I love how you described being a composer of a painting instead of copying all the details - that was so helpful!!! You are a wonderful teacher and I learn so much from your videos - thank you!!! 😁
Absolutely the best teacher ever! I learn so much from you. I just realized..im guilty of trying to copy..when what I really want to do is compose. Big difference! Thank You!
Hi Dianne. This was enormously helpful. No one has ever explained the block in to me before and the fact that it has to do with placement. (I also appreciate your use of music analogies such as composition in this case). Would you consider doing a quick tip of the very next step here? In other words, the intermediary step before details? What helps me most is to hear your thought process spoken aloud. Many thanks.
Thanks, Monica. I will put your request on our filming schedule. We film these several weeks in advance, so most likely, it will be mid-to-late September before it appears. Meanwhile, I do have among our hour-long lessons on the website, Series 17 called Beyond Studies. You might check out the descriptions of these lessons and see if one or some of them will do the job.
Dear Dianne, do you think art can be purpose of life? Can painting art purpose of life? It's irrelevant here but I want to ask your opinion. Purpose is to make difference in others life....so a painting ...can make a difference in someone's life? It's bit philosophical.
Sujanith, most certainly, art can be life's purpose! It's been my purpose for 78 years. Art derives from creating and creativity is how we all got here in the first place. To create is to bring new life, whether physical or metaphysical or both. An art work created from the authenticity of the artist can touch the human spirit just as music can. It gives in both directions: it gives the artist discovery, growth, and understanding while it gives the culture a connection with the creative spirit of the universe.
If I had an Art teacher of your calibre 50 years ago, life would have been very different for me! Just really exploring what was always an interest, but without any technical backgound, so frustrating. Thank you so much, Dianne
I am still confused. Can you elaborate? I did look at Cast Shadow Colors tip 283... You said that the "cast shadow would sometimes take on the color of the object...". 1) So is this artistic license that made you do the cast shadow on Tip 276 green? 2) Did you see green in the cast shadow on the sand? (Maybe it is my computer, but the shadow looks like a cooler neutralized version of the local color of sand... orange brown.) I am ASSUMING you were going to paint the shadow the way the photo hues describe. I guess it is my background in watercolor but I am thinking wouldn't it be easier to block in the cast shadow a cooler neutralized version of sand instead of putting in green and having to change it later to cool warm brown... In Tip 283, I noticed you didn't put cow color shadows on the grass.. (well maybe you added some later but why is the main color green for this situation and sand situation different? Sorry to bother you again this is driving me crazy.
In Quick Tip 276, the cast shadow on the sand should not have leaned so heavily towards green, but more towards low intensity purple. You might call this artistic license, but it's really my not paying close enough attention to what the hue was doing while giving attention to the process I was teaching. But, this is a block-in phase. In the next phase, I would have caught that and adjusted it, especially nearer to where the cast shadow gets closer to the not-shadow of the sand. In watercolor, I would have been more careful about that. Oil has the advantage of being able make adjustments that watercolor does not have. You have a sharp eye to have paid attention to that.
You are fabulous. It's always been nice that you've shared tips, but I've been homebound for months now and you're, quite frankly, a life saver. Helps keep me out of a straight jacket. 😏
I assume the cast shadow on the left will still be a shadow in the finished painting, so why is this long horizontal shadow blocked in green? I understand the bush and shadow have to be one same value shape, but my first inclination would be to worry that that cast shadow won't be the right color at the end with a strong green like that (especially if I were painting ala prima). But, I also understand if the shadow were changed to a non- green local color it creates yet another shape. Yikes.. I am curious how you end up with the cool purplish shadow without creating another shape or not changing the L side bush to a muddier color. Thanks in advance.
Please allow me to paraphrase a little story from the life of Martin Luther, the significance will be revealed in the end. He had come to a point where he exclaimed, “FINALLY, I see and FEEL the truth of God’s grace!” His colleague, almost with alarm, said, “This can’t be true! You have already written volumes about God’s grace and the book of Romans!” Martin said, “Yes, but this time it’s so much deeper!” This is how I feel about your teaching, Artist/art teacher Dianne Mize. I’ve watched you for quite a long time now, but the teaching goes into each new and deeper level of comprehension of the concept. Makes me thankful for the WAY you teach (and preach...lol) that. I have watched this 3 times now and feel a very deep level of foundation for the next picture I have begun to plan. Makes me feel like I had been building on sand No wonder I had felt the edifice shake as I moved along. Now more and more I feel a solid foundation. I also appreciate the kindness and continuing teaching as you interact with the comments. You are one in a million. Thank you.
@@IntheStudioArtInstruction I do pray to give. Sometimes I start giving and my hand starts closing up (that is the very moment I pray, Dear God, let me give, willingly, with an open heart as a sign of your love..."). Your generosity is what endears you to so many...well, right after your talent. There are not many, don't you notice in the "Sponsored Ads", that tell you nothing until you pay. But you give and give and give. There may be those who say that you're a fool not to "monetize" more - but you will have more stars in your crown. I'm sure (and hoping) that enough people succeed and BUY your wares...until then, we starving artists must settle with throwing flowers at your feet. (LOL and many blessings on your head!) You may want to ask, "REAL flowers or flowery speeches??!!" Well, both! Again LOL
🤗 I do watercolor, too and I still always find ways her tips apply to what I'm doing. Sometimes I do quick studies with gouache for my block in & then I'm working pretty much like oil and it gives me a chance to do a couple small variations on the painting before switching over to watercolor
Yes. As I've said many times, the basic principles are the same regardless of the medium. Once you understand how the medium behaves, you then know how to apply the concept.
You described the exact problem I've been having...not only in painting, but also drawing. I tend to get hung up on details before I see the larger picture and end up with a composition that lacks balance and focus. So I probably need practice blocking in and get used to seeing the whole composition. I need to squint more and stop being so fussy on the small bits. Thank you Dianne!
I have to say you are not only an excellent teacher, but wise. Your experience shows through as you explain use of the medium. It's one thing to be smart, another to have wisdom. I like you no fluff presentation style without the dramatic bells and whistles of many videos. I may have commented earlier about the alla prima approach. I attempted it but found myself lost in the goop. It may not be for me. I have to learn patience with this medium. In watercolor I have immediate satisfaction. I am used to the pace. The sprint vs the stroll is my issue. Do you have any videos about starting with the medium and ways to "deal" with it? Methods and Materials in a way? Thx.
First, thank you Paul for your comments. Your question is one I've not received before, but certainly merits addressing. I will put it on our filming schedule. Since we film these several weeks in advance, look for it in mid-to-late September. But for the moment: For every medium, there is a learning curve of technical skills, just like in any other field. Watercolor behaves totally different from oils, for example. The priority for each painting medium should be to first learn technical control of materials and tools and that is too often omitted by "instructors". About alla prima vs. the sustained approach, the important thing is that you use the approach that works best for you.
15:53 yeah photography isn’t great at capturing how the eye sees sky-against-land. I think expert photographers take two shots at different exposures and merge them afterwards. Otherwise either the sky is overexposed (like in this example) so comes out flat white, or the land is underexposed and comes out flat black.
One good practice when photographing for painting references is to take a shot of the whole scene for the information, then take several photos that include only the various value fields for the value information. It is best to do color studies for the color information.
Is the block in technique different from the Alla Prima Technique? When you block in aren't you supposed to let it dry before doing the details? Thanks for this video, I've had these questions about block in. Not many talk about this. Thank you very pretty sea side scene.
Alla Prima can include the block-in phase. If you know how to control brushwork as to the amount of paint you apply in the block-in phase, there is no need to let it dry before going into the refinement stage. Think about it like this: Regardless of which process you use in painting, there are three steps that make a painting work well. The first is placing the image on the painting surface with a preliminary drawing, the second is placing the colors and values (the block-in that I address here) phase, and the third is refinement which brings the painting to a conclusion. Whether the process is alla prima or sustained, these three phases undergird every successful painting.
Dianne, again you have imparted to all us viewers vital information in a clear, concise way. I hope you don't mind my asking two short but technical questions. Firstly: I assume you sprayed the canvas or canvas page first with your little bottle? I have been using a formula of half OMS and half linseed oil. I don't have poppyseed oil but I do have walnut oil. Will that do? Secondly, the single aperture in my spritzer gets clogged. Does your have more than one hole and does it matter? Thanks again for all your helpful tips and for clarifying things for us in the Comments section.
First, yes, walnut oil will work. It's important though to be sure to wipe down the canvas so that it is barely damp. To prevent clogging, get those little spritz bottles that have caps and keep the bottle capped between uses. Also, use an adsorbent tissue or paper towel to thoroughly wipe the nozzle before capping.
@@IntheStudioArtInstruction So, one hole is enough? I hope you'll have the time to answer my other question re continuing the block-in until the painting is finished and/or how to re-wet the block-in after the canvas is completely dry. (Where I live it can dry overnight.) Many thanks.
I love the way you teach and demonstrate the basics of underpainting/blocking. I see that you take time to explain in detail and it becomes very clear how and what is happening on the painting surface/ canvas. I have seen many tutorial videos on painting on youtube. But in many videos it appears that the teacher has not taken time to explain the details and it appears more of a show of that person's skill (kind of magic show) and we student are left wondering when we would reach that magical skill level. But in your video, I must agree, that you explain patiently and in detail. I hope I had teacher like you (in person training). Thank you very much for your videos like us learning remotely by watching on RUclips. Looking forward to more such videos. God bless.
Great explanation. I wonder if you ever do both a Notan and a block-in or do you choose one technique in favor of the other. How do you decide which to use.?
After placing the preliminary drawing, I always set the notan as the foundation for the light/shadow pattern as created by the location of the light source. I use the notan for then building the block in. They belong together in the painting process.
Two ways: With oils, you can allow the paint to set up a bit, or during the block in, you put down just enough paint to cover the surface, but not at all thick, then you can easily add details by angling your brush while applying the paint.
You are one the best teacher , I have a very similar photography I took in Monterey California. You made my day because I really wanted to paint this place. Now I know . Be safe.
Thank you for sharing the wonderful and valable explanation and demo. GEnerally the block should very detailed or small piece or just high-level large areas (less than 10)? I saw someone has more than 20 or 30 small blocks, even one block for a small rock, what do you think this way or you recommend the detailed blocking? Thanks.
Painters have different approaches, but the master painters always save detail until after major shapes are blocked-in. This is to keep color harmony and overall unity within the painting.
I may be wrong, but speaking only for myself, I have never seen so much teaching in the 24 minutes and the additional wealth of informative teaching answering the questions in the comments. From my meager living, I would gladly give $25 if there was a handy way to do it with PayPal...I'd do it this minute. This "BLOCK" of information is incredibly valuable in the teaching to see and do. I wonder if you would or could have a one hour....teaching and people could pay $25. You have almost 500 likes for this one in this few days. I wonder if 100 of then (us) would pay the 25...$2,500 that one day. I am such an idea person... such a dreamer. I will be studying this QT and all the answers in the comment section a lot before I start my next painting.
Thank you for that, jjroseknows777! We have considered setting up a Patreon account for those of you who would like to help support this work, but haven't yet made a decision about doing so. I do have 140 full length lessons available for a affordable price at diannemize. com . And from time to time, I get little donations sent from PayPal to my email address - dianne.mize@gmail.com . Perhaps it's time to give more thought to income. 😊
I AM THE ARTIST AND I CHOOSE TO MAKE IT THAT WAY! CAN WE ALL WEAR THAT SHIRT?!!! I SIMPLY LOVE YOU THANK YOU FOR POSTING SUCH AN AWESOME CHANNEL MAY GOD BLESS YOU!!!! XOXOXO
I just won an art prize and I Waa shocked. The judge said he did not like paintings that were copied from photographs. I never knew this. The paintings were far more professional than mine so I never imagined I would win. I always compose from ideas I get but then I make it my own. Just like composers compose music so artists compose paintings. And I can't even say how one does this as for me it just happens. I think if you rely on photographs it could cramp your individual style. The composition comes from the photographer.
Congratulations on your win, Mary. Yes, composition of any visual art originates within the one who composes it, whether a photographer or from one's imagination.
After watching quick tip 207 on underpainting and comparing to blocking in they seem quite distinct methods of starting a painting. Do you have any advice on the pros and cons of each? Is it it simply a matter of personal preference or are there times where you would choose one over the other? And can they ever be combined? Thank you so much. Some day I will catch up to all your quick tips. Each one gives good information and I end up watching them several times.
Lewis, the two work together. My first consideration for realistic painting is always the patterns of light and shadow created by what the light source is doing. I use the notan to plot that pattern. With the notan, I block in by adjust values and colors according to whether they fall within the pattern of shadow or the pattern of light. For me, this is a sound system for beginning a painting and allows me the freedom to pull it together what whatever way the painting itself guides me.
I'm very new to painting and I found your video on blocking in really helpful. However, and sorry to appear dumb, but I'm not sure which medium you are using. Is is oils, acrylics or water colours?
Ms. Diane, I'm an 81 y.o. man that has yuckie grey hair and I want to know what you use to get your hair so beautiful? Oh, it's not for me...of course!
Dianne, Can you do a quick tip or comment on blocking in with just one color (like a transparent red oxide for instance) to place the masses and also to show the values you want to stick to? I’ve seen artists do this. Thanks!
Maria, I think you are referring to the indirect method of painting called Grisaille where the forms are developed in values of a single color prior to layers of color being added. This was the method of painting used in frescos, and early on as oil paints came into use. This method requires a lot of time because each layer must be thoroughly dry before the next is applied. Stephen Bauman takes you through the process in a video series beginning with ruclips.net/video/vy3rATH4Egc/видео.html .
Watercolor being a totally different medium than oils and acrylics requires a totally different technical approach. But when we build a watercolor from general to specific, in essence the process of creating the painting is not that different.
Thanks for another great video. I agree with you when you said 'It`s better not to put all the details in because it`s better to leave a bit of mystery for the viewer". I personally am not too keen on paintings that look like photographs it seems that paintings without all the detail have a charm about them and the viewers brain makes up for the lost detail. Maybe I am wrong but that is how I see it.
You're not wrong at all, Kevin. One of the roles of art is to keep the viewer's engagement. If the artist - whether painter, poet, etc - says everything completely, the work becomes more like a sermon than an engaging work of art.
Gracias Querida maestrA aunque nohablo ingles miro sus videos. Gracias por pasar el nombre de los oleos escritos lovi en el tutorial q refiere al rojo oxido de Rembran desde zipaquirA colombia
Very well done, informative. As always, I appreciate how you nail the concepts, the big picture, in this case: placement --> composition. Thank you, Dianne.
There are several technical approaches to painting in oils. Alla prima is a more direct approach where the painting is finished in one session. The sustained approach is done over several sessions and there are several approaches used. Regardless of which approach the painter uses, she or he should know the technical workings of brush and paint. Knowing how to place the shapes and build into them can give the painting both unity and harmony. Overlaying brushwork plays a large role in doing this.
I was taught to block in with one color like raw umber or ultramarine blue plus burnt Sienna. Is there a reason why it would be beneficial to block in with the general colors in the scene?
Paul, to adhere to rules like this limits our possibilities. The block-in sets the stage for the painting, so gearing it towards the design as well as color harmony, rather than trying to follow the single color rule, enables watching those evolve from the beginning.
Paul, it totally depends upon what's happening in the painting as related to what need to happen next. Personally, I prefer painting wet into wet, but there are times when wet on dry is called for.
A painting has a better chance of being successful when it is created general to specific rather than piecemeal. The block in puts the colors and values in their right places so that the images can be built within them.
Hello! One thing I would like to know please, is how long it takes for an oil painting to dry. No one ever seems to mention this. Also what do you do with the paintings that are drying especially if you have a small area in which you are living in.x Thank you
Joanne, oil doesn't evaporate like water media, rather oxidizes. The time an oil painting takes to dry, then, depends upon how thick the paint is. The oxidation begins with the surface layer and slowing finds its way to the layer touching the painting surface. So an oil painting that is dry to touch might not be thoroughly dry for up to six months. That changes if the paint has in it a has been mixed with a drying facilitator. There is an extensive article on that at artincontext.org/how-long-does-oil-paint-take-to-dry/ There are drying racks you can get for sliding paintings into while drying. These are especially good for small spaces. Check out this page on Jerry's Artarama - www.jerrysartarama.com/furniture/print-and-drying-racks/rue-panel-ladder You can make your own. There are a number of designs - just do a search for "oil painting drying racks".
Also, can you make a quick tip about convenience oil colors for a limited palette? ( for example: why some artists use burnt umber or burnt sienna as their 5th color )
Grazie, è molto utile questo video, ho appena scoperto il suo canale e tu sei una bravissima insegnante, mi piacerebbe però vedere il seguito, come si lavora per i dettagli dopo il blocco di colore
Carmela, I hope you can read this in English as I don't trust Google translator to get it right. I will put your request on our filming schedule, but it will not appear on RUclips until November because we film several weeks in advance. Thanks for watching.
can you make a video talking about direct and Indirect painting? Also, I think there Is another method of painting called tiling painting and soft scumbbling. But if I had to pick one, I want to know the details of how to do direct paint you know wet on wet. Like how do you apply the paint do you have to clean your brush before applying another color on the wet paint, I just saw a guy paint wet on wet or directly, but he failed to explain how to apply one color on top of another, do I clean my brush before applying paint, do I press hard or light on wet surface, how is the first layer of wet paint covering the second layer of wet paint? I would think you would see the othere color of wet paint? I need a video explaining direct painting in detail! But cant find one ;( Thank you
We have a Quick Tip coming out in late September that explains some of this, but I will make one that specifically addresses your question because a lot of folks seem to be confused about all this. Just to let you know--we film these Quick Tips several weeks in advance, so yours most likely will appear in early October. Sorry to make you wait, but that's how she rolls. Thanks for watching.
Lesa5228, when I show these techniques, I'm not aiming towards doing a painting, just showing a skill, so these demonstrations usually get tossed after the Quick Tip is done.
Oh that’s a shame! I so wanted to see the finished painting. I live by the beach and have had problems with painting sand. I have just watched your colour matching video and it helped me a lot. Thank you so much for your videos. Moira (from Australia).
Dianne, thank you for another amazing lesson. I usually do the block in focusing more on the values and not so much on the colors, I'm not sure if this is the best way to proceed. But what I was thinking is if you dilute your paint with solvents in the block in stage, or of the paint is used without any mediums. I usually do the block in somewhat diluted, but I've noticed that when painting Alla prima, this sometimes makes the second layer harder to adhere to the canvas without making a mess.
Carol, I don't use any medium past the drawing/placement stage (unless I need a passage to dry quickly, then I use only Liquin). I find it works best to control the thickness of the paint with the brush rather than to thin it with medium.
Please tell me about difference between Acrylic and oil paints application and techniques . I was thinking both are same but after painted few oil paintings I am not able to handle Acrylic yet.
Yes, acrylics and oils are handled very much the same way. The biggest difference is the quick drying of acrylics, so when switching from oils, you have to find ways to compensate for that. Also, acrylics when thinned with medium or water keep their integrity much better than oils, however they dry flatter. The other difference is that hog bristle brushes used for oils will not work for acrylics because they don't handle well with wet with water.
That is such a great way to start this subject! I would love to see how it could be developed without doing all the grasses in detail but giving the correct idea. Do you have any videos which might address this Diane. Thank you for these great tips and demos!
Kathy, to do that is purely technical. Scan down through my Quick Tip titles for ones having to do with brush work and I think you will discover the answer to your question. You can find the complete list at ruclips.net/user/IntheStudioArtInstructioncommunity
Virginia, I will do a Tip on your request, but because we film these a couple of months in advance, it will be late September before it appears on RUclips. Meanwhile, to paint rocks with water gushing over them, we must look beyond what it is and example what we are seeing visually in the way of color, value, texture, shape and direction.
Dear teacher, this Is a helpful video but still im having trouble as my asigment Is painting on a bigger canvas, from 100cms up, the one i have now is 130cm x 200. I wonder if i should do a sketch like this of structure of color shapes and value because i already started without this and i have two bodies not knowing what the background Will be AND the bodies aré painted with little brushwork of different colores, It looks messed, when i squint my eyes It all looks gray AND with the same value, i supposed i should have started putting a solid color on the bodies AND background, not putting little shy brushworks over the white canvas, im scared to cover with masses of color, because there Is a drawing behind. Can you giveme some light on how to psint big canvas, i hope i can fix what i have now. Thank you for this jewel videos.
Im also having problems with the thickness AND quantity of paint i should use, im always scared It dry and i loose everithing. I think for big canvas It should be deluted AND in some places put accents of pure AND thick oil
I love how you described being a composer of a painting instead of copying all the details - that was so helpful!!! You are a wonderful teacher and I learn so much from your videos - thank you!!! 😁
Thanks. It's a pleasure to share these.
Absolutely the best teacher ever! I learn so much from you. I just realized..im guilty of trying to copy..when what I really want to do is compose. Big difference! Thank You!
You can do it!
I agree
That was such a clear explanation and simplifies the painting process. Thank you for yet another great quick tip. Very helpful!
My pleasure, as always. Thanks for watching.
I so enjoy your tips , you have taught me a great deal that I previously did not understand.
Excellent, excellent instruction!
Many thanks!
Thank you so much for sharing your knowledge
My pleasure!
I really get your teaching style. I am glad I found your channel. Thank you for these lessons!!
My pleasure. Glad you found us.
Very informative, thank you! You’ve just taught me a way to ‘fix’ a major flaw in my technique. Thanks!
Great to hear!
I'm loving this woman's energy and confidence!
Thanks!
I need to learn this too, thanks Dianne
A few practice sessions and you'll have it.
I always block in, but never thought about what you refer to as scanning ... thanks so much for this tip!!!
My pleasure. Thanks for watching.
Thank you for your excellent explanation that makes the block-in technique understandable. Great quick tip!
Thanks.
Hi Dianne. This was enormously helpful. No one has ever explained the block in to me before and the fact that it has to do with placement. (I also appreciate your use of music analogies such as composition in this case). Would you consider doing a quick tip of the very next step here? In other words, the intermediary step before details? What helps me most is to hear your thought process spoken aloud. Many thanks.
Thanks, Monica. I will put your request on our filming schedule. We film these several weeks in advance, so most likely, it will be mid-to-late September before it appears. Meanwhile, I do have among our hour-long lessons on the website, Series 17 called Beyond Studies. You might check out the descriptions of these lessons and see if one or some of them will do the job.
I just found you channel yesterday and I’m already in love !!!
Great! Welcome aboard!
Dear Dianne, do you think art can be purpose of life? Can painting art purpose of life? It's irrelevant here but I want to ask your opinion. Purpose is to make difference in others life....so a painting ...can make a difference in someone's life? It's bit philosophical.
Sujanith, most certainly, art can be life's purpose! It's been my purpose for 78 years. Art derives from creating and creativity is how we all got here in the first place. To create is to bring new life, whether physical or metaphysical or both. An art work created from the authenticity of the artist can touch the human spirit just as music can. It gives in both directions: it gives the artist discovery, growth, and understanding while it gives the culture a connection with the creative spirit of the universe.
@@IntheStudioArtInstruction thank you 😊🙏🙏🙏🙏
Thank you this was very helpful
You're welcome! So glad it was helpful.
If I had an Art teacher of your calibre 50 years ago, life would have been very different for me! Just really exploring what was always an interest, but without any technical backgound, so frustrating. Thank you so much, Dianne
Marian, I am delighted to help fill in the gaps.
Great tip
Thanks.
Very nice and I found this very useful
Glad it was helpful!
@@IntheStudioArtInstruction I certainly was. Thanks
Your blocking in is better than my final paintings! 🙂
I doubt that!
LOL... Still I know what you mean. I was thinking so, too!
Very nice lesson, waiting for next thank you for such a wonderful lesson mohansingh from India🇮🇳
Most welcome!
Very useful video. Thank you!
Glad it was helpful!
I am still confused. Can you elaborate?
I did look at Cast Shadow Colors tip 283... You said that the "cast shadow would sometimes take on the color of the object...".
1) So is this artistic license that made you do the cast shadow on Tip 276 green?
2) Did you see green in the cast shadow on the sand? (Maybe it is my computer, but the shadow looks like a cooler neutralized version of the local color of sand... orange brown.)
I am ASSUMING you were going to paint the shadow the way the photo hues describe. I guess it is my background in watercolor but I am thinking wouldn't it be easier to block in the cast shadow a cooler neutralized version of sand instead of putting in green and having to change it later to cool warm brown...
In Tip 283, I noticed you didn't put cow color shadows on the grass.. (well maybe you added some later but why is the main color green for this situation and sand situation different? Sorry to bother you again this is driving me crazy.
In Quick Tip 276, the cast shadow on the sand should not have leaned so heavily towards green, but more towards low intensity purple. You might call this artistic license, but it's really my not paying close enough attention to what the hue was doing while giving attention to the process I was teaching. But, this is a block-in phase. In the next phase, I would have caught that and adjusted it, especially nearer to where the cast shadow gets closer to the not-shadow of the sand.
In watercolor, I would have been more careful about that. Oil has the advantage of being able make adjustments that watercolor does not have.
You have a sharp eye to have paid attention to that.
You are fabulous. It's always been nice that you've shared tips, but I've been homebound for months now and you're, quite frankly, a life saver. Helps keep me out of a straight jacket. 😏
Thank you. I am delighted to keep you out of the straight jacket 🤗
I assume the cast shadow on the left will still be a shadow in the finished painting, so why is this long horizontal shadow blocked in green? I understand the bush and shadow have to be one same value shape, but my first inclination would be to worry that that cast shadow won't be the right color at the end with a strong green like that (especially if I were painting ala prima). But, I also understand if the shadow were changed to a non- green local color it creates yet another shape. Yikes.. I am curious how you end up with the cool purplish shadow without creating another shape or not changing the L side bush to a muddier color. Thanks in advance.
See my Quick Tip 283 on cast shadow colors and I think you will have your answer.
Please allow me to paraphrase a little story from the life of Martin Luther, the significance will be revealed in the end. He had come to a point where he exclaimed, “FINALLY, I see and FEEL the truth of God’s grace!” His colleague, almost with alarm, said, “This can’t be true! You have already written volumes about God’s grace and the book of Romans!” Martin said, “Yes, but this time it’s so much deeper!”
This is how I feel about your teaching, Artist/art teacher Dianne Mize. I’ve watched you for quite a long time now, but the teaching goes into each new and deeper level of comprehension of the concept. Makes me thankful for the WAY you teach (and preach...lol) that.
I have watched this 3 times now and feel a very deep level of foundation for the next picture I have begun to plan. Makes me feel like I had been building on sand No wonder I had felt the edifice shake as I moved along. Now more and more I feel a solid foundation.
I also appreciate the kindness and continuing teaching as you interact with the comments. You are one in a million. Thank you.
Wow, jjroseknows777! Thank you for that. Truth is universal no matter the discipline, isn't it!
@@IntheStudioArtInstruction I do pray to give. Sometimes I start giving and my hand starts closing up (that is the very moment I pray, Dear God, let me give, willingly, with an open heart as a sign of your love..."). Your generosity is what endears you to so many...well, right after your talent. There are not many, don't you notice in the "Sponsored Ads", that tell you nothing until you pay. But you give and give and give. There may be those who say that you're a fool not to "monetize" more - but you will have more stars in your crown. I'm sure (and hoping) that enough people succeed and BUY your wares...until then, we starving artists must settle with throwing flowers at your feet. (LOL and many blessings on your head!) You may want to ask, "REAL flowers or flowery speeches??!!" Well, both! Again LOL
Hi from Turkey. Is it same with underpainting? Thank you!
Yes, it is
I guess with watercolor you would do the same thing, just the opposite way round (lights blocked in first?
🤗 I do watercolor, too and I still always find ways her tips apply to what I'm doing. Sometimes I do quick studies with gouache for my block in & then I'm working pretty much like oil and it gives me a chance to do a couple small variations on the painting before switching over to watercolor
Yes. As I've said many times, the basic principles are the same regardless of the medium. Once you understand how the medium behaves, you then know how to apply the concept.
Block your first washes? Can't wait to try it!
I love this channel, thank you so much
Our pleasure!
You described the exact problem I've been having...not only in painting, but also drawing. I tend to get hung up on details before I see the larger picture and end up with a composition that lacks balance and focus. So I probably need practice blocking in and get used to seeing the whole composition. I need to squint more and stop being so fussy on the small bits. Thank you Dianne!
Yep, it makes all the difference in the world when you approach your painting process from general to specific.
I have to say you are not only an excellent teacher, but wise. Your experience shows through as you explain use of the medium. It's one thing to be smart, another to have wisdom. I like you no fluff presentation style without the dramatic bells and whistles of many videos. I may have commented earlier about the alla prima approach. I attempted it but found myself lost in the goop. It may not be for me. I have to learn patience with this medium. In watercolor I have immediate satisfaction. I am used to the pace. The sprint vs the stroll is my issue. Do you have any videos about starting with the medium and ways to "deal" with it? Methods and Materials in a way? Thx.
First, thank you Paul for your comments.
Your question is one I've not received before, but certainly merits addressing. I will put it on our filming schedule. Since we film these several weeks in advance, look for it in mid-to-late September.
But for the moment: For every medium, there is a learning curve of technical skills, just like in any other field. Watercolor behaves totally different from oils, for example. The priority for each painting medium should be to first learn technical control of materials and tools and that is too often omitted by "instructors".
About alla prima vs. the sustained approach, the important thing is that you use the approach that works best for you.
15:53 yeah photography isn’t great at capturing how the eye sees sky-against-land. I think expert photographers take two shots at different exposures and merge them afterwards. Otherwise either the sky is overexposed (like in this example) so comes out flat white, or the land is underexposed and comes out flat black.
One good practice when photographing for painting references is to take a shot of the whole scene for the information, then take several photos that include only the various value fields for the value information. It is best to do color studies for the color information.
@@IntheStudioArtInstruction fantastic, I’ll try that-thanks!
Is the block in technique different from the Alla Prima Technique? When you block in aren't you supposed to let it dry before doing the details? Thanks for this video, I've had these questions about block in. Not many talk about this. Thank you very pretty sea side scene.
Alla Prima can include the block-in phase. If you know how to control brushwork as to the amount of paint you apply in the block-in phase, there is no need to let it dry before going into the refinement stage.
Think about it like this: Regardless of which process you use in painting, there are three steps that make a painting work well. The first is placing the image on the painting surface with a preliminary drawing, the second is placing the colors and values (the block-in that I address here) phase, and the third is refinement which brings the painting to a conclusion. Whether the process is alla prima or sustained, these three phases undergird every successful painting.
@@IntheStudioArtInstruction Thank you so much, I've been confused about the Alla Prima technique as compared to letting the block in dry first...
Dianne, again you have imparted to all us viewers vital information in a clear, concise way. I hope you don't mind my asking two short but technical questions. Firstly: I assume you sprayed the canvas or canvas page first with your little bottle? I have been using a formula of half OMS and half linseed oil. I don't have poppyseed oil but I do have walnut oil. Will that do? Secondly, the single aperture in my spritzer gets clogged. Does your have more than one hole and does it matter? Thanks again for all your helpful tips and for clarifying things for us in the Comments section.
My spritzer gets all clogged up too and have wondered how to remedy that situation...
First, yes, walnut oil will work. It's important though to be sure to wipe down the canvas so that it is barely damp.
To prevent clogging, get those little spritz bottles that have caps and keep the bottle capped between uses. Also, use an adsorbent tissue or paper towel to thoroughly wipe the nozzle before capping.
@@IntheStudioArtInstruction
So, one hole is enough? I hope you'll have the time to answer my other question re continuing the block-in until the painting is finished and/or how to re-wet the block-in after the canvas is completely dry. (Where I live it can dry overnight.) Many thanks.
Thank you, that was so helpful
Great! Thanks for watching.
I love the way you teach and demonstrate the basics of underpainting/blocking. I see that you take time to explain in detail and it becomes very clear how and what is happening on the painting surface/ canvas. I have seen many tutorial videos on painting on youtube. But in many videos it appears that the teacher has not taken time to explain the details and it appears more of a show of that person's skill (kind of magic show) and we student are left wondering when we would reach that magical skill level. But in your video, I must agree, that you explain patiently and in detail. I hope I had teacher like you (in person training). Thank you very much for your videos like us learning remotely by watching on RUclips. Looking forward to more such videos. God bless.
Thanks so much Aschin.
Great explanation. I wonder if you ever do both a Notan and a block-in or do you choose one technique in favor of the other. How do you decide which to use.?
After placing the preliminary drawing, I always set the notan as the foundation for the light/shadow pattern as created by the location of the light source. I use the notan for then building the block in. They belong together in the painting process.
After you you block in the colors/values/shapes, how do you paint the details with out muddling up the colors
Two ways: With oils, you can allow the paint to set up a bit, or during the block in, you put down just enough paint to cover the surface, but not at all thick, then you can easily add details by angling your brush while applying the paint.
Excellent! That is what I want to be, a composer and not a copier.
My hope is that all painters will have the same intention.
Thank you
You're welcome
You are one the best teacher , I have a very similar photography I took in Monterey California. You made my day because I really wanted to paint this place. Now I know . Be safe.
Happy to help!
Thank you for sharing the wonderful and valable explanation and demo. GEnerally the block should very detailed or small piece or just high-level large areas (less than 10)? I saw someone has more than 20 or 30 small blocks, even one block for a small rock, what do you think this way or you recommend the detailed blocking? Thanks.
Painters have different approaches, but the master painters always save detail until after major shapes are blocked-in. This is to keep color harmony and overall unity within the painting.
Thank you mam dianne,you're a great help for self taught artist,TAKE ÇARE,GOD BLESS.ALHAMDULILLA
My pleasure 😊
Greatest teaching you have easily and professional. Love you Chanel. Thanks
Thanks. It's a pleasure to do these.
I may be wrong, but speaking only for myself, I have never seen so much teaching in the 24 minutes and the additional wealth of informative teaching answering the questions in the comments. From my meager living, I would gladly give $25 if there was a handy way to do it with PayPal...I'd do it this minute. This "BLOCK" of information is incredibly valuable in the teaching to see and do. I wonder if you would or could have a one hour....teaching and people could pay $25. You have almost 500 likes for this one in this few days. I wonder if 100 of then (us) would pay the 25...$2,500 that one day. I am such an idea person... such a dreamer. I will be studying this QT and all the answers in the comment section a lot before I start my next painting.
Thank you for that, jjroseknows777! We have considered setting up a Patreon account for those of you who would like to help support this work, but haven't yet made a decision about doing so. I do have 140 full length lessons available for a affordable price at diannemize. com . And from time to time, I get little donations sent from PayPal to my email address - dianne.mize@gmail.com .
Perhaps it's time to give more thought to income. 😊
I second the comment down below, that you are a wonderful teacher, teaching the basics in such a way that is understandable to us newbies! Thank you!
Wow, thank you!
I AM THE ARTIST AND I CHOOSE TO MAKE IT THAT WAY! CAN WE ALL WEAR THAT SHIRT?!!! I SIMPLY LOVE YOU THANK YOU FOR POSTING SUCH AN AWESOME CHANNEL MAY GOD BLESS YOU!!!! XOXOXO
Thanks, and thanks for being a subscriber.
I just won an art prize and I Waa shocked. The judge said he did not like paintings that were copied from photographs. I never knew this. The paintings were far more professional than mine so I never imagined I would win. I always compose from ideas I get but then I make it my own. Just like composers compose music so artists compose paintings. And I can't even say how one does this as for me it just happens. I think if you rely on photographs it could cramp your individual style. The composition comes from the photographer.
Congratulations on your win, Mary. Yes, composition of any visual art originates within the one who composes it, whether a photographer or from one's imagination.
I also want to mention, block in also helps people like me with aphantasia. If you lack a visual eye, shape the image first.
Thanks for adding this.
You are wonderful. In India we call you Saraswathi, the Goddess of knowledge, wisdom, learning. I see you really so. (I am much much older than you.)
Wow! I am honored!
After watching quick tip 207 on underpainting and comparing to blocking in they seem quite distinct methods of starting a painting. Do you have any advice on the pros and cons of each? Is it it simply a matter of personal preference or are there times where you would choose one over the other? And can they ever be combined? Thank you so much. Some day I will catch up to all your quick tips. Each one gives good information and I end up watching them several times.
Lewis, the two work together. My first consideration for realistic painting is always the patterns of light and shadow created by what the light source is doing. I use the notan to plot that pattern. With the notan, I block in by adjust values and colors according to whether they fall within the pattern of shadow or the pattern of light.
For me, this is a sound system for beginning a painting and allows me the freedom to pull it together what whatever way the painting itself guides me.
I'm very new to painting and I found your video on blocking in really helpful. However, and sorry to appear dumb, but I'm not sure which medium you are using. Is is oils, acrylics or water colours?
In most of the tips, I'm using oils.
Tone before texture. Got it. Tone is my scaffold and texture my expressive strokes.
👍
Ms. Diane, I'm an 81 y.o. man that has yuckie grey hair and I want to know what you use to get your hair so beautiful? Oh, it's not for me...of course!
Thanks, Mac. I don't do anything special. Roger has great lighting.
Dianne, Can you do a quick tip or comment on blocking in with just one color (like a transparent red oxide for instance) to place the masses and also to show the values you want to stick to? I’ve seen artists do this. Thanks!
Maria, I think you are referring to the indirect method of painting called Grisaille where the forms are developed in values of a single color prior to layers of color being added. This was the method of painting used in frescos, and early on as oil paints came into use. This method requires a lot of time because each layer must be thoroughly dry before the next is applied. Stephen Bauman takes you through the process in a video series beginning with ruclips.net/video/vy3rATH4Egc/видео.html .
This is excellent, helpful information! How would this be done in watercolor? Would you use a watery mix first as a base ? Thankyou
Watercolor being a totally different medium than oils and acrylics requires a totally different technical approach. But when we build a watercolor from general to specific, in essence the process of creating the painting is not that different.
Brilliant explanation. Thank you very much.
You are welcome! Thanks for watching.
thank you for teaching about composition
My pleasure. Composing paintings is one of my passions.
Thanks for another great video. I agree with you when you said 'It`s better not to put all the details in because it`s better to leave a bit of mystery for the viewer". I personally am not too keen on paintings that look like photographs it seems that paintings without all the detail have a charm about them and the viewers brain makes up for the lost detail. Maybe I am wrong but that is how I see it.
You're not wrong at all, Kevin. One of the roles of art is to keep the viewer's engagement. If the artist - whether painter, poet, etc - says everything completely, the work becomes more like a sermon than an engaging work of art.
Gracias Querida maestrA aunque nohablo ingles miro sus videos. Gracias por pasar el nombre de los oleos escritos lovi en el tutorial q refiere al rojo oxido de Rembran desde zipaquirA colombia
Es un placer. Gracias por verlo.
A totally new approach for me. I like the idea of creating. instead of copy .Many thanks for sharing!
You are so welcome!
Very well done, informative. As always, I appreciate how you nail the concepts, the big picture, in this case: placement --> composition. Thank you, Dianne.
My pleasure! Thanks for watching.
Ma'am my question is why we need to build up brush strokes or brush work in our oil painting?? Is that too necessary??
There are several technical approaches to painting in oils. Alla prima is a more direct approach where the painting is finished in one session. The sustained approach is done over several sessions and there are several approaches used. Regardless of which approach the painter uses, she or he should know the technical workings of brush and paint. Knowing how to place the shapes and build into them can give the painting both unity and harmony. Overlaying brushwork plays a large role in doing this.
I was taught to block in with one color like raw umber or ultramarine blue plus burnt Sienna. Is there a reason why it would be beneficial to block in with the general colors in the scene?
Paul, to adhere to rules like this limits our possibilities. The block-in sets the stage for the painting, so gearing it towards the design as well as color harmony, rather than trying to follow the single color rule, enables watching those evolve from the beginning.
Excellent tip on the scan process and the blocking in. Good instruction! Thank you Ms. Mize.
You are so welcome!
Should I or we assume we wait for the sky to be dry enough to edit the edge of the darks? Or would you work it alla prima? Thx
Paul, it totally depends upon what's happening in the painting as related to what need to happen next. Personally, I prefer painting wet into wet, but there are times when wet on dry is called for.
One of the best lessons on painting i have found on YT.
Thanks! These are fun to do.
Thank you for sharing. I wasn't ever clear about how to do this.
Have fun with it.
Wow...thanks for the explanation .....💖💖💖💖
Most welcome 😊
I just started oil painting and i wanna know why artists block in thank you for this video miss Mize
A painting has a better chance of being successful when it is created general to specific rather than piecemeal. The block in puts the colors and values in their right places so that the images can be built within them.
I added to my comment. When we blocked in with raw umber we used values.
See my comment on your other post.
Now i know why i am never satisfied with my painting... always wanted to copy instead of block in. Thanks a lot.
My pleasure 😊
Hello!
One thing I would like to know please, is how long it takes for an oil painting to dry.
No one ever seems to mention this. Also what do you do with the paintings that are drying especially if you have a small area
in which you are living in.x Thank you
Joanne, oil doesn't evaporate like water media, rather oxidizes. The time an oil painting takes to dry, then, depends upon how thick the paint is. The oxidation begins with the surface layer and slowing finds its way to the layer touching the painting surface. So an oil painting that is dry to touch might not be thoroughly dry for up to six months. That changes if the paint has in it a has been mixed with a drying facilitator. There is an extensive article on that at artincontext.org/how-long-does-oil-paint-take-to-dry/
There are drying racks you can get for sliding paintings into while drying. These are especially good for small spaces. Check out this page on Jerry's Artarama - www.jerrysartarama.com/furniture/print-and-drying-racks/rue-panel-ladder You can make your own. There are a number of designs - just do a search for "oil painting drying racks".
@@IntheStudioArtInstruction Thank you so much for this information extremely helpful
Very interesting and helpful, thank you Dianne!
You are so welcome!
..thank you, this whole week I've been studying about blocking in!!! Thank you very helpful!!!
Wonderful!
These tips have inspired me a lot! Thank you so much and I really appreciated it!
My pleasure. Enjoy the journey.
Also, can you make a quick tip about convenience oil colors for a limited palette? ( for example: why some artists use burnt umber or burnt sienna as their 5th color )
I'll put this request on our filming schedule. There are quite a few requests ahead of you, so look for it sometime in September.
@@IntheStudioArtInstruction great I can't wait :)
Is Blocking better than a monochromatic underpainting???
It's a different technique. One is not better than the other. Artists choose the one that works best for them.
@@IntheStudioArtInstruction Thank you!! I love your artwork, your technics and videos 🙂👍🙏👏
thankyou, great instruction, very clear,
You are welcome! Thanks for watching.
Gracias,desde Bogotá colombia
My pleasure.
Love the idea of scanning. Never heard of that one before.
So glad to have added that one to your toolbox.
Excellent lesson...can you please upload a video explaining how should we refine a picture after blocking in the major shapes??
I'll put your request on our schedule. Look for it after the first of the year, probably early February, as we film these several weeks in advance.
@@IntheStudioArtInstruction thanks a lot
I respect you from my heart!
Thanks.
thank you! you’re a wonderful teacher!
Thank you! It's a pleasure doing these.
Grazie, è molto utile questo video, ho appena scoperto il suo canale e tu sei una bravissima insegnante, mi piacerebbe però vedere il seguito, come si lavora per i dettagli dopo il blocco di colore
Carmela, I hope you can read this in English as I don't trust Google translator to get it right. I will put your request on our filming schedule, but it will not appear on RUclips until November because we film several weeks in advance. Thanks for watching.
can you make a video talking about direct and Indirect painting? Also, I think there Is another method of painting called tiling painting and soft scumbbling. But if I had to pick one, I want to know the details of how to do direct paint you know wet on wet. Like how do you apply the paint do you have to clean your brush before applying another color on the wet paint, I just saw a guy paint wet on wet or directly, but he failed to explain how to apply one color on top of another, do I clean my brush before applying paint, do I press hard or light on wet surface, how is the first layer of wet paint covering the second layer of wet paint? I would think you would see the othere color of wet paint? I need a video explaining direct painting in detail! But cant find one ;(
Thank you
I find alot of rambling videos that go on for an hour, and they start talking about there cats or something, yep ;(
We have a Quick Tip coming out in late September that explains some of this, but I will make one that specifically addresses your question because a lot of folks seem to be confused about all this.
Just to let you know--we film these Quick Tips several weeks in advance, so yours most likely will appear in early October. Sorry to make you wait, but that's how she rolls.
Thanks for watching.
Thank you so much for the lesson! Does the paint on the block in need to be dry to make the details?
Not necessarily. It all depends upon how think you have applied the paint.
Do you have the follow-on video for this painting Dianne? I can’t find it in your list. The info on blocking in was really helpful. Thank you.
Lesa5228, when I show these techniques, I'm not aiming towards doing a painting, just showing a skill, so these demonstrations usually get tossed after the Quick Tip is done.
Oh that’s a shame! I so wanted to see the finished painting. I live by the beach and have had problems with painting sand. I have just watched your colour matching video and it helped me a lot. Thank you so much for your videos. Moira (from Australia).
Je ne parle pas anglais mais je reussi a vous comprendre a travers la gestuelle. Merci
Merci d’avoir regardé.
Dianne, thank you for another amazing lesson. I usually do the block in focusing more on the values and not so much on the colors, I'm not sure if this is the best way to proceed. But what I was thinking is if you dilute your paint with solvents in the block in stage, or of the paint is used without any mediums. I usually do the block in somewhat diluted, but I've noticed that when painting Alla prima, this sometimes makes the second layer harder to adhere to the canvas without making a mess.
Carol, I don't use any medium past the drawing/placement stage (unless I need a passage to dry quickly, then I use only Liquin). I find it works best to control the thickness of the paint with the brush rather than to thin it with medium.
@@IntheStudioArtInstruction thank you so much!
Please tell me about difference between Acrylic and oil paints application and techniques .
I was thinking both are same but after painted few oil paintings I am not able to handle Acrylic yet.
Yes, acrylics and oils are handled very much the same way. The biggest difference is the quick drying of acrylics, so when switching from oils, you have to find ways to compensate for that. Also, acrylics when thinned with medium or water keep their integrity much better than oils, however they dry flatter. The other difference is that hog bristle brushes used for oils will not work for acrylics because they don't handle well with wet with water.
@@IntheStudioArtInstruction Thank you very much Ma'am for quick response. I really appreciate it ❤️🌺😊
A first rate video. Thank you.
You're welcome. Thanks for watching.
That is such a great way to start this subject! I would love to see how it could be developed without doing all the grasses in detail but giving the correct idea. Do you have any videos which might address this Diane. Thank you for these great tips and demos!
Kathy, to do that is purely technical. Scan down through my Quick Tip titles for ones having to do with brush work and I think you will discover the answer to your question. You can find the complete list at ruclips.net/user/IntheStudioArtInstructioncommunity
How do you manage to paint rock with water gushing over them. Live you channel
Virginia, I will do a Tip on your request, but because we film these a couple of months in advance, it will be late September before it appears on RUclips.
Meanwhile, to paint rocks with water gushing over them, we must look beyond what it is and example what we are seeing visually in the way of color, value, texture, shape and direction.
Many thanks for teaching us. You're a great teacher! :-)
Thank you! 😃
Dear teacher, this Is a helpful video but still im having trouble as my asigment Is painting on a bigger canvas, from 100cms up, the one i have now is 130cm x 200. I wonder if i should do a sketch like this of structure of color shapes and value because i already started without this and i have two bodies not knowing what the background Will be AND the bodies aré painted with little brushwork of different colores, It looks messed, when i squint my eyes It all looks gray AND with the same value, i supposed i should have started putting a solid color on the bodies AND background, not putting little shy brushworks over the white canvas, im scared to cover with masses of color, because there Is a drawing behind. Can you giveme some light on how to psint big canvas, i hope i can fix what i have now. Thank you for this jewel videos.
Im also having problems with the thickness AND quantity of paint i should use, im always scared It dry and i loose everithing. I think for big canvas It should be deluted AND in some places put accents of pure AND thick oil
Bluebat, please see Quick Tips 372 and 364/365 and 367.
@@IntheStudioArtInstruction Muchas gracias!
I love the "scanning" tip. Very helpful
Great! It's one of the most helpful things we can do to keep a balanced and unified composition.
Always look forward for your precious tips, thank-you!
My pleasure. Thanks for watching.
Would like to see the next steps after this.
You can watch Notan: How and Why in our list of RUclips videos to see how I take a piece from block-in to finish.
Very useful vid and channel 😎
Great!
Was this done with acrylics?
No, this demo was done in oils.