My pleasure. Thanks for watching.

Thanks, Candace. Always a pleasure.

Yes candace. Well said.

Thanks!

Thanks! I gladly accept.

Have fun with it!

Shama, I enjoy sharing these little Tips.

Thanks. It's a fun palette to work with.

Thanks, Marie.

My pleasure. Enjoy the process.

Don't we just love those lightbulb moments! The more we see, the more we SEE.

Thanks so much for that. Yes, I am from Georgia, although from the northern part whereas Jimmy Carter is from south Georgia. It's an honor to be compared to both him and Mr. Rogers, both people of integrity and compassion.

The great thing about KZfaq is that you can re-watch any video for as often as you like. My pleasure to share.

We'll put that on the schedule.

My pleasure. In painting, definitions mean nothing without action.

Thanks.

Thank you! 😃 And welcome aboard.

Always a pleasure.

Wonderful! Have fun with it!

You are so welcome.

Thanks. Have fun working with values.

You are so welcome! Have fun with this.

Let me do a bit of qualifying here. Black is not always the optimal choice for darkening a value. A darker tube color of the same hue is a better choice.

Thanks!

You got this!

My pleasure.

Great.

Wow, thanks!

My pleasure.

My pleasure.

My pleasure!

You're welcome! Thanks for watching.

Glad you think so!

Thanks, Danny. Oddly, it's within this teaching where I find total freedom.

Anyone who listens to you teach/talk would, I think, realize how much you love teaching. 😊 I am so grateful for you. Thank you so much! 👍😊

Thanks.

You are welcome!

I get what you are saying and as most color wheels are designed, it is the hue relationship that we see, but when we learn to think with the wheel, value and saturation come into play.

My pleasure 😊

Yes. When I'm doing these tips, I neglect to say what medium I am using. But water is the way to lighten the value of watercolor.

I'm delighted KZfaq came through for you, Linda. We have it well-trained :) I didn't invent squinting, but surely started making use of it once I encountered it as a tool for seeing. To answer your question, when referring to the characteristic of color itself, color depth refers to both the hue saturation and values of the color. The concept evolved when inventors of color screens were trying to find the right number and selection of pixels to give depth rather than shallowness to the screen colors.

@@IntheStudioArtInstruction Thanks so much, Dianne!

Thanks.

Not really--intensity is caused by the saturation of a hue, so if you add a fully saturated yellow to a fully saturated orange, you change the hue, but not the intensity. On the other hand, if you add a less saturated hue to a fully saturated one, you do reduce the intensity of the one fully saturated. Example: Cadmium Yellow light + Cadmium Red Light is just a change in hue, but not intensity, BUT Yellow Ochre + Cadmium Red Light will change both the hue AND the intensity.

"Why" is the most important question we can ask about almost anything. Think about it: one of the major tools an artist works with is color. Color not only describes the subject, but acts as a major element for composing a painting. It also gives us the ability to express our ideas. So when we understand how it behaves, we have tremendous freedom to let it work for us. More specifically, the local color of a single image--a red tomato, for example -- appears to us according to how the light is hitting it. The colors we see on a red tomato under a strong light source might range from a dark, purplish red in deep shadow to a more crimson red in shallow shadow to a more brilliant red at the transition from shadow to light to an orangish red in low light to a pinkish red to white at the center light. If we can mix those colors our eye is seeing, we can express the tomato we are seeing as it appears in that particular light. But put it in an overcast light and you have a new set of colors. So, to summarize, knowing how to mix any range of hues, values and intensities of colors we are seeing gives us the ability and freedom to interpret whatever we are seeing.

Go to the channel page at kzfaq.info and there you will find all of them.

@@IntheStudioArtInstruction thank you so so much.

You're welcome

Thank you.

A middle value neutral gray palette does provide better value control when mixing, but be sure it's at least value 5 or 6. Some of the gray disposable palettes are too light in value to be of any real consequence. I don't suggest a gray underpainting. You are right: the color of the underpainting is going to influence the outcome of the painting. My approach is to begin with a notan, but the dark of the notan is only in areas in shadow. Every artists begins with the approach that works best for their process, so I recommend that you not be influenced by any artist's process unless it feels right for you.

Watch for this one. I'm putting it on the schedule.

@@IntheStudioArtInstruction thank U so much🙏❤

Thanks.

By squinting and looking for the various values in color.

There are a number of dark yellows. So it would be better to include Hansa Yellow Dark as one of the choices.

It's a matter of training your eyes to perceive the differences in values. I suggest that you make a row of inch-wide splotches of each of these colors straight out of their tubes, then directly underneath, paint a line of black (similar to what I've done in this tip only horizontal rather than vertical). Then, one color at a time, squint at each as ask, "how much lighter than black is it?" Underneath the black line, paint a new set of splotches that aligns these colors from darkest to lightest. This exercise should sensitize your visual perception to discern the difference.

@Rose Dreamsinger very interesting! I live off grid and paint ( calls it painting) using the lights coming through my Southern windows. Any hope for me? :)

@@IntheStudioArtInstruction great idea.it works! Thank you so much.

@Rose Dreamsinger wow.the same for photography.! Fascinating. Thank you for your kind responses

@Rose Dreamsinger funny how saying the right thing makes something fall right into place.thrilling ( actually blushes with embarrassment)

Brown is a generic name for a very low saturated yellow, yellow-orange, and red.

Sunjanith, there are artists who are still using it today. My issue with it is that it is so complex and theoretical. Munsell's color analysis and theory are brilliant, but my preference is the 12-hue color wheel where the hues are charted in their linear relationship. When we learn the basics of how that relationship works, mixing color is easier and more flexible than remembering theory.

Tell me more so that I can help make it clear.