Great tip!! thank you for sharing this!I I personally like those paintings where brush strokes are visible! 👍..I think they make paintings more lively and expressive!👌.. thank you Dianne for your wonderful tips! they help so much!😍 take care and stay blessed!💐
Diane can you please tell me how to lighten any color without using white. I find when using white it changes the colors I'm using and they become chalky. Thank you
Bea, you can't always do that. Of course you can lighten a color with a lighter version of itself (for example: lighten alizarin crimson with cadmium red light or lighten ultramarine blue with cerulean). What happens with adding white, especially to warm colors, is that the white subtracts out the yellow, so if you add into the white a bit of a warmer color such as yellow, yellow orange, etc, then use it to lighten a darker color, that will bring back the warmth and prevent the chalkiness.
many ways to improve flow, on the under layers many artists use mineral spirits. Later on in the painting as you can add more oil fatty mediums are often used like linseed oil. Some people use stand oil, some like medium with dryers like Liquin. Generally don’t use more than one part medium to three parts paint to avoid issues with the paint film. Also note good artist quality paints tend to have more pigment and few if any fillers, as a result good quality paint covers and flows better than student grade paint. Hope that helps
I don't use any medium while painting, unless I need a passage to dry faster--in that case, I use a bit of Liquin. As to how I make my paints flow, I use only paints that come out of the tube in a creamy consistency. Beyond that, I very slightly dampen the canvas surface with a spritz of 50/50 poppy oil and Gamsol, then thoroughly wipe it down so that when my finger touches it, there is only a slight shine on my finger. This cuts the resistance of the dry surface and enables the paint to go onto it more smoothly.
Perhaps Quick Tip 164 will help--ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-1XBAzHE9Nmc.html I think if you ask you the questions I ask in this Tip, you will know what to do. If not, ask again, and I will address it.
Hi Dianne,thanks for all your help I like a loose style of painting and am trying to work towards that so this will be helpful You said we could ask a question and I would like to know how to really make a painting glow is it just the bright colours against the dark I'm trying to paint a mountain village at night and although it's not too bad it needs something to take it that bit further thanks again for all your help
Mike, there are a number of ways to make a painting glow. Value contrasts is key among them. However, working with complements where they are kept at a relatively low intensity creates a vibrancy, too. Look at the master painters and example how they have used both value contrast and intensity contrast.
@@IntheStudioArtInstruction thanks for your prompt response and I will be trying to get to grips with that in the net few days I have to say also your technical know how and way of explaining things is second to none . 😊 Thanks again
what occurred to me, as i was watching , was how different mediums will also have huge effect on the approach .. i was watercolorist most of my life, and many watercolorists strive for smooth transitions, gradations, etc.. I fell in love with gouache about year ago, and the difference is amazing ! I find my work and process so ,so different when i'm painting in gouache.. I think i'm able to tap into the expressionistic nature , using brushstrokes more with the gouache.. ( I imagine the process to be more similar to oil painting).. i'm NORAKAG on instagram , in case you'd like to see how different I paint with those two very different mediums .. I was also thinking that perhaps the Chinese watercolor masters are the closest I can think of , as far as using such strong expressionistic brushstrokes in the watercolor genre .. thanks so much for your fabulous tips .. I really get so much from your calm, methodical approach .. take care 👍
Your work is lovely, spontaneous yet directed. Yes, gouache works very much as oil does, except for the very fast drying time and the darkened values once it's dried. My preferred way of working in plein air is to do gouache or watercolor (sometimes combined) studies to take to the studio for reference for works in oils. Thanks for sharing your thoughts.
Of the three pictures you showed I loved John Singer Sergeant....with mild degree of brushstrokes...I don't like Van Gogh at all....it's too aggressive I think....but I'm aware that, Van Gogh self portrait is world famous. So what is your opinion on the degree of expression....depends on what that subject needs to show?.....like Van Gogh self portrait looks as though he is in lot of inner and outer turmoil in his life...
For me, it's authenticity that matters. I object to adapting a style just because it's in vogue. That, in my opinion, is painting through somebody else's eyes. I can honor an artist's authenticity without liking their mode of expression.
Amazes me how people think Sargent was American. He was born in Italy. I've got a niece who was born in Australia, she's Australian, not Irish. Sargent is Italian. Really surprised, this is what the English usually do, latching onto Andy Murray, scottish tennis player, and portraying him as a successful ' British ' athlete. He's a successful Scottish athlete . Sargent is not American.
Hi Dianne Your latest video is extremely clear and detailed helping with understanding the importance of brush handling. My question for you is about your palette...where can I find your palette layout? Thank you Lucia
Mary Ellen, I don't think about wasting paint because if I do, I risk wasting the painting. By the nature of what we do as painters, there will be some "waste". We can't fret about that. See Quick Tip 172 for further explanation.
Hi Dianne, Thank you for the quick tip on your palette. I also have found that many colors are no longer on my work surface...because I have learned how to mix the desired color which offers a beautiful depth and richness. Thanks a bunch.. Lucia
Good video Dianne. I’m fond of both loose and tight paintings seems that the composition, value structure and edge quality make or break the painting tight or loose and color take a backseat in my estimation.
wasn't the first one done in egg tempera-that has a more flat approach, because of the nature of the egg tempera right? thanks for the demonstration. very helpful
Tempera drys so quickly that it would be easier to show brushstrokes, no impasto but the strokes. One of the desirable features of oil paints when they came into use in the renaissance was the ability to achieve smooth blends.
You can use expressive brushstrokes in any medium once you learn the nature of the medium and how brushstrokes work within it. By the way, this demo was done with oils.
That's a matter of perception. The impressionistic style can vary from slightly impressionistic to extremely so. Personally, I prefer a style that's expressionistic rather than impressionistic. I like to see meaningful brushstrokes, but that is not a universal aesthetic.
