I absolutely love this channel. I primarily paint miniature figures with acrylic paint, but it is so difficult to find this kind of theory and information within that community. Thank you !!
This is so wonderful! This is exactly why you should have a limited palette so you can have the compliment of each plus a value line of each. That’s a lot of colors already. I never use all these extra colors I have purchased. I have really enjoyed the limited palette and it makes life so easy. Now I need a color wheel like this! Thank you.
Thank you for this tutorial! You are such a whiz with your software and I find it helpful to really see the intensity and how to match it to my reference. . As you know - I struggle with color mixing, values and saturating the hue (along with many other things). I did pause the video as you suggested to Kathleen. I practiced matching some saturations to a reference and it was the first time I really matched! . This has made it so much clearer. Some bells finally rang! LOL.
On a regular color wheel it doesn't show how to mix the complimentary to get warm and cool colors. It shows arrows to the complimentary, split complimentary etc..; but it's not explained very well. I like your explanation, and my understanding of it falls in place. Is it correct to say I can use whites and black for tinting and shading on these warm and cool colors. Thank you! ✨✨✨
Frankly, I detest those color wheel interior "computers". They cause the artist to depend upon their limp calculations. It is better to ignore them and learn to think within the wheel's arrangement of hues. One caution: for shading, black is totally neutral so doesn't give you the clarity that you can get when using a complement to create shadows.
Hi Dianne. Thanks for another great tip! I was wondering if you could show us your system for cleaning your brush while your painting. I see you using the jar next to your pallet and you appear to be twisting your brush maybe? What solvent do you use? Do you have anything other than the solvent in the jar? Is the jar attached to your case? Thanks again. You are awesome!! I also wanted to comment on series one and two of your Video Series from your website...they are extremely helpful! I am looking forward to watching the rest of them. :)
Thanks, Cathi. Yes, I think that would be a good Quick Tip to do. We will put it on the schedule, but since we film these several weeks in advance, it will be March before it comes out. Meanwhile, I have a little metal container called a brush washer attached to the side of my palette. In it is Turpenoid or Gamsol, both refined odorless mineral spirits. My habit for clearing the brush of paint is to push it under the solvent, and twist it against the side of the container. The paint then falls to the bottom of the container. The brush washer does have a trap whose purpose is for pushing the brush against to encourage the paint out of it, but I don't use it that way because it stirs up residue.
hi, Diane .. i have listened and watched so many different artists' explanations of the colorwheel and all the complexity of it all, and i keep coming back to the main reason that I feel it is so confusing.. it is like walking on a floor that keeps moving and shifting ... artists that are trying to understand one concise explanation of the color wheel, of cool vs. warm, etc. cannot find that one concise explanation, because there's really isn't one.. so much of the theories and application of them is based on perception of the artist, as well as the relation of one color next to another.. ( at least that is what it seems to be to my eyes)... so it becomes confusing , since it is constantly shifting sands, with one color in relation to the next ... i've been trying to apply some of what i can grasp , to my painting, but i also see that there just isn't a hard fast list of rules , since i have to trust my eyes and try to compare colors to one another.. hope i haven't further confused anyone ( or myself!!!! lolol) with my take on it .. i am NORAKAG on instagram , in case you would like to see my work.. thanks as always, Diane .. I really love your calm approach , and the patience and knowledge that you share with us.. happy and healthy holidays to you and yours.. cheers from new york :-))) Nora here
Diane Mize's calling yellow the warmest color seems a little different than most but the basic rules of using warm and cool remains the same. I enjoyed this Diane!
The best approach is to adopt a color thinking method that makes sense to you and ignore all the rest (even mine!). It IS perception. In the long run, it's the relationship of the colors you use and how you mix to get them that matters. I dare anybody - ANYBODY - to look at a painting and know which color system the artist used.
(Dianne here) I know the argument that calls orange or red the warmest color, but I was trained in the traditional school of color theory and so that's how my thinking works. After all, it's the relationship of colors that matters. Each artist must adapt the theory of color that makes the most sense to her/him. It doesn't matter if Lori Putman calls red the warmest hue or that James Gurney calls orange the warmest whereas I call yellow the warmest. What matters is how we each use them relationally. I agree with Richard Schmid that color temperature is a technical issue, that no color can have an intrinsic temperature; rather it's temperature is first determined by the color of light under which it is seen, and second what color sits beside or around it.
Good morning Dianne, again i cannot thank you enough for all info you have shared with us. I am learning a lot from all of it. 😊😊 would it be possible to get the color wheel you used in this video? To compare the colors are you using a special software? Thank you.
Yes. Go to diannemize.com/product/intensity-wheel-used-in-finding-the-right-color-workshop/ and add it to the cart, then check out. It's free and will be sent to you by email. My color software of choice is Artrage 6. It is made for painters so doesn't have all the bells and whistles found in Photoshop. And yes, this is the software I used for this Tip.
That's the neat thing about these Tips You can watch them for as many times as you like. Perhaps it will give you more clarity if you pause the video at the end of each little segment and just study it according to what I am saying.
Thank you Dianne, that was so informative! I think the video demonstration technique where you selected a color from the source photo and compared it to the warm and cool colors on the color wheel is a very useful skill to have and was wondering if you could advise if this was done with photoshop or did you use a different special app or program?
Thanks, James. I use a special software called Artrage 6. For painters and teachers of painting, it's more helpful than Photoshop because all its tools are related to painting, so there's no maneuvering all the bells and whistles in Photoshop.
so do you add grey or black to make the color more naturalized ( the middle of the wheal) also what are your thoughts on starting a painting in alla prima. Does it make a difference in the over all look of the painting. I feel like its just an extra step ?? !! thanks God Bless
It is best to neutralize a color with its complement because by doing so you can also have the ability to lean a hue in one direction or another whereas with using black or gray, you neutralize only the hue with which you are working.
Go to diannemize.com/product/intensity-wheel-used-in-finding-the-right-color-workshop/ then add it to the cart and check out as with any site. It is free so you won't be charged.
Let me just say that your warmth for students and teaching shines through.
Thanks for that, John.
I absolutely love this channel. I primarily paint miniature figures with acrylic paint, but it is so difficult to find this kind of theory and information within that community. Thank you !!
Glad you enjoy it!
Facinating Dianne - thank you.
Always a pleasure.
This is so wonderful! This is exactly why you should have a limited palette so you can have the compliment of each plus a value line of each. That’s a lot of colors already. I never use all these extra colors I have purchased. I have really enjoyed the limited palette and it makes life so easy. Now I need a color wheel like this! Thank you.
It's free. Go to diannemize.com and click on Free Stuff in the menu.
🙏thank you
A pleasure.
Thank you for this tutorial! You are such a whiz with your software and I find it helpful to really see the intensity and how to match it to my reference. . As you know - I struggle with color mixing, values and saturating the hue (along with many other things). I did pause the video as you suggested to Kathleen. I practiced matching some saturations to a reference and it was the first time I really matched! . This has made it so much clearer. Some bells finally rang! LOL.
Great! Ideally, this Tips are made for practice. And as you discovered, it's in the doing that we really understand it.
On a regular color wheel it doesn't show how to mix the complimentary to get warm and cool colors. It shows arrows to the complimentary, split complimentary etc..; but it's not explained very well. I like your explanation, and my understanding of it falls in place. Is it correct to say I can use whites and black for tinting and shading on these warm and cool colors. Thank you! ✨✨✨
Frankly, I detest those color wheel interior "computers". They cause the artist to depend upon their limp calculations. It is better to ignore them and learn to think within the wheel's arrangement of hues.
One caution: for shading, black is totally neutral so doesn't give you the clarity that you can get when using a complement to create shadows.
@@IntheStudioArtInstruction thank you!
Dianne this was an excellent tip. Thanks
Thanks, Alka.
An awesome lesson again, Dianne! Wish i had known earlier a lot more about about neutralizing opposite colors to decrease the saturation..
It's one of the basic principles of mixing color. So glad you found this helpful.
Hi Dianne. Thanks for another great tip! I was wondering if you could show us your system for cleaning your brush while your painting. I see you using the jar next to your pallet and you appear to be twisting your brush maybe? What solvent do you use? Do you have anything other than the solvent in the jar? Is the jar attached to your case? Thanks again. You are awesome!! I also wanted to comment on series one and two of your Video Series from your website...they are extremely helpful! I am looking forward to watching the rest of them. :)
Thanks, Cathi. Yes, I think that would be a good Quick Tip to do. We will put it on the schedule, but since we film these several weeks in advance, it will be March before it comes out. Meanwhile, I have a little metal container called a brush washer attached to the side of my palette. In it is Turpenoid or Gamsol, both refined odorless mineral spirits. My habit for clearing the brush of paint is to push it under the solvent, and twist it against the side of the container. The paint then falls to the bottom of the container.
The brush washer does have a trap whose purpose is for pushing the brush against to encourage the paint out of it, but I don't use it that way because it stirs up residue.
@@IntheStudioArtInstruction ok thats what i was experiencing too with the spiral spring thingy-ma-jig. Thanks a bunch!
For so many art Lerner's Daiana classes are the best for learning..God bless her with health
N prosperity to give us many more
Classes.
Thank you for that. (Dianne)
Amazing.. it will be helpful when i paint & thank you so much for explaining 😇👍
Always a pleasure.
hi, Diane .. i have listened and watched so many different artists' explanations of the colorwheel and all the complexity of it all, and i keep coming back to the main reason that I feel it is so confusing.. it is like walking on a floor that keeps moving and shifting ... artists that are trying to understand one concise explanation of the color wheel, of cool vs. warm, etc. cannot find that one concise explanation, because there's really isn't one.. so much of the theories and application of them is based on perception of the artist, as well as the relation of one color next to another.. ( at least that is what it seems to be to my eyes)... so it becomes confusing , since it is constantly shifting sands, with one color in relation to the next ...
i've been trying to apply some of what i can grasp , to my painting, but i also see that there just isn't a hard fast list of rules , since i have to trust my eyes and try to compare colors to one another..
hope i haven't further confused anyone ( or myself!!!! lolol) with my take on it ..
i am NORAKAG on instagram , in case you would like to see my work..
thanks as always, Diane .. I really love your calm approach , and the patience and knowledge that you share with us..
happy and healthy holidays to you and yours.. cheers from new york :-))) Nora here
Diane Mize's calling yellow the warmest color seems a little different than most but the basic rules of using warm and cool remains the same. I enjoyed this Diane!
The best approach is to adopt a color thinking method that makes sense to you and ignore all the rest (even mine!). It IS perception. In the long run, it's the relationship of the colors you use and how you mix to get them that matters.
I dare anybody - ANYBODY - to look at a painting and know which color system the artist used.
(Dianne here) I know the argument that calls orange or red the warmest color, but I was trained in the traditional school of color theory and so that's how my thinking works. After all, it's the relationship of colors that matters. Each artist must adapt the theory of color that makes the most sense to her/him.
It doesn't matter if Lori Putman calls red the warmest hue or that James Gurney calls orange the warmest whereas I call yellow the warmest. What matters is how we each use them relationally. I agree with Richard Schmid that color temperature is a technical issue, that no color can have an intrinsic temperature; rather it's temperature is first determined by the color of light under which it is seen, and second what color sits beside or around it.
In the Studio Art Instruction you are so right!! :-))
Thanks Dianne , ive noticed when you neutralize colours with their complements like shadows they look more realistic more natural , x.
Right, Alan. That's because neutralizing hue with another hue gives more vibrancy (as opposed to using black or gray).
Do you have a directory of all your numbered "Quick Fix"?
You can find the complete list at th-cam.com/play/PLvx-2GtID2b4e3ECbRvzhjJTJCYAuuN3F.html
Great tips! Thanks for sharing! Peace!
Thanks for watching.
wounderful, thank you
My pleasure. Thanks for watching.
Good morning Dianne, again i cannot thank you enough for all info you have shared with us. I am learning a lot from all of it. 😊😊 would it be possible to get the color wheel you used in this video? To compare the colors are you using a special software? Thank you.
Yes. Go to diannemize.com/product/intensity-wheel-used-in-finding-the-right-color-workshop/ and add it to the cart, then check out. It's free and will be sent to you by email.
My color software of choice is Artrage 6. It is made for painters so doesn't have all the bells and whistles found in Photoshop. And yes, this is the software I used for this Tip.
I think I am going to have to watch this one a few more times because I am so confused now.
That's the neat thing about these Tips You can watch them for as many times as you like. Perhaps it will give you more clarity if you pause the video at the end of each little segment and just study it according to what I am saying.
@@IntheStudioArtInstruction sounds like good advice...I will do that
Thank you Dianne, that was so informative! I think the video demonstration technique where you selected a color from the source photo and compared it to the warm and cool colors on the color wheel is a very useful skill to have and was wondering if you could advise if this was done with photoshop or did you use a different special app or program?
Thanks, James. I use a special software called Artrage 6. For painters and teachers of painting, it's more helpful than Photoshop because all its tools are related to painting, so there's no maneuvering all the bells and whistles in Photoshop.
Appreciate that Dianne - you're an Angel!!!
so do you add grey or black to make the color more naturalized ( the middle of the wheal) also what are your thoughts on starting a painting in alla prima. Does it make a difference in the over all look of the painting. I feel like its just an extra step ?? !! thanks God Bless
Alla Prima simply means, All At Once.
@@devandestudios128 actually it means " at first atempt" thank you !!
It is best to neutralize a color with its complement because by doing so you can also have the ability to lean a hue in one direction or another whereas with using black or gray, you neutralize only the hue with which you are working.
@@IntheStudioArtInstruction thanks so much for the reply.
Where can I get this version of the color wheel?
Go to diannemize.com/product/intensity-wheel-used-in-finding-the-right-color-workshop/ then add it to the cart and check out as with any site. It is free so you won't be charged.
Thank you so much for sharing your knowledge and the color wheel program!
Wow, I missed this one - quite a lot to digest - really informative though!
Don't try too hard. It's the doing that makes it real.
I can see that wouldn't be beneficial. 🤓
It was too much information at once and too fast...well the fact that English is not my mothertonge can influence the perception.Anyway thank you!
Watch it many times. Pause it to soak in the information. To be able to do that is one of the wonders of video.