You amaze me each and every video. I have learned so much from you over the past hmmm many many videos. You’re a library of knowledge. Thank you so much
Finally after 7 years it makes sense why to Notan. I believed it did and I experimented with it but now I get it. It helps you build the painting correctly in values which are the most important thing.
All of your RUclips tutorials have been such a big help to me. I’m just learning to paint since I retired. I’m learning more from you than I have any place else
Thank you, Dianne! That was really great! I am now actually exited to do notans ( instead of seeing it as a necessary evil). Thank you ever so much for all the work you do! And stay healthy!!!
Thank you so much Dianne you are wonderful artist but also a skilled teacher.... truly grateful to be learning from you....keep fit and well...regards Mandy from Australia
Another great one, Dianne. This video gave me a light bulb moment: transitions are in the middle of the value scale. This concept will help me mix colors that are in the mid-range. I am watching videos on portrait painting and was wondering how the artist knew what to mix between the shadow area and the not in shadow area. There is so much to know. Your quick tips have been so incredibly helpful.
20:02 Dianne, your summaries are pure gold! This is so helpful to me, thank you again! 💙What are your thoughts on stylistically using lighter values for shadow areas? I love how this looks, but I have trouble pulling this off consistently.
Derek, are you referring to keying the entire painting to a lighter value range? It is the value relationship that makes this work, that is the intervals between values. I always use the value relationship I find in nature, so if I want the deep shadow areas to be a lighter value in the painting, then other shadow values will be a degree or two or three lighter, depending upon their location, but no further apart than that.
@@IntheStudioArtInstruction Gosh, thank you so much for your detailed reply Dianne! You're amazing! This is so helpful to me. Thinking in terms of natural value relationships and how to move these together (and how far apart) is such a valuable way to approach this. Thank you again! 💙
Does that pen rub off with your finger on canvas? I love your tip of drawing on a whiteboard and find the ease of adjusting the drawing here very useful and would love to be able to do that on canvas!
Wonderful explanation for grouping values. Question about the cast shadow from the barn. Even though the photo shows a deeper shadow, is it lighter because of the light from the grass shape? Thanks Dianne.
The photo doesn't really show that the cast shadow is darker where it's closer to the barn and gradually gets a bit light towards it's edges. It getting lighter is the result of adjacent light rays bouncing into it.
Thanks Diane, you are a marvelous instructor., better than Art School. They mostly had express yourself nonsense. I left painting and got a degree in Fibers. After my daughter was born I went and took a watercolor class in a local Adult Ed program. She was better than Art school too. With life changes, I am finally back to paining again, both in watercolor and acrylic. I have a question for you, sometimes I paint plein air and some times from photos. I have heard that the camera makes the shadows too dark and flat. Do you have any tips for painting from photos and dealing with those shadows? Thanks!
Thank you for this vid. I am new at this , so my question is what do we do next when picking up the paintbrush? Do you start with the darkest colors & gradually go to the lightest ? And would you have a full length tutorial ? Thanks!
There are many combinations. My preference are the following tube colors for oils: cadmium yellow light, Rembrandt cadmium yellow deep, Rembrandt transparent oxide red, Cadmium red light, permanent alizarin, Gamlin Quinacridone Violet, dioxazine purple, ultramarine blue and Rembrandt viridian. Where I listed brands, it matters so should not be substituted.
Dianne could you explain cool light versus warm light in creating a still life composition? Also, could you explain the shadow values in cool light versus warm light?
Celeste Smith I downloaded four great lessons from her website on working with shadows: cool light/warm shadows and warm light/cool shadows. They were VERY reasonable. I believe they are Series 37:L1-4.
Markers with alcohol based inks might work better under acrylics. You could buy one open stock alcohol marker in order to test it without a big investment. (And if you do, feel free to share your results with us back here!)
Yes. If it is an oil painting, first clean it by using a lint free cloth with a bit of mineral spirits. Wipe it thoroughly dry, then lightly rub into the surface a light coat of linseed oil. See Quick Tip 222.
I have 2 different photos of 2 different dogs that I’m grouping together and painting for someone and the light source is different in both. How do I make the light in the painting cohesive for both?
I advise working this out with sketches and value/color studies ahead of time. Choose the one that has the light source you want, then in a study, imagine where that light source is located and how the rays from that source will hit the dog in the other photo. Where the light is not hitting, there will be shadows. I have a course that shows you how to do that if you are interested. You can find it here: diannemize.com/product/conveying-the-light-source-course/
Great video! But I have a question which is killing me: How can local values not be a factor? Imagine there was a white cube in that photo. It is possible that his SHADOW side would be LIGHTER than the value for the trees in the LIGHT, isn't it? Following the 'Halfway to black' principle, that could be very well possible. What do you do in such cases? Thanks a lot in advance!
Miguel, local values are caused by light and shadow. There really can be no such thing as a local value without light. Even the darkest color can have on it the full range of values when lit by a direct light, and the lightest colors can have very dark shadows.
Dianne, can you direct me to one of your quick tips that discusses contre jour lighting? With all of the quick tips you have produced I’m certain one of them touches on it, just not under that name.
Pat, for those who don't know, contre jour lighting is a type of backlight where the subject is in front of the light. One of my earlier video lessons from the website address this as backlight - Series 9, Lesson 3. I also address backlight in Quick Tip 256.
Amazing explanation. I have heard some say that even the lightest in the shadow must always be darker than the darkest part in the light. This to make a clear seperation? Some famous artists didn't always apply this rule to create a more impressionistic effect. What do you think about this rule? It only applies to direct light ofcourse.
I am not in favor of ANY rule because there are so many variables in nature, depending upon how reflective surfaces are and the light's effect on everything we see. Generally, observation will show us that the darkest light in none-shadowed areas and the lightest portion of shadows will be in the middle value range, but it's best to use your observation to make decisions, not rules. One more word about rules: there is a difference between a rule and a principle. A rule is restrictive whereas a principle is a guide.
@@IntheStudioArtInstruction Thank you so much for your quick and educational take on this. I am self taught and I notice that I sometimes seek for rules to be depended on. I will be doing an internship next month as a 2D illustrator at a illustration studio. But I always am struggling with asking myself when making an illustration out of scratch if my shadows are too dark or too light. I'm guessing that grouping the shadows in the same value range first and then making light adjustments afterwards could be an approach that makes it less confusing? I'm still struggling with how light or dark I can go when making an imaginary painting.
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Techniques and concepts are always excellently explained and demonstrated here. Thank you for creating these videos
My pleasure!
This is such a helpful tip Dianne - I needed to understand more about organizing values and this is spot on - what a clear explanation- thank you!!!
You are so welcome, Joani.
Probably one of the best demonstrations of grouping values and simplifying a scene, not just a simple object, that I've seen. Thank you! 👍
My pleasure! Have fun with it.
You amaze me each and every video. I have learned so much from you over the past hmmm many many videos. You’re a library of knowledge. Thank you so much
Wow, thank you!
Finally after 7 years it makes sense why to Notan. I believed it did and I experimented with it but now I get it. It helps you build the painting correctly in values which are the most important thing.
Yes. It's all about recognizing what the light is doing, where the light rays are hitting, and where they are missing.
All of your RUclips tutorials have been such a big help to me. I’m just learning to paint since I retired. I’m learning more from you than I have any place else
Thanks, Alma. Enjoy the journey.
Thank you. This is the BEST explanation of value grouping I have seen. This is an immense help to understand value relationships.
So glad it was helpful!
Thank you Dianne for another super interesting and helpful video!!!
You are so welcome!
clear and concise as ever, thank you immensely for such invaluable tutorial
My pleasure. Thanks for watching.
Thank you, Dianne! That was really great! I am now actually exited to do notans ( instead of seeing it as a necessary evil). Thank you ever so much for all the work you do! And stay healthy!!!
Bravo!
Thank you so much Dianne you are wonderful artist but also a skilled teacher.... truly grateful to be learning from you....keep fit and well...regards Mandy from Australia
My pleasure, Mandy. Thanks for watching!
Thank you for your wonderful videos.
My pleasure!
That was one of the most helpful videos ever. Thank you so much. Your tips really help.
You're so welcome!
Thank you so much for a great explanation. You have made the subject easier to understand. I really appreciate your videos. Thank you again.
Thanks, Paula.
Thank you for this great explanation!! I feel inspired every time I watch one of your videos.
You are so welcome! Thanks for watching and for subscribing.
I'm just studying value and this helps. The book did mention about grouping values and luckily I found this video!
Excellent!
For the record, Dianne, this is one of my favorite QTs, though I think they are all super!
Great! It was a fun one to do.
Another great one, Dianne. This video gave me a light bulb moment: transitions are in the middle of the value scale. This concept will help me mix colors that are in the mid-range. I am watching videos on portrait painting and was wondering how the artist knew what to mix between the shadow area and the not in shadow area. There is so much to know. Your quick tips have been so incredibly helpful.
Wonderful!
I just started watching your videos/lessons. They are excellent. Answering many technical questions I have always wondered about. Thank you.
You're very welcome!
Thank you for this valuable lesson!! 🙏
My pleasure!
I hit the like button because, you know, it's going to be a great Quick Tip.
Thanks!
Thank you for all your quick tips. Very well explained. I will keep practicing as you have taught.
Wonderful! It's a pleasure to share these.
Very helpful and very clearly explained Dianne. Thanks you are wonderful
You are so welcome!
Thank you Dianne!🙏
You are so welcome
Awesome Sauce Instruction Dianne! 🥰👍🏽🖌🎨🖼
Thank you! 🤗
You are such a good teacher!
Thanks!
Excellent explanation. Thank you
Glad it was helpful!
20:02 Dianne, your summaries are pure gold! This is so helpful to me, thank you again! 💙What are your thoughts on stylistically using lighter values for shadow areas? I love how this looks, but I have trouble pulling this off consistently.
Derek, are you referring to keying the entire painting to a lighter value range? It is the value relationship that makes this work, that is the intervals between values. I always use the value relationship I find in nature, so if I want the deep shadow areas to be a lighter value in the painting, then other shadow values will be a degree or two or three lighter, depending upon their location, but no further apart than that.
@@IntheStudioArtInstruction Gosh, thank you so much for your detailed reply Dianne! You're amazing! This is so helpful to me. Thinking in terms of natural value relationships and how to move these together (and how far apart) is such a valuable way to approach this. Thank you again! 💙
Thanks!
Thanks so much for tipping us, elsa Grace.
A good video. I have watched other instructional videos and this one is the best by far! Well explained for a thicky like me! :-)
Thank you Diane!
Glad it was helpful! My pleasure.
Thank you Diane as always a very clear explanation 👌
You’re welcome 😊
Peace and love mama 🌷💖👌
From tunisia 🇹🇳🤗
Thanks.
Thank you for another great piece of information.
You bet!
Thank you that was very important info 🌺
You are so welcome
Does that pen rub off with your finger on canvas? I love your tip of drawing on a whiteboard and find the ease of adjusting the drawing here very useful and would love to be able to do that on canvas!
No, the Tombow is water soluble and dries quickly, but it won't rub off onto your finger unless your finger is wet.
Ah, now I get it. Thank you my guru
Great! I love it when a light bulb goes on.
thank you for explaining this difficult concept to me
You are most welcome
Wonderful explanation for grouping values. Question about the cast shadow from the barn. Even though the photo shows a deeper shadow, is it lighter because of the light from the grass shape? Thanks Dianne.
The photo doesn't really show that the cast shadow is darker where it's closer to the barn and gradually gets a bit light towards it's edges. It getting lighter is the result of adjacent light rays bouncing into it.
Qué alegría !...Muchas gracias por su respuesta.
Thanks for watching.
Thanks Diane, you are a marvelous instructor., better than Art School. They mostly had express yourself nonsense. I left painting and got a degree in Fibers. After my daughter was born I went and took a watercolor class in a local Adult Ed program. She was better than Art school too. With life changes, I am finally back to paining again, both in watercolor and acrylic. I have a question for you, sometimes I paint plein air and some times from photos. I have heard that the camera makes the shadows too dark and flat. Do you have any tips for painting from photos and dealing with those shadows? Thanks!
Check out Quick Tip 285, Working from Photos.
Thank you for this vid. I am new at this , so my question is what do we do next when picking up the paintbrush? Do you start with the darkest colors & gradually go to the lightest ? And would you have a full length tutorial ? Thanks!
mona2242, I think you will find helpful Quick Tips 251 and 276.
Hi Diane! Love your videos and they are really helping me with overall results! What is the paint pen you are using? I would like to get some. Thanks!
Debbie, the pen is a Tombow ABT pen/brush. It comes in black and several values of gray.
I would like some advice on what base paint colors to purchase that I can use to create most other colors
There are many combinations. My preference are the following tube colors for oils: cadmium yellow light, Rembrandt cadmium yellow deep, Rembrandt transparent oxide red, Cadmium red light, permanent alizarin, Gamlin Quinacridone Violet, dioxazine purple, ultramarine blue and Rembrandt viridian. Where I listed brands, it matters so should not be substituted.
Dianne could you explain cool light versus warm light in creating a still life composition? Also, could you explain the shadow values in cool light versus warm light?
Celeste Smith I downloaded four great lessons from her website on working with shadows: cool light/warm shadows and warm light/cool shadows. They were VERY reasonable. I believe they are Series 37:L1-4.
Patti Schreiner hi, by downloaded do you mean bought from her website? Thanks
Yes. $7 each. Super reasonable! And so thorough! I learned a ton.
Thanks, Patti for suggesting those lessons. That is exactly what I would recommend.
Is there a tool that could be used to do the value study/grouping
that could be painted over with acrylics?
Markers with alcohol based inks might work better under acrylics. You could buy one open stock alcohol marker in order to test it without a big investment. (And if you do, feel free to share your results with us back here!)
Thanks, kars chier.
I started a large painting months ago so it is dry. I need to finish it now. Does the surface need any preparation before I start?
Yes. If it is an oil painting, first clean it by using a lint free cloth with a bit of mineral spirits. Wipe it thoroughly dry, then lightly rub into the surface a light coat of linseed oil. See Quick Tip 222.
I have 2 different photos of 2 different dogs that I’m grouping together and painting for someone and the light source is different in both. How do I make the light in the painting cohesive for both?
I advise working this out with sketches and value/color studies ahead of time. Choose the one that has the light source you want, then in a study, imagine where that light source is located and how the rays from that source will hit the dog in the other photo. Where the light is not hitting, there will be shadows.
I have a course that shows you how to do that if you are interested. You can find it here: diannemize.com/product/conveying-the-light-source-course/
Great video! But I have a question which is killing me: How can local values not be a factor?
Imagine there was a white cube in that photo. It is possible that his SHADOW side would be LIGHTER than the value for the trees in the LIGHT, isn't it?
Following the 'Halfway to black' principle, that could be very well possible. What do you do in such cases?
Thanks a lot in advance!
Miguel, local values are caused by light and shadow. There really can be no such thing as a local value without light. Even the darkest color can have on it the full range of values when lit by a direct light, and the lightest colors can have very dark shadows.
Brilliant 👏 ❤
Thanks!
1:35 the two-value grouping goes back to who/what?
It goes back to my notan teaching. See my full-length video Notan: How and Why - ruclips.net/video/2iIm9Ms7ZZ8/видео.html
In the Studio Art Instruction thank you
Dianne, can you direct me to one of your quick tips that discusses contre jour lighting? With all of the quick tips you have produced I’m certain one of them touches on it, just not under that name.
Pat, for those who don't know, contre jour lighting is a type of backlight where the subject is in front of the light. One of my earlier video lessons from the website address this as backlight - Series 9, Lesson 3. I also address backlight in Quick Tip 256.
Thank you so much!
Wonder tips
Thanks.
Thank you very much.
You are welcome!
Amazing explanation. I have heard some say that even the lightest in the shadow must always be darker than the darkest part in the light. This to make a clear seperation? Some famous artists didn't always apply this rule to create a more impressionistic effect. What do you think about this rule? It only applies to direct light ofcourse.
I am not in favor of ANY rule because there are so many variables in nature, depending upon how reflective surfaces are and the light's effect on everything we see. Generally, observation will show us that the darkest light in none-shadowed areas and the lightest portion of shadows will be in the middle value range, but it's best to use your observation to make decisions, not rules.
One more word about rules: there is a difference between a rule and a principle. A rule is restrictive whereas a principle is a guide.
@@IntheStudioArtInstruction Thank you so much for your quick and educational take on this. I am self taught and I notice that I sometimes seek for rules to be depended on. I will be doing an internship next month as a 2D illustrator at a illustration studio. But I always am struggling with asking myself when making an illustration out of scratch if my shadows are too dark or too light. I'm guessing that grouping the shadows in the same value range first and then making light adjustments afterwards could be an approach that makes it less confusing? I'm still struggling with how light or dark I can go when making an imaginary painting.
What is the pen you were using?
The Tombow. They come in several values and are available through Amazon.
@@IntheStudioArtInstruction thank you
No podría subtitular en español?.Muchas gracias.
We're working on that. Thanks for watching.
Gracias
My pleasure.
Thank you!
You bet!
You’re great!
Thanks!
Thank you
My pleasure.
thanks for this
You bet!
tHANK YOU!!!!!!!!!!!
My pleasure!
Thank you!
You bet!
thank you
You're welcome
Thank you 🙏
You’re welcome 😊