I am 17 and I am very new to painting but every time any of your video gets uploaded I feel so much better about doing what I love. Learn so much from you. It’s like learning from a closed one. Much love 🤍
Very helpful! And it helps to also remember that sometimes you need to adjust the value of those colors you are mixing first rather than just mixing them straight while banging your head against a wall trying to get that color.
Interesting ! Thank you . From experience I know to be always very careful with blues. Heard someone talk about"a color as "the bully in the paintbox" (watercolor). Very funny!
Great demonstration (as always). I would be VERY interested to know what your favorite oil brands and colors are - and WHY. What makes you love a particular brand and color? Thanks again so much for sharing your wealth of experience and expertise. God bless!
@kewlpackstudios , my current favorite brands are mostly Rembrandt and Gamblin because of their creamy pliability, consistency and richness. Rembrandt's viridian, transparent oxide red and cadmium yellow deep are constants, Gamblin for the other colors I use.
Good quick tips, rarely something over look in classes and tutorials. And how anytime I end up mixing way too much paint cuz I used too much of a strong tinting strength to begin with (phtalo green and phtalol blue). I would like you to do a quick tip on the fat over lean painting in oil. How you can keep track on how lean or fat is your paint on the canvas, went working on in several sessions.
I recently used some viridian in a painting and I had no idea how weak its tinting strength was! Though do you think it was because it was a non-Rembrandt viridian ? Also what do you find you dislike about them?
True viridian normally has a moderately high amount of tinting strength of course it is a transparent pigment so you have to keep that into consideration. Pthalo Green is very close in character in which the hue is very similar to a Viridian however its tinting tends to be stronger as all Pthalos tend to be. Lastly make sure your Viridian is a real Viridian as some manufacturers sell the lesser quality "Viridian Hue" which is essentially made of a dye and not pigments. And of course, each brand comes with its own unique "qualities" and some are poorer than others in those particular "qualities." Hope this helps.
I've spent a LOT of my time experimenting with pigments, ever since I blew a painting apart with Prussian Blue. I consciously set a pallete up according to tint strengths - I do NOT like having colours that are "out of tune". To me, it doesn't make sense to have a violin on the same song as an electric guitar. So, if one of the phthalocyanines is on my pallete, then the rest of the pallete must come up to meet that tint strength. A colour like Venican Red, needs the likes of Terre Verte, Barium Yellow, and zinc white to support it, with natural reds and blues. (Rose Madder, Cobalt Blue, etc.) I find it best to stick to the average tints, but I NEVER limit my opportunities. Every pigment has its place.
Thanks for that viewpoint, but for my palette, it is the color quality and potential that is more important. I can control the tinting strength as long as I know what it is.
I am 17 and I am very new to painting but every time any of your video gets uploaded I feel so much better about doing what I love. Learn so much from you. It’s like learning from a closed one. Much love 🤍
Thanks! Keep enjoying the journey!
Thank you! It does help a lot. Love your videos! Love from Wisconsin, USA.
Thanks!
Very helpful! And it helps to also remember that sometimes you need to adjust the value of those colors you are mixing first rather than just mixing them straight while banging your head against a wall trying to get that color.
Yes, indeed!
Very useful tutorial! I’m taking your recommendation and doing this with all the regular’s on my palette.
Good idea!
Very helpful! As always, your recommendation to actually do the exercise is the best take-away! Thanks, Dianne!
Once we know the tinting strength, we'll know which "bully" to watch out for.
So very helpful as always. Thank you again.
Always a pleasure.
Fascinating demo! Thank you, this is so helpful!
It will make a world of difference in your color mixing.
Interesting ! Thank you . From experience I know to be always very careful with blues. Heard someone talk about"a color as "the bully in the paintbox" (watercolor). Very funny!
It's the thalo blues that are so strong. Ultramarine is a friendly blue.
Nothing replaces the human experience! This was interesting to watch.
And essential to know. Thanks for watching.
As always, very valuable information, and also interesting!
Thanks!
Great demonstration (as always). I would be VERY interested to know what your favorite oil brands and colors are - and WHY. What makes you love a particular brand and color? Thanks again so much for sharing your wealth of experience and expertise. God bless!
@kewlpackstudios , my current favorite brands are mostly Rembrandt and Gamblin because of their creamy pliability, consistency and richness. Rembrandt's viridian, transparent oxide red and cadmium yellow deep are constants, Gamblin for the other colors I use.
Good quick tips, rarely something over look in classes and tutorials. And how anytime I end up mixing way too much paint cuz I used too much of a strong tinting strength to begin with (phtalo green and phtalol blue).
I would like you to do a quick tip on the fat over lean painting in oil. How you can keep track on how lean or fat is your paint on the canvas, went working on in several sessions.
Just keep in mind that "fat" means the amount of oil in the paint. See Quick Tip 200.
Thanks for the lesson Ms. So the tinting strength is basically how much of pigment is in a hue as compared to another?
Not really. It's the strength of the pigment, not the amount. Compare this to the flavoring strength of a teaspoon of sugar vs a teaspoon of salt.
@@IntheStudioArtInstruction I understand. Thanks.
I recently used some viridian in a painting and I had no idea how weak its tinting strength was! Though do you think it was because it was a non-Rembrandt viridian ? Also what do you find you dislike about them?
My pleasure.
True viridian normally has a moderately high amount of tinting strength of course it is a transparent pigment so you have to keep that into consideration. Pthalo Green is very close in character in which the hue is very similar to a Viridian however its tinting tends to be stronger as all Pthalos tend to be.
Lastly make sure your Viridian is a real Viridian as some manufacturers sell the lesser quality "Viridian Hue" which is essentially made of a dye and not pigments.
And of course, each brand comes with its own unique "qualities" and some are poorer than others in those particular "qualities."
Hope this helps.
@@Handles-R-Lame thank you!
I've spent a LOT of my time experimenting with pigments, ever since I blew a painting apart with Prussian Blue.
I consciously set a pallete up according to tint strengths - I do NOT like having colours that are "out of tune". To me, it doesn't make sense to have a violin on the same song as an electric guitar.
So, if one of the phthalocyanines is on my pallete, then the rest of the pallete must come up to meet that tint strength.
A colour like Venican Red, needs the likes of Terre Verte, Barium Yellow, and zinc white to support it, with natural reds and blues. (Rose Madder, Cobalt Blue, etc.)
I find it best to stick to the average tints, but I NEVER limit my opportunities. Every pigment has its place.
Thanks for that viewpoint, but for my palette, it is the color quality and potential that is more important. I can control the tinting strength as long as I know what it is.
Thanks/Diolch.
You bet!
Gracias
My pleasure.
🤗🤗
Thanks.