Very clear presentation. The metaphor of value as energy and value's role in engaging the viewer is a thought provoking way of re-emphasizing the primary importance of value relationships. Thanks much!
Fantastic, Dianne! I can deal with values within the same colour range (say, 1 to 9 in blue, etc.) but struggle when comparing values in different colours side by side. Should I determine each colour value separately? Your thoughts would be much appreciated.
Try looking for what's in shadow and what's not in shadow. You might find helpful the little free lesson I give at diannemize.com/a-free-lesson-how-to-do-notan-based-on-shadow/ . One you've located shadow/not-in-shadow, you can observe that in all colors, the values will be determined by the degree of light the color is receiving or the degree to which it is in shadow. In realistic painting, no color we see can be independent of the light/shadow. If you feel you need some in-depth guidance, you might consider checking out my full-length tutorials, a lot which deal with color. A good one to begin with would be diannemize.com/product/finding-the-right-color/
Thank you Dianne .... I paint horses, the white horses (which are called greys) are especially difficult when the light is dull when painting outside or in my studio when it is difficult to see the contrast form a photo, even on my computer screen. While I'm painting I think it's going ok and then it dries and its all flat again, my work become laboured and over painted ... sometimes it takes many tries to get it right and my canvas becomes thick with paint losing the wonderful transparency you do so easily with a brush. Is it wise to keep labouring away at the same painting or start again?
My opinion is that it is never wise to labour away at a painting. I suggest you do small studies prior to the painting in order to set your intention. Also, I suggest you begin in the shadow areas and work dark to light, using as few brushstrokes as possible. Whites are going to sink in, but once the painting is dry, a coat of retouching varnish should bring them out again.
@@IntheStudioArtInstructionDear Dianne I really appreciate your help ... I will follow your advise starting with some small studies ... it will save me a lot of wasted energy and money .... I don't give up easily but will not labour over a painting anymore and start with shadow areas working dark to light. Just now as your message arrived I am painting using a palette following one of your quick tips of contrast either side of a colour and will now use white very thoughtfully. I"m still on a learning curve painting many years .... finally moved on to using oil paints which I love ....cannot now understand now what took me so long to give up acrylics ... your quick tips and videos I have only discovered recently are already invaluable .... now enjoying too using the lovely lively criss cross brush strokes. Thank you x
Hi Dianne, I was studying John Singer Sargent's painting and I found that most of his environment paintings have low value contrast..In that case, when I squint my eyes I can't really find the big shape and patterns..What should I do to study arts with low contrast like that? Thanks you :)
Tan, I'm not sure I understand your question. When you are studying how other artists use different kinds of value contrast, one thing you can do is create a study of the painting by using only mixtures of black and white. Avoid copying the images, but rather keep your attention on matching the values and while doing so, match the kind of contrast. Does this help?
So helpful....to see demo with a purpose. Dianne is a wonderful teacher.
Thanks, Brock!
Very clear presentation. The metaphor of value as energy and value's role in engaging the viewer is a thought provoking way of re-emphasizing the primary importance of value relationships. Thanks much!
It's a pleasure to share, John.
You can read this in painting books, but watching this demonstrated is worth a thousand words. Thanks, Dianne.
Seeing an action is always better than seeing it in still shots.
This is so clear and helpful and lovely, thank you!
You're so welcome!
Love your videos. Thanks for teaching this.
My pleasure!
This is just great. Love it. I cant thank you enough. You change lives. You know that? ... thank you. :)
Thanks, Jayesh. I enjoy sharing these Tips.
Fantastic quick tip! Thanks Dianne.
Thanks for watching.
Very helpful tip!!
So glad! Thanks for watching.
Fantastic, Dianne! I can deal with values within the same colour range (say, 1 to 9 in blue, etc.) but struggle when comparing values in different colours side by side. Should I determine each colour value separately? Your thoughts would be much appreciated.
Try looking for what's in shadow and what's not in shadow. You might find helpful the little free lesson I give at diannemize.com/a-free-lesson-how-to-do-notan-based-on-shadow/ . One you've located shadow/not-in-shadow, you can observe that in all colors, the values will be determined by the degree of light the color is receiving or the degree to which it is in shadow. In realistic painting, no color we see can be independent of the light/shadow.
If you feel you need some in-depth guidance, you might consider checking out my full-length tutorials, a lot which deal with color. A good one to begin with would be diannemize.com/product/finding-the-right-color/
Thank you, Dianne. I do appreciate your quick response. I will check out the links you sent me. I enjoy your tutorials very much. They are so useful.
Beautiful NATURE melody ~
Excellent tip and demo! Thank you!
Just found you and appreciate your instruction
Great. Welcome aboard.
very nice detail on working with values
This is an easier way to understand degrees of contrast and how to achieve them. It takes two!
Great! Yep, at always takes at least two.
Wow amazing explanation! Thank you. 🙏 💜💜💜
You are so welcome. Thanks for watching.
Thank you Dianne .... I paint horses, the white horses (which are called greys) are especially difficult when the light is dull when painting outside or in my studio when it is difficult to see the contrast form a photo, even on my computer screen. While I'm painting I think it's going ok and then it dries and its all flat again, my work become laboured and over painted ... sometimes it takes many tries to get it right and my canvas becomes thick with paint losing the wonderful transparency you do so easily with a brush. Is it wise to keep labouring away at the same painting or start again?
My opinion is that it is never wise to labour away at a painting. I suggest you do small studies prior to the painting in order to set your intention. Also, I suggest you begin in the shadow areas and work dark to light, using as few brushstrokes as possible.
Whites are going to sink in, but once the painting is dry, a coat of retouching varnish should bring them out again.
@@IntheStudioArtInstructionDear Dianne I really appreciate your help ... I will follow your advise starting with some small studies ... it will save me a lot of wasted energy and money .... I don't give up easily but will not labour over a painting anymore and start with shadow areas working dark to light. Just now as your message arrived I am painting using a palette following one of your quick tips of contrast either side of a colour and will now use white very thoughtfully. I"m still on a learning curve painting many years .... finally moved on to using oil paints which I love ....cannot now understand now what took me so long to give up acrylics ... your quick tips and videos I have only discovered recently are already invaluable .... now enjoying too using the lovely lively criss cross brush strokes. Thank you x
Wonderful lesson! Thank you so much!!!
My pleasure!
Hi Dianne, I was studying John Singer Sargent's painting and I found that most of his environment paintings have low value contrast..In that case, when I squint my eyes I can't really find the big shape and patterns..What should I do to study arts with low contrast like that? Thanks you :)
Tan, I'm not sure I understand your question. When you are studying how other artists use different kinds of value contrast, one thing you can do is create a study of the painting by using only mixtures of black and white. Avoid copying the images, but rather keep your attention on matching the values and while doing so, match the kind of contrast. Does this help?
@@IntheStudioArtInstruction Hi Dianne, thanks for the answer..It does help :)
Wow thank you for explaining!
Good explanation. Thank you
Wow. That's amazing.
Thanks.
great tip, thank you!
Thank you!
Thank you dear!
Minor is slow, but on the bord it says fast ?
Our eyes will scoot faster over a minor value contrast then it does over a major one.
can i check a colour value on a grey value scale. and how do i do it
Sure. All you do is squint at the color and compare its value to the scale to see which value it more closely aligns with.
thank you!!! 🎨🌹
My pleasure.
That was great
Thanks.
thank you
My pleasure.