Artist/art teacher Dianne Mize answers the question about what first steps should be taken in deciding what colors to use in your paintings. www.diannemize.com Join this channel to get access to perks: / @inthestudioartinstruc...
I consider myself very lucky to have found all these solid technique vids by Dianne. Perfect timing as I am just beginning my journey, so I don't have a super huge amount of bad habits to break. Thank you.
Hi Dianne! Thank you so much for this detailed and very helpful QT. I forgot about the importance of matching values before adding the complement to dial down the intensity. Thank you for demystifying these topics and showing us the why!
Hi, Dianne! So glad to see you again, hope you’re well. Your videos haven’t been appearing in my feed unfortunately. Hopefully they will from now on since I looked you up.
I have been using the color wheel and tabs of paper to identify colors, and this is such a valuable video to clarify that even further; also the information on color harmony by using what is already on the palette. Thank you!
This video, as do many of Diane's videos, serves a secondary role as a workshop in how to make your expensive colors last longer (here, it's Cad Red Pale) and how to leverage your cheaper thalos and transparent iron oxides. 👌
Wow! What an amazing lesson on choosing colors. You are an amazing teacher. Would you do a quick tip on adding sun rays using oil? I recall a lesson you did with water color. Thank you for considering this.
Thanks, Sandra. If you watch the Notan: How and Why video we did when we first started this venture, you will see me go through the painting process. I never finish a painting in a video because I'm more focused on teaching a principle rather than giving a performance, but that one comes close.
Hi Dianne, this is just in time. I was inspired by Jamie Wyeth’s, “Inferno”, and wanted to paint a couple of seagulls fighting. I find it kind of comical the way that one will close the other’s beak by holding it closed with its own beak. I wasn’t sure where to start until now. Your quick tips have improved my painting immensely and I’m grateful to you for that. Hugs, Julie 🥰
Thanks a lot for your helpful tips. My question is do I need to change the color I see to convey the feeling of the scene. For instance put more blue into distant trees to push them back or warm up the subjects in front. If so then the question is how we decide on the colors we need to change . Or perhaps we just need to copy the colors we see ?
Reza, if a scene speaks to us, then our first objective is to capture what's there. If while interpreting that, you feel that you want to enhance the aerial perspective by cooling the distance a bit, then that calls for adding a bit of cooler hue, but at a low degree of saturation. On the color wheel, hues on the blue side are cooler. Allowing the color wheel to guide our color decisions is its purpose. Example: greens in the distance might call for enhancing the blue in the greens. The same is true for warming colors we see, except we go to the warm side of the wheel to find those colors.
Thank you for choosing this subject to cover. I am really seeing there is so much importance on this and also the values of the correct colors that make art better. I know I have to practice mixing colors much more to make this easier for myself until I know how to achieve the colors I want to so I can paint with a simple solid limited palette. I still am struggling with the cools and warm colors and knowing truly when and where to lay them down when using them both in a painting for the best visual effect. Could you cover that some day? I am drawn to the effects it has on artwork and I find myself doing it and struggle with doing it efficiently.
I will put your request on our filming schedule. We film these several weeks in advance so looks like it will be either late October or early November before it will appear.
Hello mrs. Dianne. Please can you give a short answe, can we desaturate the colors by using grey color (black plus white or blue plus brown plus white ) ?
Arnold, both black and white and their mixtures will neutralize, but my preference is desaturating with complements because of the hue variations we can get with complements that you cannot get with black/white mixes.
And again thank you so much for another great video Dianne. I have a little problem when trying to pick colours as I paint with acrylics. Sometimes I just struggle to find what would be equivalent acrylic to yours oil paints . Like viridian Rembrandt your favourite for example. Would hooker green which is dark with blue undertone be a good choice, or what if I don't have transparent oxide red, would red iron oxide be a good choice instead? I'm glad you mentioned burnt sienna as possible choice cause its what I use a lot . Its not a hue I know 😅 and thank you in advance Dianne best regards Tasha
Yes, Tasha. Finding equivalents across media and brands can be a problem, depending upon what's available in your location. The traditional thalo green registers almost identically in hue, value and transparency as my Rembrandt Viridian does. BUT it is very strong in tinting strength, so requires keeping it from taking over other colors. I am not up to date on all acrylic brands and their available colors, but if you can find one that's equivalent to thalo green but in a lower tinting strength, that should work just fine.
what made you choose to add the high saturation red orange at the end there. It was turning more violet but i am not sure why you skipped to the pure hue color at that point
I added the high saturation of red orange so that I could add a bit more saturation to the chicken's comb. My eye told me it needed to become a bit more saturated and a bit redder. I didn't skip from red violet to the pure red orange. It was already moving towards red of the red violet, so what I did was to enhance that hue. The red in the highly saturated red orange will enhance the red of the red violet, and the slight bit of yellow in red orange will control the saturation of the violet in the red violet. That's the sort of thing I mean when I'm saying what color does to color. There is a difference between violet and red-violet. We painters benefit from making that kind of distinction between a primary hue and a tertiary hue.
@@IntheStudioArtInstruction thank you, I will break this down so I can understand. I loved your video, really was one of the best simplely made color mixing/matching videos I have seen
Oh yes. Principles of color apply to all mediums. The technical means of the medium is always a consideration, so no, in watercolor we don't add white, but we use more water to raise the values.
I really like your videos. Just as suggestion.... have you considered changing the angle and distance of the camera? It is hard to see what is being explained. Again I really like your videos, and it is just a suggestions.
