Is it really a background or part of the compostion? A question about how to interpret a background is the question from one of our virtual students. www.diannemize.com
Thank you Dianne, for always kindly replying. I wish you a very happy Christmas, and look forward to more wonderful Quick tips in 2018,, Coral Ann, Vancouver, Canada.
I just discovered you due to an artist friend. I love the way you teach and appreciate the quick tips that you generously give. I have now ordered several of your videos. After I digest these , I will order more. Thanks!
I love doing the disappearing edge! I didn't know that that's what it was called! I do it all the time LOL thank you for giving it a name for me! I so appreciate all of your wisdom and knowledge! Sharing this with us is very generous of you and greatly appreciated!!! Thank you thank you thank you!
If it's a cast shadow, then you begin with the hue of whatever the shadow is being cast upon. That hue is in the shadow value range, so it will call for a bit of the complement. If some of the subject's hue is reflecting into the cast shadow, a hint of that(in the same value range) can be scumbled in. But the cast shadow's color is always based on whatever the shadow is being cast upon. Hope this helps.
I am planning to make an under de zee painting. This QT has answer all my questions about the biggest part of the painting, which is the water …. Thank you ver much for your amazing teachings. Talking about zee and water. I am spending a lot of time trying to stabilish my pallet. My biggest problem is now the color Blue…… Would you be so kind to explain the properties of the different blues en how to choose the rigth blue for the rigth effect….. most people use ultramarijne blue….but for one or Another reason this Color does not work for me. Thank you.
Carmen, the three major blues in contention for the blue spot on a limited palette are Thalo blue, Ultramarine and Cobalt. Thalo and Ultramarine are transparent and dark out of the tube whereas cobalt is more opaque. Ultramarine leans a bit towards violet in hue, thalo leans a bit towards green and cobalt sits pretty close to the spectrum. One way to solve your dilemma is to put both thalo and ultramarine on your palette. But, if you choose ultramarine alone, you can use a bit of Rembrandt Viridian (transparent, dark, blue-green hue) to neutralize the tendency towards violet. On the other hand, if you choose thalo blue, a bit of alizarin or any red-violet or violet will neutralize it's tendency towards green. My advice is to experiment with some color samples to decide which to choose should you want only one.
@@IntheStudioArtInstruction Thank you very much for your antwoord. I am very excited and grateful that you take the time to answer my question. You motivate me to keep improving. Lots of blessings for you. 😍❤️💐🎨💖
Thankyou Dianne for your wonderful videos. You are always so spot on when addressing the issues I struggle with, and communicate the skills so well.I continue to learn so much from you. 🌺
Thank you so much - I learned so much and keep learning from your quick tips - you are an amazing resource to me - semi retired left brained accountant with right brain skills now having the time to pursue these! Thanks again!
A great inside ! I am working hard trying to define my style. The one thing all my painting have in common is a full background. I enjoy creating the atmosfeer so much that sometimes i spend more time on it than the subject . Your teaching on integrating the subject is just what i was missing to get the result I wanted in my painting.Thank you very much.
I learn so much by watching your videos thanks to your way of teaching. I found the video on the color black very interesting and what you said about it. Black as a way of changing the color rather than the value. So I wonder how do I change the value if I want it darker? Is it with the complementary color or what do you say? Thanks once more!
Christina, we can change the values of lighter colors by adding a bit of their complement plus an analogous hue or by adding a darker version of that color. I'll be showing that in a Quick Tip 206 which will come out on February 27.
Thanks for this great tutorial. Is there a way to paint words onto oil paint. I do lots of urban scenes and painting street signs is so difficult. Always looks like a child did it. Any tips would be much appreciated.
WOW! Extremely important Quick Tip for me. If you could put on your list in the future, addressing the color, which I know is open ended - perhaps showing through choices that the Mastered made? Like I've run into trouble trying to figure out the color for the background of the portrait of a young child. Thank you, Dianne for these valuable Tips!
+Dianne Mize...hi Dianne sorry for this question...maybe dumb..and off topic here..but..an artist is teaching that ivory black mixed with Prussian blue makes a green? I would try but don't have ivory black and never use black..I would like Your thoughts please...
Prussian blue is akin to Thalo blue except it's a bit lower in intensity and tinting strength. I'd not tried that mixture before so after reading your comment, pulled out a tube of each along with white and gave it a go. There is enough yellow in Prussian blue that when mixed with black, does yield a slight greenish tint although I'm not sure I could call it green, rather greenish blue. I can see how the mixture would work well for deep forest in shadow, especially late in the afternoon. I'd say that the mixture yields more of a feeling of green rather than actual green. As to black, don't ignore it's potential to create amazing new colors when mixed with especially yellow, alizarin crimson, ultramarine blue, viridian, the Thalos, etc.. I'll do a Quick Tip exploring that for you. Look for it in late January or early February.
In the Studio Art Instruction hi Dianne thank you so much for doing that and your thoughts. I really appreciate it so much. I am gigi. ..just on my work pc at the moment. I have watched all your videos remember when you commented on one about using black to create other colors. I was baffled when I heard this artist...moreover the artist seems to use black in everything and the entire Underpainting. ..to me I'm not sure if this is a style of painting or just the artists. It's like the artist under paints the entire composition then paints lights ontop...also recommends mixing all the colors ontop of each other on the palette. I'm so confused by this..I don't like the results to me it looks as though the colors are muddy and not sure the word for it...I tried searching if this is actually a style...I know the tonalists used back but in a different way. I have bought the Rembrandt viridian and I will go back and experiment using your one video. Thanks so much I look forward in your upcoming videos regarding this. Oh how I wish I knew of you 4 yrs ago...I would have saved so much on materials and others dvds. I enjoy your full length videos so much..I would only have one but plan on more this coming yr. Your a blessing to all of us as painters learning so much. Thank you gigi
Thanks for that, gigi. I try to be careful about my remarks concerning other artist, but having been in the business of teaching art for over 50 years, I am aware that a lot of folks "teaching" are misleading their audience. I'll not say more, but don't take every painting video or every artist seriously. Find out who knows what they are doing and who doesn't and follow those who do.
muhlenstedt, I would recommend not using photos that are inferior. Photos at their best give us only a portion of the information we find when working en plein air or from real life. If the photo is blurry, then unless you know the subject, there is really no way to use it for a good reference. Hope this helps.
I am not understanding. If the light is coming from the left- why would the left be dark? Wouldn't the shadow fall to the right, not the left? Thank you.
Because the left side of the cylinder will be light, it helps for the background there to be darker. This helps the lighted side of the cylinder to be more pronounced. Likewise on the other side, having a lighter background helps the darkness of the shaded side of the cylinder to stand out. Reality doesn't light things like this, but we do in paintings.
Lonnie and Tasha McFarland thank you. I paint mostly realism and go by what I see of course, so wrapping my mind around the idea of painting for contrast instead of realism blows my mind lol. Appreciate the explanation!
It might help to do some studies where your concern is just what the light source is doing to the subject and its environment. In realistic painting, when we know how the light rays fall on what we are painting and how shadows result, then we can find ways to exaggerate that for good composing. Nature does not always give us what we need for good composition, but the physics of light never changes.
In the Studio Art Instruction thank you. I am teaching myself and have so much to learn. Art classes are in my near future. I thoroughly enjoy watching your helpful tips and the feedback from other artists.
I've always found this confusing too, Lonnie, but Dianne's understanding of light has helped me so much. The way I understand it in this example, is that the light is hitting not on the left side of the background but on the left side of the cylinder and as that light on the cylinder goes away from the light it's darker, which is the same thing that is happening to the background in that area.
Thank you, Dianne, for your generosity in sharing these tips. I always learn something that helps my paintings.
My pleasure.
I love the way you teach
THANKS!
Thank you Dianne, for always kindly replying. I wish you a very happy Christmas, and look forward to more wonderful Quick tips in 2018,,
Coral Ann, Vancouver, Canada.
Ah I love your knowledge and presenting style. Thank you:)
And thank YOU for watching.
I just discovered you due to an artist friend. I love the way you teach and appreciate the quick tips that you generously give. I have now ordered several of your videos. After I digest these , I will order more. Thanks!
Thanks Mary. Enjoy the video lessons.
Thank you ,, that was very helpful and made me think about the light source and how it works
In realistic painting, the light source means everything. So glad you found this one helpful.
I love doing the disappearing edge! I didn't know that that's what it was called! I do it all the time LOL thank you for giving it a name for me! I so appreciate all of your wisdom and knowledge! Sharing this with us is very generous of you and greatly appreciated!!! Thank you thank you thank you!
It's always a pleasure.
I always learn something new when I watch your video, thank you very much.
It's a pleasure.
thanks I needed this to of blending the subject with background or the environment to be accurate
:)
After I haves used brushes for acrylic. Paints. Can I still use them for pild
Virginia, I think there's a typo in your question. Try again, please.
one very nıce lady w alots of knowlede and also honest...thanks very much madam...
My pleasure.
Dianne. Te quiero. Espero que estés bien. You are a beautiful artist and the best youtuber :)
Thank you!
Dianne, if i paint the shadow of a boat on the beach. Would i paint the shadow acording to the sand or to the boat. Lets say the boat is blue ?
If it's a cast shadow, then you begin with the hue of whatever the shadow is being cast upon. That hue is in the shadow value range, so it will call for a bit of the complement. If some of the subject's hue is reflecting into the cast shadow, a hint of that(in the same value range) can be scumbled in. But the cast shadow's color is always based on whatever the shadow is being cast upon. Hope this helps.
I am planning to make an under de zee painting. This QT has answer all my questions about the biggest part of the painting, which is the water …. Thank you ver much for your amazing teachings.
Talking about zee and water. I am spending a lot of time trying to stabilish my pallet. My biggest problem is now the color Blue……
Would you be so kind to explain the properties of the different blues en how to choose the rigth blue for the rigth effect….. most people use ultramarijne blue….but for one or Another reason this Color does not work for me. Thank you.
Carmen, the three major blues in contention for the blue spot on a limited palette are Thalo blue, Ultramarine and Cobalt. Thalo and Ultramarine are transparent and dark out of the tube whereas cobalt is more opaque. Ultramarine leans a bit towards violet in hue, thalo leans a bit towards green and cobalt sits pretty close to the spectrum. One way to solve your dilemma is to put both thalo and ultramarine on your palette. But, if you choose ultramarine alone, you can use a bit of Rembrandt Viridian (transparent, dark, blue-green hue) to neutralize the tendency towards violet. On the other hand, if you choose thalo blue, a bit of alizarin or any red-violet or violet will neutralize it's tendency towards green.
My advice is to experiment with some color samples to decide which to choose should you want only one.
@@IntheStudioArtInstruction Thank you very much for your antwoord. I am very excited and grateful that you take the time to answer my question. You motivate me to keep improving. Lots of blessings for you. 😍❤️💐🎨💖
What particular colour(s) did you use with the white in this tutorial? Thanks
Janis, I used Rembrandt Transparent Oxide Red and Gamblin Ultramarine Blue with Gamblin Titanium White.
I forgot to ask you, talking about background. What is your opinion on using sand on a background of a painting?
I'm not a fan of artificial textures. I think it is more authentic to use texture in the context of the subject being painted.
Love starting my day with a Quick Tip!
So glad!
Thank you so much. The best explanation of producing lost edges that I have seen and I have tacked this topic through ALOT of channels.❤
Wonderful! It's a pleasure to do these.
@@IntheStudioArtInstruction Wishing you the very best holiday season you can have, even with any restrictions you may still have.
I Honestly hope you live longer and healthier. Your videos are a gem
Thanks!
Thank you. I am learning so many valuable tips.
Happy to help!
Thank you love your quicktips!
My pleasure.
Wonderful ....I keep going back to your quick tips again n again.....thanks..you are fantastic
Great! Thanks!
Thankyou Dianne for your wonderful videos. You are always so spot on when addressing the issues I struggle with, and communicate the skills so well.I continue to learn so much from you. 🌺
Play with the idea. Thanks for watching.
Thank you so much - I learned so much and keep learning from your quick tips - you are an amazing resource to me - semi retired left brained accountant with right brain skills now having the time to pursue these! Thanks again!
Wonderful! Give that right brain some rewards :)
A great inside ! I am working hard trying to define my style. The one thing all my painting have in common is a full background. I enjoy creating the atmosfeer so much that sometimes i spend more time on it than the subject . Your teaching on integrating the subject is just what i was missing to get the result I wanted in my painting.Thank you very much.
Carmen, just keep working on what you enjoy and how you like doing it. The style will fall into place.
That was very helpful. I love lost and found edges. They make a painting seem alive. Thanks!
It's a pleasure.
I learn so much by watching your videos thanks to your way of teaching. I found the video on the color black very interesting and what you said about it. Black as a way of changing the color rather than the value. So I wonder how do I change the value if I want it darker? Is it with the complementary color or what do you say? Thanks once more!
Christina, we can change the values of lighter colors by adding a bit of their complement plus an analogous hue or by adding a darker version of that color. I'll be showing that in a Quick Tip 206 which will come out on February 27.
Excellent tutorial! Thank you for such a clearly expressed discussion.
You're very welcome!
You make it look so easy! Its only when we try doing it we realise it's not that straightforward.
Thankyou for sharing this!
But the more you do it, the easier it becomes.
The best tutor i have discovered 😮
Thanks.
Thank you!! I will be looking for it. I love your videos! They are so helpful. I really love the way you simplify things for us!!
I'm delighted to share.
Thank you so much Dianne! This was very helpful!
You are so welcome!
Thanks for this great tutorial. Is there a way to paint words onto oil paint. I do lots of urban scenes and painting street signs is so difficult. Always looks like a child did it. Any tips would be much appreciated.
Check out James Gurney's videos on UA-cam. He does a lot with words on signs.
So helpful! Thank you.
You're so welcome!
Very interesting
Great tip. Thanks.
You bet!
As a new painter this channel is a set above the rest in my opinion. Its very informative and a pleasure to watch. I have much to catch up on
Thanks, Nick. Have fun on your painting journey.
WOW! Extremely important Quick Tip for me. If you could put on your list in the future, addressing the color, which I know is open ended - perhaps showing through choices that the Mastered made? Like I've run into trouble trying to figure out the color for the background of the portrait of a young child. Thank you, Dianne for these valuable Tips!
Joani, I've got choosing background color on our schedule. Look for it in January.
Wonderful!
+Dianne Mize...hi Dianne sorry for this question...maybe dumb..and off topic here..but..an artist is teaching that ivory black mixed with Prussian blue makes a green? I would try but don't have ivory black and never use black..I would like Your thoughts please...
Prussian blue is akin to Thalo blue except it's a bit lower in intensity and tinting strength. I'd not tried that mixture before so after reading your comment, pulled out a tube of each along with white and gave it a go. There is enough yellow in Prussian blue that when mixed with black, does yield a slight greenish tint although I'm not sure I could call it green, rather greenish blue. I can see how the mixture would work well for deep forest in shadow, especially late in the afternoon. I'd say that the mixture yields more of a feeling of green rather than actual green.
As to black, don't ignore it's potential to create amazing new colors when mixed with especially yellow, alizarin crimson, ultramarine blue, viridian, the Thalos, etc.. I'll do a Quick Tip exploring that for you. Look for it in late January or early February.
In the Studio Art Instruction hi Dianne thank you so much for doing that and your thoughts. I really appreciate it so much. I am gigi. ..just on my work pc at the moment. I have watched all your videos remember when you commented on one about using black to create other colors. I was baffled when I heard this artist...moreover the artist seems to use black in everything and the entire Underpainting. ..to me I'm not sure if this is a style of painting or just the artists. It's like the artist under paints the entire composition then paints lights ontop...also recommends mixing all the colors ontop of each other on the palette. I'm so confused by this..I don't like the results to me it looks as though the colors are muddy and not sure the word for it...I tried searching if this is actually a style...I know the tonalists used back but in a different way. I have bought the Rembrandt viridian and I will go back and experiment using your one video. Thanks so much I look forward in your upcoming videos regarding this. Oh how I wish I knew of you 4 yrs ago...I would have saved so much on materials and others dvds. I enjoy your full length videos so much..I would only have one but plan on more this coming yr. Your a blessing to all of us as painters learning so much. Thank you gigi
Thanks for that, gigi. I try to be careful about my remarks concerning other artist, but having been in the business of teaching art for over 50 years, I am aware that a lot of folks "teaching" are misleading their audience. I'll not say more, but don't take every painting video or every artist seriously. Find out who knows what they are doing and who doesn't and follow those who do.
Thank you Dianne your art lessons are great help to me, love them.
Thanks. I am delighted they are helpful.
These suggestions are all new to me and I can’t wait to try them.
Great! That's how you'll find out what they can do.
How deal with fotos that show blurry backgrounds like spots of soft colors? Thank you
muhlenstedt, I would recommend not using photos that are inferior. Photos at their best give us only a portion of the information we find when working en plein air or from real life. If the photo is blurry, then unless you know the subject, there is really no way to use it for a good reference. Hope this helps.
Gracias
My pleasure.
Where did you get your easel? Thanks.
It's called the Sienna Pochade box. I got it at Blick Art Materials several years ago.
Thank you. Love your channel.
Can acrylic be used for most of your tips.
Yes. Acrylic can do almost any thing oils can do. The artist just has to be aware of keeping the paint moist.
Thanks Dianne. GOD Bless you
My pleasure, Christopher, and thanks.
Thank you, especially for the brush strokes.
My pleasure.
Thank you. You are always the best. 👌
Thanks for that!
Thank you very much.
Thanks Diane
The best lesson ever. Thank you 👏
My pleasure.
How to paint a vase with water
I'll put this on our schedule. We film several weeks in advance so look for it around early summer.
I am not understanding. If the light is coming from the left- why would the left be dark? Wouldn't the shadow fall to the right, not the left? Thank you.
Because the left side of the cylinder will be light, it helps for the background there to be darker. This helps the lighted side of the cylinder to be more pronounced. Likewise on the other side, having a lighter background helps the darkness of the shaded side of the cylinder to stand out. Reality doesn't light things like this, but we do in paintings.
Lonnie and Tasha McFarland thank you. I paint mostly realism and go by what I see of course, so wrapping my mind around the idea of painting for contrast instead of realism blows my mind lol. Appreciate the explanation!
It might help to do some studies where your concern is just what the light source is doing to the subject and its environment. In realistic painting, when we know how the light rays fall on what we are painting and how shadows result, then we can find ways to exaggerate that for good composing. Nature does not always give us what we need for good composition, but the physics of light never changes.
In the Studio Art Instruction thank you. I am teaching myself and have so much to learn. Art classes are in my near future. I thoroughly enjoy watching your helpful tips and the feedback from other artists.
I've always found this confusing too, Lonnie, but Dianne's understanding of light has helped me so much. The way I understand it in this example, is that the light is hitting not on the left side of the background but on the left side of the cylinder and as that light on the cylinder goes away from the light it's darker, which is the same thing that is happening to the background in that area.
John Singer Sargent
Yep1
Thanks Ma'am
Thanks for watching.
thanks it is really helpful
That pleases me.
I love her 😍
😊
Thanks a lot 👍🏻
My pleasure.