Excellent lesson, Dianne! At 13:50, you were speaking to the '...contradiction of color...' when adding white and having to go back to the darker co!or to find that highlight color. That piece of information is not only invaluable in color mixing, but also something that none of my art books or videos has ever touched upon! Thank you so much for this lesson/QT!
My pleasure, shadowstar7. Sometimes folks writing books and producing videos get a bit to wrapped up on assumption or theory and forget the experience of observation.
I love that you explain technical terms in a manner that I can both understand and apply. I’ve learned so much from your tips. Thank you for making these videos.
I can't say thanks enough for all the insights and knowledge you share with us. There's a whole lot more to painting than I ever dreamed of! Thanks so much Dianne!
This is one of those tutorials where I really get to appreciate YT kz before it became so within the reach, never could I so much as dream to be present in this classroom! Liked and Subscribed!
Thank you for this lesson. You’ve made these terms make so much sense and clearly described how to find the color changes on objects and why they happen. You’re lessons are just fantastic.
This is a very useful information about colours before starting painting! thank you so much for explaining in detail! this will definitely help a lot!👍 thank you for sharing this with us Dianne! thank you! take care and stay blessed friend💐
Loved that tip about returning to the original colour to add the white for a highlight! I’ve been trying to do it with adding white to the darker value/hue blend and it ends up chalky. I’m sure you have solved this problem for me! Amazing! Thank you.
Thank you Dianne. This is one of the best explanations I have seen. I've never seen the colour wheel as a grey scale before. This has been very helpful.
This is great! Just as I am trasitioning from black and white mediums , concentrating on absolute value, to using color (I decided on watercolor for now). This is a very well timed video for me.
This was great - I really understand now hue and white. I am just learning so much I watch a Quick Tip every morning with my morning coffee and I am learning so much, Thank You
This was wonderful! Would it be possible to do a Quick Tip on both the color and the value of cast shadows of objects? I have encountered contradictory approaches (stated as facts) on which color to use (always complementary or not) and -- believe it or not -- which is the darkest value on a sphere (the cast shadow or the occlusion shadow, etc.) Many, many thanks for having solved so many dilemmas.
That will make an interesting Quick Tip. I'll put it on our filming schedule. Yep, I'm familiar with the dogmatic opinions out there. Nothing beats observation for discovering these things. I keep saying "We can't make rules about this stuff."
I hope I explain this to make sense. I was looking at the gray or grey palette wondering if you had however many gray tones to give a short cut to matching the tone of the paint to the grey palette your using. If for instance you were painting an early morning scene the colors would be a certain value. So you would determine the grey scale of pallet to use. Does this make sense? Would it be helpful for painting? I really enjoy your videos.
My gray palette is middle value. We train our eyes to recognize value relationships just like a musician's ear recognizes the sound relationships of a musical scale. One way to do that is this: On white palette paper, put a pile of white paint on the right and about 8 inches to the left, put a pile of black paint. Then in the middle, put down some of the white paint from the white pile, then pick up a bit (not much) of the black and thoroughly mix into it. Then gauge the visual value distance between them. Most likely, this mix will lean more closely toward one or the other. If it leans towards white, then gradually add a bit more black, and access it again. If it leans more toward black, do the same with white. If you keep adjusting the value of the middle pile this way, you will eventually see when the gray pile in the middle is the same value distance form both black and white, and that is your middle gray.
Thanks so much for you response r'e the color and values of cast shadows. I assume one must take into account both the object's color as ell as the color of the object it falls upon (ground, table, etc,) Is it possible to know when the Quip Tip will appear, e.g. in which month? Again, thanks!
Yes, local color does figure into the mix. A new Quick Tip is published every Wednesday at 2 p.m. Eastern. If you subscribe and hit the bell, you will receive an email every time a new one comes out.
I didn't know white was a neutral - makes perfect sense the way you explained it. Since you neutralized the color to get to the exact hue you needed, could you have also gotten there with a teensy bit of purple?
Never thought white as a neutral color and adding orange instead of yellow where the light hits ...is another level up in learning .Thanks Dianne for explaining so well
When you think about it White has to be a neutral because it doesn't change the hue of the colour. White only changes the saturation. It's like adding water to wine. The more water you add, the better the paler the wine because the concentration of wine is being reduced but the hue is the same.
Hi Dianne! I have a question. For digital painting they use the RGB colour wheel and so they include Magenta and Cyan. I looked at the values and saw that although Magenta fits between red and blue, it ends up with a higher relative value. So if I want to lighten a blue surface with a white light, do I still travel to the right of the colour wheel from blue towards yellow? Should I skip past the Magenta hue? I really wish I could use the same colour wheel you have when selecting a colour on the software I use! With your colour wheel the relative value scale seems so intuitive but introducing Magenta and Cyan in the mix has complicated it for me! 😪
The results of mixing pixels and ink is totally different from how pigment behaves when mixing. My suggestion is that you use a traditional wheel when mixing pigment. If you learn the correct hue names for the digital colors, the mixing shouldn't be a problem. For example: magenta is a red violet, cyan is a green blue. Different mediums require different techniques for the same principles.
@@IntheStudioArtInstruction I see! Now that you mention it, it makes sense that magenta is just red violet, but instead it is just a lighter value of it. And the same goes with cyan. So I when I do travel from blue to yellow (when adding light to a surface) I can account for magenta's higher relative value and just decrease it a little. Thank you Dianne, this video was extremely helpful and I had a few massive epiphanies throughout the video 😂 it got me so fascinated to learn about colour, and I thank you for that!
@@IntheStudioArtInstruction but cyan and magenta have their highest intensity at higher brightness than red and green also when created by paints. The primary colors in substractive color mixing are yellow, cyan and magenta. So why talk about pigment colors in terms of red, yellow, and blue?
@@IntheStudioArtInstruction Rather than direction of the light what I struggle is finding the planes within references with tighter value ranges and smoother edges.
@@RosssRoyce That's a good idea, gotta try and see that, thank you. But still making the form readable in tight value scenarios is something I gotta figure out.
Regardless of the skin pigmentation, the color values will always be determined by whether they are in light or in shadow. That's what to look for rather than rules, which can mislead you.
Best art channel in TH-cam✌✌
Thanks, Anna!
You have helped me more than just about any other teacher online and I want to thank you from the bottom of my heart.
Thanks for that! Nothing delights me more than to know my teaching has been meaningful.
This is my new favorite channel on TH-cam!
Great! Thanks!
Excellent lesson, Dianne! At 13:50, you were speaking to the '...contradiction of color...' when adding white and having to go back to the darker co!or to find that highlight color. That piece of information is not only invaluable in color mixing, but also something that none of my art books or videos has ever touched upon! Thank you so much for this lesson/QT!
My pleasure, shadowstar7. Sometimes folks writing books and producing videos get a bit to wrapped up on assumption or theory and forget the experience of observation.
I want to second what Marlene just said! And add that you are an absolutely master at making some of the most complex theories understandable!
THANKS!
I love that you explain technical terms in a manner that I can both understand and apply. I’ve learned so much from your tips. Thank you for making these videos.
You are so welcome! Keep exploring these limitless possibilities.
I can't say thanks enough for all the insights and knowledge you share with us. There's a whole lot more to painting than I ever dreamed of! Thanks so much Dianne!
My pleasure! Thanks for your support.
This is one of those tutorials where I really get to appreciate YT kz before it became so within the reach, never could I so much as dream to be present in this classroom! Liked and Subscribed!
Welcome aboard!
Thank you for this lesson. You’ve made these terms make so much sense and clearly described how to find the color changes on objects and why they happen. You’re lessons are just fantastic.
Thanks! It's a pleasure to do these.
This is a very useful information about colours before starting painting! thank you so much for explaining in detail! this will definitely help a lot!👍 thank you for sharing this with us Dianne! thank you! take care and stay blessed friend💐
Thanks, David! I'm always delighted to hear my teaching is helpful.
Loved that tip about returning to the original colour to add the white for a highlight! I’ve been trying to do it with adding white to the darker value/hue blend and it ends up chalky. I’m sure you have solved this problem for me! Amazing! Thank you.
Have fun with it.
Thank you Dianne. This is one of the best explanations I have seen. I've never seen the colour wheel as a grey scale before. This has been very helpful.
Great! So glad it was helpful
Another master class from a great teacher!!! I learn a lot from your teachings. Thank you so much, Dianne!
You are so welcome! Always a pleasure.
Absolutely amazing instruction. I’d be a much better painter if my early teachers had shared this information. Every word is helpful and enlightening!
Thanks. Oh, and it's never too late to learn.
I feel these videos on values are so helpful. This has to be the hardest part of painting, getting the right hue and values. Thank you. Kim
You are so welcome!
This is great! Just as I am trasitioning from black and white mediums , concentrating on absolute value, to using color (I decided on watercolor for now).
This is a very well timed video for me.
Great!
Another excellent video! Your quick tips are jam-packed with helpful info and instructions Diane. Thank you!
You are so welcome! And thanks!
This has become such a joy! I’m watching your lessons and learning so much! Thank you for teaching!
My pleasure, as always!
I love your quick tips! Value is the concept I struggle with most.
Thanks, Jackie.
Again a great lesson! Learning every week from you is such a joy and very helpful!
Thanks!
Thank you for all your lessons Dianne! I’ve learned so much!🙏
I'm so glad!
thank you so much for your helpful tips that nobody else covers .
You are so welcome!
This was great - I really understand now hue and white. I am just learning so much I watch a Quick Tip every morning with my morning coffee and I am learning so much, Thank You
You are so welcome! Thanks for watching.
Thank you once again. You explain the art of painting and make it very exciting.Thank you very much.
xJo
Thanks, Joanne. It's an exciting adventure.
This was wonderful! Would it be possible to do a Quick Tip on both the color and the value of cast shadows of objects? I have encountered contradictory approaches (stated as facts) on which color to use (always complementary or not) and -- believe it or not -- which is the darkest value on a sphere (the cast shadow or the occlusion shadow, etc.) Many, many thanks for having solved so many dilemmas.
That will make an interesting Quick Tip. I'll put it on our filming schedule.
Yep, I'm familiar with the dogmatic opinions out there. Nothing beats observation for discovering these things. I keep saying "We can't make rules about this stuff."
Thanks. Very scientific explanation of the behaviour of colours/hues in the presence/absence of light.
Thanks.
Thank you Dianne. So helpful and well explained as usual
You are so welcome!
Thank you Dianne! This was most helpful!
Great! My pleasure.
Thank you very much for this video. Foundational mechanics that I’ve struggled with. Can’t wait to try this out (on oranges, too!)
You can do it!
I have fained a bit more understanding of colours today. Thank you very much 🙂
My pleasure.
It helps with systematic lectures. Thank you😊
Most welcome 😊
You are an amazing teacher!!
Thank you! 😃
Thanks for another great post
Glad you enjoyed it
Love how you work problems out.
Thanks.
Very important tip, so helpful, thanks
My pleasure.
I hope I explain this to make sense. I was looking at the gray or grey palette wondering if you had however many gray tones to give a short cut to matching the tone of the paint to the grey palette your using. If for instance you were painting an early morning scene the colors would be a certain value. So you would determine the grey scale of pallet to use. Does this make sense? Would it be helpful for painting? I really enjoy your videos.
My gray palette is middle value. We train our eyes to recognize value relationships just like a musician's ear recognizes the sound relationships of a musical scale. One way to do that is this:
On white palette paper, put a pile of white paint on the right and about 8 inches to the left, put a pile of black paint. Then in the middle, put down some of the white paint from the white pile, then pick up a bit (not much) of the black and thoroughly mix into it. Then gauge the visual value distance between them.
Most likely, this mix will lean more closely toward one or the other. If it leans towards white, then gradually add a bit more black, and access it again. If it leans more toward black, do the same with white. If you keep adjusting the value of the middle pile this way, you will eventually see when the gray pile in the middle is the same value distance form both black and white, and that is your middle gray.
Thanks so much for you response r'e the color and values of cast shadows. I assume one must take into account both the object's color as ell as the color of the object it falls upon (ground, table, etc,) Is it possible to know when the Quip Tip will appear, e.g. in which month? Again, thanks!
Yes, local color does figure into the mix.
A new Quick Tip is published every Wednesday at 2 p.m. Eastern. If you subscribe and hit the bell, you will receive an email every time a new one comes out.
@@IntheStudioArtInstruction Thank you. I'm already a long-time subscriber.
Thank you!
My pleasure.
Dianne, could you please add the page with the oranges/two wheels to your download page? Would love to use this with students.
Glad to. We'll try to get it available by the weekend. Check the site Monday.
I didn't know white was a neutral - makes perfect sense the way you explained it. Since you neutralized the color to get to the exact hue you needed, could you have also gotten there with a teensy bit of purple?
Never thought white as a neutral color and adding orange instead of yellow where the light hits ...is another level up in learning .Thanks Dianne for explaining so well
When you think about it White has to be a neutral because it doesn't change the hue of the colour. White only changes the saturation. It's like adding water to wine. The more water you add, the better the paler the wine because the concentration of wine is being reduced but the hue is the same.
Joani, sometimes, yes: it depends upon how cool or warm the light source is.
My pleasure, Alka. This is one of those common sense principles that often gets overlooked.
BigHenFor, you just had a light bulb moment!
Hi Dianne! I have a question.
For digital painting they use the RGB colour wheel and so they include Magenta and Cyan. I looked at the values and saw that although Magenta fits between red and blue, it ends up with a higher relative value. So if I want to lighten a blue surface with a white light, do I still travel to the right of the colour wheel from blue towards yellow? Should I skip past the Magenta hue?
I really wish I could use the same colour wheel you have when selecting a colour on the software I use! With your colour wheel the relative value scale seems so intuitive but introducing Magenta and Cyan in the mix has complicated it for me! 😪
The results of mixing pixels and ink is totally different from how pigment behaves when mixing. My suggestion is that you use a traditional wheel when mixing pigment. If you learn the correct hue names for the digital colors, the mixing shouldn't be a problem. For example: magenta is a red violet, cyan is a green blue. Different mediums require different techniques for the same principles.
@@IntheStudioArtInstruction I see!
Now that you mention it, it makes sense that magenta is just red violet, but instead it is just a lighter value of it. And the same goes with cyan. So I when I do travel from blue to yellow (when adding light to a surface) I can account for magenta's higher relative value and just decrease it a little.
Thank you Dianne, this video was extremely helpful and I had a few massive epiphanies throughout the video 😂 it got me so fascinated to learn about colour, and I thank you for that!
@@IntheStudioArtInstruction but cyan and magenta have their highest intensity at higher brightness than red and green also when created by paints. The primary colors in substractive color mixing are yellow, cyan and magenta. So why talk about pigment colors in terms of red, yellow, and blue?
Thank you
You're welcome
شكرا سيدتي 🌷 احبك 💖
😊
Awesome 😊
Thanks 🤗
Hello Diane, can you make a video about how to paint a subject in an evenlit scenario?
Can you be a bit more specific? From where would the light source be coming for what you are requesting?
@@IntheStudioArtInstruction Rather than direction of the light what I struggle is finding the planes within references with tighter value ranges and smoother edges.
HermesTrimegistus You can use same value but different color for two different planes. It will make the painting very interesting.
@@RosssRoyce That's a good idea, gotta try and see that, thank you. But still making the form readable in tight value scenarios is something I gotta figure out.
Hello Diane; İf we want to work a figure with different colors, can ve act on color values.
Regardless of the skin pigmentation, the color values will always be determined by whether they are in light or in shadow. That's what to look for rather than rules, which can mislead you.
@@IntheStudioArtInstruction Thanks for that and all your teaching. I watch again and again.
Where Can I copy a relative value color wheel..
Go to diannemize.com/product-category/video-supplements/ and get a free copy.
Se pudesse por legendas em espanhol seria muito bom,
Perhaps TH-cam might address this.