This is so helpful! It's been awhile (20 years) since I took color theory classes in school and I am starting to play with my paint again, but I had forgotten about the concept of "true" complements. This series has really brought it all back to me. Thank you so much.
Dianne, your RU-vid is my primary source for troubleshooting my painting projects--thank you! Here's an idea for a Quick Tip video: How does one successfully convey the sense of movement (ie, a subject in motion, such as a ball flying through the air or leaves agitated by a gust of wind) any advice is much appreciated. Cheers!
You all probably dont care at all but does anyone know a trick to log back into an instagram account? I stupidly forgot the account password. I would love any tricks you can give me!
@Jayce Koda thanks for your reply. I found the site thru google and im in the hacking process now. Seems to take a while so I will reply here later when my account password hopefully is recovered.
Thank you, Dianne - this is a super series of quick tips for the upcoming workshop! I would not have done it correctly without your explanation. Will your next QT take up the chart from here or should we be filling it in? Thank you!
I'm a regular "Quick Tip" watcher & love all of them! I would LOVE to see a video of you doing a painting from beginning to end in the Time Lapse format with voice over comments. Of course, I don't mean I would prefer that in place of the way you teach now. I would just love to be like a little fly on the wall & get to see how you create a painting as if I'm not even there at all. I think a lot of your viewers would enjoy that as well - as a one time thing, I mean. I've searched your channel for one like that but if I missed it, I would really appreciate if you or one of the viewers would direct me to that video, please. I've been painting for years yet continue to learn new & different things about it. I've watched a LOT of painting videos on the Internet and it's obvious to me that you're one of the most knowledgeable painters/instructors out there. Thank you for all you do and share. 😊
We did just this about four years ago. It's called Notan-How and Why. You can find it at ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-2iIm9Ms7ZZ8.html
This is great. I know it's 3 years ago but I'm wondering if this chart is still available. I can't find the "free stuff" on your website. Also, what qt numbers are parts 2 and 3? Thanks so much. I love all your videos
If using Burnt Sienna, and it is not comparably dark as the FUB, is it okay to darken it with a little FUB to place in the top right-hand square of the chart, or should one just find a more suitable replacement like your Transparent Red Oxide?
Thank you so much. I fully agree that the understanding and seeing hue, value and intensity is essential. I learned to see value after I have done 1000 value studies. :-)
1.You have comprobated that the middle value of the blue color is the complementary of orange color but, when you add a bit of oxidan red rembrandt to adjust the middle value of orange, do you think it is also the complementary of ultramarine blue?
Hues are complements no matter their values. In this exercise, I change the value of blue so that it is closer to the value of orange before mixing the two together. Doing so enables us to see more clearly the change in intensity as we mix the two together.
Good morning Dianne, I'm finding myself watching your videos again and I was amazed and slightly overwhelmed with the amount of solid content you've put out. I was curious if you had a simple list of videos I should watch in order as a new painter? I learn a lot from each but maybe there is a more efficient way for me to build my skills. I realized I need to go back and work hard on drawing basic shapes for instance. Thanks as always
I always used burnt sienna instead of cad orange to neutralize ultramarine . Is there a reason why I should actually be using cad orange or is it just a case of there are more then one compliments u can use. I just add white if I need it lighter. Any input would be welcomed bc I am very new to painting and I’m just trying to understand what I have already learned in combo with what u are teaching . You are the best actual instructor I have found . Thank you so much for all u do but these quick tips are just my favorite
Both burnt sienna and cadmium orange are orange in hue so either one will neutralize ultramarine. I don't think of color according to the tube name. Rather, according to its hue. By using that approach, my options are not restricted to formula, so I am free to make decisions based on what hue does to hue. Since you are new to painting, if you can transpose your concept of color to what hue it is rather than the tube color it is, you will have a lot more flexibility for mixing color. Keep enjoying the journey.
@@IntheStudioArtInstruction that makes so much sense and I hear u say it all the time sometimes I still forget that very simple thing. Trying to remember brown isn’t brown the way I use to see it. I learn a lot so thank you.
it may sound silly...but I preserve all your videos in my watch later (you tube) and watch them.....when I need motivation....Thank you......you are excellent in your teaching . God bless you
We can't make rules about that. It depends upon the lighting, the environment within which the person is located and the race of the person. Why not check out Cesar Santos' videos for some really good videos on portrait painting.
Great tutorial quick tip. Added to my play list. Loved seeing how to control the values and going sparingly with the paint to get the values we need to look for. 👍🇨🇦
I am able to match my clothes proper. My husband even noticed and commented on my colors. Thank you for your time. This is one of my favorite places to be.
Adding white to a color does decrease its saturation. White is after all a neutral. Each color has its own inherent degree of saturation at a particular value. For example, a highly saturated yellow is also a lighter value than a highly saturated blue.
Later on, I plan to show potential colors for various skin tones as they might appear in degrees of light and degrees of shadow. We're working on that one now.
I don't think I said that. You COULD get the orange by mixing a high intensity yellow and a high intensity red in an exact complement as the blue you are using.
@@IntheStudioArtInstruction how to compare high intensity between different reds out of tubes? Depending on the different amount of the complementary color to get them neutralized? Or there could be any usuful trick to make the process quicker?Thank you so much for your sharing Dianne
Actually it is transparent oxide red, not scarlet red. That darkest version of orange might be a transparent burnt sienna or transparent red oxide which is really a reddish orange. Those are the closest thing I have to the darkest possible orange.
