I just found you a few days ago and I’m binging all the Quick Tips. You’re such a great teacher, you explain everything so well. Thank you from a new fan ❤️
I have enjoyed your videos so much. The way you explain things ''clicks'' for me and makes more sense than any other videos I have watched. I appreciate the way you break down what you are painting. It has made me see things in a simple way and keeps me from complicating what I am trying to paint. Thank you for being so calming, giving and for the feeling that I CAN do it
I really enjoy to watch your Quick tip…you have so much different knowledges. I watch every day. Very much appreciated your teaching time. Thanks very much for sharing your skills.❤️
I would like to point out a flaw in your measuring technique of the vertical height of the reflection. After determining the height of the tree and setting the calipers, you then place the calipers at the water's edge to determine how far down the reflection will go. The proper location to place the caliper would be where the base of the tree meets the ground, not the edge of the water. That is why the reflection in this picture was a little shorter than the tree height that you measured.
Very helpful and clearly explained. I haven’t been able to figure out which way the reflection of water left by waves flowing back into the sea should be when looking at them from the side. Parallel to the side of the canvas or as continuations of the back flowing water. I hope I’ve made my quandary clear.
Go to pixabay.com and search for "ocean waves". There are many examples there of waves breaking and a few showing looking at them from the side. Go there and study what's happening in terms of from which direction the light seems to be coming. It will be helpful to so small studies of several. This will benefit you more than my trying to explain it -- I think.
Thank you, Dianne. When painting reflections on water I measure from the bottom of the tree where it stands on the land all the way onto the water (the same hight as the tree itself) So, the farther away the tree is from the water’s edge the shorter the reflections on the water. I love Charlie, by the way. You are being upstaged by him❣️
Awesome logical information, made tons of sense to me. Another thing I struggle with is thr variations in ocean water, in that how do I make the illusion of movement in the ocean with color? Do I go darker? Lighter? Are there certain places to put them versus others? Thanks for all you do!!!!
We have a tip about that coming up in October. First observe the pattern of movement in the water, then look for what causes you to see that movement - is it light against dark, gradation of light to dark or dark to light? Then look for the color within each pattern of movement. Allow your brush to move with the direction of movement you find. Practice what you observe on scrap canvas, using first only black and white mixtures. Once you've done that, do more practices with colors you observe.
I find your instruction videos pure, generous and without any slefimportance. Visited your website and read 'The Moth Story' which touched me deeply. Your deeply felt involvement with the subject and the heartfelt but rewarding personal connection to it couldn't be expressed more clearly than in your watercolors depicting such love, loss, hope and transitional beauty that is inherent to nature, the soul of all living things and eternity.
Thanks again Dianne this video will help me with painting the reflections of the lighthouse in my present painting. You said `Let`s get down and dirty`, well, can you explain to me how I manage to sometimes get paint in my ear? The lighthouse is painted in bands of black and white therefore I will be searching for informatin on placing highlights on black paint next.
Kevin, observation is your best friend. Highlights on black paint won't be the same for everything you see painted black. Since those highlights are caused by what the light is doing, study how the values change on the surfaces according to what the light is doing. About that paint in your ear, I don't have a clue :)
Your tutorials are excellent. I see so much more. Now need to put it to paintings after I do some exercises.. Diane how do you waterfalls gradiation. We have hundreds on my island. Can be blue skies, grey in or fog. Lots of fog lol Most surrounded by deep green foliage and trees as we get lots of rain too. Thank you so much
I'll put your question on our schedule for a Quick Tip. We film these several weeks in advance, so it will be at least January before it appears. Stay tuned.
@@IntheStudioArtInstruction Thank you Diane. This is wonderful! Give me a chance to keep catching up. I'm so thrilled learning from you! Very grateful...
You are so wonderful. I continue to learn so much from your videos and quick tips.Thank you! I have started painting seascapes and many ocean scenes, BUT, have much difficulty with breaking waves. Could you please help me out?
Switch your attention for it being a breaking wave to its structure - What are the angles at the top and bottom of the wave? What are the value variations within the wave? What are the hue variations? Does the hue change in intensity (chroma)? What are the textures? Observing these things give you the information you need. Hope this helps.
In the Studio Art Instruction Thanks, Diane. Will give it my best shot. As a retired teacher, I appreciate your method of instruction. "Guiding, not leading"
Thank you. I am really loving these quick tips. They really help me. I was wondering how does light effect reflection say on a glass vase? Thanks again for your help.
Kim, if you're talking about a glass vase reflecting in water, follow my four tips. In essence, you forget it's a reflection and paint what you see. Learning to see the world through the visual elements rather than as images you label is the key to all realistic painting.
In many pictures I see warms in the background or midground and cools in the foreground ... this confuses me as to what colors I need to use to create the depth. Can you please help?
Warm and cool are relative to what the light is doing as well as the local color in the scene. Generally, when there is substantial distance in a scene, and the light source is either behind you or slightly to one side or the other, the temp will become a bit cool as things move into distance BECAUSE of atmospheric particles. HOWEVER, if there is back light - such as the sun setting directly ahead of you-- that won't hold true. Depend upon what you are observing, not some rule somebody tells you.
thank you for your tips.Let me point on the size of relefection which depends on the position of the seen or camera level from the water level as it goes down near to the level of the water the size of reflection turns longer and VS. to get the same size the eye must have the same level of the horizon or let say the level of where object is touching the water.
Thank you. I learned that a dry brush can make the blurry waves by moving it in the direction of the waves! Also, I'll take away the value of light... When you made the waves, it brightened the value because the paint under it want dry. Thank you for these two great ideas that I can implement!
A quickie is to make reflections 1-1/2 times longer and to paint them darker. But as Dianne shows, reflections can be shorter as well. The key, of course, is to observe unless your painting from your imagination. Then my rule above will be helpful.
Reflections do not go straight down. They go towards the viewer. Reflections mathematically expressed. The angle is incidence is congruent to the angle of reflection.
Thanks a lot for sharing your experience! As always it was great.👍🏻 💐 a quick question, do you usually mix the orange or use a tube orange or both? What if have to work with a very limited palette? Still adding a vibrant orange to it? Thanks again 🌷
I usually use cadmium red light + cadmium yellow deep for bright orange mixtures. Check out Quick Tip 115 ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-RORenwUXMDI.html for a review of my palette.
I show you my photographing process in Quick Tip 10 (among the first we did as you can tell) ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-zcWapXhU-18.html . Since I use a low gloss varnish, I usually do varnish before photographing because the varnish heightens the colors. Tipping the top of the painting forward eliminates glare. If I preferred a high gloss varnish, I would photograph before varnishing. This works for me. A lot of artists go through sophisticated systems of lighting from the sides, but with today's technology, I don't need that. Let me add here that this Quick Tip was done long before phone cameras became as sophisticated as they are today and while incandescent lighting was still available. Still, I prefer my Canon SX 60 HS camera.
Anne-Marie, I have recently fallen in love with Rosemary brushes, especially her series 274 and the Tisch series she makes designed by Andrew Tisch. I also like using the Utrecht series 219 and 219F as well as the Vermeer flats and filberts.
I think it's not true to say that direct tutorials only teach you how to do ONE specific thing. I have followed many tutorials and that has been a big confidence builder for me and a jumping off for a lot of adventures of my own. I love your videos but I do wish you sometimes didn't emphasise that direct tutorials are not valuable. They can be very very valuable, to have a specific scene or idea shown step 1 to finish.
Ababy, I don't know what you mean by "direct tutorials". What I encourage is avoiding formulaic painting in favor of using your own observation. When we learn what to look for and the techniques to express what we are seeing, we have the freedom to create a painting of anything we want to paint. If, on the other hand, we depend upon a formula, we're most likely to cripple our ability to create.
