Congratulations on 300 Quick Tips! I’ve not seen them all (working my way through; probably viewed about 100 or so), but every one that I’ve seen so far is a true nugget of unquestioned value. Thanks!
Dear Dianne. I want to thank you again for sharing your knowledge so generously with artists from all over the world. You are still my favourite International Living Treasure and I have been thinking of nominating you for a senior position in the United Nations. If we get everyone painting world peace will prevail. 😊 Wishing you a happy and safe holiday.
You can go to the Blick website and compare pigment information brand to brand. Gamblin’s Hansa Yellow Medium is PY 74; while Windsor Newton’s Windsor Yellow is the same - PY 74. I’m not an advocate of Blick, it’s just that it is the best pigment info of any other art supply website. I have switched from cadmium yellows to hansa yellows because they are considerably cheaper and about as good tinting strength and arguably produce cleaner mixes.
Happy that you mentioned why UMB + yellow = a dull green....it's because UMB has red in it...and UMB+red+yellow= dull green...Pthalo blue has yellow in it and NO red so the mixed green will be brighter!!!
Thanks for your videos, they're great. Another bare bones primary set someone told me about was cobalt teal, quinacridone magenta, and lemon yellow, it works like cmyk printing and gives you some good value variation, you don't really get many super rich darks but you can get a close ultramarine-ish blue, and rich warm red. The secondaries are really vibrant.
Great video. I’ve very recently pulled back to a limited palette after a couple years of tinkering, not a lot of actual painting due partly to all the colors I ended up with. Too much choice paralyzed my creativity. I came to a keep Ultramine and pthalo blue green shade with two reds and two yellows to widen the range. It has been interesting that, as I come to my own conclusions and choices, I find the best videos to confirm those choices only AFTER making them.
I highly recommend Gamblin’s artist oil colors introductory set of the seven most commonly used colors which currently sells on Dick Blick for $69 in the US and supplement with an $8 Gamblin artist-grade phtalo blue. One of my favorite limited palettes is Geneva fine arts (also seven colors) but the upfront cost is not as approachable as Gamblin.
My pallette is now comprised of Ultramarine, Lemon Yellow and Madder Lake after months of trying out/whittling out colours and just generally becoming a better mixer. I order up 150ml tubes of the Talens water mixable stuff once every so often and keep it simple. I might treat myself every now and then to a ritzy colour like Davy's Grey, Lead White or some silly pigment from Michael Harding that I can't pronounce, but other than that, a bare bones pallette is what I employ 90% of the time, and it has actually made me a better (and tidier) painter. If I had my time again, I'd go back to the beginning and buy the primaries, a tube of white, two or three brushes, and download a colour wheel, and do nothing more. Dyspraxia demands simplicity.
Thanks a lot Dianne. Very helpful. Specially your insight about thalo blue is very interesting. You said you would suggest 4 colors. Did you mean to have both blues? May I suggest that we use some student grade colors along with high quality ones of those 4 basic colors? : I had a plain air painting experience in mountain trying to mix the colors of the mountain. But I could not. I took some big rock home and put under sun. I easily could paint it with burnt sienna ( which I did not have on plain air ). So I think it is very helpful to have some short cut paints though student grade.
The two blues give a broad range between blue that leans towards violet (ultramarine) and blue that leans towards green (thalo). Yes, the two blues, make available a more diverse range of color mixes when included on the palette with alizarin and a yellow. When we label tube colors according to their hue, then mix them according to what hues do to one another, we can find almost any color we want. So knowing that burnt sienna is a slightly lower-saturated orange, creating the orange with yellow and red, then adding enough ultramarine to it to slightly lower its saturation will give you a "burnt sienna".
I would not recommend student grade. Artist grade are on the whole a single pigment. Student grade are quite often a mixture of pigments to represent their Artist quality counterpart but using cheaper pigments to reduce the cost. That is where the problem comes in and why it is so easy to get "mud" with student grade colours. "Mud" is nothing more than the three primary mixed together creating the neutral "mud" result. So with student colours already having a cocktail of pigments to achieve the colour that is in the Artist quality, but that is a pure pigment, it doesn't take much to have a mess on your hands mixing student grade paints. In the Artist grade mixing two colours is mixing two pigments, predictable results. But in student grade mixing two colours could be mixing as many as 6 pigments, very unpredictable indeed.
Another informative show - I would love this same explanation but for acrylic paints - I'm sure they would be close to the same? Have a great Holiday season and thanks so much for all the info you share.
Very much the same. M. Graham and Winsor Newton acrylics have all these colors. Tube color names vary so much among all available brands of acrylics that I might be able to guide you if I know the brand you prefer.
I have noticed that there are quite a few phthalo blues... pb15 , pb15:1 , pb 15:2 , pb15:3 , pb15:4 , pb15:6 , pb16. I am not going to buy all of them but some are redder than the pb15:3. Can you make a better range of purples with the redder ones and still keep the possibility of making stronger greens ?
Not with the phthalo blues because they lean towards yellow so at best will give you a slightly neutralized purple. Let me qualify that by saying that I don't have experience with all those variations of Phthalo Blue, but the if the foundation pigment is phthalocyanine, one can expect it to lean towards yellow in hue.
Hi, Dianne. You really do deserve Congratulations as Steven Kettlewell wrote! I would like to ask you: what is your take on Prussian Blue, which so many artists I know seem to love. I would love to know what it could be mixed with or not mixed with for best results.Thanks very much.
Thanks for the congrats! About Prussian Blue, it is a lovely color, but I took it off my palette decades ago because I found that I could mix its equivalent. It can be mixed with any other pigment with differing results depending upon the pigment it's mixed with. It is one of those pigments that is preferred according to the artist's sensibility.
I’ve got a couple of tubes of Prussian blue...which is coolish. It seems to work ok (the W&N artist quality UMB was out of stock). But can you comment on Prussian Blue please? BTW I love your quick tips. Is there one on how to darken yellow? It’s quite difficult to get a dark yellow (in the shadow when painting a lemon) without it turning green. Using a red with just the tiniest touch of blue seems to do it...
Prussian blue is lower in hue saturation than ultramarine or thalo blue. On the color wheel it tends to lean towards the greens whereas ultramarine leans a bit towards the purples. It is not the ideal tube color to have if one is choosing just one blue because of its lower saturation. A better substitution for ultramarine would have been thalo blue because when alizarin is added to it, it can be made to lean towards the ultramarine hue range, though more neutralized. Darkening yellow depends upon whether the yellow leans more towards orange or green. At any rate, it darkens well with its exact complement or with a raw umber.
@@IntheStudioArtInstruction Thanks for the tip about using Raw Umber to darken yellow. I've tried everything, including violet (as complementary). I've struggled a lot with this, and your suggestion works great!
Did I miss something? I don't remember ever hearing you talk about Pthalo Blue. When you said: go for TWO blues, I thought it would be Viridan. Any comment?
I don't keep phthalo blue on my palette, but do find occasions when it's the blue to use. This kind of barebones palette is one of those, especially since my Rembrandt Viridian is not available everywhere.
@@spoddie I inherited lots of expensive but used brushes. I have no idea if she painted with oil or acrylic. Can the brushes be used for acrylics if they have been used in oil but cleaned.
@@patsyjohnson3963 Short version, keep oil paints and their tools (brushes etc) and acrylic stuff separate. Brushes for oil painting are usually natural fibers which gives them their unique qualities of sucking up paint and releasing it, oil and the solvents are fine with these natural fibers. Acrylic paints are quite literally made of plastic and will coat all the natural fibers in oil brushes with plastic and ruin them. Also oil paint and oil paint solvents ruin acrylic paint. acrylics. Use synthetic brushes with acrylics, in my opinion cheap brushes are fine with acrylics. As Dianne said, they dry quickly, keep your brushes moist or you'll get a solid piece of plastic!
The problem with the cheaper paints is that they are not pure color. The cheaper it is, the more likely it contains fillers to stretch out the color. I think Gamblin's prices are good and its quality is high. It's better to buy a few basic colors and learn to mix them for the colors you need. See Quick Tip 300 for my recommendations. Then go to the homepage, ua-cam.com/users/inthestudioartinstruction , click on Videos in the menu, then click on the magnifier icon to bring up the Search bar, and type Color there, then hit your Enter key. That will bring up all the Tips I've done on color.
@@IntheStudioArtInstruction thank you 🙏🏻 I already follow your channel about 2 year your channel and afew more and i learn good from you bow to mix paint Thankyou
@@richiejourney1840 Thank you for your reply. I mainly do landscapes, so the RV-YR in a lower chroma I think would still work. I wouldn't have to buy new colors just to try a Bare-bones palette and see how it does. Thanks again Richie!
@@IntheStudioArtInstruction Thank you Dianne for replying. Concerning the the Red values, unless I were to incorporate bright reds for flowers in the composition, I would be using desaturated reds in a landscape scenario. I'm definitely going to try out your Bare-bones palette and see how it works for me. Great lesson as always, Dianne. Thank you!
shadowstarr7 you are absolutely correct! As a natural Landscape, Still life, and portrait artist you can actually get away with Cad Red Med (preferably a more carmine or crimson paint though such as AC), a Cad Yel Light or lemon, and Ultramarine blue and white to meet 99% of the hue range needed in the natural ranges. I would add a convenience of burnt sienna or the umbers (and personally-though not needed- i am not afraid to use black-which is just a very low chroma blue usually). Thus, even if we can’t hit that brightest red or orange...we can make it read bright within the context of our painting (if we are not doing hyper realism)
Thanks Dianne, very interesting, particularly the reasoning about Phthalo blue. I would like to know why sometimes people suggest Phthalo green over blue or visa versa - any idea?
zorn palette is mostly portrait based its incredibly limited it has its benefits but you can’t get strong colours as using the primaries but zorn palette has speed and easy to use
Hi, Dianne, Great livestream yesterday. I want to look into the option of private coaching sessions (maybe for my birthday in March.) Anyway there is a comment I feel I have to make re' the steps of The Procedure. Shouldn't THE MISTING OF THE CANVAS have been mentioned -- for those who don't know about it or or don't do wet, diluted washes after the preliminary drawing? All the best, always.
Thanks for pointing that out although I was trying to give a sequence that folks in all media might follow. Folks working in watercolor and pastels wouldn't be misting the canvas. I would be delighted to work with you in a private coaching session. By the way, we share the same birthday month.
Congratulations on 300 Quick Tips! I’ve not seen them all (working my way through; probably viewed about 100 or so), but every one that I’ve seen so far is a true nugget of unquestioned value. Thanks!
so very true
Awesome! Thank you!
You are just absolutely 100% the best at explaining the what, how and why of painting - Thank you so much!
Thank you! It's a pleasure to share this.
Dear Dianne. I want to thank you again for sharing your knowledge so generously with artists from all over the world. You are still my favourite International Living Treasure and I have been thinking of nominating you for a senior position in the United Nations. If we get everyone painting world peace will prevail. 😊 Wishing you a happy and safe holiday.
Thanks for that, Cheryl. Your comment made me think of song, "I'd Like to Teach the World to Sing (in Perfect Harmony). Same concept!
You can go to the Blick website and compare pigment information brand to brand. Gamblin’s Hansa Yellow Medium is PY 74; while Windsor Newton’s Windsor Yellow is the same - PY 74. I’m not an advocate of Blick, it’s just that it is the best pigment info of any other art supply website. I have switched from cadmium yellows to hansa yellows because they are considerably cheaper and about as good tinting strength and arguably produce cleaner mixes.
Thanks for adding this.
Thank you so much ! You give so much help in these quick tips.
You are so welcome!
Congratulations on 300!!! Thanks so much! I learn more from your quick tips!
Thanks! It's a pleasure to do these.
I love these "Quick tip" videos . Thank you very much .
You're so welcome!
300 quick tips!!! Congratulations!!!! An amazing volume of insightful instruction..... You deserve a big drink of your choice! :)
Wow, thank you! We, too, are amazed that we've done 300 of these Tips!
Thank you, Mrs. Mize, your tips are always great.
Glad you like them! Thanks for watching.
Thank you Dianne for this tutorial, this really helps, found it all made sense. Have a Joyous Christmas. 🥰
Thank you! You too!
Thank you Diane. I love these videos. They are my happy place. I always learn so much.
I'm so glad! Thanks for watching.
Thank you for these videos!!! I look forward to always learning from them!! 💙☺
You are so welcome!
Thank you so much for this lesson! Happy Holidays!!
Same to you!
You explain the color choices for a basic palette so well..thank you
You’re welcome 😊
I simply love your teaching.
Thank you! 😃
Thank you So Much Dianne.
You bet!
Very helpful!!! So glad you did this quick tip. Now I know how to choose colors.
Thank you.
Glad it was helpful! Thanks for watching.
Happy that you mentioned why UMB + yellow = a dull green....it's because UMB has red in it...and UMB+red+yellow= dull green...Pthalo blue has yellow in it and NO red so the mixed green will be brighter!!!
Yes!
Fascinating and informative, thanks again.
Our pleasure!
You are so much better than anyone else on UA-cam re your ability to convey information ❤️
Thank you for that, May!
I love this lesson ty ty ty
Thanks.
I AM SOOO HAPPY WITH YOU!!!!FOR ME YOU ARE THE BEST TEACHER EVER!!!
Thanks!
always appreciate your videos..
Thanks! And thanks for being a subscriber.
I really like your videos!
Thanks!
Wonderful work Dianne 👍
Thank you! Cheers!
Thanks for your videos, they're great. Another bare bones primary set someone told me about was cobalt teal, quinacridone magenta, and lemon yellow, it works like cmyk printing and gives you some good value variation, you don't really get many super rich darks but you can get a close ultramarine-ish blue, and rich warm red. The secondaries are really vibrant.
I'm familiar with that one, but it doesn't not have the potential in paint that it does in ink.
Thanks Dianne.
Thank you for becoming a member!
lovely lesson. thank you
You are welcome!
thanks again dianne
You are so welcome!
Thx Diane!
You bet!
Thank you !
You're welcome!
All four great choices to start on a limited pallet. Burnt Umber may also help to incorporate for those begining.
...however, burnt umber can be mixed with these "bare bones."
..whole heartedly agree.
thanks friend.
Always welcome
This is really great advice for those of us with limited money
And once you explore its potential, you'll be surprised at how few colors you'll need to expand your palette of colors.
Dianne, would you choose the same colors for watercolor? Thank you for another informative video. I learn a lot with you. 👩🏻🎨
Yes. The colors on my watercolor palette are very much like those on my oil palette. The except is there is no white on my watercolor palette.
Great video. I’ve very recently pulled back to a limited palette after a couple years of tinkering, not a lot of actual painting due partly to all the colors I ended up with. Too much choice paralyzed my creativity.
I came to a keep Ultramine and pthalo blue green shade with two reds and two yellows to widen the range.
It has been interesting that, as I come to my own conclusions and choices, I find the best videos to confirm those choices only AFTER making them.
It's good to get confirmation, isn't it!
I highly recommend Gamblin’s artist oil colors introductory set of the seven most commonly used colors which currently sells on Dick Blick for $69 in the US and supplement with an $8 Gamblin artist-grade phtalo blue. One of my favorite limited palettes is Geneva fine arts (also seven colors) but the upfront cost is not as approachable as Gamblin.
Thanks for that input, Amy.
My pallette is now comprised of Ultramarine, Lemon Yellow and Madder Lake after months of trying out/whittling out colours and just generally becoming a better mixer. I order up 150ml tubes of the Talens water mixable stuff once every so often and keep it simple.
I might treat myself every now and then to a ritzy colour like Davy's Grey, Lead White or some silly pigment from Michael Harding that I can't pronounce, but other than that, a bare bones pallette is what I employ 90% of the time, and it has actually made me a better (and tidier) painter. If I had my time again, I'd go back to the beginning and buy the primaries, a tube of white, two or three brushes, and download a colour wheel, and do nothing more. Dyspraxia demands simplicity.
What's important is that we find what works for us.
One more question: would you suggest cerulean blue instead of phtalo blue?
No, Reza I wouldn't. Cerulean blue is much lighter and more opaque that thalo.
I think W&N Cad Yellow Pale is the equivalent to Cad Yellow light in other brands such as M Graham, DaVinci, and Rembrandt.
Close, but a bit pale for a limited, bare-bones palette.
@@IntheStudioArtInstruction Thanks.
yeahh me too using W&N it's affordable and 5 colors works so well
Thanks a lot Dianne. Very helpful. Specially your insight about thalo blue is very interesting. You said you would suggest 4 colors. Did you mean to have both blues? May I suggest that we use some student grade colors along with high quality ones of those 4 basic colors? : I had a plain air painting experience in mountain trying to mix the colors of the mountain. But I could not. I took some big rock home and put under sun. I easily could paint it with burnt sienna ( which I did not have on plain air ). So I think it is very helpful to have some short cut paints though student grade.
The two blues give a broad range between blue that leans towards violet (ultramarine) and blue that leans towards green (thalo). Yes, the two blues, make available a more diverse range of color mixes when included on the palette with alizarin and a yellow.
When we label tube colors according to their hue, then mix them according to what hues do to one another, we can find almost any color we want. So knowing that burnt sienna is a slightly lower-saturated orange, creating the orange with yellow and red, then adding enough ultramarine to it to slightly lower its saturation will give you a "burnt sienna".
I would not recommend student grade. Artist grade are on the whole a single pigment. Student grade are quite often a mixture of pigments to represent their Artist quality counterpart but using cheaper pigments to reduce the cost. That is where the problem comes in and why it is so easy to get "mud" with student grade colours. "Mud" is nothing more than the three primary mixed together creating the neutral "mud" result. So with student colours already having a cocktail of pigments to achieve the colour that is in the Artist quality, but that is a pure pigment, it doesn't take much to have a mess on your hands mixing student grade paints. In the Artist grade mixing two colours is mixing two pigments, predictable results. But in student grade mixing two colours could be mixing as many as 6 pigments, very unpredictable indeed.
@@PetrikNZ , great, convincing explanation. Thank you very much.
I just checked W&N on google and they have an ultramarine green shade...could you use this for less
muted greens and still do purples ?
Paul, I've not used Ultramarine green shade, so can't answer that, but I suspect it will give you muted greens.
Dianne, how does Prussian compare with Pthalo Blue? My wc palette has each, Ultra and Prussian. I haven't used Pthalo.
Prussian blue is a bit less saturated than Phalo.
🙏
Thanks for watching.
Another informative show - I would love this same explanation but for acrylic paints - I'm sure they would be close to the same? Have a great Holiday season and thanks so much for all the info you share.
Very much the same. M. Graham and Winsor Newton acrylics have all these colors. Tube color names vary so much among all available brands of acrylics that I might be able to guide you if I know the brand you prefer.
@@IntheStudioArtInstruction i usually buy golden or liquitex artist grade
Thank you for sharing. What sort of brush is that you're using in this video? Thank you.
Rosemary Series 274
@@IntheStudioArtInstruction Thank you so much for your reply!
I have noticed that there are quite a few phthalo blues...
pb15 , pb15:1 , pb 15:2 , pb15:3 , pb15:4 , pb15:6 , pb16. I am not going to buy all of them but some are
redder than the pb15:3. Can you make a better range of purples with the redder ones and still keep the
possibility of making stronger greens ?
Not with the phthalo blues because they lean towards yellow so at best will give you a slightly neutralized purple. Let me qualify that by saying that I don't have experience with all those variations of Phthalo Blue, but the if the foundation pigment is phthalocyanine, one can expect it to lean towards yellow in hue.
Hi, Dianne. You really do deserve Congratulations as Steven Kettlewell wrote! I would like to ask you: what is your take on Prussian Blue, which so many artists I know seem to love. I would love to know what it could be mixed with or not mixed with for best results.Thanks very much.
Thanks for the congrats! About Prussian Blue, it is a lovely color, but I took it off my palette decades ago because I found that I could mix its equivalent. It can be mixed with any other pigment with differing results depending upon the pigment it's mixed with. It is one of those pigments that is preferred according to the artist's sensibility.
I’ve got a couple of tubes of Prussian blue...which is coolish. It seems to work ok (the W&N artist quality UMB was out of stock). But can you comment on Prussian Blue please? BTW I love your quick tips. Is there one on how to darken yellow? It’s quite difficult to get a dark yellow (in the shadow when painting a lemon) without it turning green. Using a red with just the tiniest touch of blue seems to do it...
Prussian blue is lower in hue saturation than ultramarine or thalo blue. On the color wheel it tends to lean towards the greens whereas ultramarine leans a bit towards the purples. It is not the ideal tube color to have if one is choosing just one blue because of its lower saturation. A better substitution for ultramarine would have been thalo blue because when alizarin is added to it, it can be made to lean towards the ultramarine hue range, though more neutralized.
Darkening yellow depends upon whether the yellow leans more towards orange or green. At any rate, it darkens well with its exact complement or with a raw umber.
@@IntheStudioArtInstruction thank you for your advice. I am very grateful.
@@IntheStudioArtInstruction Thanks for the tip about using Raw Umber to darken yellow. I've tried everything, including violet (as complementary). I've struggled a lot with this, and your suggestion works great!
hello, how do you get with those colors Black ? many good wishes for X'mas and 2021
Thalo blue + alizarin crimson + a bit of yellow can come very close to black.
@@IntheStudioArtInstruction and it creates a much more interesting black than a black squeezed out of a tube.
How about quinacridone rose/magenta instead of alizeren crimson?
Two reasons: these quinacridone colors are higher in saturation than alizarin, plus they are more light-fast than traditional alizarin.
Have you ever used the Zorn palette?
Yes. It's a lovely palette to work with.
Did I miss something? I don't remember ever hearing you talk about Pthalo Blue. When you said: go for TWO blues, I thought it would be Viridan. Any comment?
I don't keep phthalo blue on my palette, but do find occasions when it's the blue to use. This kind of barebones palette is one of those, especially since my Rembrandt Viridian is not available everywhere.
My bare bones would be 7, though probably not that bare at that stage. One of each bias of the primaries and white.
If it works, it works...
I want to change from oils to acrylics. Any pointers for this. I love your channel.
No pointers except to be aware that acrylics dry very fast, so you have to adjust your technique to that.
Keep your oil brushes well away from acrylics!
@@spoddie I inherited lots of expensive but used brushes. I have no idea if she painted with oil or acrylic. Can the brushes be used for acrylics if they have been used in oil but cleaned.
@@patsyjohnson3963
Short version, keep oil paints and their tools (brushes etc) and acrylic stuff separate.
Brushes for oil painting are usually natural fibers which gives them their unique qualities of sucking up paint and releasing it, oil and the solvents are fine with these natural fibers.
Acrylic paints are quite literally made of plastic and will coat all the natural fibers in oil brushes with plastic and ruin them. Also oil paint and oil paint solvents ruin acrylic paint. acrylics. Use synthetic brushes with acrylics, in my opinion cheap brushes are fine with acrylics.
As Dianne said, they dry quickly, keep your brushes moist or you'll get a solid piece of plastic!
@@spoddie
Thank you. Most informative.
It's a confident artist who wears white! ;)
😊
Can you please recommend some good quality paints which is not also very expensive, 🙏🏻
The problem with the cheaper paints is that they are not pure color. The cheaper it is, the more likely it contains fillers to stretch out the color. I think Gamblin's prices are good and its quality is high.
It's better to buy a few basic colors and learn to mix them for the colors you need. See Quick Tip 300 for my recommendations. Then go to the homepage, ua-cam.com/users/inthestudioartinstruction , click on Videos in the menu, then click on the magnifier icon to bring up the Search bar, and type Color there, then hit your Enter key. That will bring up all the Tips I've done on color.
@@IntheStudioArtInstruction thank you 🙏🏻
I already follow your channel about 2 year your channel and afew more and i learn good from you bow to mix paint
Thankyou
Would Cadmium Yellow Lemon, Quinacridone Magenta, Ultramarine Blue and Phthalo Blue G/S be close to your demonstration? I have these. Thanks Dianne.
Very similar...you will hit the good range of RV-V-YG, but your chroma will lack in the RV-YR area.
@@richiejourney1840 Thank you for your reply. I mainly do landscapes, so the RV-YR in a lower chroma I think would still work. I wouldn't have to buy new colors just to try a Bare-bones palette and see how it does. Thanks again Richie!
Very close. The only hue you'd sacrifice is in the red range because Quinacridone Magenta leans towards red-violet.
@@IntheStudioArtInstruction Thank you Dianne for replying. Concerning the the Red values, unless I were to incorporate bright reds for flowers in the composition, I would be using desaturated reds in a landscape scenario. I'm definitely going to try out your Bare-bones palette and see how it works for me. Great lesson as always, Dianne. Thank you!
shadowstarr7 you are absolutely correct! As a natural Landscape, Still life, and portrait artist you can actually get away with Cad Red Med (preferably a more carmine or crimson paint though such as AC), a Cad Yel Light or lemon, and Ultramarine blue and white to meet 99% of the hue range needed in the natural ranges. I would add a convenience of burnt sienna or the umbers (and personally-though not needed- i am not afraid to use black-which is just a very low chroma blue usually). Thus, even if we can’t hit that brightest red or orange...we can make it read bright within the context of our painting (if we are not doing hyper realism)
Cobalt blue is much more expensive (i think it is series 3 or 4) as compared to ultramarine blue (series 2)
True. By adding white to ultramarine blue, you get very close to cobalt blue.
Thanks Dianne, very interesting, particularly the reasoning about Phthalo blue. I would like to know why sometimes people suggest Phthalo green over blue or visa versa - any idea?
People have different reasons for the pigments they use, so I think that would have to be answered by the folks making those choices.
Zorn palette seems to be the answer
zorn palette is mostly portrait based
its incredibly limited it has its benefits but you can’t get strong colours as using the primaries but zorn palette has speed and easy to use
Let me add to Shri Vivaldi that the Zorn palette is wonderful for winter landscapes as well.
Hi, Dianne,
Great livestream yesterday. I want to look into the option of private coaching sessions (maybe for my birthday in March.) Anyway there is a comment I feel I have to make re' the steps of The Procedure. Shouldn't THE MISTING OF THE CANVAS have been mentioned -- for those who don't know about it or or don't do wet, diluted washes after the preliminary drawing?
All the best, always.
Thanks for pointing that out although I was trying to give a sequence that folks in all media might follow. Folks working in watercolor and pastels wouldn't be misting the canvas.
I would be delighted to work with you in a private coaching session. By the way, we share the same birthday month.
@@IntheStudioArtInstruction and almost the same year
Could prussian blue substitute phtalo blue? Thank you for continuing with these quick tips, they are brighting my days!
Prussian is an adequate sub for Phthalo, although it is less saturated than Phthalo.
Or I could become a black and white painter 😀
But that's not really so much fun.
Fantastic 😍💋 💝💖♥️❤️
Thanks 🤗