Truth is, Venetiancat, NO color is "the enemy", not even black. It's a matter of know what to do with it. I do wish these things were taught universally. Oh well, perhaps that's my job :)--Dianne

Indeed it could be Dianne, and yes, I fully concur about NO color being the enemy. ;) Best, Julia

Thanks, Max.

Cindy, it is my pleasure to share.

Glad it was helpful!

Thanks, Elizabeth. I like being in the "Keepers" zone.

Thanks for watching.

Thanks for that, JT.

Awesome! Thank you!

Glad you were watching that closely.

I couldn't help but grin reading your comment. I've been teaching painting since 1964. This is, indeed, a few years of experience.

You bet!

Veaudor, I'm happy to have shed a new light on that.

You are so welcome, Marie!

Thanks.

It's really quite magical when you can relax with it.

You bet!

Thanks for your comment, Anne. Our camera team is working on this.

@@IntheStudioArtInstruction Well I'm glad I'm not the only one who thinks the camera man is having a joke with the viewer. It might be a good idea to actually look at your own video BEFORE you upload it. The other point is that you tend to use twenty five words when six or seven would do You've obviously got a wealth of knowledge but it drive me mad when I can't see what you referring to and taking all day to get to the point So, fire the cameraman. Plan ahead, don't mix colours live, do it before you start when possible You're giving us too much information that's not really relevant to the point Hope this helps

Thank you for your comment, Chris Newton. We will take it under advisement and look forward to seeing your art instruction productions so we can fully understand what you're talking about.

@@IntheStudioArtInstruction If you can't stand the heat, get out of the kitchen. I'm an artist and I'm always interested in any remarks about my own work even if it's not very complimentary. I've made lots of videos about all sorts of things and been paid quite well for them. BUT, I've no plans to ever make an instruction video on art. You do know a lot about painting, that's not the problem. Kind regards - Chris

Chris Newton for someone who is getting those instructions for free you seem a little demanding. I think what she is doing is something wonderful she is helping other people. Something that, as you mentioned, you would never do it for free.

😊

😊

Thanks! It works.

You're welcome 😊

Thanks.

You're Welcome!!!

My pleasure.

Got it.

Lisa, we've already made a Quick Tip about my setup. Look for it in three or four weeks as we film these several weeks in advance. However, I neglected to address the brush holder and the solvent cup. The solvent cup hangs from a little clip designed to hand things from the pochade box and the brush cup I made myself. It, too, is attached to a little hanger especially designed for pochade boxes.

Have fun with this.

You are so welcome!

We appreciate your input.

Logan, the greens and yellow greens need to have a bit of yellow added back in, the violets and red-violets require a bit of red, but the blues hold up relatively well, since blue is already the coolest color.

Oh my goodness? First, for a color to appear vibrant, it must be surrounded by other colors that enhance its vibrancy. The quinacridone colors are clean and clear and with a bit of white added can create fuchsia. Depending upon the brand, a Quinacridone magenta plus white will come close when surrounded by a strong dark. For some brands, adding a tiny bit of ultramarine blue and/or Quinacridone rose might be necessary. Experiment.

In the Studio Art Instruction thank you! 🌹

Are you watching on your phone?

Thanks for pointing that out.

Joe, the answer is no. There is no good formula for which color to use for warming, but the best bet is to chose according to the color wheel the warmest analogous color. For example, for purple, red will warm it. For blue, either purple or green will warm it, depending upon in which direction the blue leans.

Yes.

Stephen, getting the brightest white depends upon the colors surround the white rather than the white itself. That kind of contrast is possible when a tiny a complement of the surrounding color is added to white, and/or strong value contrast. For example, if you are making clouds in a blue sky, a tiny bit of orange (complement of blue) mixed into the lightest part of the cloud will make it appear bright.

The brands of paint I prefer for oils are Gamblin, Rembrandt, Daniel Smith and for a few colors, Utrecht.

@@IntheStudioArtInstruction Thank you very much.

To make it lighter.

Somewhat, but not discernible.

Peter, Usually the highlight takes on a bit of its complement, but that all depends upon the light source and the local color. Sometimes, the highlight needs to be warmed just a tad. Depend upon your observation for this one.

Yes, except for those technical ones that apply exclusively to oils.

Thanks for watching.

No, Donna. Buff titanium, too, reduces the intensity.

In the Studio Art Instruction Dianne Mize hi...great tip...your wonderful...I have learned so much from your channel ...pls try the Amsterdam boards for practice canvas...no need to spray them...just wipe off with medium on paper towel and paint comes off... I would like to ask...do you have a clip or can you discuss your thoughts on using Black in landscapes...pls ...I have seen so many artists on KZfaq teaching and use black...I think many should understand the use of black...I know Helen talked about black...and it's use is to mix with white to make grays...so many use it in the underpainting...and in the distance...in water for seascapes...I have studied all the books by E.J Robinson....in seascapes...never to use black in the water...well I see it so much on KZfaq lessons it drives me nuts...they mix it in everything...I just think it makes all the colors throughout dirty...I would luv to hear your thoughts...thanks so much.

In the Studio Art Instruction Dianne Mize could you please go over your palette...pls...I have the same pochade box as yours...and would like to lay it out as yours...thanks so much...

Our very first video lesson on diannemize.com uses black and yellow to make green. I don't have a specific tutorial about the wider uses of black, but I'll put this on our schedule for Quick Tips.

@dynomax 101 - I sense your impatience and anger, but I'm not quite sure what else you are saying.

@@IntheStudioArtInstruction Please don't be disingenuous. First, I am not angry, although I am impatient with the way a lot of painting and color theory is taught. As for what I'm trying to say, please read my entire comment about how yellows can affect certain colors. For every good art instructor I've run across, I've run across five who know little to nothing about the hows and whys of what they're doing. I can get a lot of good out of your video here, but I've been painting and been interested in painting for over five decades and counting. From reading the comments below, it's obvious to me a good percentage of your viewers are committing the necessary sin of being a newbie, as I once was many, many moons ago. As such, they are unaware of knowing even the basic 101 rudiments of color mixing. My high school art teachers seemed to be afraid of giving their students useful information as far as the rudiments of knowing something about their materials. I thought it was a problem only my school had. Imagine my chagrin in discovering this anus way of teaching is not only widespread but is done on PURPOSE. I asked a retired art teacher about it and she told me it was no accident and I asked her why. Ready? "So the children can learn to be creative and find their own muse." Imagine if English is taught this way. No spelling, no punctuation, etc. Imagine wanting to write a story when crippled by such tomfoolery. I told her my thoughts on that--politely--and she blew up on me. If these thoughts mean nothing to you, then fine: you're on my shit list. If not, we can talk, even if we disagree, and you' be on my short list.

We are not in disagreement. I have spent the past 50+ years fighting the status quo you are referring to--ten years heading a college art department and the remainder in my own school. If you are familiar with my teaching philosophy or have read my book, Finding Freedom to Create , you know that. The purpose of this channel is to help fill in the gaps that so many would-be instructors have left open.

Not today.