Quick Tip 446 - Still Life Background Colors
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- Опубліковано 3 жов 2023
- Artist/art teacher Dianne Mize explains the techniques used to create backgrounds with complimenting colors.
www.diannemize.com
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Always a great teaching/lesson experience from you, Diane!
Have fun with it.
Thank you Diane. I now understand why I don't like a painting I did recently and now I know how to fix it. 🙂❤
Great! Enjoy the process.
Fabulous Dianne you are a .master yourself and a fantastic teacher with so much clarity in technique and speech
Wow, thank you, Alka.
Hello Ms Diane, I hope you are doing well. Thank you so much to make this video as a response to my problem. I love your videos and the way you are teaching ❤
You are so welcome. Keep enjoying the journey.
Thank you so much for this Tip. I'd always wondered when to set the environment and how to get the environment colors right. . I learned a lot🤗
Have fun with it!
Excellent tutorial. Very eductional. I am learning so much more than I know.
Thanks for watching
I’ve been wondering about this for a while. Thanks Dianne!
Have fun with it, Monica.
Very timely. My mistake was making my value too dark. I picked a few flowers from bouquet I had in a vase. Flowers were close up showing no background, so I went dark and chose the wrong colours. This video was perfect! Thanks Dianne.
You can have fun with it now, Candace.
Dianne, I know you must hear this all of the time, but you have such a pleasant and efficient way of explaining things, you are definitely my “go-to” when I want to look up a painting topic. As a beginner, it’s easy for me to feel intimidated sometimes listening to some of the other professional artists on You Tube. Honestly, not everyone can teach! But when I watch your videos or a livestream, I always come away feeling like I’ve learned something awesome and excited to try it! I am really looking forward to beginning the lessons we purchased from your website, I decided to start with number one and will work my way up. Thank you for your excellent You Tube Quick Tips, not only for the great content, but this is how I found you!
Thanks for that, Ellen. It always warms the cockles of my heart when I'm told my teaching helped someone to understand how it's done.
I like the combination of information and demonstration in your videos. Theory and practice at the same time 😉 Thank you, Diane!
My pleasure! Give it a try and have fun with it.
I APPRECIATE ALL YOUR COMMITMENT TO SHARE WITH US ALL YOUR KNOWLEADGE,
I HAVE LEARNED A LOT OF IMPORTANT POINTS WITH YOU , MORE THAN OTHERS TEACHERS!!
Thanks so much! Keep enjoying the journey.
Thank you so much for distilling this topic into the 3 approaches you recommend. I'm already looking forward to trying a still life painting and experimenting with these. (I heard a cute kitty!)
Have fun with it. (That kitty was Charley who manages to chirp in on occasions. His sister, Lizzy, is always present, but she honors our "quiet please" code.)
This has been so helpful. Im painting a small native bird & have been thinking about the background for it. I now have this worked out. Thankyou🥰
Wonderful!
Really valuable video. Many thanks.😊
Glad it was helpful!
Thank you for you great tips and lesson. Still a beginner and learning.
Above all, enjoy the journey!
VALUABLE video!
Thanks DM
My pleasure!
Gracias
Thanks for watching.
I love this, I too have trouble with this. Dianne maybe you would consider a Academy Course for how to studying, the Masters paintings.
That probably would make a good Concept Lesson for the Academy. Now, to find time to put something together 😊.
Thank you so much. This is so important that can make or break the painting, as I have been experiencing. Now I will put the info into practice.
I am also curious of your thoughts about some still life paintings that are done with a very dark background. How and when to choose one or the other?
Whether a background is dark or light depends upon the light source and/or what they artist wants to emphasize. Dark emphasizes light and light emphasizes dark.
Very useful thank you. I like to paint animals, generally wildlife, but don't want to paint in the surrounding landscape. Would you consider a quick tip about how to treat that background?
Lucy, what you are describing sounds like presenting a portrait of wildlife without its environment. In that case, Quick Tip 142, 148 and 446 might be just what you are looking for.
Thank you. I learn so much from your instruction. I really didn't expect a reply, especially so fast. thanks again.@@IntheStudioArtInstruction
Thank you very much, this was always a big problem for me.I think though i need to watch the video again, the difference between the 2 and 3 aproach is for me not so clear, perhaps is the cause of relies on my limited english knowledge.
We would like there to be an ability to translate these into other languages, but so far nothing reliable is available on UA-cam.
Thank you Dianne🥰 Could you kindly tell me what brand are your oxide red and alizarin crimson?
She has a tutorial in her site that describes her palette and I believe has all the brands( by color) she uses
I use the Rembrandt brand of transparent oxide red and the Gamblin brand of Alizarine Permanent.
@@IntheStudioArtInstruction Thank you so much Dianne…. Ive already updated my palette with Rembrandt viridian paint…🥰
How do I make monochromatic paintings look better? I'm having trouble in particular with pinks. Finding it difficult to get enough value contrast without the pink being red. I'm painting a waterfall scene with some vegetation in it, which is presenting it's own challenge. And the waterfall itself is of particular difficulty.
When lightening colors that have yellow in them, add a bit of highly saturated yellow to white to compensate for the white pigment's tendency to cool the hues it is mixed into. When lightening colors that have red in them, then adding a bit of highly saturated red to the white will pull those back into their hue range.
I've just bought an academic paint kit. None of the colors have names that match big name brands. So far I have figured out the cool yellow warm yellow, and cool red and warm red. There's even a magenta. However there are four blues. I can not figure out which blues are warm and which ones are cool. I've tried mixing them with cool red to see which gives me the brightest purple and with the cool yellow to find the brightest green, but I still can't figure it out. Blues in my eyes are all cool, because they're blue... how can you determine which blue hue is cool or warm when they look similar?
this was tricky for me as well when i was first getting into painting (watercolor specifically.) - it’s helpful to compare the blues to each other, rather than to completely different colors, like red or yellow. i’m not sure what blues you have, and names always usually vary across brands. do your paints include pigment numbers? check those, rather than the names. they should be denoted by letters and numbers somewhere on your tubes. most artist (and some student grade) paints will include pigment numbers (i.e. PB15:3 is “Pigment Blue 15:3” - this is Phthalo Blue, a “cool” blue, because it leans more towards green, in a sense that it’s very tropical. PB29 on the other hand, is “Pigment Blue 29” and is the standard pigment used for Ultramarine Blue.)
if you look at swatches of Ultramarine Blue next to Phthalo Blue, Ultramarine is significantly more “warmer” and leans closer to an indigo / purple. Phthalo Blue is significantly “cooler” in that it leans more towards green (if you have Phthalo Blue Green Shade, green is even in the name!) ultimately, it just takes some practice and getting used to. it’s very hard to imagine blues initially as being anything other than cool, but with time you’ll get it!
I have two free videos that I think will help. If you will watch my little video on the color wheel which I showed at the September UA-cam chat -- vimeo.com/872102472/985a2fc336?share=copy , you can make sense of the warm and cool colors. Also, take my little free Concept Lesson at diannemizeacademy.com/courses/how-to-use-the-color-wheel/
Looking at masters as references, I am surprised that the names of Chardin or Fantin Latour don't appear on the top of the list 😅
Those lists usually evolve according to work done by historians and biographers. They usually rank artists according to the leader of the pack during their lifetimes and those who made innovations usually get first notice.
Such important tips on environments, not backgrounds!
Have fun with it.