You are a wonderful person, teacher, and knowledgeable painter! Thank you for key lessons that help so many of us! Your skills are second nature to you but these tutorials really help us so very much!
Hi, I just wanted you to know that you are an excellent teacher. I "discovered" you Sunday with a search about gesso and a tip for burnishing your canvas with a smooth stone. Brilliant by the way. Worked like a charm. I ended up watching a lot of your videos that day and the next! Then I practiced the different things yesterday and today, the exercises you set out and it just amazed me how much better I was purely by following the techniques. Thank you. You're way ahead of the rest
This is a VERY GOOD TIP, I always wondered, why you have this cris cros stroke and a small brush ! This should be taught in the first year of Art school !!! You really are a very good teacher !!! Thanks a lot . Please more of those practical tips !?
I so love watching you paint. I also admire how you address the importance of developing your own style. Your tips are so helpful. Wish I lived closer to you, but videos help.
Thank you very much! Very good education! A sky With lovely nuances thanks to this technology! At our art museum we have a beautiful painting of a winter sky. I have admired it for 30 years! Will return with the artists name. Forgot it. Sorry🖼
Thanks so much Diane that makes a huge difference and how more realistic the sky looklook versus so flat like all the other ones I have seen. Thank you so much.
I like to think your channel will be a historic look back at art in our time. Who knows what the future holds, but your instructional painting videos are like nothing else out there on RU-vid. Thank you for taking the time to make this archive of such useful knowledge.
Ardderchog Dianne, thank you again, it was just what I needed for my next painting. Were you painting on prepared watercolour paper ? If so I like the effect and may try it some time.
'Give a man a fish, and you'll feed him for a day. Teach him how to fish, and you'll feed him for life". That's the style of teaching that will go a long way. Having been an Eng Lit Teach myself, I really appreciate your sticking to a method that you know brings lasting results. Thank you so much for those tips, they could be gathered into a great book.
I think it's better to respond to the colors we observe in the sky. Sometimes, laying in one color and stroking another one into it is exactly what we need.
@@IntheStudioArtInstruction that makes sense . I just finished a painting where my sky is mostly cobalt but then went back and added a little gray because that’s what it called for . I also I liked your tip on using different brushstrokes when doing the sky! I found my fan brush to be one of the best ways to put the sky in especially windblown clouds . I used to really dislike that fan brush but now it’s one of my favorite brushes.
The timing of this is SPOOKY. I was just thinking to myself earlier this evening (UK time, about an hour before the upload) that I need to stop painting skies like I'm redecorating the house (I *am* guilty of this at times.). A simple tip, but completely transferable across many styles. A 'weave' is an excellent way to describe the stroke. I've always found the term 'criss-cross' or 'make an X' a bit too ambiguous.
Very helpful. Dianne, could you use the mop brush for the entire sky (or whatever)? or is there an advantage to using the flat (assuming that's a flat brush) and then using the mop if the artist desires that the strokes not be discernable?
Anne, most mop brushes are too soft to use for the initial layer of paint using this technique. (Keep in mind that this is a technique, not the only way to interpret a sky.) So yes, the flat works better, then if you want to smooth out the strokes a bit, the mop is a good choice for that.
Calaya, hot bristle brushes aren't compatible with water-based paints. It's best to use synthetic brushes for that. I use oil-based brushes. My favorite at the moment are made by Rosemary & Co. In this Tip, I'm using their Series 274.
Just love your method of explaining techniques, and hope you could help - I've reworked a sky with thick cirrus clouds moving left to right in an upward motion from the horizon to the sky's foreground. The issue is now, its brighter than the landscape it sits over, and wonder what is the better way to mute the tone of the light blue sky as the landscape is warmer whereas the shy is stark - the image scope is tonal,and in oil.
David, not seeing your work, it's difficult to analyze what needs to happen, even though you've described it quite well. It could be that the colors in your sky are too saturated in hue, or that you would need to give more light to your landscape.
Your tips help me to become a better painter and look at my approach differently. Understanding colors, values, and tone as opposed to just learning how to " paint things."
if the painting got tern after framing it , is there away to fix it or not ? also do i begin new canvas or finish old ones ? how do i apply perspective into a landscape and light direction ? my painting looks dull !
Jumana, you ask a lot of questions here. 1. I'm not sure what you mean by "got tern", but if the painting has turned dull, it probably needs to be cleaned and varnished. There are lots of RU-vid videos on varnishing. Here's one of them: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-bUqWBmm5Y1E.html 2. I don't advise going back into old paintings. It's always best to begin on a fresh canvas. 3. Go to our complete collection of Quick Tips at ru-vid.comvideos and you will see that there are tips to answer all of your questions.
Not really. This technique applies more to oils, acrylics and gouache. We use the came color principle in watercolor, but the technical process is much different.
@@IntheStudioArtInstruction thank you Teacher! Keep up the excellent tutorials. I only use watercolor and sometimes white gouache. Your experience teaching is remarkable and too good to pass up on the knowledge. Thx for all you share and have offered. Grateful
Marie - what is the art museum where the winter sky painting is shown? I tried googling him but only came up with a museum in Sweden. I'd love to come see this in person (when.... when....)
@@annedalton4136 Hi Anne, in Gothenburg Artmuseum. In Swedish: Göteborgs Konstmuseum. One of all the times I’ve visited the museum, and this was in the 80th, while I was standing in front of the painting (it is large) thinking about all the lovely nuances he had put in the sky and the snow, an old lady approached me!She told me that once upon the time, she had met him and they had for a short while been seeing each other, but it did not last. It was such a sweet thing to do! She was a little shy, but wanted to tell someone about this, share it again with someone. The painter had once been a living person, and she could once again feel and acknowledge this special time in her life. I was touch. She shared it with me, a stranger, a woman in her early thirties. Well, I hope you will find him! Per Ekström!/Thank you for asking!/ All the best🌺🖼
@@annedalton4136 Hi Anne, how did it go? Did you find the painting by Per Ekström? Just now, I cannot send you anything, but later I could try to find a postcard with this painting and send to you (photocopy) it, for you. (Is it your poodle on the picture? We have a papillon/chihuahua.)
@@marieroslind1479 yes, I found it! thanks for the postcard offer but I went through a time of buying lots of postcards from museums and am knee-deep in them! but the sky is amazing, yes.
Allen, may I ask you this: if you limit interpreting your skies with just a touch or Prussian or cobalt, aren't you missing variations we see in different skies within different kinds of light?
@@IntheStudioArtInstruction yes you are right. I guess my main point is I typically go for cobalt as the main block in color for my sky’s if the reference calls for it. I work with acrylics and I typically will go back 3 to 4 times before I’m happy with it . then I will add usually gray or put in that silver lining whatever it calls for. But Maybe you’re right , adding a touch of ultramarine once in a while may give it that much more interest. Wow how did I not think of that. I’ve only been painting about three months but I’m absorbing all your tips like a sponge
@@IntheStudioArtInstruction I also want to mention I do tent my canvas based on what my painting is going to be . I like to let some of that bleed through . I have a painting where I tinted it with burnt sienna and I used cobalt in the sky and some of the burnt sienna bled through which worked really well with the sunset . so I get what you’re saying making this sky more colorful , just a little bit but not too much. I personally think less is more .
@@IntheStudioArtInstruction I wish I could send you some of my work to review. I would love to get your opinion on my strength and weaknesses. I know you are busy but would you mind? I have been painting for 3 months and just want to know if I’m on the right track.
