Diane, what really happens in the foreground besides temp warmer, contrast of value increased, and deeper values? I remember one artist saying he doesn't put too much interest in the immediate foreground because when the eye looks out at a landscape, or even 3 feet away, it doesn't pick up much of what is in front of that area of interest. I am looking out past my computer now at something 2 feet away, and I can barely tell you what colors are on my computer one foot in front of me, or what the shapes really look like unless I change my eye position. The periphery is a little diffuse also (but maybe that is my glaucoma lol!) The camera sees different than a person does and I want to understand this immediate foreground a little more. I notice a lot of artists kind of blur things in the very immediate foreground and put more of the color just beyond that. It is still foreground but just a little past the "you can't see what it is area." Can you elaborate? Is this a style choice or is this something I should understand better?
If you study works of artists like Bouguereau and Sargent, you'll notice that they use value contrast and placement for pulling the eye towards the center of interest. Artists use all sorts of techniques for guiding the eye. The area of a painting is much narrower than the area covered by our eyes when we're looking in the distance, so within that narrow surface we have a lot more freedom to control where the eye goes.
Amanda, go to diannemize.com , click on Free Stuff in the menu and cursor down to find it. Then add it to your cart and check out. The link for downloading a PDF of it will be in your account page and in an email you will receive.
Hi Dianne. I have been studying some of Richard Schimd's paintings such as "Still Life with Apples", White Roses, "The Last Roses" "Street Warf" and even his "Self Portrait with Doll" and I am intrigued with his use of color and movement in his backgrounds, they seem to flow with his subject. Would you consider sharing your insight into how he was able to accomplish? Is it the use of the same palette in different values and his whimsical way of applying his strokes, or is there more to it?
G Peachy, it is a combination of all this. Richard has more depth of understanding into how color behaves than any artist I know of. At the same time, he is masterful and economical with his brushwork. Between the two, he is expressing the images rather than copying them. He creates the movement by color and value contrast and placement with brushwork that moves with purpose.
Thank you for posting these quick tips. I really enjoy them and get a lot out of watching. Your teaching style is pleasant. Could we see some of your completed paintings one day?
You are so welcome! Linzi, if you go to my gallery website - www.diannemizestudio.com , you can see a collection of my paintings. It is separate from my teaching site at www.diannemize.com
As long as the surface of the canvas is just barely damp - when you test it with your fingertips, they are shiny but not wet - then no more wiping is necessary.
Value gradation and value contrast - and temperature and atmosphere in practice - great to do it like this great example using opposite colors and just three steps - red oxide transparent by Rembrandt, ultramarine blue, and a low intensity orange leaning more toward red than yellow ( to me it looked like a burned sienna light but it was a neutered mixture of transparen red oxide, I think) ) - dampening the canvas with a little bit of gamsol and poppy oil
Rembrandt Transparent Oxide Red and Burnt Sienna are very similar in hue. TOR, though, is transparent and dark whereas Burnt Sienna is more opaque and lighter in value. So when white is mixed into TOR, it resembles Burnt Sienna.
Thank you for this video. - Is it possible to dampen the canvas With linseed oil? I have not heard of the first product you suggest, and poppy oil, (here in Sweden) - that’s why I am asking.
Gamsol is an excellent solvent for thinning Gamblin mediums and for general painting. It evaporates 100% and leaves no residue in paint layers. Gamsol is less toxic than other brands of OMS (Odorless Mineral Spirits), mineral spirits, or turpentine because the harmful aromatic solvent component has been removed.
@@richardervine4501 I bought a gallon of Gamsol a few months ago ,unfortunately, had to give it away, I find it as toxic as mineral spirits. Forced to switch to water mix oils, no other choice .
Dianne very well explained .......the knowledge you impart is immeasurable ..your dedication to teaching deserves accolades
Thanks, Alka!
Diane, what really happens in the foreground besides temp warmer, contrast of value increased, and deeper values? I remember one artist saying he doesn't put too much interest in the immediate foreground because when the eye looks out at a landscape, or even 3 feet away, it doesn't pick up much of what is in front of that area of interest. I am looking out past my computer now at something 2 feet away, and I can barely tell you what colors are on my computer one foot in front of me, or what the shapes really look like unless I change my eye position. The periphery is a little diffuse also (but maybe that is my glaucoma lol!) The camera sees different than a person does and I want to understand this immediate foreground a little more. I notice a lot of artists kind of blur things in the very immediate foreground and put more of the color just beyond that. It is still foreground but just a little past the "you can't see what it is area." Can you elaborate? Is this a style choice or is this something I should understand better?
If you study works of artists like Bouguereau and Sargent, you'll notice that they use value contrast and placement for pulling the eye towards the center of interest. Artists use all sorts of techniques for guiding the eye. The area of a painting is much narrower than the area covered by our eyes when we're looking in the distance, so within that narrow surface we have a lot more freedom to control where the eye goes.
Darker to lighter, is (in my opinion) so much easier than making a graduation from warmer to cooler.
A very interesting video! Thank you so much!🎨
My pleasure.
A good teacher, you are.
Thank you! 😃
Toujours très instructif pour moi
Il est bon que vous vous sentiez informé.
Merci beaucoup
I really like this colour wheel - the colours are perfect. Can you please let me know where can I download one from?
Amanda, go to diannemize.com , click on Free Stuff in the menu and cursor down to find it. Then add it to your cart and check out. The link for downloading a PDF of it will be in your account page and in an email you will receive.
Great art..Great artist...great demonstration!
Thanks!
Very good
Thanks
Hi Dianne. I have been studying some of Richard Schimd's paintings such as "Still Life with Apples", White Roses, "The Last Roses" "Street Warf" and even his "Self Portrait with Doll" and I am intrigued with his use of color and movement in his backgrounds, they seem to flow with his subject. Would you consider sharing your insight into how he was able to accomplish? Is it the use of the same palette in different values and his whimsical way of applying his strokes, or is there more to it?
G Peachy, it is a combination of all this. Richard has more depth of understanding into how color behaves than any artist I know of. At the same time, he is masterful and economical with his brushwork. Between the two, he is expressing the images rather than copying them. He creates the movement by color and value contrast and placement with brushwork that moves with purpose.
I have learn so much with you, obrigada from Algarve Portugal
You are so welcome! Thanks for watching.
Thank you for posting these quick tips. I really enjoy them and get a lot out of watching. Your teaching style is pleasant. Could we see some of your completed paintings one day?
You are so welcome! Linzi, if you go to my gallery website - www.diannemizestudio.com , you can see a collection of my paintings. It is separate from my teaching site at www.diannemize.com
@@IntheStudioArtInstruction thank you! I really enjoyed the purple flowers and the close up autumn leaves
One color matching it appears that you use the Analogy color technique ? This has helped me tremendously just that technique
Great
Just a mini-question: you don't have to wipe off the canvas after applying the gauze pad?
As long as the surface of the canvas is just barely damp - when you test it with your fingertips, they are shiny but not wet - then no more wiping is necessary.
@@IntheStudioArtInstruction Thanks so much, Dianne.
Thank-you. So clearly stated.
Thanks for watching!
Value gradation and value contrast - and temperature and atmosphere in practice - great to do it like this great example using opposite colors and just three steps - red oxide transparent by Rembrandt, ultramarine blue, and a low intensity orange leaning more toward red than yellow ( to me it looked like a burned sienna light but it was a neutered mixture of transparen red oxide, I think) ) - dampening the canvas with a little bit of gamsol and poppy oil
Rembrandt Transparent Oxide Red and Burnt Sienna are very similar in hue. TOR, though, is transparent and dark whereas Burnt Sienna is more opaque and lighter in value. So when white is mixed into TOR, it resembles Burnt Sienna.
Love you thank for teach
It's my pleasure
Thank you for this video. - Is it possible to dampen the canvas With linseed oil?
I have not heard of the first product you suggest, and poppy oil, (here in Sweden) - that’s why I am asking.
Yes you can! The only advantage of poppy oil is that it dries more slowly than linseed.
Gamsol is an excellent solvent for thinning Gamblin mediums and for general painting. It evaporates 100% and leaves no residue in paint layers. Gamsol is less toxic than other brands of OMS (Odorless Mineral Spirits), mineral spirits, or turpentine because the harmful aromatic solvent component has been removed.
@@richardervine4501 I bought a gallon of Gamsol a few months ago ,unfortunately, had to give it away, I find it as toxic as mineral spirits. Forced to switch to water mix oils, no other choice .
Noteworthy! Thank you for this interesting video! Thank you very much my friend for sharing, stay connected plz💗
Thanks for visiting. It's a pleasure to share these.
So useful thank you,
You're welcome!
thanks again
Always a pleasure.
Reading the reference.... translation on canvas...is key point for me besides value ,hue, contrast changes
Yep!