I wish clones of Ms. Miz were the only teacher I'd had in every school or class I've ever been in. So patient and dedicated and chill and quietly passionate. Total opposite of most of the teachers I've had, most of whom didn't care about their subject.. and had no passion, also so many of them were cranky
One of my big dreams was to go back to collage and study painting . And here I am , attending your classes and learning from the best of the best . Thank you so much Dianne for making my dream come true 💐
I am learning art through books and TH-cam but in watercolours and pastels, so I often wonder what I am doing watching your videos. It must be because you are a brilliant teacher! This is a great example of how you answer a difficult question with just the right depth, clearly and with demonstration. Thanks so much!
jjroseknows777 sorry for my use or misuse of “Peaks my interest” while I don’t feel the need to clearly explain, I will say that she is interesting enough in her quick tips, to make me want to go to her web site to learn more about her and her work as an artist.
@@jjroseknows777 "Pique" comes from French , "to prick " or 'irritate". "Peak" comes from a varient of a dialect form, "pick" or "pointed" and as an intransitive verb can mean "raise to the highest level". Pique has a connotation of high arousal . FYI for your future use. No offence intended
As a beginner painter this was like when math clicked for the first time in college. My brain struggled with the terminology but I think I really understand this so much better. Omg and I had no idea my favorite painting effect was called luminism either! Thank you!
You're an amazing teacher! I am learning so much from you watching a few quick tips just these past few days (and nights before bedtime lol) Thank you for your concise and straightforward demos and explanations. You're soo generous with your time and knowledge. I'll keep watching.
I very much like the way that you get straight to the point of the video, not spending time banging on about introducing yourself like a lot of others do…and just a brief speil at the end to subscribe…..for these reasons, and your excellent presentation, I subscribed. Thankyou kindly.
Thankyou Diane so much , these quick tips and videos are the best really and such a help in understanding colour . I try to memerise hue, value ,saturation Amazing generosity of knowledge you give . Thankyou🙂
My pleasure! One suggestion: rather than trying to memorize hue, value and saturation, try experiencing them. It is through experiencing that real learning happens.
I loved this one, Dianne - so interesting about luminosity and would love to hear more in depth about simultaneous contrast. Thanks for another helpful Quick Tip!
Thanks, Joani. Simultaneous contrast refers to the contrasting characteristics that two colors bring out in each other when they are located side-by-side. For example, a neutralized green next to a saturated green will emphasize the saturation while at the same time the saturated green will emphasize the neutrality of the other one. OR a dark next to a light will cause both the emphasize each other.
Thank you for providing the theory and demos to help us create better art. There is so much information in each Quick tip that I can revisit any one of them and gain a more solid understanding. Enjoy your sense of humor, too. Thank you!
Very well shown. I have been using many types of media and been crafting for a long time and give tips on what I know. I genuinely enjoyed watching this. The color mixing is so important and your emphasis was great. It’s amazing what we can achieve with a few basic colors and the importance of the white color being mixed in. Many times I use black color to enhance the depth of colors then add the white as needed. You did so great. Thank you again for a great video. The contrast of colors and their affects can create magic. 🥰🦋👍🏻
Thank you so much. It was very helpful video. When I paint the sky I go for the values and I can’t reach effect I am after. But you explanation just gave me fundamental knowledge how to reach that glow in the sky. Thank you again for sharing you knowledge.
Love this lesson, thank you. This is something I've been looking at for a while but had no skill in it. I went to art college but had no lessons in technique 40 years ago. The first teacher who taught me some technique was my Chinese art teacher in the mid 80s, and due to lock-down have been revising this with the help of so many other teachers. Can't manage oil painting at the moment but just invested in some Japanese water colours and they have such a clean colour.
Unfortunately, except for the Ateliers, not much technique at all got taught 40 years ago, especially in colleges. Unfortunately, it's not much better today. But the Chinese have always been good technicians, so you are fortunate to have studied with a Chinese teacher. Regarding oil, it is just a medium like all the others. The only way it differs is technical. Admittedly, the techniques possible with watercolor are mostly foreign to oil, but the composing principles remain the same.
I am not a landscape painter. Did not know about lumosity. Listening to you explain it so simply and demonstrate it has been an experience. Will try and incorporate it into my paintings. Can luminosity be used on skin? Thank you
Thank you! I really enjoyed that! So useful. I did a fine art degree, lived in Paris for a while, loved Monet, but of course never learnt about colour in depth x❤
Hi Diane, I’m hoping you do a quick tip on this. I’m looking to improve my palette of colors and spend money on fewer higher quality paints. I’d like to follow the color wheel, but that is sometimes difficult to do when shopping online. I’d like to choose the best pigments for the entire color wheel. I’ve had an impressionist palette before, but would like your take on tube pigment choices for the entire color wheel. For example, yellow green or yellow orange or the best pigments for the primary red. I also like to differentiate between transparent and opaque pigments for these colors as well loving the strength of cobalt colors. I can’t seem to live with just one red or one blue or one yellow but like the nuance differences between cobalt and ultramarine yet many people use pthalo or anthraquinone blues. I also want to make sure I’ve got siennas and umbers for good mixing. Can you help me put together a good color mixing palette based on the color wheel with more options? It can get overwhelming and very spendy. Thanks 🌷 -Anne
Anne, I have a number of Quick Tips dealing with color mixing based on the wheel. Go to our TH-cam Channel page at th-cam.com/channels/JErPSUwVOXzRYDC4kWejnw.html , then click on Commumity and you will find the complete list of Tips. Meanwhile, it is not necessary to have a zillion colors in order to mix according to the color wheel. Go to my Quick Tip 115 to see my full palette gamut which enables me to mix any color I need. The only exception, which I rarely need, is in the red violet range and in that case if you add Quinacridone Rose and Quinacridone Violet, you'll have that covered.
Just stumbled on your quick tips-absolutely loving the way you teach - This quick tip is particularly of interest to me- I have a question about the adding of the white and red to accentuate the effect of the luminosity -is that using a slight lightening of the value ( the red and white mix) to also aid the effect or is the red and white mix also needing to stay at same value ( I struggle to compare value when the colour temperature is so different) thank-you again for acquiring such amazing knowledge and being so good at explaining it
The best way to compare values is to squint down until the values are relatively all that's visible. To your question, the lower saturation of the color plays the largest role for achieving luminosity when values are in the same range. If you do color studies of the Luminists painters' work, you can get the sense of how it works.
Hi, this video certainly puts all the light on secrets of creating luminism in a painting. I have only one doubt, how should we start such paintings- toning the canvas and the very first layers. Should we start with a bit darker value and muted tones in first layer than those in the final painting?
There are many ways to start a painting, but the best way is to do small studies of your subject before beginning the painting. My own process is outlined in a series of Quick Tips numbered 462, 463, and 464.
Value is the degree of light and dark whereas the intensity is the degree of hue saturation. In the series of Quick Tips 225-230, I have a set of exercises that might help you better understand this.
Thanks for enlightening us. Haha! Very informative. It's interesting how Kensett put two dark bushes on that glowing landmass. That's straight up contrast. Thanks again. The last ten minutes was a lesson on creating darkness? Hahaha!
Assisto suas palestras mesmo sem entender inglês, mesmo assim tiro proveito, obrigado por estar sempre transmitindo conhecimento sobre as cores. from Salvador Bahia Brasil.
Hi Dianne. This is a great tutorial. Does the illuminocity work the same in watercolour? And (at 4:10 for example) Would I just add water to the ultramarine blue to lighten it to get the similar value?
Luminosity works well in all media, including watercolor. You just use your technical knowledge of the medium and apply the principle I talk about in this Quick Tip.
Dianne thank you so much for clearing confusion about another very important aspect of painting!👌 you explain so clearly & effectively!I It really helps a lot!👌 thank you! but what happened to the video from 23:24...??.. your teachings are helping a lot!🙂.. thank you! take care and stay safe!💐
@@IntheStudioArtInstruction yes realised that later... however thank you Dianne for explaining yet another concept so clearly! thank you friend! take care and stay safe 💐
Thanks for explaining this. Found a lot of this technique when copying works of F. E. Church, who was a member of the Hudson School. Man I love those Hudson Boys. So moody. Any chance you could do a video with your thoughts on what made those guys tick?
@@IntheStudioArtInstruction I love your classes and would like to second the request for a deeper dive on the Hudson River School painters/movement please!!
Dianne, I was sthrilled and stunned with this Tip. The reason: what always impressed me about your landscapes is the ethereal quality of the light effects. I never thought I would learn how to (endeavor to) achieve such skies! Thanks so much for your endless generosity. On a different subject: what is a good substitute for a Yellow Ochre LIght pigment, which I can't seem to find where I live. What do you usually use it for or with? On a completely unrelated question -- but one that has to do, technically, with light effects and color: Is it my imagaination or are those yellow-lensed supposed 'computer glases' a hoax? I find that the yellow tint simply makes the glare from which I suffer -- much worse? In other words they don't cancel out blue light but just create a complementary color? Thanks once again for always illuminating us, Carol.
You can create yellow ochre light with cadmium yellow deep+white+purple. Rembrandt makes the yellow ochre light I use, though I admit, I'm using it less and less these days with the ability to create it with more flexibility for variations. Yellow ochre light is a light value, lowered saturation yellow orange. It is best to view color without colored lenses. The physics of color and our eyes' receptors combined together enable us to see and work with color. If you are worried about too much exposure to the computer screen, talk with your ophthalmologist for suggestions. Mine tells me to look away from the screen into the distance often.
@@IntheStudioArtInstruction Thanks, Dianne. It's not that I'm afraid of the exposure -- it's just that the glare is exceedingly uncomfortable. (The glare ight be a catarat problem.) Again, thanks for the luminosity lesson which I'm very excited about. Any hope for the plein air Quick Tip; or, is it too erly considering the restrictions.?
Only one question, or perhaps observation- your pallete has light on it but your canvas seems to be in shadow which makes it hard to see color and value working together in the demonstration.
I have cadmium scarlet and cadmium lemon yellow on my palette. Do you find that cadmium orange is important to have on the palette as well, or could I just add cad lemon to the cad scarlet and get the same orange? Thank you.
The foundations apply no matter what medium you use. Each medium has a necessary set of technical skills that are different from the foundational principles. You learn the technical skills first, then learn to use them for applying the principles.
Luminism deals only with color so is not specific to focus in a painting. Out of focus backgrounds are done by blending edges and sometimes keeping values close, but that's a universal technique, not specific to any style.
Love your videos--- THANK YOU!!! I watch you mix the colors and totally relate to the process... Major question: Do you have an easy route to "back track" to actually make enough of a color so you can actually paint with it?? So many times I get it--- just the way you are showing... but then I have trouble making the paint for the painting!! Pretty basic for me I know!!
Candace, the size of the painting and how thickly you apply the paint will determine how much you need. A good rule of thumb is to always put out more than you think you will need. If your concern is wasting paint, wouldn't you rather waste the paint than waste the painting? Same is true with mixing. Mix more than you think you will need. And make a practice of making a fresh mixture BEFORE the previous one runs out.
@@IntheStudioArtInstruction thank you so much--- you are right--- I always think of "the mix" as an experiment to find what's right.... I have to start believing I'm going to get it!! Thanks you--- it is a sort of life philosophy!!
Thank you for this informative video. It gives a whole new light to my paintings! But could you please tell me how to paint from a photo to make it more dream like or give more of an artistic character to the painting which tells a story while keeping it realistic? Sorry I am not sure if I made my question clear but I am having trouble with painting using photos as an inspiration. Painting exactly is easy. Thank you.
I wish I could wave the magic wan and give you a formula that answers your question, but that's not possible. First of all, you are asking both a technical and aesthetical question: technically, whatever medium you are working in, there are technical methods for making the medium behave the way you want it to. Learning those is necessary . Second, it is not a good idea to learn painting from photos alone. A part of translating an idea is to look for and interpret what the light is doing, especially to color. I will do a quick tip attempting to give you some guidance. Since we film these several weeks in advance, hopefully it will appear in September.
@@IntheStudioArtInstruction Hi Dianne. Thank you for another informative video. Almost on the flip side of this question, would you consider providing advice on how to create a larger studio painting from a plein air painting?
This was great, Dianne. I shared on Facebook. I've been studying Inness lately. Have you found a yellow tube color that has less tendency to turn green in skies when they hit blue? I have heard Indian yellow and yellow ochre are good choices.
Charlie!😍 How do you manage to send me quick tips on my stream that match my painting issues? OMGOSH! I am tasked with just this type of exercise! Unfortunately, I don't have the artist as my (now no longer) coach sent me a screenshot. But it is luminism and now I have the TOOLS!!!
Can I ask a question? I'm an acrylic painter, I have never used oils. I often see oil artists have big lumps of old paint on their palette. Does this ever set or can you reactivate it?
@@IntheStudioArtInstruction But despite I have been subscribed to your channel for more than one year..I haven't received any notification since about 2 months..I'm so sorry..
Hallo, luminosity is a new topic!I never stop tomlearn from you . I think in terms of dark and light and I find very difficult to distinguish the value of a color from its intensity, do you have a video about this difference? It is a cognitive problem of my brain, perhaps..Thank you very much.
Simultaneous contrast refers to colors opposite on the color wheel, yes, but more generally, it refers to two adjacent colors' ability to emphasize characteristics of each other.
@@IntheStudioArtInstruction No, I mean, in this particular tutorial you present some paintings and pull a few colors from them to imitate. But I have found the answer already: color checker app built in Mac can do that. Thank you for your answer anyway :)
Go to our website - www.diannemize.com - and click on Free Stuff in the menu where you can find several. Otherwise, if you were to choose a commercial one, be sure it is a traditional wheel like the one found here: www.cheapjoes.com/catalog/product/view/id/20372/s/color-wheel-mixing-guide-9-1-4-diameter/ One note: it is better to learn how to use the wheel rather than following those built in mixing guides.
The depth and breadth of your knowledge is matched only by your ability to teach.
Truly amazing work.
Thanks a million
I wish clones of Ms. Miz were the only teacher I'd had in every school or class I've ever been in. So patient and dedicated and chill and quietly passionate. Total opposite of most of the teachers I've had, most of whom didn't care about their subject.. and had no passion, also so many of them were cranky
I always wondered what a cranky teaching had for breakfast 😊
One of my big dreams was to go back to collage and study painting . And here I am , attending your classes and learning from the best of the best . Thank you so much Dianne for making my dream come true 💐
Wonderful! Welcome aboard!
I am learning art through books and TH-cam but in watercolours and pastels, so I often wonder what I am doing watching your videos. It must be because you are a brilliant teacher! This is a great example of how you answer a difficult question with just the right depth, clearly and with demonstration. Thanks so much!
Content and principles are not unique to any medium. The medium is just the vehicle for expressing them. Perhaps, that's why...
Thank you for these quick tips. Peaks my interest, and I always visit your web site. Your a wonderful teacher!!
jjroseknows777 sorry for my use or misuse of “Peaks my interest” while I don’t feel the need to clearly explain, I will say that she is interesting enough in her quick tips, to make me want to go to her web site to learn more about her and her work as an artist.
@@jjroseknows777 "Pique" comes from French , "to prick " or 'irritate". "Peak" comes from a varient of a dialect form, "pick" or "pointed" and as an intransitive verb can mean "raise to the highest level". Pique has a connotation of high arousal . FYI for your future use. No offence intended
Thank you, Mundo De Arte. Looks like your use of "peaks" stirred a bit of a discussion 😊
As a beginner painter this was like when math clicked for the first time in college. My brain struggled with the terminology but I think I really understand this so much better. Omg and I had no idea my favorite painting effect was called luminism either! Thank you!
My pleasure. Thanks for watching.
The is super helpful. Been interested in Hudson River School painting lately and this will definitely come in handy
Great to hear!
Thank you for yet another “core of art” teaching. You are a treasure!
Thanks, Pat. I enjoy doing these.
I need a lifetime to go through your videos and learn all of this new information and techniques ❤️
Have fun!
Your explanations are so clear I think I am beginning to understand things that have always eluded me so far.
Great!
ALWAYS...Valuable content! Thank you Diane!❤️
You are so welcome!
You're an amazing teacher! I am learning so much from you watching a few quick tips just these past few days (and nights before bedtime lol) Thank you for your concise and straightforward demos and explanations. You're soo generous with your time and knowledge. I'll keep watching.
Thanks! It's a pleasure to do these.
I very much like the way that you get straight to the point of the video, not spending time banging on about introducing yourself like a lot of others do…and just a brief speil at the end to subscribe…..for these reasons, and your excellent presentation, I subscribed. Thankyou kindly.
Thanks, Christine. And welcome aboard!
Thank You Dianne , been oil painting for 30 years , never heard of the luminism movement , we never stop learning X
True. When we stop learning, we dry up.
Thank you so much Dianne. I have been wondering how to create luminosity for quite some time. This was clear and helpful, as always. Ruth
So glad it was helpful!
Thankyou Diane so much , these quick tips and videos are the best really and such a help in understanding colour .
I try to memerise hue, value ,saturation
Amazing generosity of knowledge you give . Thankyou🙂
My pleasure! One suggestion: rather than trying to memorize hue, value and saturation, try experiencing them. It is through experiencing that real learning happens.
@@IntheStudioArtInstruction Thankyou great advice 🙂
Fantastic video, I’ve heard the term but never understood until this video. Thanks for sharing and for the consistently amazing content.
My pleasure! And thanks.
I loved this one, Dianne - so interesting about luminosity and would love to hear more in depth about simultaneous contrast. Thanks for another helpful Quick Tip!
Thanks, Joani. Simultaneous contrast refers to the contrasting characteristics that two colors bring out in each other when they are located side-by-side. For example, a neutralized green next to a saturated green will emphasize the saturation while at the same time the saturated green will emphasize the neutrality of the other one. OR a dark next to a light will cause both the emphasize each other.
@@IntheStudioArtInstruction Got it, Dianne, thanks!!
You are such a wonderful teacher, I feel I learn so much on your channel. Thank you!
Thank you so much!
Loved it!Looking forward to learn more from you!! You're work is beautiful and so is your smile❤️
Thanks!
if they didnt like your joke, they should lighten up. I loved it!
😊
Again a great lesson! Thanks a lot, Dianne. It's helping me a lot in understanding how to paint.
You are so welcome!
You are a gem for making these tutorial videos for us! Glad I found you. Subscribed.
Welcome aboard!
This was as always a very informative video. Thank you.
Thanks and my pleasure!
Thank you for providing the theory and demos to help us create better art. There is so much information in each Quick tip that I can revisit any one of them and gain a more solid understanding. Enjoy your sense of humor, too. Thank you!
Thanks for watching. It's a pleasure to do these.
Thanks for the great tutorial. The lesson was well covered and really helped me understand luminosity!
Great to hear!
Thank you very much for this lesson. It's very helpful. I saw your paintings. They are beautiful. You are a great artist.
Thank you! And thanks for watching.
Very well shown. I have been using many types of media and been crafting for a long time and give tips on what I know. I genuinely enjoyed watching this. The color mixing is so important and your emphasis was great. It’s amazing what we can achieve with a few basic colors and the importance of the white color being mixed in. Many times I use black color to enhance the depth of colors then add the white as needed. You did so great. Thank you again for a great video. The contrast of colors and their affects can create magic. 🥰🦋👍🏻
Thanks, My Card Art.
Thank you for another terrific video. I love your book as well. It’ll be one I refer to and reread for years I’m sure.
Thanks Kim, and also for plugging my book.
@@IntheStudioArtInstruction You have a book! I did not know. I will buy it.
Thank you, Dianne. Great lesson!
My pleasure.
Thank you so much. It was very helpful video. When I paint the sky I go for the values and I can’t reach effect I am after. But you explanation just gave me fundamental knowledge how to reach that glow in the sky. Thank you again for sharing you knowledge.
You are so welcome! Enjoy the journey!
Love this lesson, thank you. This is something I've been looking at for a while but had no skill in it. I went to art college but had no lessons in technique 40 years ago. The first teacher who taught me some technique was my Chinese art teacher in the mid 80s, and due to lock-down have been revising this with the help of so many other teachers. Can't manage oil painting at the moment but just invested in some Japanese water colours and they have such a clean colour.
Unfortunately, except for the Ateliers, not much technique at all got taught 40 years ago, especially in colleges. Unfortunately, it's not much better today. But the Chinese have always been good technicians, so you are fortunate to have studied with a Chinese teacher.
Regarding oil, it is just a medium like all the others. The only way it differs is technical. Admittedly, the techniques possible with watercolor are mostly foreign to oil, but the composing principles remain the same.
Fascinating. Thank you Dianne
Thanks.
I am not a landscape painter. Did not know about lumosity. Listening to you explain it so simply and demonstrate it has been an experience. Will try and incorporate it into my paintings. Can luminosity be used on skin? Thank you
The warm/cool principle that creates luminosity can be used with any subject. Sargent often used it for his skin colors.
What a great lesson! Your visual examples are so clear. Thank you!
Thanks!
Thank you for another very informative video. You are an inspiration!
My pleasure, and thanks.
Thank you! I really enjoyed that! So useful. I did a fine art degree, lived in Paris for a while, loved Monet, but of course never learnt about colour in depth x❤
Yet understand how color works is key to successful painting. So glad to help here.
Thank you for all the wonderful information you give us I’m really paying attention and learning things I never knew existed
Enjoy the journey.
So very interesting and inspiring. You really can explain colors and color theory in a helpful manner. Thank you!!!
My pleasure, and thanks.
Glad I found you yesterday, great teaching, thanks from the Netherlands!
Welcome aboard!
Another great quick tip! Thank you!
My pleasure.
Albert Bierstadt is one of my favorites! Ivan Aivazovski too, wonderful oceanic scenes.
For sure.
Hi, I always appreciate your lessons. Stay safe and healthy.
Thanks. You, too.
Love this one. It really appeals to me
😊
Thank you Dianne...very helpful !!!!!
So glad!
Super! I'm going to give that a try. thank you very much, Dianne!
Have fun!
Hi Diane, I’m hoping you do a quick tip on this. I’m looking to improve my palette of colors and spend money on fewer higher quality paints. I’d like to follow the color wheel, but that is sometimes difficult to do when shopping online. I’d like to choose the best pigments for the entire color wheel. I’ve had an impressionist palette before, but would like your take on tube pigment choices for the entire color wheel. For example, yellow green or yellow orange or the best pigments for the primary red. I also like to differentiate between transparent and opaque pigments for these colors as well loving the strength of cobalt colors. I can’t seem to live with just one red or one blue or one yellow but like the nuance differences between cobalt and ultramarine yet many people use pthalo or anthraquinone blues. I also want to make sure I’ve got siennas and umbers for good mixing. Can you help me put together a good color mixing palette based on the color wheel with more options? It can get overwhelming and very spendy. Thanks 🌷 -Anne
Anne, I have a number of Quick Tips dealing with color mixing based on the wheel. Go to our TH-cam Channel page at th-cam.com/channels/JErPSUwVOXzRYDC4kWejnw.html , then click on Commumity and you will find the complete list of Tips.
Meanwhile, it is not necessary to have a zillion colors in order to mix according to the color wheel. Go to my Quick Tip 115 to see my full palette gamut which enables me to mix any color I need. The only exception, which I rarely need, is in the red violet range and in that case if you add Quinacridone Rose and Quinacridone Violet, you'll have that covered.
I've learned so much from your videos! Thank you
You are so welcome!
thank you. this is a great tip. i've been struggling for some time. this is great.
My pleasure. Thanks for watching.
Just stumbled on your quick tips-absolutely loving the way you teach - This quick tip is particularly of interest to me- I have a question about the adding of the white and red to accentuate the effect of the luminosity -is that using a slight lightening of the value ( the red and white mix) to also aid the effect or is the red and white mix also needing to stay at same value ( I struggle to compare value when the colour temperature is so different) thank-you again for acquiring such amazing knowledge and being so good at explaining it
The best way to compare values is to squint down until the values are relatively all that's visible. To your question, the lower saturation of the color plays the largest role for achieving luminosity when values are in the same range. If you do color studies of the Luminists painters' work, you can get the sense of how it works.
Hi Dianne - thank you so much! This was an outstanding Quick Tip.
Thanks.
"Let's shed some light on that one." LOL, I see what you did there. Very clever -- thanks for the laugh.
You bet!
Hi, this video certainly puts all the light on secrets of creating luminism in a painting. I have only one doubt, how should we start such paintings- toning the canvas and the very first layers. Should we start with a bit darker value and muted tones in first layer than those in the final painting?
There are many ways to start a painting, but the best way is to do small studies of your subject before beginning the painting. My own process is outlined in a series of Quick Tips numbered 462, 463, and 464.
@@IntheStudioArtInstruction Thank you so much.
Thanks Dianne! Great question from a fan, I was wondering about myself.
Glad it was helpful!
Fabulous video Dianne. Could you explain to me, what is the difference between value and intensity, please?
Value is the degree of light and dark whereas the intensity is the degree of hue saturation. In the series of Quick Tips 225-230, I have a set of exercises that might help you better understand this.
You are such an amazing teacher!
Thanks.
Wow Diane, that was a difficult one to tackle but you did it well!! Thank you!
Thanks, Donna. Give it a go and have fun with it.
Love the new camera work and editing.
🙂
Thanks for enlightening us. Haha! Very informative. It's interesting how Kensett put two dark bushes on that glowing landmass. That's straight up contrast. Thanks again. The last ten minutes was a lesson on creating darkness? Hahaha!
Thanks for watching.
Assisto suas palestras mesmo sem entender inglês, mesmo assim tiro proveito, obrigado por estar sempre transmitindo conhecimento sobre as cores. from Salvador Bahia Brasil.
Obrigado por assistir.
Thanh you a lot. I really like your lessons
You are welcome!
Super interesting! Thanks for the indepth look at luminosity.
My pleasure!
Hi Dianne. This is a great tutorial. Does the illuminocity work the same in watercolour? And (at 4:10 for example) Would I just add water to the ultramarine blue to lighten it to get the similar value?
Luminosity works well in all media, including watercolor. You just use your technical knowledge of the medium and apply the principle I talk about in this Quick Tip.
I can here your cat it pretty sweet 😊thank for your patience to teach us it’s a good idea thank ❤❤❤❤❤❤
You’re welcome 😊 By the way, you hear Charley who often makes comments while we are filming.
Thanks, I appreciate your guidance 🙏 😊 Gerry
You are so welcome.
Dianne thank you so much for clearing confusion about another very important aspect of painting!👌 you explain so clearly & effectively!I It really helps a lot!👌 thank you! but what happened to the video from 23:24...??.. your teachings are helping a lot!🙂.. thank you! take care and stay safe!💐
The video is over at 23:24. I don't know how that extra space got added in. TH-cam glitch...
@@IntheStudioArtInstruction yes realised that later... however thank you Dianne for explaining yet another concept so clearly! thank you friend! take care and stay safe 💐
Thanks for explaining this. Found a lot of this technique when copying works of F. E. Church, who was a member of the Hudson School. Man I love those Hudson Boys. So moody. Any chance you could do a video with your thoughts on what made those guys tick?
That's a good one to tackle. I'll be it on our list.
@@IntheStudioArtInstruction I truly appreciate it. Did I mention you are my favourite art teacher? Well, I am mentioning it. :)
@@IntheStudioArtInstruction I love your classes and would like to second the request for a deeper dive on the Hudson River School painters/movement please!!
Boom, hahaha your so my favourite art instructor 🤗
😊 I'll take it.
Dianne, I was sthrilled and stunned with this Tip. The reason: what always impressed me about your landscapes is the ethereal quality of the light effects. I never thought I would learn how to (endeavor to) achieve such skies! Thanks so much for your endless generosity.
On a different subject: what is a good substitute for a Yellow Ochre LIght pigment, which I can't seem to find where I live. What do you usually use it for or with?
On a completely unrelated question -- but one that has to do, technically, with light effects and color: Is it my imagaination or are those yellow-lensed supposed 'computer glases' a hoax? I find that the yellow tint simply makes the glare from which I suffer -- much worse? In other words they don't cancel out blue light but just create a complementary color? Thanks once again for always illuminating us, Carol.
You can create yellow ochre light with cadmium yellow deep+white+purple. Rembrandt makes the yellow ochre light I use, though I admit, I'm using it less and less these days with the ability to create it with more flexibility for variations. Yellow ochre light is a light value, lowered saturation yellow orange.
It is best to view color without colored lenses. The physics of color and our eyes' receptors combined together enable us to see and work with color. If you are worried about too much exposure to the computer screen, talk with your ophthalmologist for suggestions. Mine tells me to look away from the screen into the distance often.
@@IntheStudioArtInstruction Thanks, Dianne. It's not that I'm afraid of the exposure -- it's just that the glare is exceedingly uncomfortable. (The glare ight be a catarat problem.) Again, thanks for the luminosity lesson which I'm very excited about.
Any hope for the plein air Quick Tip; or, is it too erly considering the restrictions.?
Only one question, or perhaps observation- your pallete has light on it but your canvas seems to be in shadow which makes it hard to see color and value working together in the demonstration.
We had a malfunction in lighting which our filming crew didn't notice until it was too late. Hopefully, it didn't throw things off too badly.
First class instruction, as usual!
Thanks again!
I ❤️ the lessons
Thanks!
I have cadmium scarlet and cadmium lemon yellow on my palette. Do you find that cadmium orange is important to have on the palette as well, or could I just add cad lemon to the cad scarlet and get the same orange? Thank you.
As long as the red and yellow are both high saturation (and those two colors are), there's no real need for cadmium orange.
I enjoy your guides, love you 😍
Thanks!
I love your humour. But also how you can teach the foundations so it can apply to most mediums.
The foundations apply no matter what medium you use. Each medium has a necessary set of technical skills that are different from the foundational principles. You learn the technical skills first, then learn to use them for applying the principles.
Wow! You pushed me on this demo!
Good for me 🙂
You are marvelous lady ❤
Wow, thanks.
Is the Luministic technique used for painting an out of focused background?
Luminism deals only with color so is not specific to focus in a painting. Out of focus backgrounds are done by blending edges and sometimes keeping values close, but that's a universal technique, not specific to any style.
Love your videos--- THANK YOU!!! I watch you mix the colors and totally relate to the process... Major question: Do you have an easy route to "back track" to actually make enough of a color so you can actually paint with it?? So many times I get it--- just the way you are showing... but then I have trouble making the paint for the painting!! Pretty basic for me I know!!
Candace, the size of the painting and how thickly you apply the paint will determine how much you need. A good rule of thumb is to always put out more than you think you will need. If your concern is wasting paint, wouldn't you rather waste the paint than waste the painting?
Same is true with mixing. Mix more than you think you will need. And make a practice of making a fresh mixture BEFORE the previous one runs out.
@@IntheStudioArtInstruction thank you so much--- you are right--- I always think of "the mix" as an experiment to find what's right.... I have to start believing I'm going to get it!! Thanks you--- it is a sort of life philosophy!!
Nice video! But wondering if adding some foam or cloth on walls during record session could diminish the echoing sound?
Thanks for the suggestion.
Thank you for this informative video. It gives a whole new light to my paintings! But could you please tell me how to paint from a photo to make it more dream like or give more of an artistic character to the painting which tells a story while keeping it realistic? Sorry I am not sure if I made my question clear but I am having trouble with painting using photos as an inspiration. Painting exactly is easy.
Thank you.
I wish I could wave the magic wan and give you a formula that answers your question, but that's not possible. First of all, you are asking both a technical and aesthetical question: technically, whatever medium you are working in, there are technical methods for making the medium behave the way you want it to. Learning those is necessary . Second, it is not a good idea to learn painting from photos alone. A part of translating an idea is to look for and interpret what the light is doing, especially to color.
I will do a quick tip attempting to give you some guidance. Since we film these several weeks in advance, hopefully it will appear in September.
@@IntheStudioArtInstruction
Thank you for your response. I really appreciate your advice and inspirational videos!
@@IntheStudioArtInstruction Hi Dianne. Thank you for another informative video. Almost on the flip side of this question, would you consider providing advice on how to create a larger studio painting from a plein air painting?
excellent instructions again,Thank you!
You are welcome!
This was great, Dianne. I shared on Facebook. I've been studying Inness lately. Have you found a yellow tube color that has less tendency to turn green in skies when they hit blue? I have heard Indian yellow and yellow ochre are good choices.
Lynne, any yellow will work when handled correctly. You can see this in the Hudson River painters as well as the Luminists.
@@IntheStudioArtInstruction Thank you, Dianne!
Charlie!😍 How do you manage to send me quick tips on my stream that match my painting issues? OMGOSH! I am tasked with just this type of exercise! Unfortunately, I don't have the artist as my (now no longer) coach sent me a screenshot. But it is luminism and now I have the TOOLS!!!
Have fun with it!
Thank you for this vídeo. very helpful
My pleasure.
Dear Diane
Do you mix your colours first with oil then put them on the pallet ?
I do when I'm setting up value lines, but not when I'm filling the supply wells.
@@IntheStudioArtInstruction Thank you so much for your reply.
Can I ask a question?
I'm an acrylic painter, I have never used oils. I often see oil artists have big lumps of old paint on their palette. Does this ever set or can you reactivate it?
Please see Quick Tip 115 to help answer your question.
Thank you for all you do
My pleasure. Thanks for watching.
How are you darling..Happy to see you again after such a long time..Welcome back
My goodness, I've been here every week for the past five years.
@@IntheStudioArtInstruction
But despite I have been subscribed to your channel for more than one year..I haven't received any notification since about 2 months..I'm so sorry..
Hallo, luminosity is a new topic!I never stop tomlearn from you . I think in terms of dark and light and I find very difficult to distinguish the value of a color from its intensity, do you have a video about this difference? It is a cognitive problem of my brain, perhaps..Thank you very much.
I suggest you watch and do the exercises in Quick Tip 261, the set of Quick Tips 225-230 and Quick Tip 203.
@@IntheStudioArtInstruction thank you very much !!You are simple the best!
Diane, does simultaneous contrast mean colors opposite on the color wheel? Thank you in advance.
Simultaneous contrast refers to colors opposite on the color wheel, yes, but more generally, it refers to two adjacent colors' ability to emphasize characteristics of each other.
Fascinating!
Thanks.
Thank you so much ! Greetings from Germany!
My pleasure, and greetings from the limping USA.
Do you use any particular software to „pull out” the color nodes from a painting/picture?
No. When I use reference photos for either teaching or my own work, I prefer a true version, not one that has been manipulated.
@@IntheStudioArtInstruction No, I mean, in this particular tutorial you present some paintings and pull a few colors from them to imitate. But I have found the answer already: color checker app built in Mac can do that. Thank you for your answer anyway :)
Thanks so much, once again!!
My pleasure!
Not a painter, would love to know the artist and piece that you used second in this video.
Albert Bierstadt "Kern's River Valley"
Do you have a video on scrambling and what about glazing?
Allen, I think you mean "scumbling". See Quick Tips 178 and 155.
Does anyone have a link to that specific color wheel?
Go to our website - www.diannemize.com - and click on Free Stuff in the menu where you can find several. Otherwise, if you were to choose a commercial one, be sure it is a traditional wheel like the one found here: www.cheapjoes.com/catalog/product/view/id/20372/s/color-wheel-mixing-guide-9-1-4-diameter/
One note: it is better to learn how to use the wheel rather than following those built in mixing guides.
Thank you very much ma'am😊😊
Most welcome 😊
I want to understand cool light warm light in painting Please
I will do a Quick Tip for you about this. We film these several weeks in advance, so it will be August before it appears.