I've been painting most of my life, and NEVER learned these things in school. In fact, white was "the enemy", LOL! Your videos are incredibly helpful. 2 thumbs up!
Truth is, Venetiancat, NO color is "the enemy", not even black. It's a matter of know what to do with it. I do wish these things were taught universally. Oh well, perhaps that's my job :)--Dianne
I purchased some expensive videos and I didn't learn as much as this 10 min video from Dianne. The expensive videos were long, they remind me of the burrito I bought, very little meat and a lot of fillers. I have a couple of your videos and I refer to them every now and then, they are in a box with a labeled "KEEPERS". Thanks Dianne, you're a wonderful teacher.
I have just discovered this treasure trove of information called Dianne. I have studied with some well known artist who know color and it's characteristics but do not convey it well. For those of us who may be a bit more analytical we not only want to know the 'how' but the 'why' of color mixing. I am consuming all of these quick tips before building my arsenal of your very inexpensive videos for future reference. Thank you so much.
I'd like to say that it Doesn't matter the production value of the video, if you listen to what is said you will learn. I have learned so much more since watching your videos and look forward to seeing more! I watch your videos all the time and appreciate you taking the time to upload them on here thank you!
Very interesting and thorough (as always). I've used naples yellow in goauche to tone down the brightness of a color, while still keeping it warm (instead of using white). I haven't had much success with that in oils, so the information you've just given is very useful. Thank you.
Once again, I now understand a concept that I never thoroughly grasped before! You are a wonderful teacher who really cares about your subject and the person on the other side of your video!!!! You truly inspire me!!
Dianne I am so pleased to see your "quick tips" & feel that you are teaching & encouraging me so much, for which I am most grateful. I do find the camera shots a bit difficult though. I see you mixing the colours on your pallet then applying them to the canvas but the camera is so far away that the colours look too similar, the variations are hardly visible . Nevertheless I take notes & try mixing them myself. Once again, thank you for being so generous.
@@IntheStudioArtInstruction Well I'm glad I'm not the only one who thinks the camera man is having a joke with the viewer. It might be a good idea to actually look at your own video BEFORE you upload it. The other point is that you tend to use twenty five words when six or seven would do You've obviously got a wealth of knowledge but it drive me mad when I can't see what you referring to and taking all day to get to the point So, fire the cameraman. Plan ahead, don't mix colours live, do it before you start when possible You're giving us too much information that's not really relevant to the point Hope this helps
Thank you for your comment, Chris Newton. We will take it under advisement and look forward to seeing your art instruction productions so we can fully understand what you're talking about.
@@IntheStudioArtInstruction If you can't stand the heat, get out of the kitchen. I'm an artist and I'm always interested in any remarks about my own work even if it's not very complimentary. I've made lots of videos about all sorts of things and been paid quite well for them. BUT, I've no plans to ever make an instruction video on art. You do know a lot about painting, that's not the problem. Kind regards - Chris
Chris Newton for someone who is getting those instructions for free you seem a little demanding. I think what she is doing is something wonderful she is helping other people. Something that, as you mentioned, you would never do it for free.
great explanation. Adding different warm colors as you have explained is a really a very top advise. Because white kills the real color when added, too bright for my taste. Many thanks
Dianne, I enjoy your instructional videos so much. I have learned so many things that I've never learn from any other art teacher I've had in my life. Could you go over your easel set up meaning how you've got your brushes and your turpentine hanging from the bottom etc also what easel are you using? Thank you, Lisa
Lisa, we've already made a Quick Tip about my setup. Look for it in three or four weeks as we film these several weeks in advance. However, I neglected to address the brush holder and the solvent cup. The solvent cup hangs from a little clip designed to hand things from the pochade box and the brush cup I made myself. It, too, is attached to a little hanger especially designed for pochade boxes.
I'm going to apply straight away your suggestions on how to "build" a white subject painting. Should come out beautiful. I've tried it just recently and couldn't figure out what was wrong with highlights and shadows. Either too gray, kind of concrete gray, or too warm and looking weirdly dirty. ❤️
Sometimes changing character is good as you said. And I got to know more about not adding white and using warm colours. But I've experienced black colour also changes character of a colour. So in case of black can we use cool colours to change temperature? Or black works in a different way! Thank you! :)
Your camera person seemed willing to give us a close-up of your palette, but seemed extremely reluctant to give us a close-up of the actual painting. Although at 6:50 when we did get a close shot the lighting was poor - maybe that was the basis of the reluctance. Anyway, love your lessons as always.
Oh my goodness? First, for a color to appear vibrant, it must be surrounded by other colors that enhance its vibrancy. The quinacridone colors are clean and clear and with a bit of white added can create fuchsia. Depending upon the brand, a Quinacridone magenta plus white will come close when surrounded by a strong dark. For some brands, adding a tiny bit of ultramarine blue and/or Quinacridone rose might be necessary. Experiment.
Amazing video! just have a few questions since white cools the color do you have the same saturation problem with the cool colors? If so how would you bring back saturation while keeping the raised value? what is the equivalent of adding yellow for a blue or a purple?
Logan, the greens and yellow greens need to have a bit of yellow added back in, the violets and red-violets require a bit of red, but the blues hold up relatively well, since blue is already the coolest color.
Thank you for a wonderful instruction series that I ind myself gobbling up. I do have a question on this topic: Should the yellow color be used to warm all colors including those that do not have yellows in them (blues, purples, etc)? Thank you again and keep them coming!
Joe, the answer is no. There is no good formula for which color to use for warming, but the best bet is to chose according to the color wheel the warmest analogous color. For example, for purple, red will warm it. For blue, either purple or green will warm it, depending upon in which direction the blue leans.
Yes as always very fine and nuanced explanation but you did photographs your small color tests too far away for actually being able to see the fine nuances
Stephen, getting the brightest white depends upon the colors surround the white rather than the white itself. That kind of contrast is possible when a tiny a complement of the surrounding color is added to white, and/or strong value contrast. For example, if you are making clouds in a blue sky, a tiny bit of orange (complement of blue) mixed into the lightest part of the cloud will make it appear bright.
Peter, Usually the highlight takes on a bit of its complement, but that all depends upon the light source and the local color. Sometimes, the highlight needs to be warmed just a tad. Depend upon your observation for this one.
In the Studio Art Instruction Dianne Mize hi...great tip...your wonderful...I have learned so much from your channel ...pls try the Amsterdam boards for practice canvas...no need to spray them...just wipe off with medium on paper towel and paint comes off... I would like to ask...do you have a clip or can you discuss your thoughts on using Black in landscapes...pls ...I have seen so many artists on RUclips teaching and use black...I think many should understand the use of black...I know Helen talked about black...and it's use is to mix with white to make grays...so many use it in the underpainting...and in the distance...in water for seascapes...I have studied all the books by E.J Robinson....in seascapes...never to use black in the water...well I see it so much on RUclips lessons it drives me nuts...they mix it in everything...I just think it makes all the colors throughout dirty...I would luv to hear your thoughts...thanks so much.
In the Studio Art Instruction Dianne Mize could you please go over your palette...pls...I have the same pochade box as yours...and would like to lay it out as yours...thanks so much...
Our very first video lesson on diannemize.com uses black and yellow to make green. I don't have a specific tutorial about the wider uses of black, but I'll put this on our schedule for Quick Tips.
To everyone whose teachers told them not to use white: get a new teacher. It's obvious to me calling them morons is insulting to morons everywhere. As for adding yellow of any kind to your white to add to all your colors? This ignores the fact that yellows neutralize certain colors, like violets and blue violets and violet blues. You want brilliant versions of these colors to paint flowers or dresses or abstracts? Avoid yellows like the plague. You want to tone them down, mute them in some way? Yellows and oranges are very useful. Heck, people, LOOK at the real world. Try and make colors to imitate what you see. Then you might come to realize that color exaggerations and value oppositions are often needed in the painting to get that real effect you might be wanting. ANY advice given to painters that tries to cover every aspect of whatever that artist is going to try and paint is bogus. I don't care WHO gives it. If anyone does not believe my claims; fine. Facts are facts and bulls*&t can hit the road. EXPERIMENT! I was given enough bad advice by my art teachers in high school to help me ruin many a painting. A few teachers I've run across were worth their weight in gold and even mere minutes spent listening to them and watching them were worth weeks of lessons from other teachers.
@@IntheStudioArtInstruction Please don't be disingenuous. First, I am not angry, although I am impatient with the way a lot of painting and color theory is taught. As for what I'm trying to say, please read my entire comment about how yellows can affect certain colors. For every good art instructor I've run across, I've run across five who know little to nothing about the hows and whys of what they're doing. I can get a lot of good out of your video here, but I've been painting and been interested in painting for over five decades and counting. From reading the comments below, it's obvious to me a good percentage of your viewers are committing the necessary sin of being a newbie, as I once was many, many moons ago. As such, they are unaware of knowing even the basic 101 rudiments of color mixing. My high school art teachers seemed to be afraid of giving their students useful information as far as the rudiments of knowing something about their materials. I thought it was a problem only my school had. Imagine my chagrin in discovering this anus way of teaching is not only widespread but is done on PURPOSE. I asked a retired art teacher about it and she told me it was no accident and I asked her why. Ready? "So the children can learn to be creative and find their own muse." Imagine if English is taught this way. No spelling, no punctuation, etc. Imagine wanting to write a story when crippled by such tomfoolery. I told her my thoughts on that--politely--and she blew up on me. If these thoughts mean nothing to you, then fine: you're on my shit list. If not, we can talk, even if we disagree, and you' be on my short list.
We are not in disagreement. I have spent the past 50+ years fighting the status quo you are referring to--ten years heading a college art department and the remainder in my own school. If you are familiar with my teaching philosophy or have read my book, Finding Freedom to Create , you know that. The purpose of this channel is to help fill in the gaps that so many would-be instructors have left open.
I've been painting most of my life, and NEVER learned these things in school. In fact, white was "the enemy", LOL! Your videos are incredibly helpful. 2 thumbs up!
Truth is, Venetiancat, NO color is "the enemy", not even black. It's a matter of know what to do with it. I do wish these things were taught universally. Oh well, perhaps that's my job :)--Dianne
Indeed it could be Dianne, and yes, I fully concur about NO color being the enemy. ;) Best, Julia
I purchased some expensive videos and I didn't learn as much as this 10 min video from Dianne. The expensive videos were long, they remind me of the burrito I bought, very little meat and a lot of fillers. I have a couple of your videos and I refer to them every now and then, they are in a box with a labeled "KEEPERS". Thanks Dianne, you're a wonderful teacher.
Thanks, Elizabeth. I like being in the "Keepers" zone.
SO helpful! I'm self taught and have never heard this before. Thanks for sharing your knowledge!
Glad it was helpful!
I have just discovered this treasure trove of information called Dianne. I have studied with some well known artist who know color and it's characteristics but do not convey it well. For those of us who may be a bit more analytical we not only want to know the 'how' but the 'why' of color mixing. I am consuming all of these quick tips before building my arsenal of your very inexpensive videos for future reference. Thank you so much.
Thanks, Max.
I love your instruction! Thank you for taking your time to be so informative to those of us that are hungry to learn and grow in the art of painting.
Cindy, it is my pleasure to share.
I'd like to say that it Doesn't matter the production value of the video, if you listen to what is said you will learn. I have learned so much more since watching your videos and look forward to seeing more! I watch your videos all the time and appreciate you taking the time to upload them on here thank you!
Thanks for watching.
I have learned SO much from you!! I love your videos. Thank you!!!
Awesome! Thank you!
I very much enjoy your videos as you have great tips, even for experienced painters! Thank you.
Thanks for that, JT.
Hi Dianne, this is a great tip because sometimes you flounder around trying to figure out what is missing. Thank you, Julie 🥰
Glad you were watching that closely.
Very interesting and thorough (as always).
I've used naples yellow in goauche to tone down the brightness of a color, while still keeping it warm (instead of using white).
I haven't had much success with that in oils, so the information you've just given is very useful. Thank you.
Veaudor, I'm happy to have shed a new light on that.
Wow, you're so experienced. Thanks for the tip.
I couldn't help but grin reading your comment. I've been teaching painting since 1964. This is, indeed, a few years of experience.
As always, your explanations are fantastic
Thanks.
Once again, I now understand a concept that I never thoroughly grasped before! You are a wonderful teacher who really cares about your subject and the person on the other side of your video!!!! You truly inspire me!!
😊
Another inspiring video ! Thank you Dianne !
You are so welcome, Marie!
This is very helpful. I started believing I shouldn't touch white at all and find it is too hard to really do.
It's really quite magical when you can relax with it.
Excellent. I thoroughly enjoyed this nugget of gold.
😊
Dianne I am so pleased to see your "quick tips" & feel that you are teaching & encouraging me so much, for which I am most grateful. I do find the camera shots a bit difficult though. I see you mixing the colours on your pallet then applying them to the canvas but the camera is so far away that the colours look too similar, the variations are hardly visible . Nevertheless I take notes & try mixing them myself. Once again, thank you for being so generous.
Thanks for your comment, Anne. Our camera team is working on this.
@@IntheStudioArtInstruction Well I'm glad I'm not the only one who thinks the camera man is having a joke with the viewer. It might be a good idea to actually look at your own video BEFORE you upload it. The other point is that you tend to use twenty five words when six or seven would do
You've obviously got a wealth of knowledge but it drive me mad when I can't see what you referring to and taking all day to get to the point
So, fire the cameraman. Plan ahead, don't mix colours live, do it before you start when possible
You're giving us too much information that's not really relevant to the point
Hope this helps
Thank you for your comment, Chris Newton. We will take it under advisement and look forward to seeing your art instruction productions so we can fully understand what you're talking about.
@@IntheStudioArtInstruction If you can't stand the heat, get out of the kitchen. I'm an artist and I'm always interested in any remarks about my own work even if it's not very complimentary. I've made lots of videos about all sorts of things and been paid quite well for them. BUT, I've no plans to ever make an instruction video on art. You do know a lot about painting, that's not the problem. Kind regards - Chris
Chris Newton for someone who is getting those instructions for free you seem a little demanding. I think what she is doing is something wonderful she is helping other people. Something that, as you mentioned, you would never do it for free.
Great information! Ty for posting!
You bet!
great explanation. Adding different warm colors as you have explained is a really a very top advise. Because white kills the real color when added, too bright for my taste. Many thanks
Have fun with a new way of thinking about white.
Great tip about adding the warmth back into a color!!!
Thanks! It works.
Thanks for this great tip! 🙏
You bet!
Very useful! A bit the opposite of darkening red by mixing a darker red to a lighter red. Thank you Dianne.
My pleasure.
that sure was a big help...thank you! I will check out your website!
Thanks.
You're Welcome!!!
Dianne, I enjoy your instructional videos so much. I have learned so many things that I've never learn from any other art teacher I've had in my life. Could you go over your easel set up meaning how you've got your brushes and your turpentine hanging from the bottom etc also what easel are you using? Thank you, Lisa
Lisa, we've already made a Quick Tip about my setup. Look for it in three or four weeks as we film these several weeks in advance. However, I neglected to address the brush holder and the solvent cup. The solvent cup hangs from a little clip designed to hand things from the pochade box and the brush cup I made myself. It, too, is attached to a little hanger especially designed for pochade boxes.
love your tutorials. could you possibly show the canvas nearer so we can see better
Got it.
I'm going to apply straight away your suggestions on how to "build" a white subject painting. Should come out beautiful. I've tried it just recently and couldn't figure out what was wrong with highlights and shadows. Either too gray, kind of concrete gray, or too warm and looking weirdly dirty. ❤️
Have fun with this.
Thanks again💐
You're welcome 😊
Sometimes changing character is good as you said. And I got to know more about not adding white and using warm colours. But I've experienced black colour also changes character of a colour. So in case of black can we use cool colours to change temperature? Or black works in a different way! Thank you! :)
Wonderful!❤️❤️❤️❤️❤️thank you
You are so welcome!
Your camera person seemed willing to give us a close-up of your palette, but seemed extremely reluctant to give us a close-up of the actual painting. Although at 6:50 when we did get a close shot the lighting was poor - maybe that was the basis of the reluctance. Anyway, love your lessons as always.
We appreciate your input.
Thank you very much! I follow you from Italy, could you please tell me how can I create a beautiful vibrant warm fuchsia please?🌹
Oh my goodness? First, for a color to appear vibrant, it must be surrounded by other colors that enhance its vibrancy. The quinacridone colors are clean and clear and with a bit of white added can create fuchsia. Depending upon the brand, a Quinacridone magenta plus white will come close when surrounded by a strong dark. For some brands, adding a tiny bit of ultramarine blue and/or Quinacridone rose might be necessary. Experiment.
In the Studio Art Instruction thank you! 🌹
Amazing video! just have a few questions since white cools the color do you have the same saturation problem with the cool colors? If so how would you bring back saturation while keeping the raised value? what is the equivalent of adding yellow for a blue or a purple?
Logan, the greens and yellow greens need to have a bit of yellow added back in, the violets and red-violets require a bit of red, but the blues hold up relatively well, since blue is already the coolest color.
Thank you for a wonderful instruction series that I ind myself gobbling up. I do have a question on this topic: Should the yellow color be used to warm all colors including those that do not have yellows in them (blues, purples, etc)? Thank you again and keep them coming!
Joe, the answer is no. There is no good formula for which color to use for warming, but the best bet is to chose according to the color wheel the warmest analogous color. For example, for purple, red will warm it. For blue, either purple or green will warm it, depending upon in which direction the blue leans.
Yes as always very fine and nuanced explanation but you did photographs your small color tests too far away for actually being able to see the fine nuances
Thanks for pointing that out.
Can you do the same thing with Blues
Yes.
Camera is too far away, cannot see the colour changes you are demonstrating
Are you watching on your phone?
Very good tip. What colors do you use?
The brands of paint I prefer for oils are Gamblin, Rembrandt, Daniel Smith and for a few colors, Utrecht.
@@IntheStudioArtInstruction Thank you very much.
How can I mix the brightest white.
Stephen, getting the brightest white depends upon the colors surround the white rather than the white itself. That kind of contrast is possible when a tiny a complement of the surrounding color is added to white, and/or strong value contrast. For example, if you are making clouds in a blue sky, a tiny bit of orange (complement of blue) mixed into the lightest part of the cloud will make it appear bright.
what does raise the value mean ?
To make it lighter.
Does lead white cause as much of a temperature change as titanium since it is a warmer white?
Somewhat, but not discernible.
Good video but the camera work could be better (not enough zoom).
Thanks for watching.
So you have the dark middle but where the high lite do u have to go to white? Thx
Peter, Usually the highlight takes on a bit of its complement, but that all depends upon the light source and the local color. Sometimes, the highlight needs to be warmed just a tad. Depend upon your observation for this one.
Do most of your tips apply to acrylics?
Yes, except for those technical ones that apply exclusively to oils.
Do you ever use buff titanium?
No, Donna. Buff titanium, too, reduces the intensity.
In the Studio Art Instruction Dianne Mize hi...great tip...your wonderful...I have learned so much from your channel ...pls try the Amsterdam boards for practice canvas...no need to spray them...just wipe off with medium on paper towel and paint comes off...
I would like to ask...do you have a clip or can you discuss your thoughts on using Black in landscapes...pls ...I have seen so many artists on RUclips teaching and use black...I think many should understand the use of black...I know Helen talked about black...and it's use is to mix with white to make grays...so many use it in the underpainting...and in the distance...in water for seascapes...I have studied all the books by E.J Robinson....in seascapes...never to use black in the water...well I see it so much on RUclips lessons it drives me nuts...they mix it in everything...I just think it makes all the colors throughout dirty...I would luv to hear your thoughts...thanks so much.
In the Studio Art Instruction Dianne Mize could you please go over your palette...pls...I have the same pochade box as yours...and would like to lay it out as yours...thanks so much...
Our very first video lesson on diannemize.com uses black and yellow to make green. I don't have a specific tutorial about the wider uses of black, but I'll put this on our schedule for Quick Tips.
To everyone whose teachers told them not to use white: get a new teacher. It's obvious to me calling them morons is insulting to morons everywhere. As for adding yellow of any kind to your white to add to all your colors? This ignores the fact that yellows neutralize certain colors, like violets and blue violets and violet blues. You want brilliant versions of these colors to paint flowers or dresses or abstracts? Avoid yellows like the plague. You want to tone them down, mute them in some way? Yellows and oranges are very useful.
Heck, people, LOOK at the real world. Try and make colors to imitate what you see. Then you might come to realize that color exaggerations and value oppositions are often needed in the painting to get that real effect you might be wanting.
ANY advice given to painters that tries to cover every aspect of whatever that artist is going to try and paint is bogus. I don't care WHO gives it.
If anyone does not believe my claims; fine. Facts are facts and bulls*&t can hit the road. EXPERIMENT! I was given enough bad advice by my art teachers in high school to help me ruin many a painting. A few teachers I've run across were worth their weight in gold and even mere minutes spent listening to them and watching them were worth weeks of lessons from other teachers.
@dynomax 101 - I sense your impatience and anger, but I'm not quite sure what else you are saying.
@@IntheStudioArtInstruction Please don't be disingenuous. First, I am not angry, although I am impatient with the way a lot of painting and color theory is taught.
As for what I'm trying to say, please read my entire comment about how yellows can affect certain colors. For every good art instructor I've run across, I've run across five who know little to nothing about the hows and whys of what they're doing.
I can get a lot of good out of your video here, but I've been painting and been interested in painting for over five decades and counting. From reading the comments below, it's obvious to me a good percentage of your viewers are committing the necessary sin of being a newbie, as I once was many, many moons ago. As such, they are unaware of knowing even the basic 101 rudiments of color mixing.
My high school art teachers seemed to be afraid of giving their students useful information as far as the rudiments of knowing something about their materials. I thought it was a problem only my school had. Imagine my chagrin in discovering this anus way of teaching is not only widespread but is done on PURPOSE. I asked a retired art teacher about it and she told me it was no accident and I asked her why. Ready? "So the children can learn to be creative and find their own muse."
Imagine if English is taught this way. No spelling, no punctuation, etc. Imagine wanting to write a story when crippled by such tomfoolery.
I told her my thoughts on that--politely--and she blew up on me. If these thoughts mean nothing to you, then fine: you're on my shit list. If not, we can talk, even if we disagree, and you' be on my short list.
We are not in disagreement. I have spent the past 50+ years fighting the status quo you are referring to--ten years heading a college art department and the remainder in my own school. If you are familiar with my teaching philosophy or have read my book, Finding Freedom to Create , you know that. The purpose of this channel is to help fill in the gaps that so many would-be instructors have left open.
Hi Dianne. Would you like to marry me ?
Not today.