Major artist secret revealed here. Dianne will reveal all over time. Thank you for reinforcing best practices to lift the work of all of us, not just the privileged few.
@@IntheStudioArtInstruction Dianne, I too am discovering so much from you & in some cases remembering things I had learned in college. Specifically using Notans & the Zorn pallette.
dear madam,i really appreciate what you are doing, in the ocean of down loads available now a days its really hard to find a demo like yours ,i have been surfing the net for the lat 6 years,and frustrated at the amount of Jung i have collected so far, i really consider this chance encounter with your vds as divine providence.. here at last i am starting to really learn anew..from now on this empty cup will be fille d slowly may be though .G Karthikeyan .India
Sorry to be so offtopic but does anyone know of a tool to get back into an instagram account? I somehow lost my account password. I appreciate any tips you can give me
Although I am just now discovering Diannes wonderful world, I too am so happy to have found a home here. I have learned so much from Dianne already. She’s a fabulous artist, teacher and human being. Thank you Dianne for sharing your time to help all artists from all over the world.
@@aaronbryan6824 I wish I could help you but I rely on my husband and son to help me figure my way around the tech stuff. I hope someone comes along to help you. Good luck.
Thank you Dianne....I love to learn from you...I just found out about this channel and I am catching up on your so useful tips. I still have to go to your web!!!
Can you do a video on how to set up a successful still life? You commented about not liking the blue in this one, so this led me to ask you about making decisions when choosing a still life. How do you know you have a successful setup? Glad I watched this one prior to the upcoming workshop on shadows. Thank you again.
Candace, there are an abundance of approaches to setting up a still life, too many to address in one Quick Tip. A lot of them are dogmatic and some are just plain hokey. In the long run, a good still life setup is about guiding the eye. I think professional photographers have a better grip on that without setting forth a bunch of dogma. Watch photographer Ed Verosky's video and try out some of his ideas. You can find it at ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-CadByjgmT5U.html . The one thing Ed doesn't address in this video is lighting, but there are a lot of RU-vid videos on the subject. Again, I'd stick to watching the photographer's approach because much of what I see painters doing with still life is either uninformed or too dogmatic. Above all, play with the principles Ed addresses one at a time while experimenting with some of the lighting ideas from other photographers and some select painters. You will find something that feels right for you. Begin there and build on it.
Dear Dianne thank you so much for the fantastic tips. Can you tell when painting trees and landscape it is also good to begin with the shadows at first? Thanks again
In my experience, it is always a good thing to begin by working shadows first because it begins to set a contrast comparison as you move through the painting. This applies to landscape, portraits--everything.
really good and helpful 👍 but the hue change in shadows are totally confusing to me. is the vivid green under the apple a local hue? or is it caused by the blue light reflected? and also variations of hue in cast shadow.
Mosio, Since this Quick Tip was about beginning a painting with shadows, I didn't go into color. Generally speaking, we see local hue in the not-in-shadow areas. Within shadow areas, the hue will come from both the local color of the image and the colors reflecting from other sources. In this case, that vivid green underneath the apple is reflected light. Hope this helps.
