I am absolutely cretain that everyone who watches this will be delighted with the teaching and information. Thank you so much for doing the purple and yellow. I really needed to see how to adjust things. I feel empowered to go do this for myself. Cant thank you enough. I am going to play this through again while I do it with you. I want to get the steps right. But VERY CLEAR.... just my memory LOL. Best wishes.
Thanks, Deb. The kitty with white feet is Lizzy. She's our studio kitty, usually asleep while we are filming, but sometimes she gets involved. The noisy one is Charley.
Thank you so much Diane for sharing your knowledge so generously. I learned so much from these two lessons and will continually refer to them in the future.
Wow Dianne, that was heavy but just the whack that I need. Patience & value correct, repeat, patience & value correct. Thank you & bless you once again.
Thank you Dianne for being so generous with your time and knowledge. I have done the blue-orange set and now planning to do the purple-yellow one. You have used raw sienna for middle range yellow. Can I use yellow ochre for the middle value and use raw umber if it needs to be darkened? I use Quiller wheel and find it useful. It seems yellow ochre and raw sienna are not far apart in that wheel. The reason is not only curiosity, but also, I don't have raw sienna and didn't know if I should get one.
Eek...this has tripped me up for a long time...determining the hue of the darker neutrals...no matter how hard I try, I see sienna & the umbers as dark *orange*
There is also the lack of consistency in hues from different paint manufacturers. But if you mix white into a little pile of burnt sienna and a little pile of burnt umber side by side, you will see that burnt sienna leans more towards orange and burnt umber, more towards red. Do the same experiment with raw sienna and raw umber and you will see their differences.
I thought that the darkest yellow was Burnt umber. I take notes when I listen to your vidéos and one note I have is : ' Burnt Umber is the darkest yellow, Raw umber is a low intensity of yellow, burnt sienna is darkest orange. (Burnt Sienna and Blue are therefore complementary). Did I miss something? Thanks for all these lessons you give us. I really appreciate it and I learn a lot from them.
If you mix white with both burnt umber and raw umber, you will notice that burnt umber shows slightly red whereas raw umber does not. Both are very low intensity, meaning they have very little hue within them. Burnt sienna is obviously more orange so even though it's a lower intensity, it is slightly more saturated in hue than either of the umbers. So as far as hue is concerned, raw umber is both low intensity and a very dark version of yellow.
I watched this one and the 2B one when I got home from work last night. Just fantastic information thank you so much for teaching it to us. I am still wrapping my head around it. I do understand what you’re teaching and I get the point. You are completely right it’s an exercise that you must do for yourself and I will be. It’s funny because when I was driving home I was thinking how would I do that exercise with brown? And then lo and behold here is raw umber as the dark value of Hana’s Yellow light. One thing that popped into my head while I was watching this video double, how did you know which purple and which yellow to select for example why did you not select cadmium yellow medium. Is there someway to know which orange is most likely to goes with which blue or which yellow goes with which purple, something on the label maybe or is this something as you gain insight and learn about colour mixing is something you just come to learn? Thanks again Dianne today is red/green day! Ps love ur fur baby in this one. Mine were cuddling while we watched you🐾🐾🐾
There's really no way you can tell whether they are exact compliments by the label of two compliments, but you can test them by bringing the darker one to the same value range of the lighter one, then gradually mix one into the other. If they neutralize to a gray, you know they are exact compliments, For example, for yellow and purple, add enough white into the purple for it to be in the same value range as the yellow, then gradually add one into the other, mixing thoroughly with each addition. If the mixture becomes more of a reddish gray but refuses to become a neutral gray, you'll know the purple needs more blue in it. If it is a more greenish gray, you'll know it needs more red in it. Since purple is a combo of red and blue, one or the other might be dominating if the mixture doesn't turn neutral gray.
I watched this one twice, along with the companion 228, Many learnings from this video. Always wondered what to do when yellow appears to be so much lighter in value than the darks. So 1) tube colors have inherent values. 2) make yellow a darker value by using a different color -with what other colors can we use this same idea? 3) couldn’t I just use purple to make it darker? 4) great explanation for how to color correct in order to create a perfect complement, thank you! Will watch 229/230 for more info.
Any darker tube color will lower the value of any other tube color that is lighter. But the hue and saturation will change, too, depending upon the color being used. The physics of mixing color is fluid, depending upon general principles rather than rules. The general principles are (1) darker mixed into lighter lowers the lighter's value and the reverse, (2) cooler mixed into warmer warms the temperature or the reverse, (3) two hues mixed together create a third hue, (4) complements neutralize one another, (5)a lower saturated hue will slightly neutralize a more fully saturated hue and the reverse.
Thank you so much Dianne for a wonderful demonstration on charting value and intensity. This was helpful. I never realized I needed to make certain that my complements matched. Yikes! :). LOL
Thanks, Marie. These exercises are to show you how to get an exact neutral, but just to lower the intensity a bit when an exact neutral is not what you need, you can be more flexible. For example, a purple (containing red) will lower the intensity of green, but will not totally neutralize it.
In the Studio Art Instruction I love how you show us how to get more harmony and how to work with a limited palette. You are nothing short of amazing! ❤️
@@IntheStudioArtInstruction Would that mean there is whole new world to try, by mixing green with purple, and also green with orange, orange with purple, etc.? I can't wrap my head around this, whole new world! Can you do a quick tip abut this secondary effects to consider? Thank you Dianne, you are a great teacher. I am so glad that I found you. I am going to spread the word, wherever my world reaches.
Bonjour Dianne, pourriez-vous , s'il vous plaît, nous montrer comment vous faites vos rangées de valeurs pour chaque couleur? J'ai trouvé cela très difficile à faire .
These six exercises in Charting (3 more to come) are designed to help you with how to control the degrees of value and intensity at the same time. If you've not already done so, watch Quick Tips 225 and 226 that start the series.
I am absolutely cretain that everyone who watches this will be delighted with the teaching and information. Thank you so much for doing the purple and yellow. I really needed to see how to adjust things. I feel empowered to go do this for myself. Cant thank you enough. I am going to play this through again while I do it with you. I want to get the steps right. But VERY CLEAR.... just my memory LOL. Best wishes.
Have fun with it!
Always value correct first. Got it! Thank you Dianne. Your knowledge of colours is astounding.
Thanks. It was my focus in my graduate work and has remained so for decades.
Color charts are so valuable. Yes, they take time, and they help you develop a keen eye. Listen to Dianne!
Yep!
thank you for the value correct reminders, it will stick with me always. I think your kitty with white feet enjoyed this tip also, so precious!
Thanks, Deb. The kitty with white feet is Lizzy. She's our studio kitty, usually asleep while we are filming, but sometimes she gets involved. The noisy one is Charley.
Thank you once again Dianne, it has finally sunk in this time - value correct!
Enjoy!
Thank you so much Diane for sharing your knowledge so generously. I learned so much from these two lessons and will continually refer to them in the future.
There's more to come... Stay tuned.
These intensity instructionals are awesome! Thank you
Great.
Thank you very much, very helpful explanation and demonstration!
It's a pleasure.
You explained so perfectly about the colour mixing and value. It’s very helpful tips! Thanks Diane!
Always a pleasure.
Wow Dianne, that was heavy but just the whack that I need. Patience & value correct, repeat, patience & value correct. Thank you & bless you once again.
Thanks, Anne. Patience, indeed, but what a pay off doing these exercises can be.
You are my teacher. Thank you!!!
It's my pleasure to be your teacher.
Thank you Ma'am. Closing the eyes and mixing the colours on the mind's palette gives similar results. Your guidance is valuable
Thanks. Whatever we can do to sharpen how we see color and value is a plus.
Thank you Dianne , ive noticed the difference in hues with the different brands .
That has always bothered me, yet I understand that it depends upon where the manufacturer is getting their pigments. Yet, it's good to be aware of it.
Thank you Dianne for being so generous with your time and knowledge. I have done the blue-orange set and now planning to do the purple-yellow one.
You have used raw sienna for middle range yellow. Can I use yellow ochre for the middle value and use raw umber if it needs to be darkened? I use Quiller wheel and find it useful. It seems yellow ochre and raw sienna are not far apart in that wheel.
The reason is not only curiosity, but also, I don't have raw sienna and didn't know if I should get one.
Yes. The colors I use are just to show you how the principle works. You use whatever you have to make it work for you.
Eek...this has tripped me up for a long time...determining the hue of the darker neutrals...no matter how hard I try, I see sienna & the umbers as dark *orange*
There is also the lack of consistency in hues from different paint manufacturers.
But if you mix white into a little pile of burnt sienna and a little pile of burnt umber side by side, you will see that burnt sienna leans more towards orange and burnt umber, more towards red. Do the same experiment with raw sienna and raw umber and you will see their differences.
I needed this. Thank you so very much.
Great!
I thought that the darkest yellow was Burnt umber. I take notes when I listen to your vidéos and one note I have is : ' Burnt Umber is the darkest yellow, Raw umber is a low intensity of yellow, burnt sienna is darkest orange. (Burnt Sienna and Blue are therefore complementary). Did I miss something? Thanks for all these lessons you give us. I really appreciate it and I learn a lot from them.
If you mix white with both burnt umber and raw umber, you will notice that burnt umber shows slightly red whereas raw umber does not. Both are very low intensity, meaning they have very little hue within them. Burnt sienna is obviously more orange so even though it's a lower intensity, it is slightly more saturated in hue than either of the umbers. So as far as hue is concerned, raw umber is both low intensity and a very dark version of yellow.
@@IntheStudioArtInstruction Thank you so much for taking time to answer. I really appreciate it. I will experiment.
Really helpful Diane thank you very much. I had no idea about this method.
I'm delighted to introduce this method of study to you.
This instruction has been immensely valuable! I would also like to see a video on color bias in artist paints.
I'll put this one on our schedule. Since we film these several weeks in advance, look for it in early Spring.
Thanks dear, it’s very clear now you are very helpful.
Glad it was helpful! Have fun doing this exercise.
I watched this one and the 2B one when I got home from work last night. Just fantastic information thank you so much for teaching it to us. I am still wrapping my head around it. I do understand what you’re teaching and I get the point. You are completely right it’s an exercise that you must do for yourself and I will be. It’s funny because when I was driving home I was thinking how would I do that exercise with brown? And then lo and behold here is raw umber as the dark value of Hana’s Yellow light. One thing that popped into my head while I was watching this video double, how did you know which purple and which yellow to select for example why did you not select cadmium yellow medium. Is there someway to know which orange is most likely to goes with which blue or which yellow goes with which purple, something on the label maybe or is this something as you gain insight and learn about colour mixing is something you just come to learn? Thanks again Dianne today is red/green day! Ps love ur fur baby in this one. Mine were cuddling while we watched you🐾🐾🐾
There's really no way you can tell whether they are exact compliments by the label of two compliments, but you can test them by bringing the darker one to the same value range of the lighter one, then gradually mix one into the other. If they neutralize to a gray, you know they are exact compliments, For example, for yellow and purple, add enough white into the purple for it to be in the same value range as the yellow, then gradually add one into the other, mixing thoroughly with each addition. If the mixture becomes more of a reddish gray but refuses to become a neutral gray, you'll know the purple needs more blue in it. If it is a more greenish gray, you'll know it needs more red in it. Since purple is a combo of red and blue, one or the other might be dominating if the mixture doesn't turn neutral gray.
Thank you Diane. You are truly a blessing from FATHER GOD. 👏🏽💕💕😘💕
I am loving the education Dianne but wonder if these same color value and intensity steps apply to acrylic paint??
Oh yes. Everything I teach applies in one way or another to every medium we use for painting.
Meaningful lesson. Thank you for sharing your knowledge and skill.
And thanks for watching.
I watched this one twice, along with the companion 228,
Many learnings from this video. Always wondered what to do when yellow appears to be so much lighter in value than the darks. So 1) tube colors have inherent values.
2) make yellow a darker value by using a different color -with what other colors can we use this same idea?
3) couldn’t I just use purple to make it darker?
4) great explanation for how to color correct in order to create a perfect complement, thank you!
Will watch 229/230 for more info.
Any darker tube color will lower the value of any other tube color that is lighter. But the hue and saturation will change, too, depending upon the color being used. The physics of mixing color is fluid, depending upon general principles rather than rules. The general principles are (1) darker mixed into lighter lowers the lighter's value and the reverse, (2) cooler mixed into warmer warms the temperature or the reverse, (3) two hues mixed together create a third hue, (4) complements neutralize one another, (5)a lower saturated hue will slightly neutralize a more fully saturated hue and the reverse.
In the Studio Art Instruction thanks Dianne!
It's like magic.
All painting techniques are, really.
It is fun to watch when “you hit it right”.
It's fun for me, too.
Thank you so much Dianne for a wonderful demonstration on charting value and intensity. This was helpful. I never realized I needed to make certain that my complements matched. Yikes! :). LOL
Thanks, Marie. These exercises are to show you how to get an exact neutral, but just to lower the intensity a bit when an exact neutral is not what you need, you can be more flexible. For example, a purple (containing red) will lower the intensity of green, but will not totally neutralize it.
In the Studio Art Instruction I love how you show us how to get more harmony and how to work with a limited palette. You are nothing short of amazing! ❤️
@@IntheStudioArtInstruction Would that mean there is whole new world to try, by mixing green with purple, and also green with orange, orange with purple, etc.? I can't wrap my head around this, whole new world! Can you do a quick tip abut this secondary effects to consider?
Thank you Dianne, you are a great teacher. I am so glad that I found you. I am going to spread the word, wherever my world reaches.
thank you very much!
Bonjour Dianne, pourriez-vous , s'il vous plaît, nous montrer comment vous faites vos rangées de valeurs pour chaque couleur? J'ai trouvé cela très difficile à faire .
See Quick Tip 130
Dear Mam
What is second u chose that makes into light purple in some dark colour with white.first colour was chrome yellow.
Thanks
Rims1
Please watch Quick Tip 226 to get this answer. Thanks.
Excellent
Thanks.
Dear Mam
What is Hansa Yellow?
Secondly how many yellow r there.
Reply me
Thanks
Rims1
Hansa Yellow is a yellow very much like Cadmium Yellow Light, but not as toxic. In some brands it is called Arylide Yellow and its color index is PY3.
Your videos are so helpfu!...thank you!
My pleasure.
Thanks very very much❤❤❤❤
My pleasure.
I am new to painting so I don't understand why you do this instead of using various values of a neutral color?
These six exercises in Charting (3 more to come) are designed to help you with how to control the degrees of value and intensity at the same time. If you've not already done so, watch Quick Tips 225 and 226 that start the series.
Excellent
Thanks.