Makes sense to me...one should learn how each of our paints in the box actually looks at different values. Theses days , with cameras in phones we can view a scene in black and white. We can use this to check our colour mixing to see how far off we are in matching values or what the difference in value is between 2 colours. What I like to do is squeeze out half a tube into a graduated medical syringe and run a bead of paint at consistent thickness over a small grid under my glass palette. A line of this and a line of that will produce a mix that is simple to reproduce again and again__no guessing. You only have to fiddle around with mixing at the beginning and then you know ! This is artists learning their scales , just like musicians. Artists have to practice. You do this for each tube of paint you buy ! Cheers all
In the Studio Art Instruction but I am very thankful to you. You are one teacher in painting that truly makes sense to me. Thanks for upholding the excellence required in this art.
Best and simplest explanation of value and color! Very practical and useful! I for one don’t want to think of value “numbers” when I’m painting! Light and shadow makes the most sense! And this is why experienced painters/teachers such as this superb lady is the best to learn from! Brava!!!
I'm so glad i found these quick tips! You explain things in such an easy way to understand. Breaking things down into small steps has been very helpful. You're such a great teacher!
Who else is still confused ? even after this lengthy explanation.😳 . But you explained it very well, I’m just slow I guess. I’ll get it sooner or later, probably later it appears.😌. Love your channel! 👍
@@IntheStudioArtInstructionLet's start with his #1 problem: tying his shoes. Seriously, he didn't even bother responding to you, so it must not have been anything concerning that he was talking about.
Dianne, wonderful videos! I've been studying art all my life and really enjoyed the way you break down your thoughts and deliver the information. Keep doing what you're doing! We love it!
I think this question may have come up elsewhere, Dianne, but I can’t find it if so - I’m wondering how you would make that light red hue for the rose in light? If you add white it’ll go pink, and if you add say a touch of light yellow it would go orange...I always puzzle over how to lighten reds (unless you have a very light, ready-made tube red on standby?).
So glad you found it. If you ever are searching for a solution or answer, feel free to suggest the subject for a Quick Tip and I will find a way to address it.
I have been painting myself for many years only self taught and there have been so many questions I have wanted to know about colour value, setting up pallets correctly, mixing colours - fantastic teacher and so informative in a clear way.
Thank you Diane! It was my request! I tried viewing my subject through red plastic film, but I think it was too dark, because I could hardly see anything through it. I will certainly throw out that stupid value scale.
Veronica, I'll be happy to address these, but it would be good if you would ask a specific question concerning perception and drawing cubes? What would you like to see me show you?
Thank you for your explanation of this just when I need it most. I've been struggling with a painting I'm currently working on. I think I've got it now that you simplified it in your sweet way of teaching.
Diane..I just discovered you and am I pleased. Your knowledge is founded on much experience and on the science, not just the art side of what color does in all it's myriad circumstances that we find color. I am a constant searcher for the essence of color and your methods are just what I need to bring some order to my searching. I am signing up now.
Hi. What would you recommend when in a fruit painting, a yellow in front and a green fruit behind; to make the front fruit's distance from the back fruit more pronounced when there are no shadows and the fruits are just in a small plate.
Minerva, I recommend taking your reference through the same steps I took the rose in this Quick Tip. If you can see the fruit, then it is under a light source, and there will be shadow where light rays are not hitting it. Look for that in terms of the amount of light each area is receiving, or not receiving.
It depends upon the color you are trying to lighten. Generally, the warmer colors will require a bit of yellow along with white, and the cooler colors lighten well with white alone. But sometimes, a really dark color lightens best with a lighter hue of the same color. For example, alizarin crimson lightens best with cadmium red light.
Thanks a lot dear Dianne, that was my problem too. 🌹 👍 But how do you evaluate the overall contrast of your subject? (either live, printed or imaginary). Some teachers advise not to use pure black and also no pure white. Do you support this?
Mosio, contrast begins with value. Try this: squint, then look for the darkest dark. Hold there for a moment, then switch your attention to the lightest light. Hold that for a moment then notice other values as to how dark or light they are as compared with your darkest dark and lightest light. As to some teachers advising not using pure black or white, I say rubbish. It's how we use them that counts, not WHETHER we use them. Go back to the historical masters and study how they use both black and white. Anders Zorn, John Singer Sargent and even Rembrandt, for example. The only colors artists should stay away from are those that are fugitive or a danger to their health.
Thanks a million for your comprehensive answer. 🌷🌷 As for B&W paints I talked to him again and he mentioned adding some earth pigments or chromatic black makes your ivory black deeper and reacher and slight amount of hue in white like a light pearl white is more live than pure titanium white. Again, thank you so much. 🌹
I won't try to start an argument with your teacher, but keep in mind that ivory black and pure titanium white can both add dimensions to your work. Ivory black can be added to the transparent darks to both create new color and mute their intensity. Titanium white can be tinted from the palette to keep it from making colors dull or chalky. Few tube colors, if any, will do the job alone. It's the combination that gives all of them their potential.
Yes, but often the complement will not only neutralize, but darken. Because neutralizing also reduces the amount of hue to reflect the light, it tends to darken as well.
How would I compare the value of one color to another color, for example to paint the light side of objects with the same degree of lighting? I'm having that problem now with getting the light the same on red and black grapes.
It might be helpful for you to study light and shadow. Go to my site and get the free Light to Shadow diagram. ( diannemize.com/product/light-to-shadow-diagrams/ ) Then watch the free video that shows how to find a notan in light and shadow ( diannemize.com/a-free-lesson-how-to-do-notan-based-on-shadow/ ). I think studying both of these will help solve this problem for you.
I always start with the darkest and work towards the lightest areas. In realistic painting, it is the light source that causes us to see the degree of values in the subject. Starting with the light/shadow pattern give us the overall structure so that we can more creatively express our interpretation of what we are seeing.
Makes sense to me...one should learn how each of our paints in the box actually looks at different values. Theses days , with cameras in phones we can view a scene in black and white. We can use this to check our colour mixing to see how far off we are in matching values or what the difference in value is between 2 colours. What I like to do is squeeze out half a tube into a graduated medical syringe and run a bead of paint at consistent thickness over a small grid under my glass palette. A line of this and a line of that will produce a mix that is simple to reproduce again and again__no guessing. You only have to fiddle around with mixing at the beginning and then you know ! This is artists learning their scales , just like musicians. Artists have to practice. You do this for each tube of paint you buy ! Cheers all
Like I responded to one of your other comments, Paul - I like the way you think. Thanks for sharing these ideas.
You are the only painter here in TH-cam that is truly teaching what and how to paint... In the technical sense.
Thanks. My belief is that without knowing the technical side of painting, one can't freely be expressive.
In the Studio Art Instruction but I am very thankful to you. You are one teacher in painting that truly makes sense to me. Thanks for upholding the excellence required in this art.
Best and simplest explanation of value and color! Very practical and useful! I for one don’t want to think of value “numbers” when I’m painting! Light and shadow makes the most sense! And this is why experienced painters/teachers such as this superb lady is the best to learn from! Brava!!!
Thanks, Samuel.
Hi Dianne, I think you hit the nail right on it's head, Value on Color It was very confusing up untill now. Thank you so very much!
You are so welcome. Have fun with it.
You are lovely and your presentations are wonderful. Thank you
And thank YOU.
Thank you for keeping these available. What a treasure
Our pleasure!
I'm so glad i found these quick tips! You explain things in such an easy way to understand. Breaking things down into small steps has been very helpful.
You're such a great teacher!
Thanks so much. Keep enjoying the journey.
Who else is still confused ? even after this lengthy explanation.😳 . But you explained it very well, I’m just slow I guess. I’ll get it sooner or later, probably later it appears.😌. Love your channel! 👍
What confused you, Joey!
@@IntheStudioArtInstructionLet's start with his #1 problem: tying his shoes. Seriously, he didn't even bother responding to you, so it must not have been anything concerning that he was talking about.
@@IntheStudioArtInstruction I loved your explanation but became lost on just how you made the light and shadow colors from the red and green?
Great teacher, love your tutorials, have learned a lot from you. Thank you
My pleasure to help.
Dianne, wonderful videos! I've been studying art all my life and really enjoyed the way you break down your thoughts and deliver the information. Keep doing what you're doing! We love it!
Thanks! It's a pleasure for me to share these.
I think this question may have come up elsewhere, Dianne, but I can’t find it if so - I’m wondering how you would make that light red hue for the rose in light? If you add white it’ll go pink, and if you add say a touch of light yellow it would go orange...I always puzzle over how to lighten reds (unless you have a very light, ready-made tube red on standby?).
The problem is that you added too much yellow. It doesn't take much--all you are doing is putting warmth back into the white.
you have no idea how hard i searched for this answer. thank you so much.
So glad you found it. If you ever are searching for a solution or answer, feel free to suggest the subject for a Quick Tip and I will find a way to address it.
I have been painting myself for many years only self taught and there have been so many questions I have wanted to know about colour value, setting up pallets correctly, mixing colours - fantastic teacher and so informative in a clear way.
It's a pleasure to do these. I hope you can find among them most of the answers to your questions.
Thank you Diane! It was my request! I tried viewing my subject through red plastic film, but I think it was too dark, because I could hardly see anything through it. I will certainly throw out that stupid value scale.
Thanks for that request. It made a good subject for a Quick Tip. I'm glad you found it helpful. (Dianne)
Yes, thank you for requesting this one - invaluable info, Dianne - thank you SO much!
I learned a lot watching your videos!thank you👍
My pleasure.
Love your tutorials, hoping to see new ones, especially on perception and drawing cubes
Veronica, I'll be happy to address these, but it would be good if you would ask a specific question concerning perception and drawing cubes? What would you like to see me show you?
How wonderfully explained!!
Thanks! Have fun with it.
Thank you for your explanation of this just when I need it most. I've been struggling with a painting I'm currently working on. I think I've got it now that you simplified it in your sweet way of teaching.
Wonderful! I'm always delighted when something I teach yields an ah ha moment.
Thanks Dianne!! Everything that’s make sense for me, now I start to understand values and what color need to mix and use for shadow!!!
Great! With a lot of practice, this will become automatic.
These videos are just amazing
Thanks.
Thank you so much for this Dianne! :-)
You are so welcome!
Diane..I just discovered you and am I pleased. Your knowledge is founded on much experience and on the science, not just the art side of what color does in all it's myriad circumstances that we find color. I am a constant searcher for the essence of color and your methods are just what I need to bring some order to my searching. I am signing up now.
Super!
That was extremely helpful and answered many questions. Thanks!
Great! Thanks for watching.
Such great explanation,Dianne. Thank You so much!!!
My pleasure. Thanks for watching.
Really getting a lot out of the channel.
Thanks for all you do
My pleasure!
Thank you, that was very helpful!
My pleasure.
Lady,you are wandeful,thanks !
:)
Excellent tips!
Thanks!
Hi. What would you recommend when in a fruit painting, a yellow in front and a green fruit behind; to make the front fruit's distance from the back fruit more pronounced when there are no shadows and the fruits are just in a small plate.
Minerva, I recommend taking your reference through the same steps I took the rose in this Quick Tip. If you can see the fruit, then it is under a light source, and there will be shadow where light rays are not hitting it. Look for that in terms of the amount of light each area is receiving, or not receiving.
Great tip diane..looking forward to tryin it out
I think you'll be enlightened.
Thank you. Most helpful as always.
And as always, my pleasure.
very helpful! thank you.
You're welcome!
Good day. What color or colors are used to make a particular value read lighter or darker in a painting. Thank you 😊
It depends upon the color you are trying to lighten. Generally, the warmer colors will require a bit of yellow along with white, and the cooler colors lighten well with white alone. But sometimes, a really dark color lightens best with a lighter hue of the same color. For example, alizarin crimson lightens best with cadmium red light.
I love using one red to lighten another red.
You are so interesting, thank you.
How about a tip on backgrounds?
I'll put tips on backgrounds on our schedule. Stay tuned.
Thanks for this tip on values. My question is can you take some time to show how to use values to create depth. Thank you
We do that with gradation. I will put this on our schedule.
Would you say the light 5 shades of grey are in light and the darker 5 shades are in dark or would 5 and 6 be the turning shades?
With a 10-degree value scale, yes, 5 and 6 are the transition values.
That helped very much, thank you
You're welcome!
Thank you for sharing your experience with us!
My pleasure.
Great explanation
😇
Thank you. Helpful.
My pleasure.
Thank you!!
My pleasure.
Thank you 😊
You're welcome 😊
THANK YOU!
You bet!
Thanks a lot dear Dianne, that was my problem too. 🌹 👍
But how do you evaluate the overall contrast of your subject? (either live, printed or imaginary). Some teachers advise not to use pure black and also no pure white. Do you support this?
Mosio, contrast begins with value. Try this: squint, then look for the darkest dark. Hold there for a moment, then switch your attention to the lightest light. Hold that for a moment then notice other values as to how dark or light they are as compared with your darkest dark and lightest light.
As to some teachers advising not using pure black or white, I say rubbish. It's how we use them that counts, not WHETHER we use them. Go back to the historical masters and study how they use both black and white. Anders Zorn, John Singer Sargent and even Rembrandt, for example. The only colors artists should stay away from are those that are fugitive or a danger to their health.
Thanks a million for your comprehensive answer. 🌷🌷
As for B&W paints I talked to him again and he mentioned adding some earth pigments or chromatic black makes your ivory black deeper and reacher and slight amount of hue in white like a light pearl white is more live than pure titanium white.
Again, thank you so much. 🌹
I won't try to start an argument with your teacher, but keep in mind that ivory black and pure titanium white can both add dimensions to your work. Ivory black can be added to the transparent darks to both create new color and mute their intensity. Titanium white can be tinted from the palette to keep it from making colors dull or chalky. Few tube colors, if any, will do the job alone. It's the combination that gives all of them their potential.
Thank you 🌹
😊
Thank you
You're welcome 😊
I’m kinda surprised you added green to red to make it darker - doesn’t that neutralize the color?
Yes, but often the complement will not only neutralize, but darken. Because neutralizing also reduces the amount of hue to reflect the light, it tends to darken as well.
So gooood💖
Thanks.
Hei :) Can i say shallow value is high dark ?
Sure. Call it anything to help you visualize its value.
How would I compare the value of one color to another color, for example to paint the light side of objects with the same degree of lighting? I'm having that problem now with getting the light the same on red and black grapes.
It might be helpful for you to study light and shadow. Go to my site and get the free Light to Shadow diagram. ( diannemize.com/product/light-to-shadow-diagrams/ ) Then watch the free video that shows how to find a notan in light and shadow ( diannemize.com/a-free-lesson-how-to-do-notan-based-on-shadow/ ). I think studying both of these will help solve this problem for you.
Thank you. I've never seen diffused light explained.
:)
Great videos
Thanks!
Do you always start with the lightest and the darkest parts and go from there?
I always start with the darkest and work towards the lightest areas. In realistic painting, it is the light source that causes us to see the degree of values in the subject. Starting with the light/shadow pattern give us the overall structure so that we can more creatively express our interpretation of what we are seeing.
Thank you 😊
My pleasure.