Your explanation of how the middle values drop out was helpful to me in keeping the light and dark families separate and therefore more dramatic, which is something I'd like to be better at and have been researching. Thanks Dianne!
So happy you did something about Chiaroscuro.. I thank the viewer for this great question. I wish you could do a quick tip on linking shadow shapes using Chiaroscuro method. I was doing figure drawing and he kept saying "link the shapes" but sometimes I didn't see the link. The light was really dramatic and some light shapes didn't have transitions into other light shapes... or if they did it was so subtle I didn't see them. I am looking at the Mona Lisa right now and if I were drawing in pencil as I was in this class, I would see light on face, chest.. then a big dark shape and hands. How are light shapes linked in this painting for example?
Lisa, I'll put your request on the filming schedule, but because we film these several weeks in advance, it will be at least August or September before it appears. Meanwhile, it's the major structure of darks that should be linked when working chiaroscuro. You will notice in the Mona Lisa that darks around her hands and face are linked (touching or connected to) darks in the background.
This was very helpful, especially demonstrating and emphasizing the idea that a shadow does not change because of the difference in subject, as shown in the portrait. This has always been a challenge and stumbling block for me....I want to change the shadow as it relates to the objects, I.e., turban, face, cloak.....and that is not the correct approach......they are all a continuous shadow. It is the value change that creates the difference between the areas.
Ann Marie, only when painting with the chiaroscuro intention or the intention for lost edges do artists tend to meld the shadow areas between negative and positive. You can show a single or half-interval value difference and still have the area read in shadow. Shadow areas can show a range of at least five value intervals, so you have a lot to play with there.
Thank you so much! That was such a clear explanation. I've got a better understanding of chiaroscuro than ever before. You are a truly wonderful teacher 😊
Don't apologize. That's another one of those historical debates. The question is which one of those early guys dropped out the most middle values first.
Does this mean that chiaroscuro doesn’t deal with high contrast in smaller shape areas? In the big areas there is clearly drama but if the light and shadow groups, respectively, only have subtle value changes in each that lessens the drama somewhat in my mind. Thank you for taking the time.
No, Sean. This is just a clarification for the difference between how chiaroscuro and notan are used. Notan is simply discovering the light/shadow structure. Chiaroscura is a part of the painting process.
Dear Dianne, I love your instruction youtubes, they have been very helpful for me. I have a problem which I hope you can help me with. I want to use Jacquard Pearl Ex Pigment Powder in my oil paintings, BUT I CANNOT FIND ANY INFORMATION ON HOW TO MAKE THEM COMPATIBLE WITH OIL PAINT? WHAT DO I MIX THE PEARL EX PIGMENT WITH SO I CAN WORK WITH. I WOULD LIKE TO ESSENTIATE SOME OF MY ART. I AM PAINTING THE BOOK OF REVELATION AND I AM UP TO REVELATION CHAPTER 21. PLEASE CAN YOU DO AN INSTRUCTION UA-cam ON THIS? I HAVE NOT FOUND ANYTHING ON THESE PRODUCTS ON UA-cam OR THE INTERNET. YOURS FAITHFULLY, ANNETTE QUEENSLAND AUSTRALIA.
I wish I could help you, but this one is outside my paygrade. I do know that to make a pigment compatible with oil paint, it should be mixed with one of the compatible oils such as linseed or poppy. I Googled JACQUARD PEARL EX PIGMENT and see that they say you can mix it with oils, so not knowing what I'm talking about, I suggest mixing it with a bit of artist grade linseed oil.
Never knew it was Japanese! I asked my Japanese friend about it and she didn’t recognize the word, until I explained what it meant and then she said Oh! “Notan!” - pronouncing it with a shorter inflection. Borrowed words are fascinating and all over the place when you look for them…. Thanks!
@@IntheStudioArtInstruction I learn so much from your videos. The middle values dropping out was never explained so clearly to me before either. And I’ve known the term for 20 years now.
DEAREST DIANNE, THANK YOU FOR YOUR ANSWER. I AM AT PRESENT DOING A EXPERIMENT WITH PEARL EX, TO SEE THE REACTION TO THE OIL MEDIUMS I HAVE AT HAND. SUCH AS GLAZE MEDIUM, CLEAR OIL PAINT, LINSEED OIL, AND GEL MEDIUM. DO YOU THINK I COULD MIX GUM ARABIC WITH LINSEED OIL INSTEAD OF WATER? I MIGHT TRY THAT ALSO! DIANNE, I APPRECIATE YOUR HELP GREATLY AS I HAVE BEEN APPROACHED TO DO AN EXABITION IN SEPTEMBER 2022 AND I HAVE 6 CANVASES 40INCH X40INCH TO COMPLETE. SO I AM TRULY ENJOYING PAINTING, I WORK ON THREE IN A WEEK, LIKE A PRODUCTION LINE. I TRULY APPRECIATE YOUR HELP AND YOUR BEAUTIFUL ART INSTRUCTION AS IT HAS HELPED ME GREATLY. MANY BLESSINGS TO YOU, YOURS FAITHFULLY, ANNETTE QUEENSLAND AUSTRALIA. XXXXXXX OOOOOOO.
Thank you, Annette. I want to be careful how I answer this. Gum arabic is generally used in watercolor paints as the binder. I don't have any knowledge of it being used in oil mediums nor do I have any experience with pearl ex. That being said, my advice is to be very cautious about what you add to oil paints. Oil does not evaporate, but oxidizes instead. If a non-compatible material is added, the oil will crack or lose adherence from the painting surface as it dries. Since you enjoy experimenting, I advise that you get a copy of the latest edition of the Ralph Mayer The Artist's Handbook to keep you informed of materials that safely can be added to oil paint. Another informative materials manual is The Painter's Handbook by Mark David Gottsegen.
Hi Dianne, excellent explanation, and I do find that Notan helps me to compose my paintings. I also find that following my Notan sketches it also assists me in my Grisaille underpainting. Thank you 👍😃❤️
WHAT I MEANT WAS ON THE USE OF THE JACQUARD PEARL EX PIGMENT WITH OIL PAINT? NOT ON THE BOOK OF REVELATION. THANKING YOU, ANNETTE QUEENSLAND AUSTRALIA.
If young people listened, they would realize temp and value is what makes any painting. . I love this method. The not an is great way to avoid issues later. Thanks.
Thank you so much Dianne. I paint using water colour and acrylics not oils but even so you have helped me so much in understanding light and dark and so much more with all of your quick tips. You are a gem 💎 thank you, thank you, thank you so much. Sending you all the best and keep safe. From Victoria Australia 🥰
Dianne. I have a little problem. I have watched your videos on edges. My problem is when oh when to go soft and when to go Hard? How do you decide. I feel I tend to force it and I don’t know.... confused. Maybe you could do a quick tip?
Andrew, one way to think about it is that the eye goes quickly to the harder edges. The softer the edges, the less attention they get, so one way to use the hard or sharp edges is where you need the emphasis. I'm putting this on our filming schedule, but because we film these several weeks in advance, it will be September before it appears. Meanwhile, try approaching it from the viewpoint of how you would like to travel around your painting.
I have a question for you why don’t more oil painters use acrylic paint for the blocking in process? It seems to me that this makes most sense and then use oil for your modeling and detailing.
Allen, it's an individual choice. A lot of oil painters do use acrylics for blocking in. My personal reason is that for me, acrylics dry too fast for me to manipulate the blockin. In the long run, it all depends upon the artist's own process.
@@IntheStudioArtInstruction ok. Thank you. I have another question based on a similar topic . Do you think it’s better to put an oil primer down on top of the acrylic gesso canvas before painting in oils? I hear the acrylic gesso dry’s out the oils in the paint and can make the blacks sink into the canvas and super dull and dead looking. I’m actually experiencing this myself but not sure what is the cause. Also if I varnish my painting 6 months later will it bring the colors back to life?
Your explanation of how the middle values drop out was helpful to me in keeping the light and dark families separate and therefore more dramatic, which is something I'd like to be better at and have been researching. Thanks Dianne!
Wonderful! Always a pleasure.
I just LOVE your ART VIDEOS...thank you sooooo much...take care 🙂 💕
My pleasure. Thanks for watching.
Thank you, Diane, this really “enlightened” me 🤣😆
You are so welcome! Thanks for being a Studio Insider member.
So happy you did something about Chiaroscuro.. I thank the viewer for this great question. I wish you could do a quick tip on linking shadow shapes using Chiaroscuro method. I was doing figure drawing and he kept saying "link the shapes" but sometimes I didn't see the link. The light was really dramatic and some light shapes didn't have transitions into other light shapes... or if they did it was so subtle I didn't see them. I am looking at the Mona Lisa right now and if I were drawing in pencil as I was in this class, I would see light on face, chest.. then a big dark shape and hands. How are light shapes linked in this painting for example?
Lisa, I'll put your request on the filming schedule, but because we film these several weeks in advance, it will be at least August or September before it appears. Meanwhile, it's the major structure of darks that should be linked when working chiaroscuro. You will notice in the Mona Lisa that darks around her hands and face are linked (touching or connected to) darks in the background.
Thanks for the clarification.
My pleasure. Thanks for watching.
This was very helpful, especially demonstrating and emphasizing the idea that a shadow does not change because of the difference in subject, as shown in the portrait. This has always been a challenge and stumbling block for me....I want to change the shadow as it relates to the objects, I.e., turban, face, cloak.....and that is not the correct approach......they are all a continuous shadow. It is the value change that creates the difference between the areas.
Ann Marie, only when painting with the chiaroscuro intention or the intention for lost edges do artists tend to meld the shadow areas between negative and positive. You can show a single or half-interval value difference and still have the area read in shadow. Shadow areas can show a range of at least five value intervals, so you have a lot to play with there.
Thank you for this Dianne. I love to learn and you are a great teacher!
My pleasure. And thanks for that.
Wow. Awesome explanation. Always wondered about chiaroscuro. Never quite understood the difference. Thank you.
You bet, Andrew. Good to hear from you.
I'm obsessed with these videos, very helpful and informative and I really learned a lot the past few days that I've been watching your tutorials. ❤️
Awesome, thank you!
This is wonderfully taught, thank you so much. I'm just learning values and your explanation of notan makes sense.
You're very welcome! Enjoy the journey!
Another jewel from Dianne added to fav videos!
Thanks!
Hi Dianne I thought Carravagio's work was using chiaroscuro before Rembrandt? Thanks for the video.
Yes, correct
Thank you so much! That was such a clear explanation. I've got a better understanding of chiaroscuro than ever before. You are a truly wonderful teacher 😊
Glad it was helpful! Thanks for watching.
Thank you so much!!! Finally I got the difference between chiaroscuro and Notan 💗💗
Fantastic! Have fun with playing with both.
You are appreciated! Thank you, Diane! Great teaching!
Thank you so much!
Really wonderful lessons! A big thanks and hello from Switzerland!
Thank you! 😃
Sorry but Chiaroscuro started with Caravaggio.
Don't apologize. That's another one of those historical debates. The question is which one of those early guys dropped out the most middle values first.
nonsense! caravaggio made it his signature style but even da vinci was using chiaroscuro almost 100 years before
Does this mean that chiaroscuro doesn’t deal with high contrast in smaller shape areas? In the big areas there is clearly drama but if the light and shadow groups, respectively, only have subtle value changes in each that lessens the drama somewhat in my mind. Thank you for taking the time.
No, Sean. This is just a clarification for the difference between how chiaroscuro and notan are used. Notan is simply discovering the light/shadow structure. Chiaroscura is a part of the painting process.
Thank you, this has certainly helped me understand a bit more
I am delighted.
I’m so happy you are answering this great question. It’s one I didn’t know I needed. Love it. Thank😊 you Dianne.
You are so welcome, Laura. Thanks for watching.
Merci Madame
My pleasure.
Dear Dianne, I love your instruction youtubes, they have been very helpful for me.
I have a problem which I hope you can help me with. I want to use Jacquard Pearl Ex Pigment Powder in my oil paintings, BUT I CANNOT FIND ANY INFORMATION ON HOW TO MAKE THEM COMPATIBLE WITH OIL PAINT? WHAT DO I MIX THE PEARL EX PIGMENT WITH SO I CAN WORK WITH. I WOULD LIKE TO ESSENTIATE SOME OF MY ART. I AM PAINTING THE BOOK OF REVELATION AND I AM UP TO REVELATION CHAPTER 21. PLEASE CAN YOU DO AN INSTRUCTION UA-cam ON THIS? I HAVE NOT FOUND ANYTHING ON THESE PRODUCTS ON UA-cam OR THE INTERNET.
YOURS FAITHFULLY,
ANNETTE QUEENSLAND AUSTRALIA.
I wish I could help you, but this one is outside my paygrade. I do know that to make a pigment compatible with oil paint, it should be mixed with one of the compatible oils such as linseed or poppy. I Googled JACQUARD PEARL EX PIGMENT and see that they say you can mix it with oils, so not knowing what I'm talking about, I suggest mixing it with a bit of artist grade linseed oil.
really well explained , thank you very much :))
My pleasure.
Never knew it was Japanese! I asked my Japanese friend about it and she didn’t recognize the word, until I explained what it meant and then she said Oh! “Notan!” - pronouncing it with a shorter inflection. Borrowed words are fascinating and all over the place when you look for them…. Thanks!
That's the nature of an evolving language...
@@IntheStudioArtInstruction I learn so much from your videos. The middle values dropping out was never explained so clearly to me before either. And I’ve known the term for 20 years now.
DEAREST DIANNE, THANK YOU FOR YOUR ANSWER. I AM AT PRESENT DOING A EXPERIMENT WITH PEARL EX, TO SEE THE REACTION TO THE OIL MEDIUMS I HAVE AT HAND. SUCH AS GLAZE MEDIUM, CLEAR OIL PAINT, LINSEED OIL, AND GEL MEDIUM.
DO YOU THINK I COULD MIX GUM ARABIC WITH LINSEED OIL INSTEAD OF WATER? I MIGHT TRY THAT ALSO!
DIANNE, I APPRECIATE YOUR HELP GREATLY AS I HAVE BEEN APPROACHED TO DO AN EXABITION IN SEPTEMBER 2022 AND I HAVE 6 CANVASES 40INCH X40INCH TO COMPLETE. SO I AM TRULY ENJOYING PAINTING, I WORK ON THREE IN A WEEK, LIKE A PRODUCTION LINE.
I TRULY APPRECIATE YOUR HELP AND YOUR BEAUTIFUL ART INSTRUCTION AS IT HAS HELPED ME GREATLY.
MANY BLESSINGS TO YOU,
YOURS FAITHFULLY,
ANNETTE QUEENSLAND AUSTRALIA. XXXXXXX OOOOOOO.
Thank you, Annette. I want to be careful how I answer this.
Gum arabic is generally used in watercolor paints as the binder. I don't have any knowledge of it being used in oil mediums nor do I have any experience with pearl ex.
That being said, my advice is to be very cautious about what you add to oil paints. Oil does not evaporate, but oxidizes instead. If a non-compatible material is added, the oil will crack or lose adherence from the painting surface as it dries.
Since you enjoy experimenting, I advise that you get a copy of the latest edition of the Ralph Mayer The Artist's Handbook to keep you informed of materials that safely can be added to oil paint. Another informative materials manual is The Painter's Handbook by Mark David Gottsegen.
Hi Dianne, excellent explanation, and I do find that Notan helps me to compose my paintings. I also find that following my Notan sketches it also assists me in my Grisaille underpainting. Thank you 👍😃❤️
Wonderful! Later this year (I hope) will be publishing a book on notan.
Thank you for ths informative tutorial. I learned some new things. Thank you !
My pleasure.
Thank you so much Dianne. All your Quick Tips are very informative and lovely to watch.
Thanks, Christer. It's a pleasure doing these.
Very interesting. Great to know the difference. Thanks so much! Blessings and be safe.
Thanks for watching!
love this tutorial thanks so much!
My pleasure. Thanks for watching.
WHAT I MEANT WAS ON THE USE OF THE JACQUARD PEARL EX PIGMENT WITH OIL PAINT? NOT ON THE BOOK OF REVELATION.
THANKING YOU,
ANNETTE QUEENSLAND AUSTRALIA.
Got it.
If young people listened, they would realize temp and value is what makes any painting. . I love this method. The not an is great way to avoid issues later. Thanks.
Have fun with it.
Gold as always! Thank you!!!
My pleasure!
Thank you so much Dianne. I paint using water colour and acrylics not oils but even so you have helped me so much in understanding light and dark and so much more with all of your quick tips. You are a gem 💎 thank you, thank you, thank you so much.
Sending you all the best and keep safe.
From Victoria Australia 🥰
Thank you, Marie. One thing that is so grand about using any painting material is that the composing principles work across the board.
@@IntheStudioArtInstruction thank you once again ☺️
Dianne. I have a little problem. I have watched your videos on edges. My problem is when oh when to go soft and when to go Hard? How do you decide. I feel I tend to force it and I don’t know.... confused. Maybe you could do a quick tip?
Andrew, one way to think about it is that the eye goes quickly to the harder edges. The softer the edges, the less attention they get, so one way to use the hard or sharp edges is where you need the emphasis.
I'm putting this on our filming schedule, but because we film these several weeks in advance, it will be September before it appears. Meanwhile, try approaching it from the viewpoint of how you would like to travel around your painting.
@@IntheStudioArtInstruction oh thank you. Awesome.
I have a question for you why don’t more oil painters use acrylic paint for the blocking in process? It seems to me that this makes most sense and then use oil for your modeling and detailing.
Allen, it's an individual choice. A lot of oil painters do use acrylics for blocking in. My personal reason is that for me, acrylics dry too fast for me to manipulate the blockin. In the long run, it all depends upon the artist's own process.
@@IntheStudioArtInstruction ok. Thank you. I have another question based on a similar topic . Do you think it’s better to put an oil primer down on top of the acrylic gesso canvas before painting in oils? I hear the acrylic gesso dry’s out the oils in the paint and can make the blacks sink into the canvas and super dull and dead looking. I’m actually experiencing this myself but not sure what is the cause. Also if I varnish my painting 6 months later will it bring the colors back to life?
a marvelous presentation. Thankyou.
You're very welcome!
Nicely done. Very informative. Thank you.
Thanks for watching.
Wow very beautiful work ❤️❤️❤️
Thanks.
Comme a chaque fois, merci beaucoup de toutes ces informations 🍀🐞👍
My pleasure.
Very helpful!
Great.
This was extremely helpful!
I am delighted.
Love it.... and thank you 😊 I
You are so welcome
Many many thanks 💐
Most welcome
thank you
You're welcome
Thanks for your lessons
It's my pleasure
Thank you so much
My pleasure.
Thank you!
You bet!