Thank you so much for making these! I really wish I could take one of your courses but I'm barely buying food right now so these free mini lessons are greatly appreciated!!
Rivkah Song living in South Africa, our exchange rate is exorbitant, and I am in the same situation as you! It is impossible. So I also treasure these free tutorials from this wonderful, generous lady.
Rivkah Song, I wish we could cut the prices and still afford to do this, but we have them as low as we can and still afford to continue to do these free lessons.
Clara, it's a shame these exchange rates are so high. Our sales of the video lessons, classes and workshops allow us to continue to do these free Tips. We will continue the free stuff for as long as we can.
@@IntheStudioArtInstruction Oh I wouldn't want you to cut them! Sorry if it seemed like I was asking that. You provide quality instruction and have bills of your own to pay. Your prices are fair. I'm sorry I can't support you and get the more in depth lessons but my comment was more to thank you for taking the time to make the free lessons. You didn't have to but for those of us who can't afford lessons they are a vital and much appreciated resource.
I’ve watched you paint this twice now. I really think and believe that to paint this the appropriate brushes are helpful. I’m so stuck on using filberts that are bristle brushes that don’t give this soft type painterly look. I like when you can see my brushstrokes but like the look of this for landscape and need to figure out these brushes. Thanks Dianne.
Like any skill, the tools we need go a long way towards how we get the job done. A carpenter's chose of saw is determined by what she/he needs the saw to do. No difference with the painter. We choose the brush according to what we need it to do.
Thank you Diane for your informative tutorials I have learnt so much from watching them. You are a brilliant tutor, I love the way you explain what you’re doing in a way that I can understand ✨
Thanks again. Landscapes are what I was curious about. You explained it brilliantly. The glow of the sun though translucent foliage has to be considered as well....Great tutorial....again.
Dianne, thanks for another wonderful tip. My eyes develop one step at a time. Your teaching style is always helpful. Could you please show us how to paint cracked ice on a frozen pond? Thanks.
Hi Dianne. Thanks as always for your wisdom...will you indulge two questions? (1) I love sap green and was interested that you started with it. In your value line, was the darkest green already mixed with some of the quinacridone violet? It looked so nice and dark and more opaque than I can usually get out of the tube. (2) curious as to why you chose quinacridone violet as the complement as opposed to Alizarin crimson? I’m sure you had a reason! Many thanks!
Thanks, Monica. To your first question: here I began with the Daniel Smith Sap Green in my value line of color, which is wonderfully dark and transparent. To you second question, I chose as the complement quinacridone violet rather than alizarin crimson because sap green is a yellow-green and quinacridone is a red-violet (whereas alizarin is closer to red than violet), making QRV an exact complement.
I love watching your videos - you are a gifted teacher and philosopher!! Thank you for sharing all these wonderful tips. I received a copy of your book "Finding Freedom to Create" this week and look forward to getting into it this afternoon. I have a question about this video. It may be the computer screen, but it seems to me that the tree trunk is lighter in value than the dark foliage behind it, yet in the demo, you indicate to paint the tree darker. Am I missing something?
It depends upon where the sun is located. Back light just means that the subject is between the viewer and the light, with the exception of the noon location, the sun could be anywhere. The cast shadows will be aligned with the angle of the sun.
Nice greens. I have a Hue request/question. I use some hues for things other than their color. For example, I use raw seinna, mixed with green for distant foliage, however, I use burnt seinna mixed with green for foreground foliage....changing values. It seems that manufacturers come out with certain hues for things other than their color. Payne's grey is another hue. Knowing which colors are made for specific applications and having a better understanding of what their intended purposes are would go a long long way. I hope I explained that correctly. Thanks.
I think explaining this would make a credible Quick Tip. Since we film these several weeks in advance, it will be April before it will appear. Meanwhile, think of hues as the color names as they appear on the traditional color wheel. Think of tube colors according to their tube name. Every tube color contains a specific hue, value, and intensity. For example, Burnt Sienna is a reddish orange hue, dark value, low intensity color. No tube color has an intended purpose other than to provide options. Learning how to use the color with other colors is a better way of thinking about them.
Year's ago I painted wildlife art in oils. These required much detail. As I remember I used my father's recipe of linseed oil, damar varnish and turpentine. I could get really great detail. Since then when I have done a painting I have used off the shelf mediums as I was not concerned with detail. Now I am about to do a large bird painting witch will need detail. I don't like liquid fine detail. What should I use? My mind is getting a little moldy in my older age. Thank you. I enjoy all of your classes.
I remember that old recipe of your father's. In the early days, we cut our painter's teeth on it. If the smell of turps doesn't bother you, you can slight thin to your liking refined linseed oil with refined turps. Don't thin it TOO much or it will cause the oil to lose its integrity. For quicker drying, you can add original Liquin to that. In essence the old recipe was 1/3 each linseed, damar and turps. You can use the same recipe substituting original Liquin for damar.
Do you have any quick tips on plein air painting? What you take. How you decide what scene to paint. Tips for beginners in this? I have gotten to do it twice and they came out ok. But I would love to soak up anything you may have to share on this? I love your teaching and would just love to hear anything you could share on this subject. I absolutely love plein air painting (even though I’m not good at it yet 😉) but being outside and painting is awesome. Thank you for all you do!
I've not yet done a Quick Tip specifically addressing the plein air process, but in Quick Tip 215, I show a bit about nailing down a scene. I will create a Quick Tip specifically on the subject, but since we film these several weeks in advance, it probably won't appear until April.
Hi, Dianne, While ignoring for the moment the subject of backlit scenes (QT 256), I wanted to know how to sketch a preliminary drawing before attempting to paint this particular scene with its abundant foliage. Should I begin by just doing a loose contour of the different elements as in The Big Picture (QT 251)? I looked at QT 13 again (Preliminary Drawings for Landscapes), but feel that the generalized grid would be more suitable and helpful in this case? Also: would you have any advice for leaving those tiny white gaps untouched? I had the same problem in watercolor. Wishing you well and thanking you for your continual input, Renee Smith
I think Quick Tip 251 ( ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-LupnuA5qVg8.html ) might help answer your question. The difference is that in watercolor, we usually work light to dark rather than dark to light. That with QT 13 will be your best guide. About those white gaps, in watercolor--especially using a highly textured paper--those gaps will appear when painting wet on dry. Sometimes they add to the sparkle of the painting, but at other times they can cause too much noisiness. The best way to close them is to let the whole piece dry, then stipple in those areas with the tip of a pointed brush with the same color and value. Stippling will blend into the surrounding edges of the while gaps.
Dianne, I went into the above link but it wasn't QT 251.It was QT 252. Which one did you mean?Thanks for the tip about gaps in watercolor. What I need to know at this time is how to create those gaps in oils. I have trouble maneuvering the brush around in order to leave a tiny space for the light to shine through. Is here any advice for this? Thanks again for solving all our dilemmas!
Hi Dianne, I observe that in the paintings of accomplished painters there is a significant variation of hue, intensity and values within very short areas of the pictures e.g. folds of draperies, light falling on the metal surface or fruits, etc. I understand that it comes from keen observation. However, I wonder how could such minute variation (as if each pixel has been painted individually) be achieved within very small space. Is it scumbling, glazing or any other technique. Could you please throw some light on this aspect. Thanks
Looks like cyberspace ate the latter part of your comment. I assume you are asking how to get these kinds of small variations. You achieve that by varying the colors of each brushstroke.
