I absolutely love painting water. What I have learned about studying the ocean is that patterns do repeat. You just need to be patient and watch for the pattern that you want. This applies mainly when you are doing plein air. Photography does capture the moment so this is far better to use when painting in the studio. Dianne is so right about practicing. I respect your teaching ethics and tips Dianne. Thank you again.
I know I'm late to the dance but I'm compelled to add my appreciation for such stellar tutelage. Thank You for breaking these techniques out, away from the whole, and explaining them in a manner even I can come to understand ... and that ain't always so easy. :) Deeply appreciated! TY
Thank you so much for your time and energy you put in your weekly big projects of quick tips. I wish I could express how I am grateful and love to see you every week.
I have been struggling with this for so long and now it's like a light bulb went off and so much more makes sense! Thank u so much! I felt like I was in school watching u, only this time I paid attention
Thanks for this tip. The amount of paint on first gradation layer is priceless this help me understand paint ratio so it is workable with layering on top. Brush advice was great too. 😁🇨🇦
GREAT VIDEO. You've probably told it many times but some way I missed 'scrubbing' on first layer to make next layer easier. I knew "thin" first, scrubbing just never clicked. THANK YOU for all the great information.
I wanted this video since forever, I can paint ocean but it was confusing to put in words and everytime I try to browse mostly it was, waves and sea is abstract, its just matter of right color value. Thanks for breaking it down into its composition, its texture, its phenomena and everything. 😊
Thank you so much for your advice. I guess after the drawing stage, I am unsure as to whether the preliminary under-wash should focus on the local colour, values, or joining up shadow areas, or all three. I will follow your kind advice. Thank you.
There are so many approaches to watercolor. Charles Reid ( ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-GMJAjbjNh1c.html ) developed all three as he moved into the development of the painting. Nita Ingle,( ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-I1_Ii31iM_I.html ) on the other hand, did a whole lot of loose, flowing washes, then developed the shapes and values. Personally, I prefer developing it from wet to dry, catching what the watercolor will do on the paper at it's various stages of wetness and putting the final accents in once it's dry. After you've experienced a period of simply playing on scrap paper with the paint, follow the process that feels right to you.
I keep hoping to get to more watercolor, but as you might have noticed, I love creating the Tips as a response to questions. Do you have something specific to watercolor to request?
It's me again.... I can do a beautiful drawing of for example a house and garden....then the terror begins......how to do, or IF to do, an initial wash, and on what principles do I base an initial wash. I end up with confusion! And my lovely drawing is spoiled by my watercolour.
Diane, It sounds like a technical issue, but I'd need more information to be sure. First, when doing a beautiful drawing, the drawing needs to stand alone. When doing a preliminary drawing for a watercolor painting, you need only place the necessary spatial divisions and shapes, but the watercolor does the work of defining the images, etc. My suggestion is that you do a number of small watercolor studies (perhaps on scrap watercolor paper) where you are not trying to do a painting, but just exploring what the watercolor can do and just how much preliminary drawing you need.
Good morning Diane, can you explain the use of black? Can it be used in a painting freely? Is it better to use for mixing and darkening to lower the value only? Is it better to use black out of tube? If so when? Or better to mix complementaries? Thank you for all your help.
Black is a neutral so adding it willy nilly is apt to dull your colors. It's best to use it when you need to change the character of a tube color. For example, black + alizarin crimsom creates a deep red violet, black + thalo green creates a lovely deep green, black + hansa yellow creates an olive green, and so on. But when darkening colors, it's best to use either a darker version of the hue itself, or if for shadow, a complement.
I am new to painting (retired) and started watching your quick tips. I went back to watch your earlier tips, but unable to see anything before tip 60. Is there anyway to see the earlier tips.
Go directly to the Channel- ru-vid.com/show-UCJErPSUwVOXzRYDC4kWejnw - click on Videos in the menu there, and you should be able to get the entire list.
Can you give some tips on painting white beach sand - can’t say I have tried it myself but I have a student that is struggling..I think she has done a good job but she is not happy with it..
The problem is trying to paint white beach sand rather than what is happening visually. The considerations are very much the same as painting show. See Quick Tip 145 ( ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-A5q_jsDZaGo.html ) and if that doesn't answer the process of thinking, let me know and I'll take the same concept for sand.
Hi, Dianne. thank you for a fascinating tutorial. I referred back to Quick Tip 213, in which you discussed the terminator area. Why is it usually identified as a terminator LINE which separates the shadow and not-in-shadow areas? I think that is the reason that people think it is a DARK LINE, something which made me really take notice when you said it is (only) A #5 VALUE?? Thanks, once again, for correcting my misconceptions. Could you please tell me if I am understanding it correctly now, i.e., that the terminator is a middle value 5?
Artists stole the term from the terminator on the moon. I don't think of it as a line, but as a transition area within which light transitions into shadow or vice versa. (I am appalled at the misleading instruction out there.)
If so, can I correctly assume that the WIDTH of this transition area varies; and, that it has to be a middle value of 5(halfway between dark and light?)@@IntheStudioArtInstruction
Dianne the trend nowadays is to make compositions in a contemporary way...meaning you put an object from one place and another unrelated to it in the same single composition... What is your view on it and how does one execute it if you agree with it. Thanks.
Alka, I don't respect trends. A trend comes and goes whereas sound principles keep working regardless of what the trend does. I stick to the universal composing principles and create from there.
