Thank you for this Quick Tip and all of the others! It's so helpful to really understand painting and how to go about the craft (even though I'm just a hobbyist). Your videos always seem to explain things clearly and are based on both science and art! I especially like how you clarify your beliefs and preferences and allow me to follow my own artistic inspiration too. THANK YOU!
Kimberly, thanks for that observation. It is the individual uniqueness of every artist that I champion. I know that sound craftsmanship can allow that to emerge free of dogma or rules.
I really like the way you look directly into the camera engaging our attention as if you are right in front of us. It's like a real class. It helps me to concentrate and I find my attention riveted to the screen and what you are saying. Also, I really like the way you slice up the "balogna"; if you were an attorney you would be formidable. I read somewhere your bio and no wonder! your knowledge is leaps and bounds beyond what else I've found on UA-cam. (True, I have about 350 videos on "watch later" and have seen or skipped through that many of more during the past couple of months.) Thank you for all your effort on UA-cam.
since i have ordered the course „harnessing warm & cool colors“ by dianne i learned not only very much but i contact it every time when doubts arise about this subject
Very helpful,I have not a strong analytical brain and I am very thankful for your tutorials , they show that there is a system for clarifying the chaos, I mean the endless try and error,in order to achieve a color, along with wasting a lot of paint.Painting is getting easier!😍
This makes so much sense! I have too many tubes of paint and now will use them more confidently and interchangeably, thinking about mixing warm and cool proportions vs nuances btwn pigments. Thank you .
If I understood correctly, you said that green could be made using other colors than blue and yellow. I assume from the examples you showed, you were meaning starting with green. Is there other colors which combined make green? Your quick tips are very helpful and well presented. Thank you.
Mickey, what I am referring to here is that blue and yellow do create a green, but so does ivory black and yellow. Add that to this: beginning with a green like Phthalo green, we can get a wide range of greens by adding to it any other color on the color wheel.
Dear Dianne Thank you so much for all the great tips and lessons. You are an amazing teacher and artist. If possible, kindly make a video or two on 1. The curse of burnt umber. It's effect on color and also darkening of the paintings at later stage. 2. You have a huge and wonderful collection of lessons online. But how to use them? From where to start? In short, how to study with you by using your lessons? Once again thanks for all the time u spare.
Umer, I will put this on our schedule. Meanwhile, just use the Quick Tips according to what you need. Take one at a time, practice whatever I'm teaching, then go to another. Same with the full-length lessons.
Thank you! Yes, quite a bit of contradictory opinions about this subject can be seen allover the internet. I think your suggestion to try by yourself and make it a sort of "your" own dogma is likely the best.
Hi Dianne, I have a question about oil painting that has been bugging me for some time. At the end of each painting day I scrape all the paint off my palette because if I dont some of the colors will dry up and be unusable next day. So I end up wasting a lot of paint! Yet I see many artists (including you) who leave large amounts of paint on their palettes and get to use the paint the next day and the next day and so on! So what’s going on here? It distresses me no end to be scraping off piles of expensive unused paint and throwing them into the garbage everyday!!!! Love your Quick Tips! Thanks, Gordon
If I may respectfully jump in here, you're right, that's a problem many of us face. While we look forward to reading Dianne's and others' replies and ideas, I can offer a couple more or less good solutions that I've heard of and/or use: 1) Cover your paints with plastic wrap overnight, with the optional inclusion of a cotton ball moistened with pure clove oil, which reportedly helps keep oxidation from making the paint film over. This is my pretty successful solution, with and without the clove oil (which does help some, IMO). You'll inevitably lose a little paint (along with the "film") upon lifting the plastic, but better that than as you rightly point out, wasting it all. (And btw, no need to buy / use commercial cling film. I use all sorts of "found" sheets of plastic, as we're constantly unwrapping plastic from SOMEthing in our daily lives, aren't we....) Also please note that, though there may be a dried film over the paint, that doesn't mean there isn't usable paint underneath. If left for several days, of course, a small pile does dry out -- but some painters even save & use such scrapings as added texture. :-) 2) If you have a freezer shelf you can devote solely to this purpose to avoid contamination (and/or a large enough plastic box with a tight cover): Place your paints, palette and all inside a freezer, which keeps paint malleable for days and (some claim) weeks. I hope this helps!
Thanks, B.Jones for jumping in here. This forum is for discussion from everybody, not just my responses. Gordon, the paint left around the edges of my palette is not all usable, and the same is true for other artists whose palettes stay "loaded" (see Quick Tip 115 - ua-cam.com/video/RORenwUXMDI/v-deo.html ). Back when were first began doing these Quick Tips, I did one showing how I keep painting usable at the end of a painting session. You can find it here - ua-cam.com/users/edit?o=U&video_id=DgQwFp7aD_4 . Since doing that Quick Tip, I have discovered Poppy Oil which I now use rather than Linseed Oil. That's because Poppy Oil dries more slowly than Linseed OIl and keeps the paint moist even better. I've also switched away from Turpenoid to Gamsol for the solvent I use. Hope this helps.
Great qt again! Thanks! I couldn't understand the shadows temperature vs light source, why the overcast sky light is cooler than sunlight? Is it based on kelvin scale? Specifically, what happens to a portrait or figure in a sunny day under direct sunlight vs if located in a cast shadow? Thanks a lot and sry for long post! 😅🌷
It's how we perceive the color of sunlight vs. overcast. There are a number of color theories, some based on the kelvin scale, others based on psychological perception, others based on the color of fire and more. They all arrive at the same point, just different ways of getting there. We perceive the sun as warm or hot. We've labeled its color yellow-to-white, and orange to red as it sets. We've labeled blue the space we call sky. Where we see it closest to the sun feels warmer to us and spaces further from the sun feel cooler. Astronomy has taught us that outer space is cool, adding to that perception of cool associated with blue. Add to this that overcast blocks the sun, making us feel cooler, therefore we perceive overcast as cool. Add to this that we've observed that in sunlight, shadows feel cooler and in overcast shadows appear warmer. All hues of all images will change according to whether they are in light or in shadow.
Thank you so much dear Dianne for your comprehensive and helpful response. So it's harder than I thought without observation. Again thanks a lot 👍🏻 🌷 💎
Virginia, I love earth colors and early on in my painting career, they were very much a part of my palette, but with experience I found that mixing them gives me more flexibility. It would not be fair to say that earth colors have a proper use. They are simply low chroma (intensity) hues, usually semi-opaque or opaque. They can serve well for mixing shadow areas or when mixed with white or a light hue, they can work well to describe a lower chroma hue.
Dear Mam Somehow I have heard in colour one is Cobalt blue, prussian is second darker version, and when I learnt how to paint in Acrylics then I started having ultramarine blue. But never heard of Pathalo blue or Pathalo Green. Isn't there any option to green u made withultramarine blue. Reply me soon Thanks Rims1
Mixing green using ultramarine blue with a highly saturated yellow will give you a lower intensity. Using Prussian blue with the same yellow will yield a brighter green.
Diane, It’s a cold wintry day where I live about 4:30-5:00 pm and the sun is shining. Is it a cool or warm day? More like a mixed day to me. I went out and observed the play of light & shadow in the still green grass (a cool hue color). In the light it looks and feels warmer & in the shadow it looks and feels cooler just like adding a much warmer yellow to the local color of green and adding more cooler blue to the green in shadow. How then is the green hue in the shadow “warmer” if we are not talking about adding red to the green in any way? I could darken the green with black-blue biased-thus in both value and hue it is cooler not warmer. Either way I have taken the local cool green hue and warmed it in the light and cooled it in the shadow. Even if I used the direct compliment of Red hue-“warming the green” but in a neutral way, I have created a cooler green effect.
Richie, Whether shadows are warm or cool is not MY theory, rather it comes from a consensus of artists' observation throughout the history of art. A shadow is relative to the light causing it. If the light is warm, we observe that the shadow - when compared to the areas in light - is cooler that those areas around it. And we observe that when the sky is overcast, creating a cooler light, those areas that fall into shadow feel warmer than areas around it not in shadow. There is a scientific explanation, too. Google the question "why are shadows cool In warm light" and you will find many discussions about this.
If the sun is shining, it is producing a warm light. If it is overcast, the light is cooler. If you observe those greens on an overcast day, you will see that. Now to the color mixing part: whatever happens when mixing a red into a green is determined by how yellow or blue the green is as well as whether the red is a cool red (alizarin crimson, for example) or a warm red such as cadmium red light. Play with mixtures of varying temperatures of warm-to-cool reds plus greens and you will see what I'm talking about.
In the Studio Art Instruction Thank you. Yes I have played with modified greens. Forgive me about the “Your theory” part. I meant the theory you follow. I will research it further because I definitely do not understand why the shadow (naturally cooler-even in low light) would “feel” warmer in temp or color unless the local color of what is cast in shadow was a “warm” hue not in the light to start with and we would “cool” it down via local hue value/chroma method which would involve no hue shift (even when adding a “warm” compliment) because that’s how I do it. So the green grass I would mix a base cool green local color-be it a warm or cool version from “neutral green”-then I would warm the local color by adding yellow (changing it’s hue) for the light part (or I might just increase it’s value with white which means I’m still cooling it) but the shadow part I would cool it by adding blue (again changing hue) or by neutral tones of grey (not changing hue) and making it cooler by darker value or blue increase hue shift alone-UNLESS I observe a violet tone and use that method but our theory that we follow means that is still a cool color-even when it has more “warm” red than “cool” blue. That’s what I normally do (is it wrong? I don’t want to be wrong.) unless I actually color match for more realism then it is what it is and I am not thinking about Temperature then but color, regular mixing, bias of pigment, value, and chroma. The “temperature” part has already been settled in my mind upon natural observance-season, weather, time of day or type of light, light & shadow in various degrees. Even on an overcast day or in a cool light my mind says “shadow=darker & cooler”. When I enter a shadow I naturally feel cooler and when I have observed the color change it seems cooler or more grayed. Maybe it’s just me but I will definitely really observe the shadows on an overcast day-not that I am looking forward to one lol-and research the matter further. I understand the “warm/cool” relationships of RYB and the addition of one will change the “temperature” in whatever direction I’m mixing. But is what your telling me is that on an overcast day my cool green should be warmer by adding the compliment of red for the shadow (which then it’s not a hue change but a value/chroma change) or that I should increase the yellow component via a comparable lower value/chroma yellow that would warm it also but decrease the value/chroma level (certainly we don’t want to increase value/chroma in the shadow unless we are getting a noticeable light reflection area)? Maybe it’s a light bounce/reflection from warmer colored objects issue. I have to look this up for sure!
In the Studio Art Instruction Just looked it up. I’m going to look into this further but this is the number one response on the search: monkeylogic.us/blog/warm-light-doesnt-have-cool-shadows/ It show’s (by going through the science and experiments) that the theory of warm light=cool shadows and cool light=warm shadows no matter what is a fallacy. It has everything to do with 2 or more light sources. You have a main source type and an ambient type. Outside on a sunny day you have the sun AND the blue sky bounce light creating a cool shadow. On an overcast day this is just toned down even more but still creating a more neutral cool shadow unless of course, one adds in additional light source’s-such as bounce light from other objects. But artistically...it all works. So we are both right it would seem. In general: Just as long as your “shadow” is not colorfully more intense and higher valued than those not in shadow it seems we are good to go. I’m more of-add compliment, gray tone, or “indigo” shadow type of guy and thus everything in shadow is cooler and grayer-type of guy unless it’s realism under the specific lighting source then-like I said-I’m not thinking “temperature” since that issue is already solved because I’m mixing and painting what I see by more specific rules.
QUESTION I am a novice. How do I tell a blue, for example, that is warm from a blue that is cool? The same question would apply to any colour on my palette. Thank you in advance.
@@richiejourney1840 Thank you for responding so quickly. However, can you tell me which number tip it was on your video list please. I cant tell which one it is. Sorry about that.
Thank you for this Quick Tip and all of the others! It's so helpful to really understand painting and how to go about the craft (even though I'm just a hobbyist). Your videos always seem to explain things clearly and are based on both science and art! I especially like how you clarify your beliefs and preferences and allow me to follow my own artistic inspiration too. THANK YOU!
Kimberly, thanks for that observation. It is the individual uniqueness of every artist that I champion. I know that sound craftsmanship can allow that to emerge free of dogma or rules.
Your a fantastic teacher, you present subject manner clearly and I can get it. Thank you
Thanks. I always like hearing that I've made something clear.
I really like the way you look directly into the camera engaging our attention as if you are right in front of us. It's like a real class. It helps me to concentrate and I find my attention riveted to the screen and what you are saying. Also, I really like the way you slice up the "balogna"; if you were an attorney you would be formidable. I read somewhere your bio and no wonder! your knowledge is leaps and bounds beyond what else I've found on UA-cam. (True, I have about 350 videos on "watch later" and have seen or skipped through that many of more during the past couple of months.) Thank you for all your effort on UA-cam.
Thanks, Meticularius. You can thank my director/videographer for what happens on the camera.
since i have ordered the course „harnessing warm & cool colors“ by dianne i learned not only very much but i contact it every time when doubts arise about this subject
Wonderful.
Very helpful,I have not a strong analytical brain and I am very thankful for your tutorials , they show that there is a system for clarifying the chaos, I mean the endless try and error,in order to achieve a color, along with wasting a lot of paint.Painting is getting easier!😍
I'm delighted these Quick Tips are helpful.
Good question, great explanation!! Thanks Dianne
My pleasure.
Your the art teacher who gives practical sensible advice for serious art creators.
Thanks, Ratish.
This makes so much sense! I have too many tubes of paint and now will use them more confidently and interchangeably, thinking about mixing warm and cool proportions vs nuances btwn pigments. Thank you .
My pleasure. Have fun experimenting.
Thank you so much for the helpful information. I really enjoy your videos.
And thank YOU for watching.
Great question with a strong answer. Thank you.
Thanks, Candace.
If I understood correctly, you said that green could be made using other colors than blue and yellow. I assume from the examples you showed, you were meaning starting with green. Is there other colors which combined make green? Your quick tips are very helpful and well presented. Thank you.
Mickey, what I am referring to here is that blue and yellow do create a green, but so does ivory black and yellow. Add that to this: beginning with a green like Phthalo green, we can get a wide range of greens by adding to it any other color on the color wheel.
Thank you Dianne. This was very helpful!
👍
Great instruction session!
Thanks.
Great tips!
Thanks.
Thank You very much.I am learning a lot.Have a great night.
Wonderful. Thanks for watching.
incredible!
😊
Dear Dianne
Thank you so much for all the great tips and lessons. You are an amazing teacher and artist.
If possible, kindly make a video or two on
1. The curse of burnt umber. It's effect on color and also darkening of the paintings at later stage.
2. You have a huge and wonderful collection of lessons online. But how to use them? From where to start? In short, how to study with you by using your lessons?
Once again thanks for all the time u spare.
Umer, I will put this on our schedule. Meanwhile, just use the Quick Tips according to what you need. Take one at a time, practice whatever I'm teaching, then go to another. Same with the full-length lessons.
Thank you Mam~
Very helpful. Thank you
My pleasure.
I love how she says yes and no. Lol
That's how we say it in north Georgia (USA) 😊.
Thank you! Yes, quite a bit of contradictory opinions about this subject can be seen allover the internet. I think your suggestion to try by yourself and make it a sort of "your" own dogma is likely the best.
Giovanni, I've been arguing this point for decades. I do think it comes down to individual perception.
@@IntheStudioArtInstruction Totally agree!
Thank you
My pleasure.
Thank you Dianne, you laid it to rest. The proportions dictate.
I suppose that's one way to put it.
You are amazing😍😍😍😍
😊
Hi Dianne, I have a question about oil painting that has been bugging me for some time. At the end of each painting day I scrape all the paint off my palette because if I dont some of the colors will dry up and be unusable next day. So I end up wasting a lot of paint! Yet I see many artists (including you) who leave large amounts of paint on their palettes and get to use the paint the next day and the next day and so on! So what’s going on here? It distresses me no end to be scraping off piles of expensive unused paint and throwing them into the garbage everyday!!!! Love your Quick Tips! Thanks, Gordon
If I may respectfully jump in here, you're right, that's a problem many of us face. While we look forward to reading Dianne's and others' replies and ideas, I can offer a couple more or less good solutions that I've heard of and/or use:
1) Cover your paints with plastic wrap overnight, with the optional inclusion of a cotton ball moistened with pure clove oil, which reportedly helps keep oxidation from making the paint film over. This is my pretty successful solution, with and without the clove oil (which does help some, IMO).
You'll inevitably lose a little paint (along with the "film") upon lifting the plastic, but better that than as you rightly point out, wasting it all.
(And btw, no need to buy / use commercial cling film. I use all sorts of "found" sheets of plastic, as we're constantly unwrapping plastic from SOMEthing in our daily lives, aren't we....)
Also please note that, though there may be a dried film over the paint, that doesn't mean there isn't usable paint underneath. If left for several days, of course, a small pile does dry out -- but some painters even save & use such scrapings as added texture. :-)
2) If you have a freezer shelf you can devote solely to this purpose to avoid contamination (and/or a large enough plastic box with a tight cover): Place your paints, palette and all inside a freezer, which keeps paint malleable for days and (some claim) weeks.
I hope this helps!
Thanks, B.Jones for jumping in here. This forum is for discussion from everybody, not just my responses.
Gordon, the paint left around the edges of my palette is not all usable, and the same is true for other artists whose palettes stay "loaded" (see Quick Tip 115 - ua-cam.com/video/RORenwUXMDI/v-deo.html ). Back when were first began doing these Quick Tips, I did one showing how I keep painting usable at the end of a painting session. You can find it here - ua-cam.com/users/edit?o=U&video_id=DgQwFp7aD_4 .
Since doing that Quick Tip, I have discovered Poppy Oil which I now use rather than Linseed Oil. That's because Poppy Oil dries more slowly than Linseed OIl and keeps the paint moist even better. I've also switched away from Turpenoid to Gamsol for the solvent I use.
Hope this helps.
Great qt again! Thanks! I couldn't understand the shadows temperature vs light source, why the overcast sky light is cooler than sunlight? Is it based on kelvin scale? Specifically, what happens to a portrait or figure in a sunny day under direct sunlight vs if located in a cast shadow? Thanks a lot and sry for long post! 😅🌷
It's how we perceive the color of sunlight vs. overcast. There are a number of color theories, some based on the kelvin scale, others based on psychological perception, others based on the color of fire and more. They all arrive at the same point, just different ways of getting there.
We perceive the sun as warm or hot. We've labeled its color yellow-to-white, and orange to red as it sets. We've labeled blue the space we call sky. Where we see it closest to the sun feels warmer to us and spaces further from the sun feel cooler. Astronomy has taught us that outer space is cool, adding to that perception of cool associated with blue. Add to this that overcast blocks the sun, making us feel cooler, therefore we perceive overcast as cool.
Add to this that we've observed that in sunlight, shadows feel cooler and in overcast shadows appear warmer.
All hues of all images will change according to whether they are in light or in shadow.
Thank you so much dear Dianne for your comprehensive and helpful response. So it's harder than I thought without observation. Again thanks a lot 👍🏻 🌷 💎
Diane, I notice you don't use the earth colors in your explanations. Could you address the proper use of earth colors? Thank you
Virginia, I love earth colors and early on in my painting career, they were very much a part of my palette, but with experience I found that mixing them gives me more flexibility. It would not be fair to say that earth colors have a proper use. They are simply low chroma (intensity) hues, usually semi-opaque or opaque. They can serve well for mixing shadow areas or when mixed with white or a light hue, they can work well to describe a lower chroma hue.
Dear Mam
Somehow I have heard in colour one is Cobalt blue, prussian is second darker version, and when I learnt how to paint in Acrylics then I started having ultramarine blue.
But never heard of Pathalo blue or Pathalo Green.
Isn't there any option to green u made withultramarine blue.
Reply me soon
Thanks
Rims1
Mixing green using ultramarine blue with a highly saturated yellow will give you a lower intensity. Using Prussian blue with the same yellow will yield a brighter green.
Please explain and show in detail your theory of warm & cool shadows. Thanks.
Diane, It’s a cold wintry day where I live about 4:30-5:00 pm and the sun is shining. Is it a cool or warm day? More like a mixed day to me. I went out and observed the play of light & shadow in the still green grass (a cool hue color). In the light it looks and feels warmer & in the shadow it looks and feels cooler just like adding a much warmer yellow to the local color of green and adding more cooler blue to the green in shadow. How then is the green hue in the shadow “warmer” if we are not talking about adding red to the green in any way? I could darken the green with black-blue biased-thus in both value and hue it is cooler not warmer. Either way I have taken the local cool green hue and warmed it in the light and cooled it in the shadow. Even if I used the direct compliment of Red hue-“warming the green” but in a neutral way, I have created a cooler green effect.
Richie,
Whether shadows are warm or cool is not MY theory, rather it comes from a consensus of artists' observation throughout the history of art. A shadow is relative to the light causing it. If the light is warm, we observe that the shadow - when compared to the areas in light - is cooler that those areas around it. And we observe that when the sky is overcast, creating a cooler light, those areas that fall into shadow feel warmer than areas around it not in shadow.
There is a scientific explanation, too. Google the question "why are shadows cool In warm light" and you will find many discussions about this.
If the sun is shining, it is producing a warm light. If it is overcast, the light is cooler. If you observe those greens on an overcast day, you will see that.
Now to the color mixing part: whatever happens when mixing a red into a green is determined by how yellow or blue the green is as well as whether the red is a cool red (alizarin crimson, for example) or a warm red such as cadmium red light. Play with mixtures of varying temperatures of warm-to-cool reds plus greens and you will see what I'm talking about.
In the Studio Art Instruction Thank you. Yes I have played with modified greens. Forgive me about the “Your theory” part. I meant the theory you follow. I will research it further because I definitely do not understand why the shadow (naturally cooler-even in low light) would “feel” warmer in temp or color unless the local color of what is cast in shadow was a “warm” hue not in the light to start with and we would “cool” it down via local hue value/chroma method which would involve no hue shift (even when adding a “warm” compliment) because that’s how I do it. So the green grass I would mix a base cool green local color-be it a warm or cool version from “neutral green”-then I would warm the local color by adding yellow (changing it’s hue) for the light part (or I might just increase it’s value with white which means I’m still cooling it) but the shadow part I would cool it by adding blue (again changing hue) or by neutral tones of grey (not changing hue) and making it cooler by darker value or blue increase hue shift alone-UNLESS I observe a violet tone and use that method but our theory that we follow means that is still a cool color-even when it has more “warm” red than “cool” blue.
That’s what I normally do (is it wrong? I don’t want to be wrong.) unless I actually color match for more realism then it is what it is and I am not thinking about Temperature then but color, regular mixing, bias of pigment, value, and chroma. The “temperature” part has already been settled in my mind upon natural observance-season, weather, time of day or type of light, light & shadow in various degrees. Even on an overcast day or in a cool light my mind says “shadow=darker & cooler”.
When I enter a shadow I naturally feel cooler and when I have observed the color change it seems cooler or more grayed. Maybe it’s just me but I will definitely really observe the shadows on an overcast day-not that I am looking forward to one lol-and research the matter further. I understand the “warm/cool” relationships of RYB and the addition of one will change the “temperature” in whatever direction I’m mixing. But is what your telling me is that on an overcast day my cool green should be warmer by adding the compliment of red for the shadow (which then it’s not a hue change but a value/chroma change) or that I should increase the yellow component via a comparable lower value/chroma yellow that would warm it also but decrease the value/chroma level (certainly we don’t want to increase value/chroma in the shadow unless we are getting a noticeable light reflection area)? Maybe it’s a light bounce/reflection from warmer colored objects issue. I have to look this up for sure!
In the Studio Art Instruction Just looked it up. I’m going to look into this further but this is the number one response on the search: monkeylogic.us/blog/warm-light-doesnt-have-cool-shadows/
It show’s (by going through the science and experiments) that the theory of warm light=cool shadows and cool light=warm shadows no matter what is a fallacy.
It has everything to do with 2 or more light sources. You have a main source type and an ambient type. Outside on a sunny day you have the sun AND the blue sky bounce light creating a cool shadow. On an overcast day this is just toned down even more but still creating a more neutral cool shadow unless of course, one adds in additional light source’s-such as bounce light from other objects.
But artistically...it all works. So we are both right it would seem. In general: Just as long as your “shadow” is not colorfully more intense and higher valued than those not in shadow it seems we are good to go. I’m more of-add compliment, gray tone, or “indigo” shadow type of guy and thus everything in shadow is cooler and grayer-type of guy unless it’s realism under the specific lighting source then-like I said-I’m not thinking “temperature” since that issue is already solved because I’m mixing and painting what I see by more specific rules.
Pthalo blue reminds me of an electric spar
😊
🌻🌻🌻🌻🌻🌻
😊
much better
Better is good
QUESTION I am a novice. How do I tell a blue, for example, that is warm from a blue that is cool? The same question would apply to any colour on my palette. Thank you in advance.
Carly Charlesworth see prior video on cool blues
@@richiejourney1840 Thank you for responding so quickly. However, can you tell me which number tip it was on your video list please. I cant tell which one it is. Sorry about that.
@@carlycharlesworth1497 Hi Carly. I am a newbie too :). I think you will want to view tip 124.
ua-cam.com/video/24aLHane_oQ/v-deo.html
@@mariegamber thank you so much. There are so many videos that i couldnt find it. Thanks again! 😀