Quick Tip 322 - Dark Tube Hue and Intensity
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- čas přidán 7. 09. 2024
- How do you distinguish the hue and intensity of dark tube colors? That was the subscriber's question and here is artist/art teacher Dianne Mize's answer.
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I love how you say “cullah”, your GA accent is so charming!
It comes with the territory :)
You are an excellent instructor! Thank you most kindly!!!
Thanks, Paige. And thanks for watching.
Thanks again Diane
I have been struggling with Alizaren Crimson Red in a painting, mixing, mixing, frustrated, frustrated
I think these tips will help me and I am determined to get "unstuck" to finish this one.
Big thanks! We think same way, learn the theory, then implementation. I now use test strips instead of comparing what's on my palette knife, so much easier!
Great! Have fun with this.
So interesting! Adding just solvent - I've always just tried this with white. Great tip!
Thanks, Joani.
very, very, important and most useful quick tip! thank you very much! 😌
Thanks for watching.
Merci comme à chaque fois de prendre votre temps pour nous enseigner 👌
Vous êtes les bienvenus et merci d'avoir regardé.
I just came across your videos, these are so helpful, thank you!
You are so welcome! So glad you found us.
Thank you so much for another useful tip 🙂 , very helpful in any medium .
My pleasure 😊. And thanks for being a Studio Insider member.
Thank you for your excellent clear instruction!
You are welcome! It's a pleasure doing these.
You are amazing !!!!!! Love your videos 🙂
Thank you so much!!
Hmmf why don't I have a printer??Now I know how I've messed up a painting. This hint was maddening in that it showed me what I was doing wrong! Very valuable indeed.
Great! Printers a cheap these days and well worth a painter's investment.
That was very helpful. Thank you. I paint with acrylic, mat medium, and sometimes thin with water. Once dry my colours always seem to look darker than when I mixed them.
That's the nature of acrylics.
Golden has a great explanation of this on their website. The pigment is "carried" in a light colored medium which evaporates as the paint dries, revealing the true color of the acrylic paint.
Another informative video! Thanks for sharing! Have a question! Hopefully you can come up with a quick tip video on this. How do you use colour to set the mood in a painting? Do provide quick tips on colour moods & the psychological effects it creates on the viewer.
Vrinda, I have tried to stay away from the emotional and psychological effects of color because so much is determined by subjective experience. What one person responds to as serene, another will respond to as depressing, and what one person responds to as exhilarating, another might react to as chaotic. Generally speaking, the intensity (chroma or saturation) of hue has a lot to do with how mood is created. That is to say, lower saturated hues tend to be more calming than more highly saturated ones. But I'd rather leave that kind of analysis to those in the field of psychology.
@@IntheStudioArtInstruction Thanks👍
Thank you!!!!!
You bet.
very helpful! thank you :)
You bet.
Thanks !!!
You bet.
Hello Dianne, thank you for this interesting quick tip. Please could you also explain, how to read hue and intensity of (dark) watercolors coming out of the tube?
Thanks, Walter. And thanks for being a Studio Insider member. I'll put your request on our schedule, but since we film these several weeks in advance, it will be September before appears on CZcams.
Hi Dianne. Great tutorial and wonderful content on your channel, I’ve learned so much from you. I have a question that’s a bit off topic, but relates to colour. I paint a lot of buildings - and that’s usually not a problem for me when there are lots of windows, etc, but I really get into trouble when I have to paint a large featureless area (like a big windowless wall). My question is - how can I paint large areas of a single colour without making it look too flat, muddy or uninteresting (or all of the above, in my case). I am especially interested in how to solve this problem using neutral colours like those I see in the glorious brownscapes and greyscapes of London, where I live. Do you have any advice or a quick tips you could refer me to? Thank you so much.
Good question, Chris. One good way to give the kind of variation you're describing is to set on your palette what I call split mixtures to work from. That is, rather than use only the exact color you see, you put on the palette warmer and color versions within a close value range. With every brushstroke, you vary and alternate warm and cool by the combinations you reach into. Also note that, depending upon the light (that is unless the wall is in a direct flood of light, there will be slight variations in value, usually gradated.
@@IntheStudioArtInstruction Fantastic, I will try your advice. Thanks so much for taking the time to answer my question, I appreciate your help!
It may be a silly question, but why not use black if we want to reduce the intensity and darken the color at the same time? Both black and white reduce intensity, don't they? Personally, I don't have black at all and I don't miss it, but how is it? Thanks for all.
Not silly at all, Petra. The reason why we don't reach for black is that when we reduce intensity, we need to retain hue. Black tends to deaden hue.
Nothing works well like your test strip! It has become a standard for me.
Great! And it's so simple.
@@IntheStudioArtInstruction Indeed it is!
When using the color wheel, I get confused. The wheel says red - which red paint by name matches to the wheel. Same as red/orange, is this cad red medium? Please give a list of paint names that match the wheel.
Gloria, that one is tricky. Not many of the tube colors are fully saturated, yet the color wheel is. In oil paint, napthol red comes close. Cad Red Light leans more towards red orange. In most brands, cad red medium is very close.
You can get thorough and specific information about how tube colors fall on the wheel by getting a Quiller Wheel, available from most art materials websites, or even more so at www.handprint.com/HP/WCL/cwheel06.pdf