This past year, I saw one (maybe two?) of his haystack paintings in person. All the colors he used made for a most interesting/mesmerizing/beautilful picture to view! Great demo and explanation, Dianne. You made it look doable and fun!
Hi Dianne, I love how you explained and demonstrated this. I have some pink roses in the backyard that I think I will try this with. Those colors are fabulous. Thank you for sharing. Hugs, Julie 🥰
I’m learning so much since I found you. Thank you. I don’t know if you’ve ever addressed shakiness due to age or illness. I don’t want to quit painting just because my hand shakes. Any advice would be appreciated. Thanks again
Mine does too!! Essential tremor (I’ve had it all my life). I’m new at drawing and painting, and would love to hear Dianne’s input on how to compensate. So far I’ve discovered that when drawing, my hand will shake most when I move it in certain directions. Thus turning the canvas so that all my strokes are done in the most stable direction does help to reduce shaky strokes. Whether or not that helps you, I can’t say. I also found that drawing loosely from the shoulder and elbow, as Dianne suggests, helps a lot. I sometimes use my less shaky hand/arm to prop my shakier, drawing/painting hand. I’m thinking about designing a wide mahl stick to lean my hand on for better stabilization. How that works remains to be seen. I wish you well with this, as it is a challenge 😊
I don't have enough experience with tremors and other shakiness, age-related or illness-related, to know what suggestions to make without working with you in person. Even then, I'd only be guessing. One question would be this: Does the shakiness set in when you are moving your hand slowly, or does it also happen when you are moving your hand fast? If it's less evident when your hand moves faster, gesture drawing might help. I suggest you watch Quick Tip 131 and try to do the exercises I show, especially drawing the number 5 in gesture. If you can do those without the hand shaking, that's a beginning. That Quick Tip is at th-cam.com/video/rSeh5WnbM3s/w-d-xo.html
@ The gesture drawing lesson and the blocking lesson are both helpful. When I try to draw my subject my hand is shaky. I believe the problem is in my brain. Trying so hard to draw. I’m so glad I found your lessons. Thank you again!
Wow!!! Your haystack is beautiful!! I definitely want to try this someday. As someone said previously, I would have never thought of putting those colors in the shadows, also wondering how he came up with that. I was looking at a mountain/rocks painting of Sargent’s wondering about this very thing awhile back. Does it have to do with those colors being the compliments of the red-orange-yellow colors (low saturation) in the hay? (Sargents rocks were in those hues as well).
Both Sargent and Monet understood the relationship of colors on the color wheel and used that in their paintings. You might get a deeper understanding of that of you take my free concept lesson at diannemizeacademy.com/courses/how-to-use-the-color-wheel/
Thank you for the lesson Dianne! I just don't understand what the reasoning was for Monet to put those strokes of green or purple in the haystack when such colors wouldn't actually be in the haystack?
Monet was not trying to describe the haystacks as he saw them, but to show how the relationship of colors within the Impressionist mode could express them.
I don’t think the impressionist crowd worried too much about the technical parts of it; they just painted. It would have bogged them down and sucked the life out of their work. I, on the other hand, appreciate technical lessons in spite of my lack of patience.
Elizabeth, getting the technical stuff right doesn't mean the artist gets bogged down and loses the life in painting. We work the technical stuff out like a musician works out a performance--before we are creating a painting. Knowing the technical stuff actually gives the painting more freedom of expression because it gives her/him command of the tools and materials.
@@IntheStudioArtInstructionagreed! It’s like learning how to drive. At first you have to think about everything and everyone around you very deliberately but as you get more experience you do it without noticing or it needing as much effort. Knowing the rules of art helps you get the effect you’re looking for and helps you understand why something isn’t working the way you thought and how to correct it. The masters will have had the same early driver stage as the rest of us! Sometimes we forget that the work we see is mostly their well trained, experienced, professional work, not their learning stages :)
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Thank you Dianne, its good to hear the basics explained well
You are so welcome!
I love this video, waiting for you to make a series of those great artists like Sargent, Thaulow, Zorn, Peter Mork Monsted, How do they paint. Thanks!
That's a big order!
@IntheStudioArtInstruction 😘
It sure makes me appreciate Monets paintings even more. Thank you
You are so welcome
That was really worth analyzing THANKYOU 🎉❤
You are so welcome
You are such an amazing teacher, artist and person…. You are so inspiring, knowledgeable and upbeat! It is much appreciated.
Wow, thank you!
Thank you Diane great tip.great lesson.
You are so welcome!
Haystacks are one of my favorite subjects. Now I want to attack one with this Monet approach. Thanks for bringing this out, Dianne!
Have fun with it.
This past year, I saw one (maybe two?) of his haystack paintings in person. All the colors he used made for a most interesting/mesmerizing/beautilful picture to view! Great demo and explanation, Dianne. You made it look doable and fun!
I think of all the early Impressionists, Monet understood most deeply the potential of what they were doing.
@@IntheStudioArtInstruction Food for thought while viewing the impressionists: compare to Monet.
Hi Dianne, I love how you explained and demonstrated this. I have some pink roses in the backyard that I think I will try this with. Those colors are fabulous. Thank you for sharing. Hugs, Julie 🥰
Have fun with it.
Thanks Dianne...is interesting to hear you explain these 2 masters...so appreciate your interpretation.
You are so welcome
❤Thank you Great lesson😊
Thanks.
YOU ARE SO AWESOME THANK YOU
Thank YOU! It's a pleasure.
I think that would be worth me practicing.
That was crazy interesting
Have fun with it.
I’m learning so much since I found you. Thank you. I don’t know if you’ve ever addressed shakiness due to age or illness. I don’t want to quit painting just because my hand shakes. Any advice would be appreciated. Thanks again
Mine does too!! Essential tremor (I’ve had it all my life). I’m new at drawing and painting, and would love to hear Dianne’s input on how to compensate. So far I’ve discovered that when drawing, my hand will shake most when I move it in certain directions. Thus turning the canvas so that all my strokes are done in the most stable direction does help to reduce shaky strokes. Whether or not that helps you, I can’t say. I also found that drawing loosely from the shoulder and elbow, as Dianne suggests, helps a lot. I sometimes use my less shaky hand/arm to prop my shakier, drawing/painting hand. I’m thinking about designing a wide mahl stick to lean my hand on for better stabilization. How that works remains to be seen. I wish you well with this, as it is a challenge 😊
I don't have enough experience with tremors and other shakiness, age-related or illness-related, to know what suggestions to make without working with you in person. Even then, I'd only be guessing. One question would be this: Does the shakiness set in when you are moving your hand slowly, or does it also happen when you are moving your hand fast?
If it's less evident when your hand moves faster, gesture drawing might help. I suggest you watch Quick Tip 131 and try to do the exercises I show, especially drawing the number 5 in gesture. If you can do those without the hand shaking, that's a beginning. That Quick Tip is at th-cam.com/video/rSeh5WnbM3s/w-d-xo.html
@ for me this is exactly what I wanted from you. I will follow these suggestions and very grateful for your time. Thank you so much ❤️
@ The gesture drawing lesson and the blocking lesson are both helpful. When I try to draw my subject my hand is shaky. I believe the problem is in my brain. Trying so hard to draw. I’m so glad I found your lessons. Thank you again!
Would the use of a fan brush make the application of broken color easier to accomplish?
I don't think so. The fan brush is the wrong shape to make these effective. It would create an entirely different interpretation.
Wow!!! Your haystack is beautiful!! I definitely want to try this someday. As someone said previously, I would have never thought of putting those colors in the shadows, also wondering how he came up with that. I was looking at a mountain/rocks painting of Sargent’s wondering about this very thing awhile back. Does it have to do with those colors being the compliments of the red-orange-yellow colors (low saturation) in the hay? (Sargents rocks were in those hues as well).
Both Sargent and Monet understood the relationship of colors on the color wheel and used that in their paintings. You might get a deeper understanding of that of you take my free concept lesson at diannemizeacademy.com/courses/how-to-use-the-color-wheel/
Nice lesson. Lots of color but I was dying to get some lights in that hay. Thanks! 🎨
Try the exercise and make that happen.
@@IntheStudioArtInstructionI should!!
Thank you for the lesson Dianne! I just don't understand what the reasoning was for Monet to put those strokes of green or purple in the haystack when such colors wouldn't actually be in the haystack?
Monet was not trying to describe the haystacks as he saw them, but to show how the relationship of colors within the Impressionist mode could express them.
I don’t think the impressionist crowd worried too much about the technical parts of it; they just painted. It would have bogged them down and sucked the life out of their work. I, on the other hand, appreciate technical lessons in spite of my lack of patience.
Elizabeth, getting the technical stuff right doesn't mean the artist gets bogged down and loses the life in painting. We work the technical stuff out like a musician works out a performance--before we are creating a painting. Knowing the technical stuff actually gives the painting more freedom of expression because it gives her/him command of the tools and materials.
@@IntheStudioArtInstructionagreed! It’s like learning how to drive. At first you have to think about everything and everyone around you very deliberately but as you get more experience you do it without noticing or it needing as much effort. Knowing the rules of art helps you get the effect you’re looking for and helps you understand why something isn’t working the way you thought and how to correct it. The masters will have had the same early driver stage as the rest of us!
Sometimes we forget that the work we see is mostly their well trained, experienced, professional work, not their learning stages :)