Every time I listen to you explain certain concepts, I find it easy to absorb, but enjoyable as well. I think it’s your voice and manner. You remind me of a combination of Mr Rodgers and Pres Jimmy Carter (are you from GA too?). I’m an XGen in my 50s, & I can easily imagine you with your own tv show back in the 70s & 80s, teaching painting concepts😊
Thanks so much for that. Yes, I am from Georgia, although from the northern part whereas Jimmy Carter is from south Georgia. It's an honor to be compared to both him and Mr. Rogers, both people of integrity and compassion.
Many thanks for your guidance. I lucked out coming across this video. You've helped to dispel novice, limiting habits I frequently fall back on about picking the 'right' value rather than seeing it relationally. I'll remember this video gratefully going forth in my career.
This is such a vivid explanation!! You are making such a difference to so many who are struggling to see! I have also been watching some 'science' videos explaining what causes things to be a certain color. Between those videos and yours, it is like a lightbulb moment explosion in my head! I feel like those colorblind people who get the glasses that enable them to see all colors. Everything looks so different now! I'm doing the happy dance in my heart💃❤! Thankful for you!! I've sent my sister your way. You're helping her to see, too!!
I love how you teach and make it possible for those of us that have not had formal training understandable. I love how you take something big and break it into manageable steps. Thanks you.
I just discover YOU 🥰. Your explanations are very easy to understand in language and in comprehension. You are wonderful teacher and a generous person. Thank YOU very much for all your videos. I now can say: I understand VALUE finally 😃
Let me do a bit of qualifying here. Black is not always the optimal choice for darkening a value. A darker tube color of the same hue is a better choice.
" let's see if we can resolve that confusion" :) You are so good at teaching; you make learning art interesting! I dont know why I even bother with other instructors. I keep clicking on your postings and do not leave until you do! You, dear woman, are a prisoner to teaching art and I pray not for your release:)
Thank you a lot for your information. I personally like to name the generally named "Color Wheel" - "Hue Wheel" . To make clear that hue is shown and not the complete color with his hue, value and saturation.
I get what you are saying and as most color wheels are designed, it is the hue relationship that we see, but when we learn to think with the wheel, value and saturation come into play.
So funny that last night I googled to get a full explanation of color value, which I did find. And this morning UA-cam recommends this video to me. --big brother was watching...lol I am so glad you have such a easy way of determining the value --by squinting. That really is so smart. I've not heard anyone else use that technique. Thank you for that trick. Last night, I had pretty much decided that the value of a color regards the color's depth, when squinting. So now my question is, is color depth part of the subject of color value or color intensity?
I'm delighted UA-cam came through for you, Linda. We have it well-trained :) I didn't invent squinting, but surely started making use of it once I encountered it as a tool for seeing. To answer your question, when referring to the characteristic of color itself, color depth refers to both the hue saturation and values of the color. The concept evolved when inventors of color screens were trying to find the right number and selection of pixels to give depth rather than shallowness to the screen colors.
Dianne my disposable palettes are white/semi-off white. Would I be better off to get gray palettes when I use these up the white so I can always be aware of the value relationships amongst my colors and color mixing? Also I typically use paint an under painting. Do suggest using a gray under painting? I think that would dull the overall painting and take away some of the depth and variety that an under painting choice adds to a painting. Again I use acrylics. Thank you. Hi
A middle value neutral gray palette does provide better value control when mixing, but be sure it's at least value 5 or 6. Some of the gray disposable palettes are too light in value to be of any real consequence. I don't suggest a gray underpainting. You are right: the color of the underpainting is going to influence the outcome of the painting. My approach is to begin with a notan, but the dark of the notan is only in areas in shadow. Every artists begins with the approach that works best for their process, so I recommend that you not be influenced by any artist's process unless it feels right for you.
Thanks to your teaching over the passed little while I am confident that I can match any two colours (given enough time!)....but my question is....why? I feel that I have missed any tutorial explaining how this knowledge impacts on my art.
"Why" is the most important question we can ask about almost anything. Think about it: one of the major tools an artist works with is color. Color not only describes the subject, but acts as a major element for composing a painting. It also gives us the ability to express our ideas. So when we understand how it behaves, we have tremendous freedom to let it work for us. More specifically, the local color of a single image--a red tomato, for example -- appears to us according to how the light is hitting it. The colors we see on a red tomato under a strong light source might range from a dark, purplish red in deep shadow to a more crimson red in shallow shadow to a more brilliant red at the transition from shadow to light to an orangish red in low light to a pinkish red to white at the center light. If we can mix those colors our eye is seeing, we can express the tomato we are seeing as it appears in that particular light. But put it in an overcast light and you have a new set of colors. So, to summarize, knowing how to mix any range of hues, values and intensities of colors we are seeing gives us the ability and freedom to interpret whatever we are seeing.
If I add white to red or yellow, I would be reducing the intensity of those colors, just as when I mix them with their complements, it would no longer be pure colors. ???
Not really--intensity is caused by the saturation of a hue, so if you add a fully saturated yellow to a fully saturated orange, you change the hue, but not the intensity. On the other hand, if you add a less saturated hue to a fully saturated one, you do reduce the intensity of the one fully saturated. Example: Cadmium Yellow light + Cadmium Red Light is just a change in hue, but not intensity, BUT Yellow Ochre + Cadmium Red Light will change both the hue AND the intensity.
I am having trouble with a few colors: Vermillion red and Brilliant red, carmine red and rose Phtalo green, viridian green, prussian green,light sap green and chromium oxide green. My problem is: I fail to distinguish these colors from one another enough to make a decision on their values. I wonder if it matters in the choice?
It's a matter of training your eyes to perceive the differences in values. I suggest that you make a row of inch-wide splotches of each of these colors straight out of their tubes, then directly underneath, paint a line of black (similar to what I've done in this tip only horizontal rather than vertical). Then, one color at a time, squint at each as ask, "how much lighter than black is it?" Underneath the black line, paint a new set of splotches that aligns these colors from darkest to lightest. This exercise should sensitize your visual perception to discern the difference.
@Rose Dreamsinger very interesting! I live off grid and paint ( calls it painting) using the lights coming through my Southern windows. Any hope for me? :)
Sunjanith, there are artists who are still using it today. My issue with it is that it is so complex and theoretical. Munsell's color analysis and theory are brilliant, but my preference is the 12-hue color wheel where the hues are charted in their linear relationship. When we learn the basics of how that relationship works, mixing color is easier and more flexible than remembering theory.
Every time I listen to you explain certain concepts, I find it easy to absorb, but enjoyable as well. I think it’s your voice and manner. You remind me of a combination of Mr Rodgers and Pres Jimmy Carter (are you from GA too?). I’m an XGen in my 50s, & I can easily imagine you with your own tv show back in the 70s & 80s, teaching painting concepts😊
Thanks so much for that. Yes, I am from Georgia, although from the northern part whereas Jimmy Carter is from south Georgia. It's an honor to be compared to both him and Mr. Rogers, both people of integrity and compassion.
When you said "we can study the value scientifically" you really won my heart 💖 thank you so much!
My pleasure. Thanks for watching.
You are an expert at making abstract concepts concrete. Great teaching.
Thanks!
Since for the most part as artists we are visual learners. You give us both....verbal and visual. Thank you again for your generosity.
Thanks, Candace. Always a pleasure.
Yes candace. Well said.
Many thanks for your guidance. I lucked out coming across this video. You've helped to dispel novice, limiting habits I frequently fall back on about picking the 'right' value rather than seeing it relationally. I'll remember this video gratefully going forth in my career.
Have fun with it!
You are such a kind and generous person. You shared all your knowledge so generously. ❤❤❤Thanks
Shama, I enjoy sharing these little Tips.
Dianne, I think you've won the heart of all these artists following your channel. You'd be welcome around our table any day - guest of honor!
Thanks! I gladly accept.
This is such a vivid explanation!! You are making such a difference to so many who are struggling to see! I have also been watching some 'science' videos explaining what causes things to be a certain color. Between those videos and yours, it is like a lightbulb moment explosion in my head! I feel like those colorblind people who get the glasses that enable them to see all colors. Everything looks so different now! I'm doing the happy dance in my heart💃❤! Thankful for you!! I've sent my sister your way. You're helping her to see, too!!
Don't we just love those lightbulb moments! The more we see, the more we SEE.
I love how you teach and make it possible for those of us that have not had formal training understandable. I love how you take something big and break it into manageable steps. Thanks you.
Thanks, Marie.
I appreciate all your tips. Because of you, I paint almost all my portraits using the Zorn Palette now.
Thanks. It's a fun palette to work with.
Gosh! I shall have to go through this a few times! Thank you for sharing your incredible knowledge.
The great thing about UA-cam is that you can re-watch any video for as often as you like. My pleasure to share.
great teaching about values! Thank you so much! Greetings from München/Germany 💓
Thanks. Have fun working with values.
Vert helpful - Heading into the studio to squint at a few paintings... Love to watch a similar video on intensity/saturation.
We'll put that on the schedule.
Thank you for breaking it down to a basic level. Much better explanation (and demonstration) than simply reading the definition.
My pleasure. In painting, definitions mean nothing without action.
I just discover YOU 🥰. Your explanations are very easy to understand in language and in comprehension. You are wonderful teacher and a generous person. Thank YOU very much for all your videos. I now can say: I understand VALUE finally 😃
Thank you! 😃 And welcome aboard.
Thank you so much! Lighter and darker! I got it!
Wonderful! Have fun with it!
This has been a very good guide that made me understand mechanics and concept of color and value. Thank you!
My pleasure. Enjoy the process.
Thanks, Dianne for another helpful way to grasp the reading of the value of a color - well done!!
Thanks.
Thank you Ms. For a wonderful and very very informative demo. 🙏🏻🙏🏻❤️
You are so welcome! Have fun with this.
Value can be increased or decreased by comparing or adding white or black. A very good explanation . Simple and easy method. Thank you madam.
Let me do a bit of qualifying here. Black is not always the optimal choice for darkening a value. A darker tube color of the same hue is a better choice.
As usual it is so interesting to hear and look at your explanations for how color behavs. Thank you so much!
Always a pleasure.
Thank you for your wonderful clarity!
You are so welcome.
I have wanted to understand this for quite some time. Now I’m beginning to....thank you!
My pleasure.
Getting in there! Thank you very much!
You got this!
Bravo pour vos explications et surtout merci! celles ci sont très formatrices ...excellentes par rapport à d'autres vidéos d'artistes!!! bonne journée
Thanks!
Enjoyed and learnt a lot thanks Dianne
Great.
" let's see if we can resolve that confusion" :)
You are so good at teaching; you make learning art interesting!
I dont know why I even bother with other instructors. I keep clicking on your postings and do not leave until you do! You, dear woman, are a prisoner to teaching art and I pray not for your release:)
Thanks, Danny. Oddly, it's within this teaching where I find total freedom.
Anyone who listens to you teach/talk would, I think, realize how much you love teaching. 😊 I am so grateful for you. Thank you so much! 👍😊
Quite interesting and revolutionary 👍🏾
Glad you think so!
best value of colors tutorial ever, big thanks!
Wow, thanks!
Thanks for such excellent clarity
My pleasure.
Very good explanation of Value, thank you👍🏻
My pleasure!
I just love you so much. Thank you, thank you, thank you.
My pleasure.
Could you plz do other quick tips forhue and intesity too,and how to be concern about them at the same time
Watch for this one. I'm putting it on the schedule.
@@IntheStudioArtInstruction thank U so much🙏❤
Very very informative... Thank you Madam !!🌹
My pleasure 😊
Thank you! That was very helpful!
You're welcome! Thanks for watching.
I paint with watercolor so I assume adding water lightens the value. I will watch this many times til it sinks in. Thankyou !
Yes. When I'm doing these tips, I neglect to say what medium I am using. But water is the way to lighten the value of watercolor.
I am totally in love with your Chanel. I would love to see the tips from the beginning. How can I see them.
Go to the channel page at ua-cam.com/users/inthestudioartinstruction and there you will find all of them.
@@IntheStudioArtInstruction thank you so so much.
Thank you a lot for your information.
I personally like to name the generally named "Color Wheel" - "Hue Wheel" .
To make clear that hue is shown and not the complete color with his hue, value and saturation.
I get what you are saying and as most color wheels are designed, it is the hue relationship that we see, but when we learn to think with the wheel, value and saturation come into play.
So funny that last night I googled to get a full explanation of color value, which I did find. And this morning UA-cam recommends this video to me. --big brother was watching...lol
I am so glad you have such a easy way of determining the value --by squinting. That really is so smart. I've not heard anyone else use that technique. Thank you for that trick.
Last night, I had pretty much decided that the value of a color regards the color's depth, when squinting. So now my question is, is color depth part of the subject of color value or color intensity?
I'm delighted UA-cam came through for you, Linda. We have it well-trained :) I didn't invent squinting, but surely started making use of it once I encountered it as a tool for seeing.
To answer your question, when referring to the characteristic of color itself, color depth refers to both the hue saturation and values of the color. The concept evolved when inventors of color screens were trying to find the right number and selection of pixels to give depth rather than shallowness to the screen colors.
@@IntheStudioArtInstruction Thanks so much, Dianne!
Very good explanation, thank you.
You are welcome!
Excelent!
Thanks.
Dianne my disposable palettes are white/semi-off white. Would I be better off to get gray palettes when I use these up the white so I can always be aware of the value relationships amongst my colors and color mixing? Also I typically use paint an under painting. Do suggest using a gray under painting? I think that would dull the overall painting and take away some of the depth and variety that an under painting choice adds to a painting. Again I use acrylics. Thank you. Hi
A middle value neutral gray palette does provide better value control when mixing, but be sure it's at least value 5 or 6. Some of the gray disposable palettes are too light in value to be of any real consequence.
I don't suggest a gray underpainting. You are right: the color of the underpainting is going to influence the outcome of the painting. My approach is to begin with a notan, but the dark of the notan is only in areas in shadow. Every artists begins with the approach that works best for their process, so I recommend that you not be influenced by any artist's process unless it feels right for you.
great teacher
Thanks.
Thanks to your teaching over the passed little while I am confident that I can match any two colours (given enough time!)....but my question is....why? I feel that I have missed any tutorial explaining how this knowledge impacts on my art.
"Why" is the most important question we can ask about almost anything. Think about it: one of the major tools an artist works with is color. Color not only describes the subject, but acts as a major element for composing a painting. It also gives us the ability to express our ideas. So when we understand how it behaves, we have tremendous freedom to let it work for us.
More specifically, the local color of a single image--a red tomato, for example -- appears to us according to how the light is hitting it. The colors we see on a red tomato under a strong light source might range from a dark, purplish red in deep shadow to a more crimson red in shallow shadow to a more brilliant red at the transition from shadow to light to an orangish red in low light to a pinkish red to white at the center light. If we can mix those colors our eye is seeing, we can express the tomato we are seeing as it appears in that particular light. But put it in an overcast light and you have a new set of colors.
So, to summarize, knowing how to mix any range of hues, values and intensities of colors we are seeing gives us the ability and freedom to interpret whatever we are seeing.
If I add white to red or yellow, I would be reducing the intensity of those colors, just as when I mix them with their complements, it would no longer be pure colors. ???
Not really--intensity is caused by the saturation of a hue, so if you add a fully saturated yellow to a fully saturated orange, you change the hue, but not the intensity. On the other hand, if you add a less saturated hue to a fully saturated one, you do reduce the intensity of the one fully saturated. Example: Cadmium Yellow light + Cadmium Red Light is just a change in hue, but not intensity, BUT Yellow Ochre + Cadmium Red Light will change both the hue AND the intensity.
Very interesting information
Thank you.
Thank you
You're welcome
Good demo
Thanks.
Dianne, How do you use this info whe paining a landscape, ex?
By squinting and looking for the various values in color.
i would think of a dark yellow as Hansa Yellow Dark, rather than Yellow Ocre, but it is hard to know what is in the mind of the writer.
There are a number of dark yellows. So it would be better to include Hansa Yellow Dark as one of the choices.
I am having trouble with a few colors: Vermillion red and Brilliant red, carmine red and rose
Phtalo green, viridian green, prussian green,light sap green and chromium oxide green.
My problem is: I fail to distinguish these colors from one another enough to make a decision on their values. I wonder if it matters in the choice?
It's a matter of training your eyes to perceive the differences in values. I suggest that you make a row of inch-wide splotches of each of these colors straight out of their tubes, then directly underneath, paint a line of black (similar to what I've done in this tip only horizontal rather than vertical). Then, one color at a time, squint at each as ask, "how much lighter than black is it?" Underneath the black line, paint a new set of splotches that aligns these colors from darkest to lightest. This exercise should sensitize your visual perception to discern the difference.
@Rose Dreamsinger very interesting! I live off grid and paint ( calls it painting) using the lights coming through my Southern windows. Any hope for me? :)
@@IntheStudioArtInstruction great idea.it works! Thank you so much.
@Rose Dreamsinger wow.the same for photography.! Fascinating. Thank you for your kind responses
@Rose Dreamsinger funny how saying the right thing makes something fall right into place.thrilling ( actually blushes with embarrassment)
Why is munsell colour chart not used anymore?
Sunjanith, there are artists who are still using it today. My issue with it is that it is so complex and theoretical. Munsell's color analysis and theory are brilliant, but my preference is the 12-hue color wheel where the hues are charted in their linear relationship. When we learn the basics of how that relationship works, mixing color is easier and more flexible than remembering theory.
Oil painting
Yellow? Looks brown to me!
Brown is a generic name for a very low saturated yellow, yellow-orange, and red.
Your explanation was not as clear this time, as it usually is 😮
Tell me more so that I can help make it clear.