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Quick Tip 119 - Mixing Dark Earthtones
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- Опубліковано 27 чер 2017
- In response to a subscriber's question about how to mix certain earth tone hues, art teacher Dianne Mize demonstrates one example of how she creates those colors.
Your articulate explanation is superb
Thanks
Thanks for that.
Oh good. Now I’m getting over the hump on these colors. I do order your videos and ordered and am studying THE PAINTERS GUIDE BOOK
and Richard Schmid’s ALLA PRIMA for visual on how to make my paint mixing reference hue values book. (In bright and low lighting. -outdoors and indoors.) but now can see even that expensive book might not have been necessary by following you. But it’s a lovely book. Now I’m seeing other professors like from Boston making Videos!! Fantastic. But you outshine with your method of teaching. Im in Heaven. I watch a QT every day.
Now I cans give away all my other books. and narrow down my Library.
Thanks, Phyllis. You can't go wrong with Schmid's Alla Prima!
Your explanation is superb 🙏🙏🙏👌👏💕☝️
Thank you Sima.
I find your teaching methods excellent!
Thank you!
Thanks.
Thank you so much for the quick tips💖
It's a pleasure.
thank you so much this helping me a lot
You're welcome!
hi dianne, I checked a Rembrandt colour brochure to see why their raw umber is the darkest you have used, as you said. Rembrandt has about a couple dozen earth tone colours.The raw umber is a mix...Y42 , R101 , Bk11. A lot earth colours in their range are just different proportions of these 3 pigments
I think they have boosted it with the mars black .Dunno what the prices are like in the US but these earths are still series 3...25 +bucks here in australia , in the shops. The cads are quite a bit more. The single pigment mars colours are series 1 but they are all opaque.There is a raw sienna semi transparent , series 1 that maybe you can just darken up. Or , just buy a genuine/synthetic burnt umber , semitransparent and just tone it down with your transparent red oxide or your yellow ochre light, without using expensive cadmiums. What do you think ? Cheers
Paul, I like to keep it simple. In their darkest dark, hues are visible only to the extent that we can read their temperature. I find that Burnt Umber leans a bit more towards red than Raw Umber does, and among all the Raw Umbers I've tried, the Rembrandt brand is one I keep going back to. So long as the tube color is a professional grade, I prefer how it behaves over how it is made.
Great help. Thank you so much
It's a pleasure.
Superb tutorial
Thanks.
Dianne Mize thank you for taking the time to mix these colors. I think you mentioned something many don't think about and that's when mixing colors, knowing what other pigment is in that color. I would love to know what are your thoughts on using Ivory black? I saw another comment regarding it's use . I honestly think it's used too much, I can be wrong. I'm studying on my own for about a year now, and I see many using it almost all their color mixes. To me it looks like the entire painting has a grayish cast , or it's like the black is in every color mix within the painting. I refer to UA-cam demos, so many even use straight Ivory black for rocks and tree trunks and then Just highlight over it, or in some cases just leave the tree trunks black. I'm so confused. I read using Ivory black in the underpainting when using the "alla prima," method is not good as it takes along time to dry. Is Ivory black supposed to be mixed in every color mix within the same painting to darken colors? Too me when I see the final painting it looks like the black is in everything and the colors aren't clean. Maybe I didn't word that correctly, it's very confusing seeing so many channels using black in this way. Thank you Dianne. I learn so much from you, and watch your videos over and over.
Milania, I have a Quick Tip coming up on using black. Meanwhile, black can be used to create new colors from many of our tube colors, but does deaden the colors when used just to darken. Not to be arrogant, but keep in mind that many painters on UA-cam lack experience and knowledge and consequently will mislead the viewers.
In the Studio Art Instruction oh that's so true. I seen one on color mixing and instructs the viewers and personal students to mix colors on top of colors...like black...sap ..and red to make a green...then blue and black with red for sky...and uses umber in every mix...then uses black with all the colors..most black for entire Underpainting. Also...this is off topic...an artist has a tip video on Glazing and instructs to glaze over an old painting that's like a gray on black side mountain and in order to correct it says use a glaze of titanium white and linseed oil only or OMS...and rubs it over with bristle brush. My understanding of a glaze is to use transparent color no white and not just linseed. Can a glaze be done this way..is this even called glazing? Can a glaze be done only with linseed oil or only OMS? Thank you so much for your time. It's amazing to me how many newbies will get wrong information.
Great video, thank you!
My pleasure.
Thank you so much for this.
My pleasure.
Superb! Thank you ❤️
My pleasure.
Thank you!
Clara E Douwes Dekker and
thank you
It's a pleasure.
Miss Dianne, can you tell us about Chinese orange paint, do you or have you used this paint? Can’t find a lot about it, I watched a artist video use it and mixed it with a medium as a wash and it was beautiful but wasn’t a lot of info in the video about it.
Chinese orange is not a color with which I am familiar. Blick Art Materials lists it as a Sennelier color among their Extra Fine Oils. ( www.dickblick.com/products/sennelier-artists-extra-fine-oil-paint/ ) Perhaps you could query the artist in whose video you saw it used, then share with us what the artist says about it.
I have heard if you mix color with complementary color, you get muddy color . Sometimes it is very confusing.
Sima, that is just not true. Mud is not caused by what gets mixed, but how those mixtures are applied and how they are used in a painting. I tire easily of proclamations like that.
For the future....How to resurrect an over worked painting. Thanks
Oh my, that's a huge subject. I'll put it on our schedule and see what I can come up with.
great
Than you
My pleasure.
Question, what is the best elsel get? I have french box, not sure if I really like it.
Celtic Bear hi...are you referring to an easel for plein air? If so...the one that Dianne uses in her videos is wonderful...it's a Sienna Pochade Box...sizes...med..and LG..She has the LG size...they come in one like hers...and you can buy a box that attaches to the Tripod and stores your brushes..and paints..
There is another from same Co. It is a large one and holds brushes...paints on inside...and has a wood palette that slides out...a handle and in the back it has storage to hold up to 6 panels..or MDF..wet paintings...or ...size 11/14 I believe is biggest.
The box Dianne has also holds large size canvas or MDF...up to 24/30.
Then there is The tripod needed as well.
I'm sure if your handy..you can have a look at the additional brush holder and make one..
If your looking for a easel for inside...I know the French weasels just don't cut it..for plein air...nor inside...the 3 legs and not sturdy...inside for All a Prima...and large canvas up to 24/30...I suggest the Bob Ross easel....it's wonderful...doesn't shake...and you can buy small magnets and attach under the part where canvas is...and hold your brushes...of you have the one inch...two inch brushes...
Another inside...Dick Blick has a wooden one..it folds flat...has four small legs and table space ...also the easel part can be adjusted to 90deg angle and any other angle..leans back...and flat..good for gesso canvases...and or pre priming MDF...toning canvases...if you do a lot at one time...I cannot remember the name...I have both..but you can find it in the catalog...ask for the sale catalogs to be mailed to you...they always have great sales using the catalog....hope this helps...
The French box is really not good...my brother has one and the thing tipped over while painting...I returned mine and bought the one above from Dick Blick...but...it may sound clice...the Bob Ross easel will last along time and is sturdy if you paint big...
The Sienna box...I have both as mentioned above..the LG and the one that has storage space...the one like Diannes is great for mobility...I use it sitting in the car if it's raining...or cold...also on the table in house..anywhere...like a laptop pc...I also like that You can leave your paints setup like Dianne has...and look for her video on how to cover the paints...the only thing is the glass palette it comes with is difficult to get out...She cut hers if you look close...I put handles on the side...like cloth...but...when Dianne posted her video on her palette of colors..I just put a Gray paper under and leave the paints on it like Dianne has...
The Sienna boxes are best priced on Madison website from California...the Ross easel best price is on Hofcraft website...free delivery...I think if order is 200.00 or more..other sites it's very expensive...
Thanks, Artfortheheart. You've covered all very well. (Dianne)
Artfortheheart Painter I do both, because I am in art school
Do you have a video that show how to use the earth colors like Raw/Burnt Sienna and Raw/Burnt Umber? Probably a very rookie question to ask but then again I'm a rookie. Are they mostly for neutralizing or toning down the hue/chroma for warm shadows? I've seen a lot of how to make these them but few on how to use them with the other colors.
Someone else asked this question recently, so we'll be posting a tip about the earth colors in early April.