Thank you.....you are wonderful

Wonderful! Enjoy the journey!

I'm delighted by my teaching has worked to break through your "painter's block". Sometimes, all we need is a process.

Wonderful. Thanks.

My pleasure.

Thanks, Barbara. I am convinced that learning how to see is at least 80% of knowing how to paint with authority and integrity. Retiring for me is not an option.

My pleasure.

My pleasure.

Good. I like knowing folks are finding these helpful.

Thanks.

It's my pleasure.

It's a pleasure to do these. And I, too, go back periodically to my favorite learning sources. It's called reinforcement.

Always a pleasure.

Thanks, Carolyn. Most of the painting techniques are practical, but somehow they get mystified.

My pleasure.

Thanks.

Welcome aboard, and thanks.

Have fun working with these concepts, and thanks for watching.

My pleasure. Thanks for watching.

Wonderful.

You are so welcome, and thanks.

My pleasure!

Glad you enjoyed it!

A pleasure.

Lyn, I'll put this one on the schedule. Thanks.

My pleasure.

Thanks for watching.

At first I thought you were talking about the top of my head. LOL!!!

It's all about allowing your eyes to see what's there.

@@IntheStudioArtInstruction That's so very true. Thank you.

You bet!

My pleasure.

My pleasure!

My pleasure.

Thanks.

My pleasure.

It's a portion of my driveway and a good one for practicing dappled light.

My pleasure.

Thanks for that input.

😇

I'll put that one on our schedule.

Thanks for your suggestion, Louisa. It's the handling of value relationships--gradation and contrast--that enable the communication of dappled light. Beyond that, check out Quick Tip 283 -- the dapple is caused by cast shadows.

My pleasure

Point taken. But if you listen to what I'm saying, I believe you get enough information to apply the method to any dapple you might see.

Thanks.

Thanks, Rajani. For cleaning brushes, check out Quick Tip #7 kzfaq.info/get/bejne/jdaFqthesbLXip8.html . On April 11, we will publish a Quick Tip on mediums so stay tuned for that. Meanwhile, I rarely use a medium when painting, only if I need the paint to be thinner or to dry faster. To slightly thin the paint, I use a drop of refined linseed oil and to speed the drying, either Liquin or Galkyd. Check out Gamblin's video kzfaq.info/get/bejne/fNVih86i2sfHf5c.html

Hello Jan. Welcome aboard! Now--I must remind myself to check what I look like while I sleep :)

Goodmorning Dianne and thanks for the reply. You are indeed a wonderful teacher and explain things so very well. I was having a joke with you as at that second in the Dapple Quick Tip your eyes were closed and you were still smiling, just as though you were asleep. I was thinking that a lady such as yourself could very well smile in your sleep after your wonderful achievements in helping us with more knowledge each session. I had another great day with you yesterday Fine Lines in Oil Painting. Wishing you a wonderful day. Jan.@@IntheStudioArtInstruction

This will be an interesting Quick Tip to do. I'll put it on our filming schedule. As the schedule looks now, you can begin to look for it sometime in late June or early July.

Thank you.

Thanks.

I will put this on our schedule. We have a lot of requests ahead of yours, but stay tuned. It will appear eventually.

And thank YOU for watching.

It's best to approach it from shadow to light.

Thanks.

Paul, I am using oils in this tip.

Linda, local color is the overall color we identify something to be. For example a red apple where red is the pigmentation of the apple, even though under varying light sources, it can appear purplish red or orangish red. I will do a Quick Tip on this but because we film these several weeks in advance, it will be March before it appears.

These are cast shadows. Any cast shadow takes on the shapes of the thing casting it. Because it's blocking out the rays of light causing it, it's darker in value and cooler in color, but it gets the major part of its color from the surface onto which it is being cast. Now, do a study looking for all those characteristics and do them. Don't forget to observe the foreshortening of the shapes of cast shadow.

synnøve, in landscape painting, as in all painting, there are standard guidelines we follow to keep the viewers' eye within the composition. We want balance. We want to avoid tangents. We want the focal point to be somewhere other than the center of the composition (unless we're using formal balance). And it's more intriguing for the horizon line to be somewhere other than the center. We want our angles to keep the viewer within the composition. I have several full length video lessons on balance and visual paths. I also have a free pdf about the major visual paths. Perhaps you might find these helpful. diannemize.com

Ok, yes i `ve heared about the first you mensioned, I will download your full lenght video about this at some point, guess that will be comming very handy :) The free lessons are very good to have :) its good that the horizonline is a little under the third i think. I heard about making z lines and draw arks from the top and dow, to the outer edges as an ark and something else I am not sure, thats what i am looking for,and a angle under the horisonline when making sea, maybe thats about tangents too, how to messure the angles without becomming tangents. Thank you for your teaching :) And this : The darkest value in the light shadow, shall not be darker then the lightest in the dark shadow. Yes ? next will be practise :) Thank you again and have a nice evening :)

Have fun!

Thank you for that compliment. Dare I confess that I'm a decade (plus) ahead of you age-wise, and I don't mind sharing that my astrological sign is Pisces.

What we call fuchsia is a red violet. Try beginning with Quinacridone Violet.

Good idea.