Absolutely the best teacher ever! I learn so much from you. I just realized..im guilty of trying to copy..when what I really want to do is compose. Big difference! Thank You!
If I had an Art teacher of your calibre 50 years ago, life would have been very different for me! Just really exploring what was always an interest, but without any technical backgound, so frustrating. Thank you so much, Dianne
I love how you described being a composer of a painting instead of copying all the details - that was so helpful!!! You are a wonderful teacher and I learn so much from your videos - thank you!!! 😁
I love the way you teach and demonstrate the basics of underpainting/blocking. I see that you take time to explain in detail and it becomes very clear how and what is happening on the painting surface/ canvas. I have seen many tutorial videos on painting on youtube. But in many videos it appears that the teacher has not taken time to explain the details and it appears more of a show of that person's skill (kind of magic show) and we student are left wondering when we would reach that magical skill level. But in your video, I must agree, that you explain patiently and in detail. I hope I had teacher like you (in person training). Thank you very much for your videos like us learning remotely by watching on TH-cam. Looking forward to more such videos. God bless.
This is the single best instruction on landscape (or any subject) painting I have been lucky enough to come across in 2 years of searching! I can not thank you enough.
Hi Dianne. This was enormously helpful. No one has ever explained the block in to me before and the fact that it has to do with placement. (I also appreciate your use of music analogies such as composition in this case). Would you consider doing a quick tip of the very next step here? In other words, the intermediary step before details? What helps me most is to hear your thought process spoken aloud. Many thanks.
Thanks, Monica. I will put your request on our filming schedule. We film these several weeks in advance, so most likely, it will be mid-to-late September before it appears. Meanwhile, I do have among our hour-long lessons on the website, Series 17 called Beyond Studies. You might check out the descriptions of these lessons and see if one or some of them will do the job.
You are one the best teacher , I have a very similar photography I took in Monterey California. You made my day because I really wanted to paint this place. Now I know . Be safe.
I may be wrong, but speaking only for myself, I have never seen so much teaching in the 24 minutes and the additional wealth of informative teaching answering the questions in the comments. From my meager living, I would gladly give $25 if there was a handy way to do it with PayPal...I'd do it this minute. This "BLOCK" of information is incredibly valuable in the teaching to see and do. I wonder if you would or could have a one hour....teaching and people could pay $25. You have almost 500 likes for this one in this few days. I wonder if 100 of then (us) would pay the 25...$2,500 that one day. I am such an idea person... such a dreamer. I will be studying this QT and all the answers in the comment section a lot before I start my next painting.
Thank you for that, jjroseknows777! We have considered setting up a Patreon account for those of you who would like to help support this work, but haven't yet made a decision about doing so. I do have 140 full length lessons available for a affordable price at diannemize. com . And from time to time, I get little donations sent from PayPal to my email address - dianne.mize@gmail.com . Perhaps it's time to give more thought to income. 😊
You described the exact problem I've been having...not only in painting, but also drawing. I tend to get hung up on details before I see the larger picture and end up with a composition that lacks balance and focus. So I probably need practice blocking in and get used to seeing the whole composition. I need to squint more and stop being so fussy on the small bits. Thank you Dianne!
Please allow me to paraphrase a little story from the life of Martin Luther, the significance will be revealed in the end. He had come to a point where he exclaimed, “FINALLY, I see and FEEL the truth of God’s grace!” His colleague, almost with alarm, said, “This can’t be true! You have already written volumes about God’s grace and the book of Romans!” Martin said, “Yes, but this time it’s so much deeper!” This is how I feel about your teaching, Artist/art teacher Dianne Mize. I’ve watched you for quite a long time now, but the teaching goes into each new and deeper level of comprehension of the concept. Makes me thankful for the WAY you teach (and preach...lol) that. I have watched this 3 times now and feel a very deep level of foundation for the next picture I have begun to plan. Makes me feel like I had been building on sand No wonder I had felt the edifice shake as I moved along. Now more and more I feel a solid foundation. I also appreciate the kindness and continuing teaching as you interact with the comments. You are one in a million. Thank you.
@@IntheStudioArtInstruction I do pray to give. Sometimes I start giving and my hand starts closing up (that is the very moment I pray, Dear God, let me give, willingly, with an open heart as a sign of your love..."). Your generosity is what endears you to so many...well, right after your talent. There are not many, don't you notice in the "Sponsored Ads", that tell you nothing until you pay. But you give and give and give. There may be those who say that you're a fool not to "monetize" more - but you will have more stars in your crown. I'm sure (and hoping) that enough people succeed and BUY your wares...until then, we starving artists must settle with throwing flowers at your feet. (LOL and many blessings on your head!) You may want to ask, "REAL flowers or flowery speeches??!!" Well, both! Again LOL
Excellent tutorial on blocking and clarifying why you want to start with a block in for placement and composition. Your color mixing is on point as well, something that I struggle with. Thank you for a great, step by step video!
I AM THE ARTIST AND I CHOOSE TO MAKE IT THAT WAY! CAN WE ALL WEAR THAT SHIRT?!!! I SIMPLY LOVE YOU THANK YOU FOR POSTING SUCH AN AWESOME CHANNEL MAY GOD BLESS YOU!!!! XOXOXO
omg so many useful tips and explanations from such a wise lady. Thank you very much. I´m learning digital painting, and this kind of conceptualization even if traditional helps SO MUCH. Like she explains technical aspects right to the point .
Very well done, informative. As always, I appreciate how you nail the concepts, the big picture, in this case: placement --> composition. Thank you, Dianne.
You are a treasure for this beginner! Such clear and concise information, given in a pleasant manner. Your voice reminds me of what Hawkeye Peirce's mother would have sounded like, on the t.v. show M.A.S.H., as the voice narrating his father's letters had the same soothing accent as you, but in a man's voice, of course. Blessings from Texas!
Love your quick tips. This was very helpful to me. Your sky is beautiful and could stay just the way it is as a finished sky. Thank you for your expertise.
Thank you once again for another extremely helpful and very clear explanation of blocking in. Your directional use of the brush too! Thank you very much Dianne.
New to your channel and a quick subscriber! One thing I really appreciate is that you explain why you do certain things; it really helps to adapt a technique when you know the reason behind it!
Brilliant thank you so much you have a lovely way of explaining and showing how to paint, as a beginner I don't always get where to start... this answers the question.
Thank you so much Dianne! This is such an excellent resource! So many tips in one. Many thanks. Your paintings on your website are just lovely. I hope to learn lots more from your channel:)
A painting has a better chance of being successful when it is created general to specific rather than piecemeal. The block in puts the colors and values in their right places so that the images can be built within them.
Dianne, again you have imparted to all us viewers vital information in a clear, concise way. I hope you don't mind my asking two short but technical questions. Firstly: I assume you sprayed the canvas or canvas page first with your little bottle? I have been using a formula of half OMS and half linseed oil. I don't have poppyseed oil but I do have walnut oil. Will that do? Secondly, the single aperture in my spritzer gets clogged. Does your have more than one hole and does it matter? Thanks again for all your helpful tips and for clarifying things for us in the Comments section.
First, yes, walnut oil will work. It's important though to be sure to wipe down the canvas so that it is barely damp. To prevent clogging, get those little spritz bottles that have caps and keep the bottle capped between uses. Also, use an adsorbent tissue or paper towel to thoroughly wipe the nozzle before capping.
@@IntheStudioArtInstruction So, one hole is enough? I hope you'll have the time to answer my other question re continuing the block-in until the painting is finished and/or how to re-wet the block-in after the canvas is completely dry. (Where I live it can dry overnight.) Many thanks.
I very much appreciate you and your sharing of knowledge and instruction. It helps me tremendously in my quest to become a decent Artist! Thank you kindly!!☺️
I have to say you are not only an excellent teacher, but wise. Your experience shows through as you explain use of the medium. It's one thing to be smart, another to have wisdom. I like you no fluff presentation style without the dramatic bells and whistles of many videos. I may have commented earlier about the alla prima approach. I attempted it but found myself lost in the goop. It may not be for me. I have to learn patience with this medium. In watercolor I have immediate satisfaction. I am used to the pace. The sprint vs the stroll is my issue. Do you have any videos about starting with the medium and ways to "deal" with it? Methods and Materials in a way? Thx.
First, thank you Paul for your comments. Your question is one I've not received before, but certainly merits addressing. I will put it on our filming schedule. Since we film these several weeks in advance, look for it in mid-to-late September. But for the moment: For every medium, there is a learning curve of technical skills, just like in any other field. Watercolor behaves totally different from oils, for example. The priority for each painting medium should be to first learn technical control of materials and tools and that is too often omitted by "instructors". About alla prima vs. the sustained approach, the important thing is that you use the approach that works best for you.
I just won an art prize and I Waa shocked. The judge said he did not like paintings that were copied from photographs. I never knew this. The paintings were far more professional than mine so I never imagined I would win. I always compose from ideas I get but then I make it my own. Just like composers compose music so artists compose paintings. And I can't even say how one does this as for me it just happens. I think if you rely on photographs it could cramp your individual style. The composition comes from the photographer.
Congratulations on your win, Mary. Yes, composition of any visual art originates within the one who composes it, whether a photographer or from one's imagination.
Dianne, thank you for another amazing lesson. I usually do the block in focusing more on the values and not so much on the colors, I'm not sure if this is the best way to proceed. But what I was thinking is if you dilute your paint with solvents in the block in stage, or of the paint is used without any mediums. I usually do the block in somewhat diluted, but I've noticed that when painting Alla prima, this sometimes makes the second layer harder to adhere to the canvas without making a mess.
Carol, I don't use any medium past the drawing/placement stage (unless I need a passage to dry quickly, then I use only Liquin). I find it works best to control the thickness of the paint with the brush rather than to thin it with medium.
I am still confused. Can you elaborate? I did look at Cast Shadow Colors tip 283... You said that the "cast shadow would sometimes take on the color of the object...". 1) So is this artistic license that made you do the cast shadow on Tip 276 green? 2) Did you see green in the cast shadow on the sand? (Maybe it is my computer, but the shadow looks like a cooler neutralized version of the local color of sand... orange brown.) I am ASSUMING you were going to paint the shadow the way the photo hues describe. I guess it is my background in watercolor but I am thinking wouldn't it be easier to block in the cast shadow a cooler neutralized version of sand instead of putting in green and having to change it later to cool warm brown... In Tip 283, I noticed you didn't put cow color shadows on the grass.. (well maybe you added some later but why is the main color green for this situation and sand situation different? Sorry to bother you again this is driving me crazy.
In Quick Tip 276, the cast shadow on the sand should not have leaned so heavily towards green, but more towards low intensity purple. You might call this artistic license, but it's really my not paying close enough attention to what the hue was doing while giving attention to the process I was teaching. But, this is a block-in phase. In the next phase, I would have caught that and adjusted it, especially nearer to where the cast shadow gets closer to the not-shadow of the sand. In watercolor, I would have been more careful about that. Oil has the advantage of being able make adjustments that watercolor does not have. You have a sharp eye to have paid attention to that.
Great explanation. I wonder if you ever do both a Notan and a block-in or do you choose one technique in favor of the other. How do you decide which to use.?
After placing the preliminary drawing, I always set the notan as the foundation for the light/shadow pattern as created by the location of the light source. I use the notan for then building the block in. They belong together in the painting process.
🤗 I do watercolor, too and I still always find ways her tips apply to what I'm doing. Sometimes I do quick studies with gouache for my block in & then I'm working pretty much like oil and it gives me a chance to do a couple small variations on the painting before switching over to watercolor
Yes. As I've said many times, the basic principles are the same regardless of the medium. Once you understand how the medium behaves, you then know how to apply the concept.
Lesa5228, when I show these techniques, I'm not aiming towards doing a painting, just showing a skill, so these demonstrations usually get tossed after the Quick Tip is done.
Oh that’s a shame! I so wanted to see the finished painting. I live by the beach and have had problems with painting sand. I have just watched your colour matching video and it helped me a lot. Thank you so much for your videos. Moira (from Australia).
Thank you for sharing the wonderful and valable explanation and demo. GEnerally the block should very detailed or small piece or just high-level large areas (less than 10)? I saw someone has more than 20 or 30 small blocks, even one block for a small rock, what do you think this way or you recommend the detailed blocking? Thanks.
Painters have different approaches, but the master painters always save detail until after major shapes are blocked-in. This is to keep color harmony and overall unity within the painting.
That is such a great way to start this subject! I would love to see how it could be developed without doing all the grasses in detail but giving the correct idea. Do you have any videos which might address this Diane. Thank you for these great tips and demos!
Kathy, to do that is purely technical. Scan down through my Quick Tip titles for ones having to do with brush work and I think you will discover the answer to your question. You can find the complete list at th-cam.com/users/IntheStudioArtInstructioncommunity
Two ways: With oils, you can allow the paint to set up a bit, or during the block in, you put down just enough paint to cover the surface, but not at all thick, then you can easily add details by angling your brush while applying the paint.
I'm loving this woman's energy and confidence!
Thanks!
I second the comment down below, that you are a wonderful teacher, teaching the basics in such a way that is understandable to us newbies! Thank you!
Wow, thank you!
Absolutely the best teacher ever! I learn so much from you. I just realized..im guilty of trying to copy..when what I really want to do is compose. Big difference! Thank You!
You can do it!
I agree
One of the best lessons on painting i have found on YT.
Thanks! These are fun to do.
If I had an Art teacher of your calibre 50 years ago, life would have been very different for me! Just really exploring what was always an interest, but without any technical backgound, so frustrating. Thank you so much, Dianne
Marian, I am delighted to help fill in the gaps.
I love how you described being a composer of a painting instead of copying all the details - that was so helpful!!! You are a wonderful teacher and I learn so much from your videos - thank you!!! 😁
Thanks. It's a pleasure to share these.
That was such a clear explanation and simplifies the painting process. Thank you for yet another great quick tip. Very helpful!
My pleasure, as always. Thanks for watching.
I so enjoy your tips , you have taught me a great deal that I previously did not understand.
Your blocking in is better than my final paintings! 🙂
I doubt that!
LOL... Still I know what you mean. I was thinking so, too!
I always block in, but never thought about what you refer to as scanning ... thanks so much for this tip!!!
My pleasure. Thanks for watching.
I just found you channel yesterday and I’m already in love !!!
Great! Welcome aboard!
I love the way you teach and demonstrate the basics of underpainting/blocking. I see that you take time to explain in detail and it becomes very clear how and what is happening on the painting surface/ canvas. I have seen many tutorial videos on painting on youtube. But in many videos it appears that the teacher has not taken time to explain the details and it appears more of a show of that person's skill (kind of magic show) and we student are left wondering when we would reach that magical skill level. But in your video, I must agree, that you explain patiently and in detail. I hope I had teacher like you (in person training). Thank you very much for your videos like us learning remotely by watching on TH-cam. Looking forward to more such videos. God bless.
Thanks so much Aschin.
Greatest teaching you have easily and professional. Love you Chanel. Thanks
Thanks. It's a pleasure to do these.
This is the single best instruction on landscape (or any subject) painting I have been lucky enough to come across in 2 years of searching! I can not thank you enough.
Wow, thank you!
Hi Dianne. This was enormously helpful. No one has ever explained the block in to me before and the fact that it has to do with placement. (I also appreciate your use of music analogies such as composition in this case). Would you consider doing a quick tip of the very next step here? In other words, the intermediary step before details? What helps me most is to hear your thought process spoken aloud. Many thanks.
Thanks, Monica. I will put your request on our filming schedule. We film these several weeks in advance, so most likely, it will be mid-to-late September before it appears. Meanwhile, I do have among our hour-long lessons on the website, Series 17 called Beyond Studies. You might check out the descriptions of these lessons and see if one or some of them will do the job.
You are one the best teacher , I have a very similar photography I took in Monterey California. You made my day because I really wanted to paint this place. Now I know . Be safe.
Happy to help!
I may be wrong, but speaking only for myself, I have never seen so much teaching in the 24 minutes and the additional wealth of informative teaching answering the questions in the comments. From my meager living, I would gladly give $25 if there was a handy way to do it with PayPal...I'd do it this minute. This "BLOCK" of information is incredibly valuable in the teaching to see and do. I wonder if you would or could have a one hour....teaching and people could pay $25. You have almost 500 likes for this one in this few days. I wonder if 100 of then (us) would pay the 25...$2,500 that one day. I am such an idea person... such a dreamer. I will be studying this QT and all the answers in the comment section a lot before I start my next painting.
Thank you for that, jjroseknows777! We have considered setting up a Patreon account for those of you who would like to help support this work, but haven't yet made a decision about doing so. I do have 140 full length lessons available for a affordable price at diannemize. com . And from time to time, I get little donations sent from PayPal to my email address - dianne.mize@gmail.com .
Perhaps it's time to give more thought to income. 😊
You described the exact problem I've been having...not only in painting, but also drawing. I tend to get hung up on details before I see the larger picture and end up with a composition that lacks balance and focus. So I probably need practice blocking in and get used to seeing the whole composition. I need to squint more and stop being so fussy on the small bits. Thank you Dianne!
Yep, it makes all the difference in the world when you approach your painting process from general to specific.
These tips have inspired me a lot! Thank you so much and I really appreciated it!
My pleasure. Enjoy the journey.
Please allow me to paraphrase a little story from the life of Martin Luther, the significance will be revealed in the end. He had come to a point where he exclaimed, “FINALLY, I see and FEEL the truth of God’s grace!” His colleague, almost with alarm, said, “This can’t be true! You have already written volumes about God’s grace and the book of Romans!” Martin said, “Yes, but this time it’s so much deeper!”
This is how I feel about your teaching, Artist/art teacher Dianne Mize. I’ve watched you for quite a long time now, but the teaching goes into each new and deeper level of comprehension of the concept. Makes me thankful for the WAY you teach (and preach...lol) that.
I have watched this 3 times now and feel a very deep level of foundation for the next picture I have begun to plan. Makes me feel like I had been building on sand No wonder I had felt the edifice shake as I moved along. Now more and more I feel a solid foundation.
I also appreciate the kindness and continuing teaching as you interact with the comments. You are one in a million. Thank you.
Wow, jjroseknows777! Thank you for that. Truth is universal no matter the discipline, isn't it!
@@IntheStudioArtInstruction I do pray to give. Sometimes I start giving and my hand starts closing up (that is the very moment I pray, Dear God, let me give, willingly, with an open heart as a sign of your love..."). Your generosity is what endears you to so many...well, right after your talent. There are not many, don't you notice in the "Sponsored Ads", that tell you nothing until you pay. But you give and give and give. There may be those who say that you're a fool not to "monetize" more - but you will have more stars in your crown. I'm sure (and hoping) that enough people succeed and BUY your wares...until then, we starving artists must settle with throwing flowers at your feet. (LOL and many blessings on your head!) You may want to ask, "REAL flowers or flowery speeches??!!" Well, both! Again LOL
Thank you for sharing. I wasn't ever clear about how to do this.
Have fun with it.
Excellent tutorial on blocking and clarifying why you want to start with a block in for placement and composition. Your color mixing is on point as well, something that I struggle with. Thank you for a great, step by step video!
You are so welcome!
Excellent tip on the scan process and the blocking in. Good instruction! Thank you Ms. Mize.
You are so welcome!
Wonderful demonstration of the necessity for the block in and the way to do it. Thank you!!
You're very welcome!
Very interesting and helpful, thank you Dianne!
You are so welcome!
That was really educational. I appreciate it. I haven't painted much and this simplified a process I've had difficulties with. Thanks.
You are very welcome
I AM THE ARTIST AND I CHOOSE TO MAKE IT THAT WAY! CAN WE ALL WEAR THAT SHIRT?!!! I SIMPLY LOVE YOU THANK YOU FOR POSTING SUCH AN AWESOME CHANNEL MAY GOD BLESS YOU!!!! XOXOXO
Thanks, and thanks for being a subscriber.
thank you! you’re a wonderful teacher!
Thank you! It's a pleasure doing these.
omg so many useful tips and explanations from such a wise lady. Thank you very much. I´m learning digital painting, and this kind of conceptualization even if traditional helps SO MUCH. Like she explains technical aspects right to the point
.
Keep enjoying the journey!
Very well done, informative. As always, I appreciate how you nail the concepts, the big picture, in this case: placement --> composition. Thank you, Dianne.
My pleasure! Thanks for watching.
Love to watch the way you explained the details. 😊 Thanks.
My pleasure. Thanks for watching.
You are a treasure for this beginner! Such clear and concise information, given in a pleasant manner.
Your voice reminds me of what Hawkeye Peirce's mother would have sounded like, on the t.v. show M.A.S.H., as the voice narrating his father's letters had the same soothing accent as you, but in a man's voice, of course.
Blessings from Texas!
😊Hawkeye is one of my all-time favorite characters. Thanks, Liz!
Love your quick tips. This was very helpful to me. Your sky is beautiful and could stay just the way it is as a finished sky. Thank you for your expertise.
You are so welcome! Thanks for watching.
I just wanted to say thank you so much for all these quick tips, they really help me so much. Thank you!
My pleasure and you are so welcome!
ABSOLUTELY the best oil painting tutorial ever. Thank you so much.
Wow, thank you!
Soooo grateful for your exceptional teaching.🙏🙏🙏
You are so welcome!
How to apply the squinting vis a vis the shapes and application is the tip I needed today. Merci, Dianne :)
You are so welcome!
Dianne I really love your tutorials. Im a complete novice and Im finding your tutes so helpful! thank you
Glad you like them! Thanks for watching.
Love the idea of scanning. Never heard of that one before.
So glad to have added that one to your toolbox.
Thank you! I see how this is such a huge benefit whether working from a photo or imagination. A help in many different ways.
Have fun with it.
Always look forward for your precious tips, thank-you!
My pleasure. Thanks for watching.
Thank you once again for another extremely helpful
and very clear
explanation of blocking in. Your directional use of the brush too!
Thank you very much Dianne.
My pleasure! Glad it was helpful.
New to your channel and a quick subscriber! One thing I really appreciate is that you explain why you do certain things; it really helps to adapt a technique when you know the reason behind it!
Thanks! And welcome aboard!
Brilliant thank you so much you have a lovely way of explaining and showing how to paint, as a beginner I don't always get where to start... this answers the question.
I'm so glad! Thanks for watching.
I love hearing your explanations and the why it is the good practice. Thank you!
My pleasure. Thanks for watching!
I respect you from my heart!
Thanks.
Thank you so much Dianne! This is such an excellent resource! So many tips in one. Many thanks. Your paintings on your website are just lovely. I hope to learn lots more from your channel:)
Thanks, Belinda. It's a pleasure to do these.
thank you for teaching about composition
My pleasure. Composing paintings is one of my passions.
I had not heard of scanning. Thank you Diane.
My pleasure.
beautiful flower analogy and overall.. a beautiful explanation and painting process.thank you.
My pleasure!
I just started oil painting and i wanna know why artists block in thank you for this video miss Mize
A painting has a better chance of being successful when it is created general to specific rather than piecemeal. The block in puts the colors and values in their right places so that the images can be built within them.
A first rate video. Thank you.
You're welcome. Thanks for watching.
I really enjoyed your explanation of process. You are very clear and inspire me in my personal painting process!
Awesome! Thank you!
Dianne, again you have imparted to all us viewers vital information in a clear, concise way. I hope you don't mind my asking two short but technical questions. Firstly: I assume you sprayed the canvas or canvas page first with your little bottle? I have been using a formula of half OMS and half linseed oil. I don't have poppyseed oil but I do have walnut oil. Will that do? Secondly, the single aperture in my spritzer gets clogged. Does your have more than one hole and does it matter? Thanks again for all your helpful tips and for clarifying things for us in the Comments section.
My spritzer gets all clogged up too and have wondered how to remedy that situation...
First, yes, walnut oil will work. It's important though to be sure to wipe down the canvas so that it is barely damp.
To prevent clogging, get those little spritz bottles that have caps and keep the bottle capped between uses. Also, use an adsorbent tissue or paper towel to thoroughly wipe the nozzle before capping.
@@IntheStudioArtInstruction
So, one hole is enough? I hope you'll have the time to answer my other question re continuing the block-in until the painting is finished and/or how to re-wet the block-in after the canvas is completely dry. (Where I live it can dry overnight.) Many thanks.
I very much appreciate you and your sharing of knowledge and instruction. It helps me tremendously in my quest to become a decent Artist! Thank you kindly!!☺️
You are welcome. It's my pleasure to share these.
I have to say you are not only an excellent teacher, but wise. Your experience shows through as you explain use of the medium. It's one thing to be smart, another to have wisdom. I like you no fluff presentation style without the dramatic bells and whistles of many videos. I may have commented earlier about the alla prima approach. I attempted it but found myself lost in the goop. It may not be for me. I have to learn patience with this medium. In watercolor I have immediate satisfaction. I am used to the pace. The sprint vs the stroll is my issue. Do you have any videos about starting with the medium and ways to "deal" with it? Methods and Materials in a way? Thx.
First, thank you Paul for your comments.
Your question is one I've not received before, but certainly merits addressing. I will put it on our filming schedule. Since we film these several weeks in advance, look for it in mid-to-late September.
But for the moment: For every medium, there is a learning curve of technical skills, just like in any other field. Watercolor behaves totally different from oils, for example. The priority for each painting medium should be to first learn technical control of materials and tools and that is too often omitted by "instructors".
About alla prima vs. the sustained approach, the important thing is that you use the approach that works best for you.
Tone before texture. Got it. Tone is my scaffold and texture my expressive strokes.
👍
I remember asking this question (I think) not sure but either way you are a remarkable teacher and explained this in the best way possible !! Subbed
Thanks.
Great explanation. Very easy to understand. Thank you, Diane.
My pleasure.
Great quick tip!! I will be using going forward. Thanks Laura
You are so welcome!
Amazing . You have a gift to teacher and inspireren. Thank you very very much for your video’s.
Thank you. It's a pleasure to do these.
Thank you for your clear teaching and demonstrations!
You are so welcome!
Wow...thanks for the explanation .....💖💖💖💖
Most welcome 😊
You are wonderful. In India we call you Saraswathi, the Goddess of knowledge, wisdom, learning. I see you really so. (I am much much older than you.)
Wow! I am honored!
Thank you Dianne. Excellent tip
You are so welcome!
Great tip
Thanks.
This was so thoroughly explained. Thank you
You're so welcome!
I also want to mention, block in also helps people like me with aphantasia. If you lack a visual eye, shape the image first.
Thanks for adding this.
Thank you so much for explaining this. Makes so much sense now.
Glad it was helpful!
Thank you for sharing. I enjoy your opinions too!
My pleasure. Thanks for watching!
This is an invaluable lesson! Thank you for explaining this!
My pleasure. Thanks for watching.
I added to my comment. When we blocked in with raw umber we used values.
See my comment on your other post.
Never blocked in before but maybe that's what I have been doing wrong. Thank you so much!
Happy to help!
This was so helpful Dianne. Thank you
My pleasure.
Very nice and I found this very useful
Glad it was helpful!
@@IntheStudioArtInstruction I certainly was. Thanks
I just won an art prize and I Waa shocked. The judge said he did not like paintings that were copied from photographs. I never knew this. The paintings were far more professional than mine so I never imagined I would win. I always compose from ideas I get but then I make it my own. Just like composers compose music so artists compose paintings. And I can't even say how one does this as for me it just happens. I think if you rely on photographs it could cramp your individual style. The composition comes from the photographer.
Congratulations on your win, Mary. Yes, composition of any visual art originates within the one who composes it, whether a photographer or from one's imagination.
Dianne, thank you for another amazing lesson. I usually do the block in focusing more on the values and not so much on the colors, I'm not sure if this is the best way to proceed. But what I was thinking is if you dilute your paint with solvents in the block in stage, or of the paint is used without any mediums. I usually do the block in somewhat diluted, but I've noticed that when painting Alla prima, this sometimes makes the second layer harder to adhere to the canvas without making a mess.
Carol, I don't use any medium past the drawing/placement stage (unless I need a passage to dry quickly, then I use only Liquin). I find it works best to control the thickness of the paint with the brush rather than to thin it with medium.
@@IntheStudioArtInstruction thank you so much!
Gracias,desde Bogotá colombia
My pleasure.
Very helpful video. Very good. Thanks!
You're welcome!
Thank you!
You bet!
Very useful vid and channel 😎
Great!
Thanks very helpful
Thanks for watching.
Now i know why i am never satisfied with my painting... always wanted to copy instead of block in. Thanks a lot.
My pleasure 😊
Thank you so much. So very helpful.
You are so welcome!
Excellent lesson...can you please upload a video explaining how should we refine a picture after blocking in the major shapes??
I'll put your request on our schedule. Look for it after the first of the year, probably early February, as we film these several weeks in advance.
@@IntheStudioArtInstruction thanks a lot
Thank you for this tip, very important!
Glad it was helpful!
Thanks!
Thank YOU!
Would like to see the next steps after this.
You can watch Notan: How and Why in our list of TH-cam videos to see how I take a piece from block-in to finish.
Thank you for the example here
My pleasure.
Thank you
You're welcome
Blocking in begins at 5:19
😊
I am still confused. Can you elaborate?
I did look at Cast Shadow Colors tip 283... You said that the "cast shadow would sometimes take on the color of the object...".
1) So is this artistic license that made you do the cast shadow on Tip 276 green?
2) Did you see green in the cast shadow on the sand? (Maybe it is my computer, but the shadow looks like a cooler neutralized version of the local color of sand... orange brown.)
I am ASSUMING you were going to paint the shadow the way the photo hues describe. I guess it is my background in watercolor but I am thinking wouldn't it be easier to block in the cast shadow a cooler neutralized version of sand instead of putting in green and having to change it later to cool warm brown...
In Tip 283, I noticed you didn't put cow color shadows on the grass.. (well maybe you added some later but why is the main color green for this situation and sand situation different? Sorry to bother you again this is driving me crazy.
In Quick Tip 276, the cast shadow on the sand should not have leaned so heavily towards green, but more towards low intensity purple. You might call this artistic license, but it's really my not paying close enough attention to what the hue was doing while giving attention to the process I was teaching. But, this is a block-in phase. In the next phase, I would have caught that and adjusted it, especially nearer to where the cast shadow gets closer to the not-shadow of the sand.
In watercolor, I would have been more careful about that. Oil has the advantage of being able make adjustments that watercolor does not have.
You have a sharp eye to have paid attention to that.
Je ne parle pas anglais mais je reussi a vous comprendre a travers la gestuelle. Merci
Merci d’avoir regardé.
Great explanation. I wonder if you ever do both a Notan and a block-in or do you choose one technique in favor of the other. How do you decide which to use.?
After placing the preliminary drawing, I always set the notan as the foundation for the light/shadow pattern as created by the location of the light source. I use the notan for then building the block in. They belong together in the painting process.
Very helpful, thank you.
My pleasure.
I guess with watercolor you would do the same thing, just the opposite way round (lights blocked in first?
🤗 I do watercolor, too and I still always find ways her tips apply to what I'm doing. Sometimes I do quick studies with gouache for my block in & then I'm working pretty much like oil and it gives me a chance to do a couple small variations on the painting before switching over to watercolor
Yes. As I've said many times, the basic principles are the same regardless of the medium. Once you understand how the medium behaves, you then know how to apply the concept.
Block your first washes? Can't wait to try it!
Thanks Dianne X
My pleasure, Alan!
Do you have the follow-on video for this painting Dianne? I can’t find it in your list. The info on blocking in was really helpful. Thank you.
Lesa5228, when I show these techniques, I'm not aiming towards doing a painting, just showing a skill, so these demonstrations usually get tossed after the Quick Tip is done.
Oh that’s a shame! I so wanted to see the finished painting. I live by the beach and have had problems with painting sand. I have just watched your colour matching video and it helped me a lot. Thank you so much for your videos. Moira (from Australia).
Thank you for sharing the wonderful and valable explanation and demo. GEnerally the block should very detailed or small piece or just high-level large areas (less than 10)? I saw someone has more than 20 or 30 small blocks, even one block for a small rock, what do you think this way or you recommend the detailed blocking? Thanks.
Painters have different approaches, but the master painters always save detail until after major shapes are blocked-in. This is to keep color harmony and overall unity within the painting.
That is such a great way to start this subject! I would love to see how it could be developed without doing all the grasses in detail but giving the correct idea. Do you have any videos which might address this Diane. Thank you for these great tips and demos!
Kathy, to do that is purely technical. Scan down through my Quick Tip titles for ones having to do with brush work and I think you will discover the answer to your question. You can find the complete list at th-cam.com/users/IntheStudioArtInstructioncommunity
After you you block in the colors/values/shapes, how do you paint the details with out muddling up the colors
Two ways: With oils, you can allow the paint to set up a bit, or during the block in, you put down just enough paint to cover the surface, but not at all thick, then you can easily add details by angling your brush while applying the paint.