Painting should never be stressful. Rules are just made up by humans, but there are always exceptions to them. It is best to discover how things work and make decisions accordingly.
Thank you, Diane❤ At 73+ Art & Design have defined my life and career path. With your wonderfully taught, down to earth art instruction, painting COLORS + NEUTRALS of WARM & COOL is TOTALLY understood for the FIRST time! ❤ I can hardly wait to share this with my grand daughter.❤ Heartfelt Thanks🥰 Yayi👩🎨❤️🫠
I left a comment here 11 months ago. I am amazed at how much my eye has developed in the knowledge you impart. If ever I say I have had an art teacher - I say it is you. Thank you,.Dianne. Blessings durning this arduous time.
So helpful....I thought there was something wrong with my eyes that I didn’t get the concept! The fact that it’s also “relative” helps sooo much! Thank you Dianne.
Thank you Dianne. I am reading your book ‘Finding Freedom to Create’ and it is one of the best art books I have read. Also love your courses. They are great and affordable. Thank you!
Thanks again, Dianne! I was struggling with this problem already a long time. Knew about adding a little bit of blue, or red or yellow, but this really helps in painting better midtones!
Thank you so much for your fantastic explanation, I've never understood it before and really struggled, I actually felt a little blind, but I fully understand it now. I'm looking at all the colours around me right now and can finally see which colours are warm and which are cool 😀👏 it's awesome 🙏
Great explanation... could you talk about what I have read that a traditional palette would be a selection of primaries... cold red, warm red...cold blue, warm blue... cold yellow, warm yellow. ie warm... red cadmium... cold red... Alizarin crimson. With some earth colours... could you give your view on this information I read in a book by Joseph shepherd. Thank you... love your quick tips. Regards Dave.
Dave, every professional artist has his/her own palette preference, but you can view a dozen paintings from that many palette choices and not be able to tell one palette choice from another by the results within these paintings. What's important is not so much the colors on the palette as what the artist does with them. I'm not sure you could call any palette traditional. The warm/cool primaries palette might be more akin to the traditional Impressionists, but historically, there are many traditions. Palettes evolve just as artists evolve. My personal palette is still evolving. We find colors that work best for what we are doing and those become our palette.
Great explanation! The concept of relative temperature is so true. I understand that red and yellow are warm colors, but I'd have liked a discussion as far as which is warmer. It might clear up some of the questions about the temperatures of the different blues.
Randi, that question is debatable. There are two theories- one that yellow is warmer and the other that red is. Some say that orange is warmer than both red and yellow. My individual perception is that yellow is warmer, but Lori Putman believes red is warmer. In a discussion with Eric Rhoads, she said she didn't understand why anybody would think yellow is warmer. She and I could have a discussion about that, but in the long run what matters is the how the color feels among its neighbors in a painting. You might be interested in my Quick Tip Warm Blue/Cool Blue - th-cam.com/video/24aLHane_oQ/w-d-xo.html - as well as the discussion that follows. You'll see what I'm talking about there. I suggest you follow you own individual perception.
Hi Diane, neutrals are so variable and as you. I have a real challenge with white flowers. Sometimes I actually cannot see the color, so this must mean I have entered neutral territory. Good explanation for reading neutrals. Do you think painting from life is more difficult to discern?
Candace, I wouldn't call painting from life more difficult to discern, but it does require that we have trained our eyes to see nuances. Working from photos might seem easier because the camera has nailed one instant of nature whereas painting from life, anything can change from one instant to another.
Thank you. Your are like having a personal teacher. How about about explaining the different usages of different bushes? I notice you mostly use a large flat brush most of the time.
I'm a beginner and thank you for this lesson its really helpful but I'm a little confused about cool and warm basic colors such as crimson is warm but magenta is cool, or cadmium yellow is warm, lemon yellow is cool etc. My question is can we comparison this to what you discussed about comparing to red and yellow or blue. I hope You have reached the idea,and thank you so much greetings from lebanon 🌹
No one color can be correctly characterized as "warm" or "cool" except as it relates to its fully saturated hue. For example: Alizarin as compared with a fully saturated red is a cool red, but as compared to a fully saturated red-violet is warmer. We shouldn't fret about the coolness or warmness of any color except for how it relates to another color.
Hi, I am new to painting. Please excuse me if I am asking something silly. We are usually told to consider the three factors: hue, chroma and value while mixing paint to achieve a particular effect. While the idea of hue is quite easy to understand, several times I find it difficult to separate out the chroma from value particularly while mixing greyish tones and these seem interrelated. Secondly, sometimes grey is mixed with a high chroma colour to tone it down and sometimes a complement is used. Are these two practices the same or both have their own purposes. Please help.
Chroma refers to the saturation of the hue meaning the more neutral a hue is, the less saturation there is and therefore the lower the chroma. Refer to my color wheel in Quick Tip 210 th-cam.com/video/_2v_ej733jw/w-d-xo.html , Value refers to how light or how dark a color is. So a neutralized green could be a light or a midtone or a dark value. Also Quick Tip 203 might be helpful: th-cam.com/video/F8ZDL7X24Cc/w-d-xo.html .
Often, a few days or more will go by between painting times. I've tried putting a drop of linseed oil on top of the paint on my palette to help it from drying out and a bought the Masterson palette box to store my palette between painting. Some suggest putting it in the freezer but the directions say it will crack the plastic if you try and remove the cold lid. I also read that you can mix all the leftover paint to make a gray. Do you store the gray in a glass jar? Do you have any tips on how to preserve the paint on a palette from drying out between painting sessions?
My practice is to spritz all the wet paint lightly with a 50/50 mixture of poppy oil and gamsol, the cover the entire palette with plastic wrap, being sure there are no air bubbles on the wet paint. This has worked beautifully for years.
I've heard many people who teach painting claim that Alizarin Crimson is a cool color & many others claim that it's a warm color. I understand there's a difference between it & some of the other reds such as Cad Red lt, med, etc., so that's why I'm not really sure. It's obvious how well studied you are, so which do you say it is? Thank you for your videos & hopefully a response to my question. 😊
That argument comes from modern technology. My perception tells me that Alizarin Crimson leans towards cool because it leans towards blue on the color wheel and in the spectrum. Cad red medium (also called simply Cad red by some companies) sits on the yellow side of the color wheel, so I perceive it as warmer than Alizarin.
@@IntheStudioArtInstruction So, I get it. Just like your explanation in this quick tip - if surrounded by blue, purple or cool green, Alizarin Crimson would be warm but in the midst of yellow, orange or even the cad reds, it would be cool. Thank you for responding. Your videos are always so helpful. 😊
If yellow is warm and green is cool which is yellow green mixed one to one? And the same question for red violet since they both contain a warm and cool color in its mix? If it’s say two parts yellow one part green is it then warm because there’s more yellow in the mix versus two parts green and one part yellow making it cool because there’s more green in it? Or does it simply go by the color hue meaning yellow green making it warm because the hue name starts with yellow and red violet making it warm because the hue name starts with red? I hope this makes sense!
Rhonda, think about the warm/cool principle like this: First, there must be two colors side by side (or in the vicinity of each other) for one to be cooler or warmer than the other. Second, when two colors are side by side, the one containing the most blue or learning more towards blue is cooler. There is an argument regarding red-violet and yellow-green. But in the end, it's your perception that counts.
I have learnt so much from your videos even though I'm using acrylics rather than oils. I'm trying to paint a 'white' tablecloth but am having trouble adding subtle colour variations without it looking muddy. Any tips?. Thanks.
Try juxtaposing warms and cools of the same value plus be sure your deep shadow values are dark enough. One more thing: study how John Singer Sargent used the warm/cool principle in his fabric. You can find many of Sargent's works by going to www.the-athenaeum.org/ , click on "By Artist" under the ART column, then click on S to find Sargent arranged alphabetically.
Thank you for this lesson. I know this is a very old video so you maybe won’t see this, but if you do, I still have a question. People talk about a cool red or cool yellow, and if you mix the wrong red and blue together you get a muddy purple rather than a proper purple. I still have confusion (especially with yellow if I’m honest) if I’m trying to identify whether the primary I have is cool or warm and therefore will mix better together. I hope that makes sense?
We can't really call any hue cool or warm without comparing it to other hues. When you put two hues sized by side, then you can see more easily which is cooler (if they are not the same temp). For example, a yellow that leans towards slightly towards green is cooler than a yellow that leans slightly towards orange. Hues can only lean in one of two directions according to their arrangement in the spectrum. You can use a color wheel to determine in which direction any hue can lean. You can also use the color wheel to determine which two hues will create a third hue brighter or duller. For example, it's not just a matter of the wrong red or blue to prevent getting a muddy purple. If the red leans slightly towards purple (such as alizarin crimson), then a blue that leans slightly towards green (such as thalo blue, cerulean blue, Prussian blue, etc) will give a duller purple because green is the compliment of red. But a blue such as ultramarine that leans a bit towards purple will yield a cleaner purple. I hope this helps.
In the Studio Art Instruction thank you so much for your answer, it is much appreciated. I think I am going to buy a colour wheel and then maybe that will help me. Thank you again xx
Thanks so much 🌷 🙏🏻 great qt. I still have a question about this, how can I be sure that my mixture is completely neutral? Even with having a sample, one with more experience can say that the mix is still cool/warm or leaning toward a certain color. Are there any tricks rather than training more? 😁 tysm 🙏🏻
Don't fret about it. Any neutral in isolation will feel/appear neutral, but place it against another neutral and they both will change temperature. What matters is how we use the neutrals in our work. Their role in painting can be to give harmony or to enable the eye to transition from one color area to another, or to unify (and more).
What if we have no blue? Is red equally warm as yellow? E.g. is an orange with more yellow than red warmer or colder than one with less yellow? Or are they equal in temperature
Dennis, blue is a must for the artist's palette. As to which is warmer of the colors yellow, red and orange, they all are very warm at the highest saturation. Artists and art theorists have been arguing for decades as to which is warmest. But we can't leave out that no hue functions alone. Color surrounding any other color will either emphasize it or harmonize with it.
Yes, but ... at 4:53 I don't understand why your mixture is warm, because you used a cool red (alizarin crimson), so to me it looks cool (sorry). I realise though it looks warm-er next to the 2nd sample
I agree this is still confusing. Think of the 6 color pallete, with a warm and cool version of each primary. Depending how it is mixed, for example, you might get a warm or cool purple. But I dont easily see that!
It's relative. Purple has in it both red and blue. If a cool purple is put next to a true blue (not a greenish blue or a reddish blue), it will appear warmer whereas if it is placed next to a warmer blue (one that has yellow or red in it), it could be cooler, depending upon how much warm hue is in each color. In the long run, whether a color feels warm or cool depends upon the colors that surround it.
vos vidéos sont très formatives...excellentes, dommage je comprends peu l'anglais et la traduction n'est pas formidable....mais cela aide tout de même! merci pour tout ce partage! bonne journée
True, Alizarin Crimson is considered a cool red, but mixtures of alizarin in the midst of mixtures of blue will be warmer. Temperature of colors while painting are relative to the colors surrounding them.
"The fewer rules you have in painting the better off you are going to be as a painter. Base your decisions on observations and on sound principles" - what is the difference between rules and sound principles?
Good question, Birgit. A rule is something you always abide by in theory, regardless of what you observe. A principle is a universal guide you use for discovery. For example: A rule would say "yellow is always warm" whereas a principle would say "the temperature of a color is relative to the light under which the color is located."
I finally understand what is warm and cool colour in the painting world. Very informative and comprehensive. Thank you Dianne !
My pleasure. Have fun with it.
Thank you for saying to not worry about “everyone else’s rules!” That helps in not being stressed or confused when painting!
Painting should never be stressful. Rules are just made up by humans, but there are always exceptions to them. It is best to discover how things work and make decisions accordingly.
Loved you saying, “ the less rules in painting, the better. Use observation.” My paraphrasing.
Right!
Thank you, Diane❤ At 73+ Art & Design have defined my life and career path.
With your wonderfully taught, down to earth art instruction, painting COLORS + NEUTRALS of WARM & COOL is TOTALLY understood for the FIRST time! ❤
I can hardly wait to share this with my grand daughter.❤
Heartfelt Thanks🥰
Yayi👩🎨❤️🫠
Jane, keep enjoying the journey.
Brilliant! And it's so soothing to watch you mixing the paint 😌
Thanks.
thank you so very much Dianne! and love what you added at the end about 'no rules'
Thanks. Have fun with it.
I love your teachings - I learn so much from you.
I'm so glad! Keep enjoying this journey.
I left a comment here 11 months ago. I am amazed at how much my eye has developed in the knowledge you impart. If ever I say I have had an art teacher - I say it is you. Thank you,.Dianne. Blessings durning this arduous time.
Wow, thanks. I am delighted to be your art teacher.
Thank you so much. You are an amazing teacher. I loved your comment at the end about too many rules of painting. I totally agree! Happy painting :)
Thanks! And thanks for watching.
late to the party here, but I totally agree with you. loved the final comment
Thank you for the wonderful explanation. You are the best teacher. ❤❤
Wow, thank you!
As you always do, you 'took this over the top'! THANK YOU for sharing such important ways to "see & understand".
Super. Thanks.
Thank you thank you for the pearls of wisdom. You are my dictionary to art. Love you for being soo sincere
Thanks, Alka.
So helpful....I thought there was something wrong with my eyes that I didn’t get the concept! The fact that it’s also “relative” helps sooo much! Thank you Dianne.
"Relative" is necessary to see all kinds of color relationships. I'm so glad this one gave you some clarity.
Oh Dianne! I've been watching your quick tips for a month now. You make me fall in love with painting all over again 😍
That is awesome! Thanks for watching.
Finally I see it and understand...but to SEE it is SO key! Thank you.
You are so right! Learning how to see is the first requirement for mixing colors and for all aspects of painting.
Very good explanation, I finally understood the warm and cool "issue" 😃
Fantastic!
I am stunned at how well you present this information. You took the most drab photo and made it fascinating!
Thanks!
I enjoy your lessons. Thank you for taking time to share your knowledge. I do appreciate your gift
Thanks. It's a pleasure to share.
excellent tips Dianne and very helpful. Many thanks
You bet.
Good explanation about warm and cool colors especially grays. Thank you
My pleasure. Thanks for watching.
Thank you Dianne. I am reading your book ‘Finding Freedom to Create’ and it is one of the best art books I have read. Also love your courses. They are great and affordable. Thank you!
Thanks for giving my book and courses that plug.
You explain very clear mam,thank you so much about warm & cool color.god bless
Thanks.
Thanks again, Dianne! I was struggling with this problem already a long time. Knew about adding a little bit of blue, or red or yellow, but this really helps in painting better midtones!
Super.
Thank you.... You're an awesome teacher..😊😊
Thank you! 😃
Thank you so much for your fantastic explanation, I've never understood it before and really struggled, I actually felt a little blind, but I fully understand it now. I'm looking at all the colours around me right now and can finally see which colours are warm and which are cool 😀👏 it's awesome 🙏
Great! Have fun seeing colors.
Thanks for your instruction! You explain so well and I learn so much!
My pleasure.
Thank you very much!!! You are amazing teacher!
Thanks.
very helpful! Thank you, Jeff
My pleasure.
You are a brilliant teacher 👩🎓 respect from..... Kanwal
Thanks.
u are great teacher from here in Syria thank u so much
Hello in Syria. Thanks for watching.
Thanks so… so much. I’m really lucky, I love the way you explain, I hope to meet you one day.
Enjoy the process.
I enjoyed the quick tip it was helpful to me it’s taught me a lot about warm and cool colours
Great. Thanks for watching.
Thank you, I really enjoy your informative quick tips.
My pleasure.
Great video. Excellent explanation
Thank you!
thank you!!! now I can see!
Wonderful.
Thank you so much for sharing
🙏😊
My pleasure 😊
Wonderful explanation. Again thank you!
My pleasure.
You are such a good teacher
Thanks, Audrey. It's a pleasure to do these.
You are wonderful!
Wow, thank you!
Thanks a lot for this video !! such a clear demonstration ! :D
My pleasure. Thanks for watching.
that is a very useful quick tip and very clear! Thank you 🙏 😊
My pleasure. Glad it is helpful
Thank you. I shared with my art group
Thanks.
Excellent teaching.
Thanks.
Brilliant clear explanation
Thanks.
Great explanation... could you talk about what I have read that a traditional palette would be a selection of primaries... cold red, warm red...cold blue, warm blue... cold yellow, warm yellow. ie warm... red cadmium... cold red... Alizarin crimson. With some earth colours... could you give your view on this information I read in a book by Joseph shepherd. Thank you... love your quick tips. Regards Dave.
Dave, every professional artist has his/her own palette preference, but you can view a dozen paintings from that many palette choices and not be able to tell one palette choice from another by the results within these paintings. What's important is not so much the colors on the palette as what the artist does with them.
I'm not sure you could call any palette traditional. The warm/cool primaries palette might be more akin to the traditional Impressionists, but historically, there are many traditions. Palettes evolve just as artists evolve. My personal palette is still evolving. We find colors that work best for what we are doing and those become our palette.
Great explanation! The concept of relative temperature is so true. I understand that red and yellow are warm colors, but I'd have liked a discussion as far as which is warmer. It might clear up some of the questions about the temperatures of the different blues.
Randi, that question is debatable. There are two theories- one that yellow is warmer and the other that red is. Some say that orange is warmer than both red and yellow. My individual perception is that yellow is warmer, but Lori Putman believes red is warmer. In a discussion with Eric Rhoads, she said she didn't understand why anybody would think yellow is warmer. She and I could have a discussion about that, but in the long run what matters is the how the color feels among its neighbors in a painting.
You might be interested in my Quick Tip Warm Blue/Cool Blue - th-cam.com/video/24aLHane_oQ/w-d-xo.html - as well as the discussion that follows. You'll see what I'm talking about there. I suggest you follow you own individual perception.
Hi Diane, neutrals are so variable and as you. I have a real challenge with white flowers. Sometimes I actually cannot see the color, so this must mean I have entered neutral territory. Good explanation for reading neutrals. Do you think painting from life is more difficult to discern?
Candace, I wouldn't call painting from life more difficult to discern, but it does require that we have trained our eyes to see nuances. Working from photos might seem easier because the camera has nailed one instant of nature whereas painting from life, anything can change from one instant to another.
Excellent explanation!
Thanks!
Very helpful thank you 😊 Can you make a video on how artist should observe things ?
Even though I talk about this all the time, that might make a really good Tip. I'll put your suggestion on our schedule.
You’re the best still!!
Thanks...
Thank you. Your are like having a personal teacher. How about about explaining the different usages of different bushes? I notice you mostly use a large flat brush most of the time.
Early on, we did several Quick Tips on brushes. Search for Quick Tips 70, 71 and 72.
I'm a beginner and thank you for this lesson its really helpful but I'm a little confused about cool and warm basic colors such as crimson is warm but magenta is cool, or cadmium yellow is warm, lemon yellow is cool etc. My question is can we comparison this to what you discussed about comparing to red and yellow or blue. I hope You have reached the idea,and thank you so much greetings from lebanon 🌹
No one color can be correctly characterized as "warm" or "cool" except as it relates to its fully saturated hue. For example: Alizarin as compared with a fully saturated red is a cool red, but as compared to a fully saturated red-violet is warmer. We shouldn't fret about the coolness or warmness of any color except for how it relates to another color.
Ahha I get it. Thank you 🌹
Good information. Thank you for sharing.
My pleasure.
Thank you.
My pleasure.
Hi,
I am new to painting. Please excuse me if I am asking something silly. We are usually told to consider the three factors: hue, chroma and value while mixing paint to achieve a particular effect. While the idea of hue is quite easy to understand, several times I find it difficult to separate out the chroma from value particularly while mixing greyish tones and these seem interrelated. Secondly, sometimes grey is mixed with a high chroma colour to tone it down and sometimes a complement is used. Are these two practices the same or both have their own purposes. Please help.
Chroma refers to the saturation of the hue meaning the more neutral a hue is, the less saturation there is and therefore the lower the chroma. Refer to my color wheel in Quick Tip 210 th-cam.com/video/_2v_ej733jw/w-d-xo.html ,
Value refers to how light or how dark a color is. So a neutralized green could be a light or a midtone or a dark value. Also Quick Tip 203 might be helpful: th-cam.com/video/F8ZDL7X24Cc/w-d-xo.html .
Often, a few days or more will go by between painting times. I've tried putting a drop of linseed oil on top of the paint on my palette to help it from drying out and a bought the Masterson palette box to store my palette between painting. Some suggest putting it in the freezer but the directions say it will crack the plastic if you try and remove the cold lid. I also read that you can mix all the leftover paint to make a gray. Do you store the gray in a glass jar? Do you have any tips on how to preserve the paint on a palette from drying out between painting sessions?
My practice is to spritz all the wet paint lightly with a 50/50 mixture of poppy oil and gamsol, the cover the entire palette with plastic wrap, being sure there are no air bubbles on the wet paint. This has worked beautifully for years.
I've heard many people who teach painting claim that Alizarin Crimson is a cool color & many others claim that it's a warm color. I understand there's a difference between it & some of the other reds such as Cad Red lt, med, etc., so that's why I'm not really sure. It's obvious how well studied you are, so which do you say it is? Thank you for your videos & hopefully a response to my question. 😊
That argument comes from modern technology. My perception tells me that Alizarin Crimson leans towards cool because it leans towards blue on the color wheel and in the spectrum. Cad red medium (also called simply Cad red by some companies) sits on the yellow side of the color wheel, so I perceive it as warmer than Alizarin.
@@IntheStudioArtInstruction So, I get it. Just like your explanation in this quick tip - if surrounded by blue, purple or cool green, Alizarin Crimson would be warm but in the midst of yellow, orange or even the cad reds, it would be cool.
Thank you for responding. Your videos are always so helpful. 😊
Great video
Thanks.
If yellow is warm and green is cool which is yellow green mixed one to one? And the same question for red violet since they both contain a warm and cool color in its mix? If it’s say two parts yellow one part green is it then warm because there’s more yellow in the mix versus two parts green and one part yellow making it cool because there’s more green in it? Or does it simply go by the color hue meaning yellow green making it warm because the hue name starts with yellow and red violet making it warm because the hue name starts with red? I hope this makes sense!
Rhonda, think about the warm/cool principle like this: First, there must be two colors side by side (or in the vicinity of each other) for one to be cooler or warmer than the other. Second, when two colors are side by side, the one containing the most blue or learning more towards blue is cooler.
There is an argument regarding red-violet and yellow-green. But in the end, it's your perception that counts.
I have learnt so much from your videos even though I'm using acrylics rather than oils. I'm trying to paint a 'white' tablecloth but am having trouble adding subtle colour variations without it looking muddy. Any tips?. Thanks.
Try juxtaposing warms and cools of the same value plus be sure your deep shadow values are dark enough. One more thing: study how John Singer Sargent used the warm/cool principle in his fabric. You can find many of Sargent's works by going to www.the-athenaeum.org/ , click on "By Artist" under the ART column, then click on S to find Sargent arranged alphabetically.
@@IntheStudioArtInstruction that's a great link that I had no idea exsisted! Thank you!
Thank you for this lesson. I know this is a very old video so you maybe won’t see this, but if you do, I still have a question. People talk about a cool red or cool yellow, and if you mix the wrong red and blue together you get a muddy purple rather than a proper purple. I still have confusion (especially with yellow if I’m honest) if I’m trying to identify whether the primary I have is cool or warm and therefore will mix better together. I hope that makes sense?
We can't really call any hue cool or warm without comparing it to other hues. When you put two hues sized by side, then you can see more easily which is cooler (if they are not the same temp). For example, a yellow that leans towards slightly towards green is cooler than a yellow that leans slightly towards orange. Hues can only lean in one of two directions according to their arrangement in the spectrum. You can use a color wheel to determine in which direction any hue can lean.
You can also use the color wheel to determine which two hues will create a third hue brighter or duller. For example, it's not just a matter of the wrong red or blue to prevent getting a muddy purple. If the red leans slightly towards purple (such as alizarin crimson), then a blue that leans slightly towards green (such as thalo blue, cerulean blue, Prussian blue, etc) will give a duller purple because green is the compliment of red. But a blue such as ultramarine that leans a bit towards purple will yield a cleaner purple.
I hope this helps.
In the Studio Art Instruction thank you so much for your answer, it is much appreciated. I think I am going to buy a colour wheel and then maybe that will help me. Thank you again xx
Thanks so much 🌷 🙏🏻 great qt. I still have a question about this, how can I be sure that my mixture is completely neutral? Even with having a sample, one with more experience can say that the mix is still cool/warm or leaning toward a certain color. Are there any tricks rather than training more? 😁 tysm 🙏🏻
Don't fret about it. Any neutral in isolation will feel/appear neutral, but place it against another neutral and they both will change temperature. What matters is how we use the neutrals in our work. Their role in painting can be to give harmony or to enable the eye to transition from one color area to another, or to unify (and more).
What if we have no blue? Is red equally warm as yellow? E.g. is an orange with more yellow than red warmer or colder than one with less yellow? Or are they equal in temperature
Dennis, blue is a must for the artist's palette.
As to which is warmer of the colors yellow, red and orange, they all are very warm at the highest saturation. Artists and art theorists have been arguing for decades as to which is warmest. But we can't leave out that no hue functions alone. Color surrounding any other color will either emphasize it or harmonize with it.
Merci
My pleasure.
Yes, but ... at 4:53 I don't understand why your mixture is warm, because you used a cool red (alizarin crimson), so to me it looks cool (sorry). I realise though it looks warm-er next to the 2nd sample
I agree this is still confusing. Think of the 6 color pallete, with a warm and cool version of each primary. Depending how it is mixed, for example, you might get a warm or cool purple. But I dont easily see that!
It's relative. Purple has in it both red and blue. If a cool purple is put next to a true blue (not a greenish blue or a reddish blue), it will appear warmer whereas if it is placed next to a warmer blue (one that has yellow or red in it), it could be cooler, depending upon how much warm hue is in each color. In the long run, whether a color feels warm or cool depends upon the colors that surround it.
vos vidéos sont très formatives...excellentes, dommage je comprends peu l'anglais et la traduction n'est pas formidable....mais cela aide tout de même! merci pour tout ce partage!
bonne journée
Thanks for watching.
I always thought that Alizaron Crimson was a cool red as it has blue violet in it. Is this not correct?
True, Alizarin Crimson is considered a cool red, but mixtures of alizarin in the midst of mixtures of blue will be warmer. Temperature of colors while painting are relative to the colors surrounding them.
@@IntheStudioArtInstruction thank you.
This is a very helpful video for me. Thank you Dianne
Great!
Thanks
Light bulb moment!!
Wonderful!
legend
Thanks
"The fewer rules you have in painting the better off you are going to be as a painter. Base your decisions on observations and on sound principles" - what is the difference between rules and sound principles?
Good question, Birgit. A rule is something you always abide by in theory, regardless of what you observe. A principle is a universal guide you use for discovery. For example: A rule would say "yellow is always warm" whereas a principle would say "the temperature of a color is relative to the light under which the color is located."
@@IntheStudioArtInstruction Thank you Dianne!!!