Quick Tip 115 = Dianne's Palette
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- Опубліковано 9 лип 2024
- Responding to another UA-cam comment, art teacher Dianne Mize explains her thought process behind why she sets up her palette the way she does. For more information and free tools that are mentioned in this video go to www.diannemize.com
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I’m a little late finding you, but I’m digging in. Just spent time writing notes on the paints and palette and appreciating your openness and sharing. 🙏🏽😊
Welcome! So glad to have you aboard.
Thank you so much Dianne. I am so grateful to you for sharing your knowledge & expertise. You sit with me when I roll up my sleeves to begin a painting & you hold my hand for the duration. I'm so glad I found you. Anne
Anne, so glad to be on your team.
Dianne Mize oh Dianne thank you so very much for taking the time and answering my request. I appreciate it so much. I love your setup and have the same pochade box for sometime and didn't know how to set it up to be effective. I now have and bought the colors you have and been having fun mixing the Viridian...I have learned so much from all your videos...thank you and God bless you for sharing your knowledge. Many will and are learning so much.
Milania, I'm delighted to have answered your request. I hope your new set up will open up for you a whole new world of color possibilities.
how is your art 4 yrs later ?
Dianne thank you for all the wonderful tips you share with us. Angel blessings.xx
Thanks, Maria. It's a pleasure to share these.
Timeless tips, thanks for all your work!
My pleasure!
Thankyou for your thoughtful explanation of your pallette of which I will use and explore.
Especially the colour mixing techniques.
My pleasure.
Just starting oils and I am so grateful I found you! Thank you!
Wonderful! Enjoy the journey.
Wonderful quick tip! Very interesting to hear the logic behind the choices. Thanks Dianne!
My pleasure.
FOUND IT! Wonderfully thought out and explained. Thank you!
Thanks. Always a pleasure.
Thank you very much for your time.
Were you reading my mind? I had just downloaded your palette information from your website to explore the colors that you use and then you post a video with full explanation! How lucky am I!
Great minds, yes?
Indeed!
Your videos are absolute pearls of painting wisdom! Wow. Thank you. I bought your book yesterday,
and I am reading it tonight. Can't wait to get back outside to paint using and applying your insights. You
are an inspiration to me. I am following you and watching you for sure.
Thanks for that, Carol. And thanks for mentioning my book.
Thanks Dianne! I wish I would have discovered you when I first started painting a few years ago!
Now is what counts :)
❤this tutorial. Thank you Dianne!
You are so welcome!
Thank you so much! This was just wonderful as I'm new to oils. There's so much product out there and it's so helpful to have guidance. Looking forward to continuing to learn from you 💛
Enjoy the journey with us.
Your great enthusiasm and colorknowledge was great fun to watch. Thank you learned a lot👍
Thanks for watching, Ada. It's a pleasure doing these.
Thanks Dianne,as always,your tips are so helpful,thanks
My pleasure.
Love all your videos! Thank you so much!
It's a pleasure to do these.
I'm about to add to the paltry few oils I have and wanted just the information you provided in this video, so thank you!
You are so welcome!
Dianne, thank you. An excellent presentation and explanation of your thoughts regarding your color palette. It helped me realize that I’m going in the right direction, as I also have been reducing my color palette.👏👍😃
My pleasure. Enjoy limiting your palette.
great explanation. thanks
Another great video!Keep up the good work!
Thanks for the video, it was very helpful! Hat's off to you for not mentioning Ivory Black!
Ivory black has its place, but not on my palette.
Always love your videos, thankyou.
My pleasure!
I love your colour palette thankyou from New Zealand - regards Dawn
Thanks, Dawn!
How I love you and all your tips!!!!!
Thanks!
Dianne, will you please show us your STUDIO palette - do you still keep your oil colors around the edge? Thank you.
Lolita, please watch Quick Tips 115 and 172 where I explain all that.
Thank you Dianne!
My pleasure.
Thanks for sharing your time with us
My pleasure
It’s fascinating to know these tips
It's a pleasure to do these.
Hi Dianne! Thank you, Thank You, THANK YOU SO MUCH! You ARE a Godsend! I can order my colors NOW & stick to these from now on! In addition: I think I will replace my Phthalo Green(B.S.-I've used A LOT) for the Rembrandt Viridian Green. I have collected SO MANY colors over the years(way beyond those I mentioned to you), it's ridiculous! Hope I wasn't too much of a bother to you! God Bless & Hope All is well with you! Ron M.
You are so welcome, Ron. Join the club of those of us who have far too many tubes of paint. Just like brushes, it's addictive.
Thank you very much! Interesting as always! 🎨🌺
Ah, I see you're already watched QT 115. Good. Now you've got the scoop on all the color on my palette.
Very helpful thanks Dianne
Great! Have fun with it.
Great video. Unfortunately, I purchased a few others to get ready to start oil painting - I will only put your suggestions on my Palette and I think this will force me to learn color mixing! Thank you!
Good. Learning to THINK in color will be the most beneficial thing you can learn. Arranging colors according to the spectrum (or color wheel) is a good start.
From Beth - I’m taking advantage of your art knowledge and learning so much, thanks! I’m very interested in the wooden pallet with the hinged lid that you use in your videos. Is one like it available to buy? Thanks 😊
Coy, mine is a Sienna pochade box available from Blick Art Materials.
Great video and always interesting to hear the reflections on the choice of brands and colors. I was wondering if the different brands you choose for different colors is just because of the excact pigment ? Or are there other differences to your chosen brands that has importance for you ( beside being colors that last)?
Lis, my first consideration is light fastness. Beyond that, yes, in certain colors (yellow ocher, for example), different brands have different versions of the color. The best example is Viridian. Most viridians are middle value and semi-opaque, but Rembrandt's Viridian is dark and transparent, much like Phthalo Green, but a lower tinting strength.
Decades ago, I discovered that Holbein's Sap Green (watercolor) was fugitive, that the yellows would fade away. That after having given it a major role in an entire body of 30 or so paintings. It was then that I got real fussy about light-fastness.
That's it !! ♡ I was curious how limited colors on your pallet. Now I understand ~
Good!
Thank you soooo very much
Welcome 😊
Hello Dianne,1st off I want to Thank YOU so much for all your tips, advice & your shared vast knowledge about oil painting! I've been painting off/on for many years, but am self taught & still always learning, particularly about color/a limited palette in conjunction with the color wheel. At this time I am working on a seascape scene with a distant breaking wave into rocks & an enthralling creviced cliff/headland directly in the background, moving into the distance. Some of the interest(secondary to wave/rocks being the CFP)lies in the background cliff, although one of my biggest 'struggles still' is trying to put 'everything I see' into my work & being a perfectionist(I'm working on both to overcome, always!) My question though is about working with a limited palette, and particularly for this scene, I want to use phthalo green(blue shade) & its complement(various shades of) for areas other than only the ocean. Can you give advice about a harmonious color structure from the color wheel using Phthalo Green b.s. rather than the Rembrant Viridian(don't have & already have MANY colors!) you use. I tried finding the complement of P.G. And found the 'direct' complement being Napthal Red(don't have this color, but do have Alizarin Crimson , Pyrrol Red, Quinacridone Magenta & A LOT of other colors. Can you give me a harmonious color structure, based on the color wheel using Phalo Green(blue shade).Thankyou very much! Ron M.
Ron, thalo green in hue is similar to Rembrandt Viridian as they both are a blue green hue. The complement of blue green is red orange so any red orange should work well. As to a harmonious color scheme, one I might suggest would be a triad of blue-green, yellow-orange and red violet. The yellow-orange + red violet mixed will yield a low intensity red orange, so this scheme (with white of course) should yield a harmonious color structure. Quinacridone Magenta is a red violet and I might suggest either cadmium yellow deep or Quinacridone Gold, but also any other tube color that is yellow orange in hue.
Thanx so much for such b ful tutering...
My pleasure.
Thank you so much! I was told that burnt Umber and burnt Sienna should be in every artists arsenal. How do you mix those?
Each can be mixed with a blue plus an orange. The blue needs to either be on spectrum or lean towards violet and the orange needs to learn towards an exactly complement.
Transparent Red Oxide is cleaner equivalent of Burnt Sienna
Thank you Dianne. I am starting with oils. Studying Richard Schmid's Alla Prima Question: you said you leave your paints on the palette and allow them to dry. Can you reconstitute oils as watercolors? If not, doesn't the dry paint affect the fresh paint?
Rhaea
Rhaea, watch Quick Tip 172 - Paint Palette and Palette Paint to see if it answers your question. Thanks.
Hello Diane, I am sorry because I am always asking you about something.I am so glad about this video, I have more than hundert tubes of oil paints and no system to use it.Well,now I have one, thank you very much.My question : do the paints on your pallete dry?What if I do not paint for two days, do the paints will become a surface like plastic? Greetings!
Muhlenstedt, the way I maintain my palette brings up this question often. You see all my colors around the edges of the palette because having spent so many decades also painting with watercolors, I love having all my colors visible while painting. It's like having the whole family home. What lives there all the time are accumulations of dried paint left over from my painting sessions. For each day's work, I put out fresh paint, but only the colors I'm using for that session. To keep paint wet from one day to the next, I spray it lightly with a mixture of 30% poppyseed oil + 70% Gamsol, then cover it tightly with plastic wrap. I have found that this works great since poppyseed oil is slow drying and does not darken. I've used this system for years.
AWESOMENESS YOU
Thanks!
Gracias
Thanks for watching.
Please Dianne would you talk about white oil paint, which to use and when and why?
Frankie, could you be a bit more specific? We use white to lighten other colors, but sometimes the warmth of a color will get subtracted out when we do that. In that case, we add back in the color that we lost.
i mean Zinc white or titanium
Hi Dianne, Your explanations are wonderful but I'm still having trouble knowing what acrylic colors to buy. I've been painting for a few months and have several blues, reds & yellows plus several other colors that I thought I might need but find it confusing what shade of each to use for mixing. Please help!
Marilyn, just as with oils, acrylic companies tend to vary their labeling of many tube colors which, to me, is an irritant. This relatively recent "shade" added to some blues is, in my opinion, totally unnecessary and just a marketing ploy. That being said, I suggest you get to know the tube colors you have according to their HUES, VALUES & SATURATIONS/INTENSITIES, not the tube label. It is the mixing of hues that create new hues, the value of hues that change their lightness or darkness, and the opposing hues that lower or raise their saturation. Ignore the tube names, then, and approach them according to these three characteristics.
Thank you for this very helpful tutorial. I use water mixable oils. Do you have any ideas on keeping these paints from drying out on the palette. Spraying with water dilutes them too much. Do you think poppy seed oil would be helpful?
With water mixable oils, you should only use water mixable mediums. Poppy seed oil would require you use a solvent such as Gamsol or Turpenoid. Why not check out Holbein's Duo Aqua Oil mediums or Winsor Newton's Artisan Water-Mixable Oil Mediums.
I would love to learn to work from a limited palette. I am am a beginner. I decided to start painting when I retired.. LOL (late bloomer). I ordered the oil but have been working on watercolor. Do you recommend the same colors for watercolor that you do for oil? Thank you for your time and generous instruction. Love your work.!
Marie, I use basically the same palette for watercolor although some of the color names are different. For one, Daniel Smith Sap Green lives on my watercolor palette vs my mixing that color with oils. Other subs are Holbein Viridian Hue for the oil's Rembrandt Viridian, Carmine rather than alizarin crimson, and Antwerp blue for a warmer blue. For Rembrandt Transparent Oxide Red on my oil palette, I use Daniel Smith's Quinacridone Burnt Orange in watercolor. The rest of the color names are pretty much the same.
Thank you so much Dianne. This will help with my color selection. You are wonderful! :)
I do love your tips they are so helpful
You mentioned your watercolour colours. I paint in watercolours as well and am wondering if you have watercolour tips also. Thanking you again for your wonderful tutorials.
I try to keep these Tips non-media specific, meaning, I try to address concepts that are related to painting in general rather than painting in a specific medium. If you have a specific question about working with watercolor, I'll be happy to address it.
Thank you for your reply. You do cover all matters and I am very grateful. You actually show HOW you apply the paint and I am wondering could you show this process e.g. washes etc and how you process along a watercolour painting. Perhaps you have already done this and I have missed it. You actually teach how to paint and nobody else seems to. Thank you.
Diane, I'm enjoy your channel very much. I realize this is an older video, but I'd like to ask how you keep your paints from drying out in your palette set up. Thank you from Susan in GA. 💕🖌️🎨
ThreeRivers, I answer that in Quick Tip 172.
@@IntheStudioArtInstruction Thank you very much. 🎨
I’ve ordered a few of your videos and they’re fun to work through. My limes are looking good! That cow in the color series not so good just yet. Anyhow, I wanted to ask about your palette. I am using cheap acrylics from Walmart to start. Can you leave acrylics out like you leave your oils out? Do you leave your oils out long or replace often? Are you wetting a brush before you pick up oils onto a brush, in case they do dry out? I was also wondering about the neutral grey palette. Is it a mat or glass over grey? Don’t seem to see it in stores. Sorry for so many questions.
DM W, please watch Quick Tip 115 and Quick Tip 172 to answer about my paint. Also, the value 5 palette I use for the Quick Tips came with my Sienna pochade box. In Quick Tip 325, I show how to make a Value 5 palette using glass.
As to whether I wet my brush before picking up paint, before beginning, I dampen the brush, but dry it thoroughly with paper towel. Beyond that, no. My viewpoint is that the artist grade paint out of the tube is formulated for maximum integrity, and I don't want to unbalance that.
@@IntheStudioArtInstruction Thank you so much for your response. As soon as I made my comment, I thought I ought to search through your quick tips and sure enough you answered everything already. My mistake.
Thanks again Gerry 😊
You are so welcome, Gerry.
I have guache gel paints...they tend to dry out. I am not sure how to wet them all to a consistent moisture. It seems like using tubes of guache, so they don't dry out.
Gretchen, I have not heard of gouache gel paints. Gouache will dry up in tubes if not used, but while painting, it can always be reconstituted with water. If the tube color is dried, it is possible to cut the tube and re-wet the paint, but that can be a pain.
Thank you very much for your videos, Dianne! I have just two questions regarding your choice of yellows. On my standard palette I currently have Cad yellow lemon and Cad yellow medium (both from Rembrandt). Can I use these two or should I choose Cad yellow light from Rembrandt, which leans slightly towards orange? Utrecht paints are not available in Germany and, as far as paint consistency is concerned, Gamblin paints are too stiff (and matte) for me. Rembrandt paints feel like butter and are easy to spread. My second question concerns the yellow orange. Somewhere on UA-cam I heard that using Cad yellow deep is better than Cad yellow medium. Why should I prefer it over cad yellow medium? Wouldn't there be too big of a difference between Cad lemon and Yellow deep? Sorry for my bad English.
Adding cad yellow light will give you a yellow that doesn't lean towards green or towards orange. I look for the hue in tube colors, and the Rembrandt cad yellow deep is closer to yellow-orange than cad yellow medium. Sticking with Rembrandt is a good choice because of the care they take in creating their colors.
@@IntheStudioArtInstruction Thanks for the quick reply! As I have now decided to learn oil painting solely through your teaching method, I have started choosing the colors accordingly. Finally, I have a guideline. As many beginners do it, I am guilty of art supply hoarding and UA-cam-channel hopping. One teacher swore by this color, another teacher had other favorite colors. So I have accumulated lots of colors right at the start. This is giving my headaches by overwhealm. Currently, I am selling various used and unused paints on ebay and will ged rid of colors I know I am never going to use. Have a nice Sunday. Kind regards from Dresden, Germany
Whole lot of magic!
Yep!
Wonderful color presentation nonetheless! I really don’t use black for anything, for fear of overpowering any pigment, as the oil gets more transparent with years along with the pigments. I use only complementary colors (pigments) from the very start to achieve a variety of hues, chroma and even values up to the very deepest (almost appearing black). I narrowed the pigments down to Cadmium Yellow Light, Yellow Ochre Light, Permanent Alizarin Crimson (or Quinacridone Rose), Cadmium Red Medium, Burnt Sienna (transparent red oxide), Viridian Green, Ultramarine Blue (or Cobalt Blue, or Phthalo Blue) and Dioxazine Violet. One can make the deepest reds only mixing Alizarin Crimson and Cadmium Yellow… Although I sometimes use Prussian blue, and Sap Green too. It depends how much I need of a specific pigment to fill up the canvas, for example clothing, drapery or foliage. Thank you again for the great presentation, I love colors!
Thanks for sharing your palette of colors. It is always fun to learn the color choices of other artists.
Thank you for sharing your expertise Diane! I have a question:
- All this paint on your palette is not drying? How do you manage not loosing all this paint?
See Quick Tip 115 for a full explanation of that.
@@IntheStudioArtInstruction I did watch all of Quick Tip 115, and you say you let it dry. Does that mean you just keep adding on top as it dries? Then you scrape it up/ dig it out eventually? Or are you painting so often that there is always a place for new paint? I have an oval palette that I squeeze the tube onto. I watched your organizing your palette video, but I'm not sure how long I can use a temporary palette before ruining it. I will look on your website as well to see if you have already covered this question. Thank you for continuing to work after retirement!
I found it! It is Quick Tip 172!
@@IntheStudioArtInstructiontip 115
Hello again,
thanks for leading me to this 115, but my question is ….
How do you preserve your paints on your palette?
Do you put the palette in the icebox or cover them with plastic until you’re ready to paint again?
I know you can’t put the paint back in the tubes unless that’s a tip I’ve missed and I’m pretty sure you don’t throw the paint that’s left over in the trash.
Thanks
Mike, perhaps Quick Tip 172 will answer your question.
Is it necessary to stretch canvas for 8x10 field studies?
Not at all. I do field studies on canvas sheets cut from a large roll. Sometimes I do them in my sketchbook, especially when working with gouache.
Hi Dianne, I found this tip very helpful. I scrolled down to see if anyone had asked the question of how you keep your exposed paint from drying out. I found one so I read what you said about it. Going on from that, when you say you spray your paint with Poppyseed oil and Gamsol, do you mean the Gamsol paint thinner? Thank you Dianne. xx
Yes. The Gamsol evaporates allowing the poppy oil to keep the paint moist.
You are awesome.
Hi Dianne, really enjoying your videos & quick tips. One thing, I have been searching to see what medium and how, you use them. I'm at "notan" on your video and when your brush disappears off camera, is it turps or a mix? that it dips into?
Ann, I rarely us a medium. When I'm dipping my brush off camera, I'm rinsing it out and for that I use Turpenoid or Gamsol, depending upon which one I have on hand. (They are very much the same.) If I want the paint to dry more quickly, I add a bit of Liquin or Galkyd. If the paint is too stiff out of the tube, I add a drop of refined linseed oil to loosen it up. Otherwise, I don't use mediums when painting. For information on mediums, go to www.gamblincolors.com/choosing-painting-medium/
Thank you so much Dianne.
What is the best palette for watercolor
I prefer the Lynch porcelain palette, but it is expensive. My preference for decades was the John Pike palette. A smaller, but useful for travel watercolor palette is the Holbein folding palette. There are so many watercolor palettes that it always comes down to the artist's preference.
Hello Dianne, Use of a triad, as 'one of the color schemes' for achieving harmony, is one I'm not familiar with. I have not yet used a triad. However, I am familiar with using the 3 primary color scheme in conjunction with each of their direct complementary colors for neutralizing color or using all 3 together to create 'black', since I often do not use black from a tube on my palette. So, I'm understanding these are 'two separate color scheme' choices to achieving color harmony. Please, allow me to rephrase my question about a triad, what you describe as a gamut. In order for it to remain a true scheme, ALL my colors come from 'only those three' intermediate colors or a combination of? I'm waiting for my color order to arrive, so I haven't had the chance to experiment yet with a triad color scheme. Am curious about how I would create my darkest shadow value? Would that be created by mixing all 3 intermediate colors together in their highest(most intense from the tube)value range(no white)? Similar to if I chose the 'primary color scheme' to create black by mixing all 3 primaries? Hope I'm making some sense, but still trying to grasp this. Thank you, Ron.
Ron, the best way to get the darkest dark of any color is to use the darkest tube colors. Some hues will require mixing while others are available in tubes. For example alizarin crimson is the darkest red for the red hues. In deep shadow, either mixing Rembrandt viridian or a mix of that viridian with Transparent oxide red will create the darks we find in occlusion and deep shadows.
About the triad scheme: any three hues on the wheel with at least one hue between them will yield a primary scheme, but to be able to have a scheme that also can create neutrals, there must be within those choices the three primaries. For example: yellow, orange, and red is an analogous scheme, but blue is not present so no possibility for neutralizing is present. Shift yellow to yellow-green, and you have capability for neutralizing.
Question: Do you recommend painting wet on wet, or mixing colours separately on pallet and painting from it? I have heard mixed thoughts. So unsure if one is “better” than the other.
Both work. It depends upon what you want to happen on the canvas.
@@IntheStudioArtInstruction I want to mix colours on the canvas. As I feel it helps me match the colours precisely (I am a new painter... I do not yet “see” colours too well). But when I mix on pallet, the paint goes gloopy/ sticky, the finish is awful (maybe because I am a new painter, I am taking too long to match the colour on canvas?). And then the school of thought that says “labour on the pallet, and mix&match colours on the pallet. And colours on the canvas look non muddy... fresh”. Now, I am unsure. 🤷🏻♀️
What is the best pallet for watercolor
See my earlier answer.
How do you stop the paint drying out? I’m new to oil paints. I am finding this invaluable.
I don't. Watch also Quick Tip 172.
@@IntheStudioArtInstruction Hi, Thankyou :) watched Tip 172, very helpful and will be useful !
MERCI
My pleasure!
hey dianne, really nice palette but I wonder why you dont use a magenta instead of the aliz. so you could remove alizarin and the diox. purple. and if you would use a phthalo blue as your cyan you would be able to mix a great range of greens and teals, whitout the tubed green
Here's why, Christian: Magenta is more purple than Alizarin, so it wouldn't give me the range of reds I can get with Alizarin, nor the same range for using it as a complement---The hue range between Alizarin and Diox Purple is much greater than I would have with just Magenta---Rembrandt Viridian and Ultramarine Blue gives me the ranges you mention, plus the range of Yellow greens when mixed with Transparent Oxide Red and other warm colors, a range that are greater than I can get from Phthalo Blue. I don't consider Rembrandt Viridian a tube green. It's much more than that, more like a Phthalo Green without the strong tenting strength. Thanks for your question.
In the Studio Art Instruction okey, I totally understand your decision and the logic behind... but considering to limit the palette the following colors should work fine: hansa yellow light, cad red light, quin magenta, ultra blue, phthalo blue, transparent oxide red or burnt umber, a white and occasionally a green( phthalo green or viridian). what do you think about that palette? :)
A bit weak in the red range, otherwise appears to be a good limited palette. The real test is how it works for YOU. If it feels like the palette that best serves your creative expression, than that's the palette you should use.
@@IntheStudioArtInstruction 4 years later, I came here looking for this question after reading Michael Wilcox and his recommendation for PV19 Quinacridone Violet. I see you keep them close in case of needing those high key notes, but otherwise helpful to think of the Alizarin and Diox Purple as a split magenta. Thanks Dianne!
This is great, however, how do you keep your paint “fresh” and free from dust? Does your pallet sit out all the time?
Tracy, I address that in Quick Tip 115.
I’m sorry but you talk about what’s on your pallet but not how you keep the paint protected from dust and keeping it fresh. Do you cover your pallet when not in use?
Hi Dianne! I noticed you were doing watercolor lessons recently. I am interested in learning how you setup watercolor palette? Can you do a lesson on how to paint vibrant green foliage lit up by sunlight in watercolor under a blue sky? Thank you so much for all your helpful tips!
Kimberly, I will put your request on our filming schedule, but because we film all these several weeks in advance, it will be mid-to-late summer before it will appear.
That’s wonderful Dianne! I will look forward to it! Thanks so much!
You are so organized when teaching us in the videos. However, when you are painting in your personal studio for yourself, how are your easel, palette, brushes, medium and paper towels, etc. organized? I find it very hard deciding where to place these so that they can be easily reached.
In my main studio, my palette sits on a caddy (with rollers) in front of my easel. My brushes live in containers to my right, (I am right handed) sorted according to kinds and sizes, my brush washer sits on the right hand side of the palette, and paper towels and other accessories live on another caddy to my right. My tube paints live in drawers just to my left.
Organize your painting space in a way that makes things logical and easy to reach. There is on prescribed plan--it's every artist's individual choice.
Thanks so much! My studio is now set up like yours! Makes it much easier 😊‼️
thanks for your time making those videos they are really helpful. What is the name of the first color after White? Utrecht-Cadmium Yellow Light? Another thing I have a hard time mixing greens for landscape. I would love to see you do a quick tip about it, if you would. Thank you so much.
My yellow is Utrecht Hansa Yellow light. The same (or similar) Gamblin color is called Hansa Yellow Medium.
A Quick Tip on greens is scheduled for later this month . Stay tuned.
@@IntheStudioArtInstruction I have been using Hansa Yellow Light from Gamblin in this place and only now see it has a different pigment number than the medium. PY3 for the light, PY74 for the medium. I see the Utrecht Hansa is PY74 plus some Zinc white. I am curious if you tried the Gamblin Hansa Yellow light and did not like it for any particular reason.
I'm coming to wrap my head around substitutions, understanding it like cooking almost. You may not have one ingredient, but you can substitute with another when you have an understanding of what that will bring to the table.
Hi Dianne, I just watched 'Quick Tip 5' about color charting from the colors on your palette for learning more about their true characteristics & how to use them. Very informative & interesting! I have ordered 5 additional colors from your palette, subtracting some from my own, that I'm still waiting for before I make a chart of about 9-10 colors(basically in accordance to your palette with only a few minor brand name differences). I have a question about your Quick Tip 115 & the 4 different names/ways of achieving color harmony in a painting. One method you discussed was using 3 equally spaced intermediates or Triads on the color wheel. I'll use 3 specific intermediates to better 'illustrate'(no pun intended) my question. If I'm using a yellow-orange, blue-green & red-violet triad to achieve color harmony in my painting, am I limited 'strictly' to those intermediate colors? My curiosity is about whether or not I can use a more 'direct opposite' complement 'some of the time' to achieve darker tones/more contrasting colors? For ie.: blue-green mixed with red-orange, using another intermediate rather than the '3 major ones' I've chosen? Thank you, hope all is well with you! Ron
Ron, when you choose a color scheme, such as the triad you mentioned, you use the full value range of each, but in order for it to remain a true scheme, you create all your colors from just those three. It's called a gamut - a way of limiting your choices to enable color harmony.
There are several color schemes we can use. One is using only the full value range of complements, so yes, that is a choice.
@@IntheStudioArtInstruction
Hello Diane, Thank You for your reply! Sorry to bother, but I am a 'bit' confused still: I understand 'now' that thalo green is similar to Rembrandt Viridian & that the complement of blue-green = red-orange. I'm also with you on the part about the harmonious triad you suggested using yellow-orange, red-violet, blue--green. Although, I'm a bit confused by what you've concluded, that yellow-orange mixed with red-violet makes up a 'low intensity' red-orange. Being that thalo green(blue shade) is a 'more intense' blue-green, this is where I am not quite getting this. Shouldn't I be using a more 'direct opposite'(red-orange with = intensity to thalo green)? I'm curious also about 'which red' to use then? This is also where I get confused about 'warm vs. cool colors' or 'color temperature vs. color intensity'. For ie., (of a few reds I have), should alizarin crimson(cooler red) and pyrrol red or cad. red light(similar warmer reds) 'both warm & cool colors', + a warm & cool yellow + a warm(er)blue-green leaning toward yellow + thalo green, be included on my palette? Sorry, I've made this kind of a 2-3 part question. To 'try' simplifying that question: should I have warm(er) & cool(er) colors of each of the 3 primary colors on my palette. If so, which reds, yellows would I mix to make up the 'triad' you've mentioned. I think I'm making this too complicated, that's what I'm good at!(Ha!) Sorry, but I think you've likely gotten the just of my meaning...I hope! Thank You! Ron
Hi Diane, I'm sorry to bother you again! Forgot; at the end of my 'last question' to you; which yellows & reds you would suggest for the harmonious triad of yellow-orange, red violet, & blue-green. I like this triad BTW, Thank You, but I neglected asking about which 'blue' to use for the red-violet? And have you ever used Anthraquinone Blue(warm blue)? Thank You! I'll 'try' not to speak any more! Ron
Ron, it is important that we view color according to its hue, its value, and its intensity/chroma/saturation . The hue is the generic color name (not the name on the tube or a popularized name) as they appear on the traditional color wheel. Every hue can register as its name implies (yellow for example) or it can register biased (cool yellow which leans slightly towards blue or warm yellow which does not lean towards blue). They are arranged on the wheel according to their relationship to each other or how the spectrum arranges them.
In this arrangement, those opposite each other on the wheel will neutralize the intensity of the hues, therefore are complements. Also, colors that are neighbors to either complement have the ability to neutralize it with a bias. (For example--red neutralizes green, but so does red-violet and red orange. Because red-violet contains blue, the neutralization will lean towards blue and because red-orange contains yellow, the neutralization will lean towards yellow). There are many degrees of neutralization, depending upon the amount of each complement in a mixture.
Now, we can use a triad of colors such as blue-green, yellow orange, and red violet as a limited palette. Any two of those colors will neutralize the third plus create another hue. For example--yellow orange into red violet, look at what we have--the red is repeated in each color, therefore we can get a red orange slightly neutralized by the blue of the violet.
Play with this concept and you will see it for yourself.
A question Dianne - How do you keep those colors from drying out if they are always there exposed to air?
I don't. For many years now, after a painting session, I leave the paint on the palette around the edges, only because I enjoy having those colors around me while I'm working. Consequently, those colors are a buildup of from years.
@@IntheStudioArtInstruction Thank you for your answer.
How do you use rice paper in watercolor?
Ike, I don't use rice paper with watercolor so I can't give you an informed answer.
Can you mix colours from different brands ? I heard you couldn't. Thank you Dianne.
Yes you can. In the sixties when acrylics first came into use by artists, they advised not mixing brands because the formulas were not all compatible, but that's been resolved today. (At least I think so.) But there has never been an issue with mixing different brands of oils and watercolors.
Helga klingt deutsch
Hi Dianne, I guess I am still slightly confused about the actually physical palette you use. You mentioned briefly that the paint dries on the palette. Do you squeeze fresh paint on top? Seems like a lot of wasted paint. I'm probably just not really understanding your explanation. Would you mind expounding a little on how it works? Thank you!
jlusk999 , I like having all the colors I work with visible. To me it's like having an entire piano keyboard available, even though one piece of music won't be using all the keys. The colors have built up over the years from paint left over. I don't consider it a waste because having all those colors there stimulates my color thinking. And yes, I do put out fresh color each painting session, although I put out only the fresh paint of the colors I will be using for that session. By the way, Richard Schmid did this, too.
@@IntheStudioArtInstruction Thanks Dianne I understand now you probably just apply a little fresh paint each time. To me it looks like those are all huge blobs of fresh paint!
Blue Ridge Colors has premium paint for $19 for 150ml. 100%Pigment and Walnut Oil
That's good to know. For those of you wanting to follow up, the website is blueridgeoilpaint.com/ . A note here: walnut oil is a slow drying oil.
I checked out the Rembrandt yellow ochre light. It is a hue which is confusing for people who don't know pigment numbers. Manufacturers do this all the time. It is a bit cunning because yellow ochre light or dark is PY 43 , not this more expensive PBr 24 offered in its place, which is chrome antimony titanate. This is definitely not an earth colour. So , caveat emptor, folks. Manufacturers will tell SOME of the truth but not all of it. Just ask Old Holland , Michael Harding and Vasari , who I find not that forthcoming. Hint, hint.LOL The most honest manufacturers I have experienced are Williamsburg who will answer any tech questions and Langridge oils here in Australia. These are premium brands and you get what you pay for. For pigment info...artiscreatio.com. cheers
Thanks for your input, Paul. I do take issue (to a point) with your argument. Just because a tube color is a hue does not negate it's value to the painter nor does it diminish the quality of the paint. Many tube colors are combinations of pigments rather than a single pigment. In the long run, as long as the tube color is free of fillers and other additives that reduce its integrity, I don't think the serious artist cares whether it is PY 43 or PBR 24.
You are right about the use of any colour that works. My issue with manufacturers is that they won't actually call something what it actually is. In other words they are liars by omission. They know they can take advantage of peoples' ignorance.
Do you use any medium with the paint when applying it - eg turps, linseed oil, liquin etc?
Only if the paint is too stiff out of the tube. In that case, I loosen it up with linseed oil.
Thanks so much Dianne. You are a gem and a national treasure!
I know you have filmed this a while ago now, but I have only recently found you and very much appreciate your sharing of your experiences. You mention liking transparency for a number of colors. Can you explain the benefit of that? Thank you!
The transparency gives deeper darks. If you take a dark opaque color and place it side by side with the same color that is transparent, you will see how much richer and deeper the transparent color is.
Hi Dianne, I enjoyed your Quick Tip 115 after reading your email this morning and it's much clearer to me now! I think I want/need to order more paint tubes. I know I'll end up needing @ least 2-3 colors on your palette, so I'd rather not reorder a second time nor get carried away! Could you PLEASE assist me? I have many of the colors, but my brands are Gamblin, Grumbacher, M.Graham & Classic Artist Oils
Ron,
Cad Yellow light: Good for my Hansa Yellow Lt.
Rembrandt Yellow Ochre Lt : Yellow Ochre Light differs from company to company, so I don’t trust a substitute. Generally, Light and Pale mean white is added, but not always.
Gamblin Cad Y Dp should work
Aliz. Crimson - Permanent is best because the traditional Aliz Crim tends to fade a bit
You do need Dioxazine Purple. Cobalt Violet is a very weak tinting strength
Stay away from Asphaltum. It is not archival. Rembrandt Transparent Oxide Red is one I would not substitute
Rembrandt Viridian has a depth and transparency unlike any other brand of Viridian, so I wouldn't substitute it. Phthalo Green can be substituted, but with a lot of care because of its overpowering tinting strength.
I like that you use a paintbrush for a pointer instead of ugly painted nails like most of the wannabees out there.
I have an aversion to painted nails pointing.
No browns.
Brown is not a hue. What we call brown is actually a low chroma yellow, yellow-orange, or orange.
And by the way this is the absolutely best explained set up of a palette I have met both on youtube and from different teachings in “Real life” and thank you for sharing the free download of your palette. Happy painting Lis Engel ( check my page on Instagram @kropstanke13 or www.lisengel.com)
Thanks, Lis. I checked out your website and thoroughly enjoyed visiting with your paintings.
I use red yellow and blue and white when I paint in oils and acrylics I have also burnt umber burnt sienna viridian green I have yellow ochre cadmium red in oils and acrylics
Thanks for sharing your palette choices.
It's amazing!! Subscribed to it! If you ever find yourself in leisure do check my drawings and join my page if you love them!