Good Phil on the essentials of painting "cleanly". Right, certainly earth, dirt, and mud pigments can make "muddy" colors (lol) but as you showed other ways too, like temperatures wrong. I have an old VHS on the California Impressionists I got about the time I started plein air in mid 90's, in CA. A pbs series of four parts, recommended, was put on by the Irvine Museum which has many of the works of the artists you featured, like Payne, Redmond, and Puthuff. Good stuff as always, Phil. Yes, in his book Edgar Payne makes brief mention of a good "student palette" of three primaries and three secondaries. I use that one for all paintings, landscapes, figures, portraits etc. It is always "clean and harmonized" to use few "pure" pigments and no "dirt colors"!! LOL

Boa tarde Phil, que explicação valiosa, muito obrigada pelo seu carinho em ensinar. Deus continue abençoando sua vida ❤❤

Thank you for your clear explanation. I am very interested in trying to achieve cleaner colour and this will help a lot. I have three questions if I may which may be of interest to other subscribers too. 1 I tend to put my darkest darks in the foreground but would it be better, in general, to put them in the middle ground? 2 Is it easier to mix clean colour with artist/professional grade paint than with student grade? 3 Does cleaning or switching brushes more often help get cleaner colour?

very good lesson. Thanks Phil.

Hi Phil. I use the the following questions to scrutinize my colors, assuming the value structure is correct: does the color like muddy? Then it's too warm for its context. Does the color look chalky? Then it's too cool for its context. That's how I navigate colors. Sometimes we want a muddy or chalky effect, but by choice. Also, colors close to their original value create the strongest melody, and colors of closest value create harmony.

Incredible video brother Phil I appreciate all your hard work ✌️ Have a blessed Thanksgiving and enjoy your day 😎🙏🫶🙌🦃🍷🥧🎊🇺🇸🎭🌟🎨🖼🪄

Daubigny = doe - bean -'YEE

Excelente explicação ❤❤

Hi Phil, can you do a video clearly explaining the fat over lean rule, alongside which mediums you use for each? I’m looking to take a jump into oils and this aspect is still not clear to me. Do you do your thickest strokes as your last ‘layer’ or do you do thin and thick paint in one layer of your painting? I’m not sure how technical I need to be about thinners/mediums? Thanks for your video’s. They are so inspiring and helpful.

Painting did not seem to work. The orange tree appeared far too large and unfortunately , for me, dominated the scene.

Thank you, this is very helpful!

A lot of times I totally disagree with you as to what the focal points are. For instance the last one. I would thing the colorful reflection would be the focal point. Not the lit column of rock which you said was. The water has the most Chroma and the most contrast. It is the pattern of light coming from the top left. Echoed by the the shoreline. I have been learning a lot from your videos. But thought I'd bring this up.

Really nice lesson. Thanks!

Really like your new intro.

Muito obrigada pelo vídeo. ❤

Great vid thanks.

Thanks for all your teaching. Two requests: 1. can you do a video on warm vs cool light? 2. Can you one on plein air sketching (and then using those as reference for a finished work)? Thanks

Great teaching - much appreciated.

Very timely! I’ve been taking photos of our first snow here in North PA and can’t wait to paint. I don’t think I’m going to try plein air like some of your artist examples though

love Gimp. been using it for decades. a note on the grass: if you think qbout it, grass is a mass of tiny verticals and flat surfaces so it tends to be a mid value, even though it's on a horizontal plane

How to set the alarm on iPad 11

Wow! Helpful doesn’t begin to cover it! So interesting yet simple clear ideas! Peace.

Good one Phil, yes, snow paintings, so great for all the reasons you said about it, also nice sample of pictures by masters of the art of winter paintings, particularly Hibbard. I did many when I lived in the Lake Tahoe area for years. Not much chance for me now I'm in the Tucson, AZ area; but there is always Mt. Lemmon, I guess. You ever go up there for snow painting? Great tips all throughout the vid, but here's one from me, when folks are looking at your plein air snow paintings and ask you about your experience,... you Must be "nonchalant" about it. "Wow, you painted that standing in the snow?" "Yes", "How long did it take you?", "Oh, about two hours", "Wasn't it freaking cold?" "Well, yes, it did get a bit nippy toward the end!!" LOL ;D

Thanks Phil. Great overview. I'm working on snow paintings, so this was quite timely. Also special thanks for the artists work you chose for this one. All fantastic to look at.

A very important video to all types of artists! Thank you!

Bom dia Phil, muito obrigada pelas orientações, elas são muito válidas pra mim. Deus abençoe sua vida grandemente ❤❤

Great video!! Thank you!

I get it but why didn’t this one work? How many studies will you make for a big painting?

I love that you always remind us not to be a slave to the color/composition of the photo. Also, how beneficial seeing it in b&w it is. The winter sunset's sky and snow covered foreground are closer in value than they appear to me when seen in color. Great lesson!

I'm a subscriber. Like your content. Great videos, but I don't know if you should post ones like this where the painting just didn't get there.

Muito obrigada pelas explicações, elas são essenciais pra mim. ❤❤❤

I feel like I'm in the twilight zone. I KNOW I watched this video yesterday, lol, but it says it just arrived today.

Thank You this helped so much .

This was absolutely mind blowing, especially the boat examples. I always loved loose paintings with strong design holding everything together.

Wonderful explanations, no nonsense

Beautiful colour study.....

thanks much much much

Very useful, thank you very much!

Beautiful paintings and excellent lesson! ❤️👍🏼

I don't have to pretend I'm a camera 😂 who knew ! Thank you again

I'm wondering about your cropping in the first photo. My inclination would have been far less of the field in the foreground. I like how you solved the choice, but wonder why you chose to keep so much field. Thanks for taking us through your process.

I have found that Two important things to remember when using more than one photograph as references in a painting is scale and maintaining the same light source.

Terrific analysis for creating better compositions from photos. Thank you!

I've thought the horizon line is the level in the painting/photo that is straight out horizontal with your eye. If you take the image as a 2-dimensional object and rotate it on edge, where's the line where the image rotates. In your last example the horizon line is near the middle, along the right building's ridge line. Is this incorrect?

Great video cheers.

Simplifying is part of the fun

Thank you Phil 🙏😊

Learning so much. Thank you. Please don't stop!

I never thought to let a painting dry before popping in the final highlights. It sure will be easier to get it more dimensional than my current attempts have been. I just don't seem to have a light enough touch to put them in wet over wet. Thank you!

Great video! Only one very minor comment. Couse is pronounced like house with a "c."