanks!
Fun stuff, isn't it!
Now that was very interesting. Thanks again for this wonderful quick tip
My pleasure!
Thanks!
Thanks so much, Laurie!
Thank you Dianne!
My pleasure.
Love your videos... You are so talented
Thanks, Claudia. Let me add, though, that it's not so much talent as learned skill.
Great video!❤ How do we keep the feeling of a sunny day?
My smart aleck answer would be to smile while you are painting, but the real answer is to observe how the light is influencing what you see on a sunny day. Master artists learn these things by observation, not by rules.
I've been wanting an exercise to get me out of the rut of how I normally paint. (a bit of tonalism mixed with who knows what) I think trying a high key approach may be just the thing.
Have fun with it, Amanda.
The high-key paintings make me think of illustrations in some children's books. The unidentified artist's example feels a bit ethereal to me. On the other hand, both Monet examples have enough dark that they feel a bit sinister to me even though they are both quite bright. Definitely a fun way to add variety to one's painting style.
The marvelous thing about painting is the unlimited potential for expression as well as the unlimited kinds of perceptual responses viewers bring to a painting.
Thank you for sharing this, I also like high key painting and would like to learn how to do that. Your video came right in time.
One question about how to block in when doing high key, shall I start with the lightest area and do the darkest next, then block in those in between? I assume doing this will help to maintain the value in between?
Peter, my practice when painting with oils is to always block in the darkest areas first because that creates the value structure around which to build the painting, even when it is high key.
Diane .. what is your favorite size canvas to paint on in Plein air as a study ??
Louise, for a plein air study, I prefer a very small canvas sheet taped to a board, rather than a stretched canvas, usually no larger than 10" x 14". I buy rolls of primed canvas and cut it into sheets. I do NOT recommend those tablet sheets because they are usually not properly primed.
@@IntheStudioArtInstruction Thanks so much for extending your answer to address primed canvas vs tablet sheets. I've been trying to use tablet sheets. This weekend I'll give primed canvas a try.
High key is my kind of painting.Nothing moves me like a sunset,and you get to use all the colours of the spectrum, highly saturated in a small area, relatively saturated in the rest.It's all about colour for me!A well respected artist once said that a great painting contains 10% - 15% of light,the rest is shadow.I wonder if this is what your listener was asking?
I just have to respond to the "well respected artist" quote. Examine the trove of paintings created by Monet and other master painters and you will discover how untrue that "10%-15% light" statement is. Great painting in our history represents a broad range of proportions of light to shadow.