The combination of viridian and transparent oxid red, ocasionally with yellow, will simplify my painting life a lot. I was lost with so many possibilities of mixing blues and yellows.Thank you very much, I would never come to this idea alone.
Greetings from England. Have done some drawing of Elton Hall and its historic parkland, I was contemplating how to deal with some of the fine lime trees which make an avenue half a mile long. This tutorial has analysed the problems and shown how to avoid the predictable solutions. You are not only a fine and clear communicator but a wise owl!
My gosh you really are the best teacher out there. Really. I have literally tried almost all of them and there are some very good teachers, but none of them explain with such clarity AND such detail. Thank you so much for these amazing lessons! I'm starting to plein air paint, so I'm just about to treat myself to a purchase of the color series from your website & I'm really looking forward to diving in even more.
Thank you so much for this amazing video Dianne! I'm always so impressed with your experience and instruction, it's so helpful to me! I don't have some of those greens in tubes, so it's great to see how to work around to get similar results! Thanks again 💙
I loved my college instructor, but I wish we learned more fundamental things like this. I was taught not to even thin the paints. Sometimes I feel like I need to go back in order to unlock my potential, but these videos have been nice. Thank you!
Having once been a college art instructor myself, I am sensitive to the need of fundamentals being taught in the college programs. That's a big reason why I do these Quick Tips.
Great guidelines. It was also helpful to see that, even for trees in the distance having a very narrow range of values, you can mix close values to highlight lit areas.
I found this video very help for a landscape I started a while back, so thank you for that! I am now struggling with how to work "sky holes" into the foliage. Mine look like what they are: blobs of paint. There are a number of art instruction pages and videos out there, but I don't trust them as much as I do you. I would love to see a quick tip on this. In any case, thank you so much for your excellent instruction; it is a amazingly helpful.
Suze, I will add your request to our filming schedule, but since we film Quick Tips weeks in advance, it will be in December before it appears. MEANWHILE, look for the shapes of the skyholes and allow your brush to form those shapes. Another tip is that looking through foliage into the sky subtracts out some of the brightness of the light, so the value we are seeing is most likely a degree or two darker than that of the sky not being seen through the foliage.
@@IntheStudioArtInstruction Thank you! That is very helpful and explains some things to me, especially the values issue. It's no wonder my sky holes look like stars. By the way, I am entering a small landscape to a juried show and this is extra important for me right, so I'm doubly appreciative. I look forward to your Quick Tip in December! :-) Thanks again.
For this tip, you have only taken us back to mid distance. I would like a tip about color mixing for very distant greens where the yellow is almost gone and the hue is more blue. For example I am working on a painting where the mountain trees are at a great distance but the valley greens are somewhat closer. The valley greens still have a hint of yellow in them. I just can’t get the color mixing for either to workout, especially when contrasted with much closer trees and bushes. Great tip. Keep them coming.
Agree with you Beverly. Yellow ochre or burnt sienna used sparingly with ultramarine blue and some white makes a green suitable for background/distant foliage.
Beverly, the further the location in distance, the lighter we see the images, and for the most part, the cooler and less saturated. That bit of information tells you what to do - white to lighten, blue or another cool to cool it, and a complement to neutraize.
@@IntheStudioArtInstruction So I still start the mixture with veridian but add more bllue. The complementary color to dull it would have to change. Is there a point where there is no yellow but only dull blue with some red?
@@blroberts70 my mentor always drills into me that as things recede into the distance, certain colors start to drop out in the following order: the first color to drop out is yellow. The second color to drop out is red. Finally we're left with blues. So if you've got trees that are very distant, like on a mountainside, they would literally appear blue because of the atmosphere that's between you and the trees. So you could use a knocked down blue, like ultramarine or even prussian for that foliage. But trees at that distance won't have any details, so be sure that they're just representations of trees or thickets.
Hi Dianne! This is great information! These days I am only using watercolors to paint with. I was wondering if this process will work the same with watercolor? Most people say that it is better to use the white of the paper than to add white paint. What do you think? Should I add white to lighten background trees and foliage, or just dilute the paint mixture instead?
Kimberly, in watercolor, WATER is your white. Think about it like that and any color mixing principle that works with oils will work with watercolor with one exception: working with oils, when we mix white into a color that contains yellow, we have to add yellow back into the mixture. Sometimes we need to do with watercolor, but not always.
Making your color charts will help you solve many of your color mixing/matching problems folks. I would even make Color Swatch Cards with a hole punch in them to isolate and match.
Thank you so much Dianne for this insightful video! What’s your take on using earth colors for mixing background / less intense greens? Ex yellow ochre & ivory black or ultra marine. Mixing with raw/ burnt sienna instead of high intensity yellows? Also using earth colors with for example with Viridian green? ( I dont see all the greens unfortunately so I try to apply these techniques intensity/ temperature management to do my best to create them ( avoiding pthalos ) hoping it s not too shocking for a normal vision person) :)
Ercan, the important thing is to know the potential for every tube color you own. Earth colors are low intensity (chroma) hues, every single one located on the color wheel. Every earth color we have can be mixed using complements. So to use an earth color to lower the intensity of a more saturated color does work well.
Hue-wise and intensity-wise, burnt sienna or transparent oxide are good alternatives for transparent oxide red. Thalo green is a good one for Rembrandt viridian. Caution: thalo green has a powerful tinting strength, so requires much less in amount than Rembrandt viridian.
Super video! I have a lot of trouble mixing green with the natural color. currently mixing olive leaves is a problem. Could you advise viridian on what colors and proportions I would be able to create a silvery green. In my photo Mediterranean has strong sunshine. I also spoiled the color of the shadow and cast shadow. Maybe I could ask for that too advice? Sorry for the many problems. I'm grateful Dianna!
@Éva Schenk, the best way to explore the mixtures is to do practice exercises such as I am doing in this Quick Tip 335. Begin with Rembrandt Viridian (not any other viridian because there is a huge difference) and yellow ochre. Add a small bit of yellow ochre to begin with, then paint a swatch thinly to see the results--add a bit more, and paint another swatch--keep this up until the mixture reaches the point where it no longer reads green. To a portion of each of these splotches, mix in a bit of white . To another portion, mix in a bit of yellow. This exercise will give you the results of varying proportions of yellow ocher mixed with viridian. NOW, go through the same process with transparent oxide red or alizarin crimson or any (perhaps ALL) of your warm colors. You will learn more from doing this than I can ever show you.
Unfortunately, I do not know English well and do not understand all the words, but I try to understand the main points. You are a great specialist in this
Micheal Wilcox's book, Blue and Yellow don't make Green explains this clearly too, the primary colours: green-blue and green-yellow vs the primary colours violet-blue vs orange-yellow will give you vibrant and neutralized greens respectively.
![ปฏิเสธไม่ไหว (Crush on you) - LIPTA feat. No One Else [Official MV]](http://i.ytimg.com/vi/NBw1jF342vw/mqdefault.jpg)
Finally, a detailed video on how to use green in landscapes! Thanks Dianne!
You are so welcome! Have fun with it.
Excellent video. I always enjoy videos where you’re teaching us about mixing colour. thank you Dianne👍🏻👏🏻😃
You are so welcome! Color is a passion of mine--in fact, it was my focus in graduate school.
A real eye opener to me, as I always struggle with the fine differences in green colors. Thank you Dianne, you are worth your weight in gold.
My pleasure. Have fun making greens.
I don't think I've ever seen someone explain these things so well! AND I am very impressed you wear white and don't get paint all over your shirt. :)
Thank you. I wear while so that my clothing doesn't complete with the colors in the lesson.
I love the intros, so witty. :)) Dianne is a lovely lady with fantastic teaching skills.
😊 thank you
You are a super teacher for these great quick tips! Thanks, Diane! Happy painting today!
Thank you, Nikki.
All I want to say is thank you so much for sharing your high knowledge for those people who love painting. You are amazing 🎉
Thank you so much, Gabrille. It's a pleasure to share these.
The combination of viridian and transparent oxid red, ocasionally with yellow, will simplify my painting life a lot. I was lost with so many possibilities of mixing blues and yellows.Thank you very much, I would never come to this idea alone.
same here! Dianne has gifted so many gems it never ceases to amaze me.
Wonderful! I actually learned that combination from Richard Schmid.
Thanks, Noel. It's a pleasure to share these.
Greetings from England. Have done some drawing of Elton Hall and its historic parkland, I was contemplating how to deal with some of the fine lime trees which make an avenue half a mile long. This tutorial has analysed the problems and shown how to avoid the predictable solutions. You are not only a fine and clear communicator but a wise owl!
Thanks, Ian. I am always delighted to find out that my teaching helped solve issues in painting.
My gosh you really are the best teacher out there. Really. I have literally tried almost all of them and there are some very good teachers, but none of them explain with such clarity AND such detail. Thank you so much for these amazing lessons! I'm starting to plein air paint, so I'm just about to treat myself to a purchase of the color series from your website & I'm really looking forward to diving in even more.
You are so welcome! Enjoy the journey!
You are such a wonderful teacher! I have learned so much from you. Thank you.
Wonderful. Thanks.
Wonderfully coherent and absorbing.
Thanks!
Thank you Dianne!
You bet.
Excellent video -
Many thanks!
Thank you again for opening mysteries of greens! So clear and practical.
You are so welcome!
Thank you so much for this amazing video Dianne! I'm always so impressed with your experience and instruction, it's so helpful to me! I don't have some of those greens in tubes, so it's great to see how to work around to get similar results! Thanks again 💙
Thanks, Derek. It's amazing how many work-arounds we can discover.
Thank you this video has just solved a problem I was struggling with
Great. Have fun with it.
I've never seen greens made this way....very cool!
Give it a try. You'll be thrilled with the results.
I loved my college instructor, but I wish we learned more fundamental things like this. I was taught not to even thin the paints. Sometimes I feel like I need to go back in order to unlock my potential, but these videos have been nice. Thank you!
Having once been a college art instructor myself, I am sensitive to the need of fundamentals being taught in the college programs. That's a big reason why I do these Quick Tips.
You are an excellent teacher!! Look forward to your Wednesday lesson.
Thank you! 😃
Great guidelines. It was also helpful to see that, even for trees in the distance having a very narrow range of values, you can mix close values to highlight lit areas.
Thank you. And thanks for watching.
I love your green background and green eyes!!!
I smile.
she's awesome. every time. always gives me good ideas
Thanks! And thanks for subscribing.
Merci encore pour tous les progrès que je fais grâce à vous 🤗
Vous êtes les bienvenus et continuez à progresser.
Thank you Dianne.
Always a pleasure.
I found this video very help for a landscape I started a while back, so thank you for that! I am now struggling with how to work "sky holes" into the foliage. Mine look like what they are: blobs of paint. There are a number of art instruction pages and videos out there, but I don't trust them as much as I do you. I would love to see a quick tip on this. In any case, thank you so much for your excellent instruction; it is a amazingly helpful.
Suze, I will add your request to our filming schedule, but since we film Quick Tips weeks in advance, it will be in December before it appears. MEANWHILE, look for the shapes of the skyholes and allow your brush to form those shapes. Another tip is that looking through foliage into the sky subtracts out some of the brightness of the light, so the value we are seeing is most likely a degree or two darker than that of the sky not being seen through the foliage.
@@IntheStudioArtInstruction Thank you! That is very helpful and explains some things to me, especially the values issue. It's no wonder my sky holes look like stars. By the way, I am entering a small landscape to a juried show and this is extra important for me right, so I'm doubly appreciative. I look forward to your Quick Tip in December!
:-)
Thanks again.
For this tip, you have only taken us back to mid distance. I would like a tip about color mixing for very distant greens where the yellow is almost gone and the hue is more blue. For example I am working on a painting where the mountain trees are at a great distance but the valley greens are somewhat closer. The valley greens still have a hint of yellow in them. I just can’t get the color mixing for either to workout, especially when contrasted with much closer trees and bushes. Great tip. Keep them coming.
Agree with you Beverly. Yellow ochre or burnt sienna used sparingly with ultramarine blue and some white makes a green suitable for background/distant foliage.
Beverly, the further the location in distance, the lighter we see the images, and for the most part, the cooler and less saturated. That bit of information tells you what to do - white to lighten, blue or another cool to cool it, and a complement to neutraize.
@@IntheStudioArtInstruction So I still start the mixture with veridian but add more bllue. The complementary color to dull it would have to change. Is there a point where there is no yellow but only dull blue with some red?
@@blroberts70 my mentor always drills into me that as things recede into the distance, certain colors start to drop out in the following order: the first color to drop out is yellow. The second color to drop out is red. Finally we're left with blues. So if you've got trees that are very distant, like on a mountainside, they would literally appear blue because of the atmosphere that's between you and the trees. So you could use a knocked down blue, like ultramarine or even prussian for that foliage. But trees at that distance won't have any details, so be sure that they're just representations of trees or thickets.
Very helpful, thank you!
You bet!
Once again very good and practical information. Thank you very much.
You are very welcome
EXCELLENT LESSON IN GREENS...THANKS.
Thank you.
Hi Dianne! This is great information! These days I am only using watercolors to paint with. I was wondering if this process will work the same with watercolor? Most people say that it is better to use the white of the paper than to add white paint. What do you think? Should I add white to lighten background trees and foliage, or just dilute the paint mixture instead?
Kimberly, in watercolor, WATER is your white. Think about it like that and any color mixing principle that works with oils will work with watercolor with one exception: working with oils, when we mix white into a color that contains yellow, we have to add yellow back into the mixture. Sometimes we need to do with watercolor, but not always.
Another great lesson! Thank you!
Always a pleasure!
Making your color charts will help you solve many of your color mixing/matching problems folks. I would even make Color Swatch Cards with a hole punch in them to isolate and match.
Good idea, Richie. Thanks.
Thank you so much Dianne for this insightful video! What’s your take on using earth colors for mixing background / less intense greens? Ex yellow ochre & ivory black or ultra marine. Mixing with raw/ burnt sienna instead of high intensity yellows? Also using earth colors with for example with Viridian green? ( I dont see all the greens unfortunately so I try to apply these techniques intensity/ temperature management to do my best to create them ( avoiding pthalos ) hoping it s not too shocking for a normal vision person) :)
Ercan, the important thing is to know the potential for every tube color you own. Earth colors are low intensity (chroma) hues, every single one located on the color wheel. Every earth color we have can be mixed using complements. So to use an earth color to lower the intensity of a more saturated color does work well.
I found this video very helpful, thank you 🕊
You’re welcome 😊
Loved the video!
Thank you!!
Amazing teacher
Thank you! 😃
Hi thank you so much for sharing your tutorial 🥀🌹⚘may you say about painting very close trees which color must mix thank you so much ⚘⚘⚘😊🖐🏻
Look for clues in your reference. Usually, images closer to us have a stronger value contrast and more intense hues.
What is an alternative to the transparent oxide red? With the viridian?
Hue-wise and intensity-wise, burnt sienna or transparent oxide are good alternatives for transparent oxide red. Thalo green is a good one for Rembrandt viridian. Caution: thalo green has a powerful tinting strength, so requires much less in amount than Rembrandt viridian.
Bingo. Excellent tip.
Thanks!
Super video! I have a lot of trouble mixing green with the natural color. currently mixing olive leaves is a problem. Could you advise viridian on what colors and proportions I would be able to create a silvery green. In my photo Mediterranean has strong sunshine. I also spoiled the color of the shadow and cast shadow. Maybe I could ask for that too
advice? Sorry for the many problems. I'm grateful Dianna!
@Éva Schenk, the best way to explore the mixtures is to do practice exercises such as I am doing in this Quick Tip 335. Begin with Rembrandt Viridian (not any other viridian because there is a huge difference) and yellow ochre. Add a small bit of yellow ochre to begin with, then paint a swatch thinly to see the results--add a bit more, and paint another swatch--keep this up until the mixture reaches the point where it no longer reads green. To a portion of each of these splotches, mix in a bit of white . To another portion, mix in a bit of yellow.
This exercise will give you the results of varying proportions of yellow ocher mixed with viridian. NOW, go through the same process with transparent oxide red or alizarin crimson or any (perhaps ALL) of your warm colors.
You will learn more from doing this than I can ever show you.
I’d like to see tips on every color
Go the our channel page where you can find all of them. Thanks for watching.
Thank you! Like.
You bet. Thanks for watching.
Thank you😊
You're welcome 😊
Thank you.!! 👏🏻👏🏻👏🏻👏🏻👍🏼
You bet!
Unfortunately, I do not know English well and do not understand all the words, but I try to understand the main points. You are a great specialist in this
Thanks.
Brilliant 😀
Thanks.
Dear Mam
I want to learn how to make clouds will u teach me?
Thanks
Rims1
Rupali, I have Quick Tips about clouds. Go to th-cam.com/users/inthestudioartinstructionvideos and scroll down to find them.
💚👍👍👍👍👍
Thanks.
How to make sap green.
3 parts Rembrandt Viridian and 1 part Transparent Oxide Red.
Micheal Wilcox's book, Blue and Yellow don't make Green explains this clearly too, the primary colours: green-blue and green-yellow vs the primary colours violet-blue vs orange-yellow will give you vibrant and neutralized greens respectively.
Many roads to Rome...