Artist/art teacher Dianne Mize demonstrates how to create the greens you want for painting trees in the distance. www.diannemize.com Join this channel to get access to perks: / @inthestudioartinstruc...
Greetings from England. Have done some drawing of Elton Hall and its historic parkland, I was contemplating how to deal with some of the fine lime trees which make an avenue half a mile long. This tutorial has analysed the problems and shown how to avoid the predictable solutions. You are not only a fine and clear communicator but a wise owl!
My gosh you really are the best teacher out there. Really. I have literally tried almost all of them and there are some very good teachers, but none of them explain with such clarity AND such detail. Thank you so much for these amazing lessons! I'm starting to plein air paint, so I'm just about to treat myself to a purchase of the color series from your website & I'm really looking forward to diving in even more.
The combination of viridian and transparent oxid red, ocasionally with yellow, will simplify my painting life a lot. I was lost with so many possibilities of mixing blues and yellows.Thank you very much, I would never come to this idea alone.
Making your color charts will help you solve many of your color mixing/matching problems folks. I would even make Color Swatch Cards with a hole punch in them to isolate and match.
Thank you so much for this amazing video Dianne! I'm always so impressed with your experience and instruction, it's so helpful to me! I don't have some of those greens in tubes, so it's great to see how to work around to get similar results! Thanks again 💙
For this tip, you have only taken us back to mid distance. I would like a tip about color mixing for very distant greens where the yellow is almost gone and the hue is more blue. For example I am working on a painting where the mountain trees are at a great distance but the valley greens are somewhat closer. The valley greens still have a hint of yellow in them. I just can’t get the color mixing for either to workout, especially when contrasted with much closer trees and bushes. Great tip. Keep them coming.
Agree with you Beverly. Yellow ochre or burnt sienna used sparingly with ultramarine blue and some white makes a green suitable for background/distant foliage.
Beverly, the further the location in distance, the lighter we see the images, and for the most part, the cooler and less saturated. That bit of information tells you what to do - white to lighten, blue or another cool to cool it, and a complement to neutraize.
@@IntheStudioArtInstruction So I still start the mixture with veridian but add more bllue. The complementary color to dull it would have to change. Is there a point where there is no yellow but only dull blue with some red?
@@blroberts70 my mentor always drills into me that as things recede into the distance, certain colors start to drop out in the following order: the first color to drop out is yellow. The second color to drop out is red. Finally we're left with blues. So if you've got trees that are very distant, like on a mountainside, they would literally appear blue because of the atmosphere that's between you and the trees. So you could use a knocked down blue, like ultramarine or even prussian for that foliage. But trees at that distance won't have any details, so be sure that they're just representations of trees or thickets.
Great guidelines. It was also helpful to see that, even for trees in the distance having a very narrow range of values, you can mix close values to highlight lit areas.
I loved my college instructor, but I wish we learned more fundamental things like this. I was taught not to even thin the paints. Sometimes I feel like I need to go back in order to unlock my potential, but these videos have been nice. Thank you!
Having once been a college art instructor myself, I am sensitive to the need of fundamentals being taught in the college programs. That's a big reason why I do these Quick Tips.
I found this video very help for a landscape I started a while back, so thank you for that! I am now struggling with how to work "sky holes" into the foliage. Mine look like what they are: blobs of paint. There are a number of art instruction pages and videos out there, but I don't trust them as much as I do you. I would love to see a quick tip on this. In any case, thank you so much for your excellent instruction; it is a amazingly helpful.
Suze, I will add your request to our filming schedule, but since we film Quick Tips weeks in advance, it will be in December before it appears. MEANWHILE, look for the shapes of the skyholes and allow your brush to form those shapes. Another tip is that looking through foliage into the sky subtracts out some of the brightness of the light, so the value we are seeing is most likely a degree or two darker than that of the sky not being seen through the foliage.
@@IntheStudioArtInstruction Thank you! That is very helpful and explains some things to me, especially the values issue. It's no wonder my sky holes look like stars. By the way, I am entering a small landscape to a juried show and this is extra important for me right, so I'm doubly appreciative. I look forward to your Quick Tip in December! :-) Thanks again.
Hi Dianne! This is great information! These days I am only using watercolors to paint with. I was wondering if this process will work the same with watercolor? Most people say that it is better to use the white of the paper than to add white paint. What do you think? Should I add white to lighten background trees and foliage, or just dilute the paint mixture instead?
Kimberly, in watercolor, WATER is your white. Think about it like that and any color mixing principle that works with oils will work with watercolor with one exception: working with oils, when we mix white into a color that contains yellow, we have to add yellow back into the mixture. Sometimes we need to do with watercolor, but not always.
Thank you so much Dianne for this insightful video! What’s your take on using earth colors for mixing background / less intense greens? Ex yellow ochre & ivory black or ultra marine. Mixing with raw/ burnt sienna instead of high intensity yellows? Also using earth colors with for example with Viridian green? ( I dont see all the greens unfortunately so I try to apply these techniques intensity/ temperature management to do my best to create them ( avoiding pthalos ) hoping it s not too shocking for a normal vision person) :)
Ercan, the important thing is to know the potential for every tube color you own. Earth colors are low intensity (chroma) hues, every single one located on the color wheel. Every earth color we have can be mixed using complements. So to use an earth color to lower the intensity of a more saturated color does work well.
Super video! I have a lot of trouble mixing green with the natural color. currently mixing olive leaves is a problem. Could you advise viridian on what colors and proportions I would be able to create a silvery green. In my photo Mediterranean has strong sunshine. I also spoiled the color of the shadow and cast shadow. Maybe I could ask for that too advice? Sorry for the many problems. I'm grateful Dianna!
@Éva Schenk, the best way to explore the mixtures is to do practice exercises such as I am doing in this Quick Tip 335. Begin with Rembrandt Viridian (not any other viridian because there is a huge difference) and yellow ochre. Add a small bit of yellow ochre to begin with, then paint a swatch thinly to see the results--add a bit more, and paint another swatch--keep this up until the mixture reaches the point where it no longer reads green. To a portion of each of these splotches, mix in a bit of white . To another portion, mix in a bit of yellow. This exercise will give you the results of varying proportions of yellow ocher mixed with viridian. NOW, go through the same process with transparent oxide red or alizarin crimson or any (perhaps ALL) of your warm colors. You will learn more from doing this than I can ever show you.
Unfortunately, I do not know English well and do not understand all the words, but I try to understand the main points. You are a great specialist in this
Hue-wise and intensity-wise, burnt sienna or transparent oxide are good alternatives for transparent oxide red. Thalo green is a good one for Rembrandt viridian. Caution: thalo green has a powerful tinting strength, so requires much less in amount than Rembrandt viridian.
Micheal Wilcox's book, Blue and Yellow don't make Green explains this clearly too, the primary colours: green-blue and green-yellow vs the primary colours violet-blue vs orange-yellow will give you vibrant and neutralized greens respectively.
