Quick Tip 204 - Working in the Shadows

[@carlswanson8041]

Ms Mize I am an artist (oil and acrylics) who has stepped away for some years for reasons I won't waste space on but I grew up under my parents instruction (both artists and who owned art stores and taught). I love how you teach not how to copy a single way of doing something but rather how to learn the techniques that will actually help them improve. I hope these people realize how much pure gold you give away in these free tips. I tripped across a few of your videos when looking for some reminders /pointers and have been hooked on watching. May you get many returns on your gifts. Carl

[@IntheStudioArtInstruction]

Thank you, Carl. Welcome back to the path of painting. May your journey be nothing short of rewarding.

[@noumine]

I learn so much from your quick tips! This one is really excellent! Concise, clear and straight to the point! Thank you!

[@IntheStudioArtInstruction]

Thanks for watching!

[@211kmeyer]

Fantastic lesson! I always struggle with shadow colors and have never heard them explained like this! Brilliant!

[@IntheStudioArtInstruction]

Thanks, Katherine.

[@joantucker4731]

Oh, my goodness, this video is FANTASTIC! THANK YOU, DIANNE!!!!!!

[@IntheStudioArtInstruction]

Always a pleasure.

[@rosered103]

The best explanation I have ever heard. Thank you.

[@IntheStudioArtInstruction]

Wow, that's quite a complement. Thanks.

[@sherylsilberman]

This is SO helpful! I too have been struggling with appropriate shadow colors. Thank you Dianne.

[@IntheStudioArtInstruction]

My pleasure. Have fun doing shadows.

[@orrmarie]

Thank you so much for this tutorial! You're helping me to see!! Your tutorials make so much sense. I have worked so hard to create the right colors, and often when I succeeded, it took so long to reach the right one that I wouldn't remember what I did to achieve it! Now I have a method! Your tutorials have been a huge help to me ever since I discovered them.

[@IntheStudioArtInstruction]

Wonderful.

[@pam.t.4316]

Thanks Dianne. Very easy to understand by the way you presented it. I needed that lesson. Thanks again!

[@IntheStudioArtInstruction]

Great. Give it a try.

[@MonicaJamesFineArt]

Hi Dianne....loved this tip, particularly the notion of going backwards on the color wheel towards the local color again if the shadow color gets too brown. Genius!

[@IntheStudioArtInstruction]

Thanks, Monica. Give it a try. It will certainly liven up your shadows.

[@carolebentley5697]

This is such a help to me, another one of your very informative tips. Thank you for all you do for the artists!

[@IntheStudioArtInstruction]

Have fun playing with this one.

[@andrewansaldiiii7441]

These tips are so excellent. So happy I discovered this. I am binge watching them and putting into practice as I go. Just fantastic explanation of lots of things I have been told to do but never understood the why! Now I do. Thank you. I’m looking forward to a mini course I’m taking with you now.

[@IntheStudioArtInstruction]

Great. I look forward to working with you.

[@sylvianblue]

Wow colour theory is so interesting, I had no idea ! Can’t wait to try all the theory!

[@IntheStudioArtInstruction]

Have fun!

[@Lhappyalpha]

Once again, thank you . I will practice using the color wheel as you have shown to apply this principal to my abstract paintings as well as my realistic paintings.

[@IntheStudioArtInstruction]

Great!

[@simoneandrade6426]

I am learning to see again...I am learning to see what is in shadow n not in shadow... it s amazing!

[@IntheStudioArtInstruction]

Woohoo!

[@alkasarin1073]

Brilliantly explained Dianne!

[@IntheStudioArtInstruction]

Thanks, Alka.

[@sabinelloyd8532]

Your explanations are the best, thank you.

[@IntheStudioArtInstruction]

Thanks!

[@dawnmillett4875]

You have taken a complex process and explained it beautifully. Thank you.

[@IntheStudioArtInstruction]

My pleasure. Thanks for watching.

[@tcchris2]

Thank you so much for this. I have mixed straight with the compliment for shadows , with not the best result. This is very helpful

[@IntheStudioArtInstruction]

Give it a try.

[@carolina.rentes]

Me too!

[@DColorexByLibiaA]

Diana, your tips are so helpful, thanks a lot for teaching.

[@IntheStudioArtInstruction]

Thanks. It's a delight to share.

[@friedastewart1105]

Wow so very helpful to me in understand how to use the color wheel!

[@lindapangerl9484]

Frieda Stewart me too!😊

[@IntheStudioArtInstruction]

Wonderful! It's just a tool like a compass and once we learn how to use it rather than be ruled by it, it can open up a new world of discovery.

[@alycherry6459]

This is great! Thank you soooo much! I understand shadows and colours a bit better now!

[@IntheStudioArtInstruction]

Great. Play around with this in some practice exercises.

[@jontgreene]

Very helpful! I've been using black to darken shadow colors. It looked odd. Now I know why. Thanks!!

[@IntheStudioArtInstruction]

Give it a try.

[@ToonNagtegaal]

Another outstanding explanation, thank you very much!

[@IntheStudioArtInstruction]

Always a pleasure.

[@liznigh6022]

This was extremely helpful to me. I learned more on how to use the color wheel. Thank you!

[@IntheStudioArtInstruction]

Wonderful!

[@mischabe3]

Thank you, Dianne, for the valuable tip.

[@IntheStudioArtInstruction]

My pleasure.

[@lucillemoncrieff209]

Thank you Dianne.

[@IntheStudioArtInstruction]

My pleasure.

[@lesleyorr3418]

Again an interesting, helpful video. Thank you.

[@IntheStudioArtInstruction]

And thank you for watching.

[@suzannedisessa2942]

Great, Dianne! This is so helpful.

[@IntheStudioArtInstruction]

Thanks.

[@titanicluver247]

Wonderful explanation and much needed information - thank you!!

[@IntheStudioArtInstruction]

Give it a try.

[@skylarmccready]

Someone told me years ago that purple in a painting increases its selling power. I always use (diox) purple mixed with the color that I need its shadow to make all my shadows :D hasn't failed me yet

[@IntheStudioArtInstruction]

Be careful about holding on to what anyone tells you that just might be a myth.

[@skylarmccready]

@@IntheStudioArtInstruction Thanks! I'll keep that in mind ;) I like your methods, explains a lot!

[@beagustafson2666]

Thank you so much Dianne! excellent lesson, it helped me so much.

[@IntheStudioArtInstruction]

I'm delighted. Give it a try.

[@nikkinikki4403]

Your tips are so helpful. Thank you

[@IntheStudioArtInstruction]

My pleasure.

[@joanistotler8804]

This was a super QT Dianne! It was so help to see how you gradually would mix to make the shadow color - this is one of the things I need to change. I learned so much from this instruction! I would also like to know more about your thinking behind how to choose colors to add variation to the local color in this case. Would you just stick with the violet and red to give it variety? Thanks!

[@IntheStudioArtInstruction]

Joani, it's best not to make rules about these things. For variation to the local color, I usually stick to analogous colors in the same value, but sometimes a complementary color in the same value will be just the thing. The key is to stay in the same value.

[@joanistotler8804]

@@IntheStudioArtInstruction I can see the wisdom in that but what you've said is a really good guideline and just what I need. This QT has been a game changer for me, so I listened to it several more times and picked up even more great tips that I hadn't seen before. Love this one, Dianne!

[@jennjordan5089]

Hi Dianne, this is a great tutorial....i see a fabulous painting of yours on the Website of Similar Leaves and colours. In that painting the Leaves appear to be lift off the page, in a sort of 3d way. Could you please provide a quick tip on that? Jenn

[@IntheStudioArtInstruction]

Jenn, I'll put your request on our filming schedule. We film our Quick Tips a couple of months in advance, so it will be October before it appears.

[@mosiotv]

Hi dear Dianne. Thanks a lot for the qt. 🙏🏻 How should I know which direction should I take on the wheel? Tysm 🌷

[@IntheStudioArtInstruction]

You move according to what you see in the shadow color. Traditionally, in warm light, move towards the cool; in cool light move towards the warm. But don't make this a rule because observation is your friend on this one.

[@chayita7]

Hello, again, Dianne. When you mention either mixing the colors as you go or preparing the full amount beforehand: how does one know how much to prepare and WHERE? Wouldn't that require a very large palette? What I struggle with is setting up the basic colors. How do yours look so perfect: as if they are even rectangles placed in wells like in a waterolor palette? Would it be 'way out' for me to put out the basic pigments in the wells of a watercolor pallete but then mix on a large wooden palette? I have been considering doing this for a long time; and, now that I viewed this quick tip I thought it is the perfect time to ask. I apologize for my crazy ideas...

[@chayita7]

I don't know if I expressed myself clearly. I have already gone over, again, the Tips on a neat and tidy palette and Dianne's palette. Nevertheless, I am not successful in setting up the basic pigments in a row--so nicely aligned and almost measured as yours, Dianne. Would it be unorthdox to use a different kind of palette --one with wells - and then do the mixing on a large palette intended for oil painting? I do hope you can clear this up for me. Best wishes always.

[@IntheStudioArtInstruction]

Chaya ita Beta, all that is not necessary, on the other hand, we each come up with the process that works best for us. I believe I have several Quick Tips that can answer your question. If not, let me know in a comment and we will take it from there. Here are the ones I suggest you watch: Quick Tips 19, 58, 130, the you might also find helpful 172, 252 and 253.

[@chayita7]

@@IntheStudioArtInstruction Okay, Dianne, I did my homework -- most of it was a joyful review. About the value-color line: you sold me on that years ago! Also, for a long time I've been setting out my basic palette of colors and letting them dry and then adding to them, too. I do have a problem with the misting, though, so, yes, in the freezer they go. Some time ago I wrote you that when I mist on the canvas before painting I start to cough. You advised me to use just a thin layer of linseed oil and then wipe off the excess. So, that leaves me with the second question: when I do arrive at the right mixtures for a very large painting and I hesitate to try get them just right again the next day (or painting session) --what if there isn't enough room to keep on the palette? (Till now I've been using a really large disposable palette -- mid-tone gray.) With best wishes for an easy winter and many, many thanks for all your assistance and guidance, Chaya-Carol

[@chayita7]

I don't know why the last sentences were crossed with a black line in the middle. I had written: what is there isn't enough room to keep on the palette? (Tillnow I've been using a really large disposable palette --mid-tone gray.)

[@kathycrocker3953]

This was perfect in explanation. thank you so much. This is very helpful in my "shadow seeking"

[@IntheStudioArtInstruction]

Thanks. Have fun with "shadow seeking".

[@davesoneoffcrafts3197]

Excellent, thank you

[@IntheStudioArtInstruction]

My pleasure.

[@watercolornewbies]

Diane, I'm wondering if you can explain a little more the process of moving through the colour wheel towards the complement. I am faascinated by this but have one question: How do you know which direction to move in? Is it always through the warm colours? For instance, to move from yellow/orange towards blue/purple, you went through red. Would you ever go the opposite way and go through the greens to get to blue? Does that make sense?

[@IntheStudioArtInstruction]

If the hue is warm, you move on the warm side; if cool, you move on the cool side. It's best to allow the subject guide you.

[@watercolornewbies]

@@IntheStudioArtInstruction That totally makes sense. Thank you!

[@kittyliu4900]

thank you very much god bless you

[@IntheStudioArtInstruction]

My pleasure. And thanks!

[@TheJackieryan]

Thanks for this Dianne, a great principle to learn. I wonder - how do you determine in which direction around the colour wheel to move in increments towards the complement? Do you always move towards warmer colours, or are you just guided by what you see in the subject? Thanks again.

[@IntheStudioArtInstruction]

Jackie and Carolyn, you move according to what you see in the shadow color. Traditionally, in warm light, move towards the cool; in cool light move towards the warm. But don't make this a rule because observation is your friend on this one.

[@barbarawalsh2674]

So very helpful! You are the very best teacher and artist. Thank you so very much. @@IntheStudioArtInstruction

[@TheJackieryan]

@@IntheStudioArtInstruction Thank you Dianne

[@rezahosseinzadehnasser993]

Thank you so much Dianne. Very helpful tip. What is the color on the left side of the leaf facing toward sky? I mean not the color of the in shadow part, but the coloer of the plane which is facing sky? Should we put sky color? I can not read it from the photo.

[@IntheStudioArtInstruction]

Reza, the part of the leaf you're referring to is a reflected light, but since I pulled the photo from Pixabay, I can't say for sure from where the reflection is coming. I would say, always put in what you observe, not what you'd expect to see.

[@margaretsmith9637]

If you are moving to the compliment for shadow, how do you know which direction to go on the color wheel if you have no reference? Why did you go towards red instead of to green? Because outside the shadows are warm and inside light cool?

[@IntheStudioArtInstruction]

You are actually going in two directions -- towards cool around the circle in direct sunlight, and towards neutral across the wheel both in direct sunlight and in overcast light.

[@TheLeahsKitchen]

thank you - that really was a golden tip!

[@IntheStudioArtInstruction]

Give it a try.

[@haifasalama4790]

Hello it is a fantastic lesson . Is this method going with skin tone too ? Thanks

[@IntheStudioArtInstruction]

Yes. Using this method will serve as a good guide once you find the local color of the skin. Also, look for colors from the environment reflecting back onto the skin.

[@debbienicoletti-4qca636]

Great Tips! I don't see the attachment you referenced available for print.

[@IntheStudioArtInstruction]

Go to diannemize.com/product/light-to-shadow-diagrams/

[@LizMcNamara47]

Great information thank you so much! Would you please do a tutorial on the difference between cast and form shadow.

[@IntheStudioArtInstruction]

That's easy. The form shadow is the shadow on the form or shape moving away from the light source. The cast shadow is one caused by light being blocked. I'll do a tip on that.

[@LizMcNamara47]

In the Studio Art Instruction thank you Dianne that was brilliantly and succinctly explained! You are so helpful

[@silvers4086]

This is very helpful, can you please explain how to paint the light, like cool light and warm shadow and vise versa...i am still struggling when i try to follow the rules of warm and cool light espicially in portrait painting..Thanks

[@IntheStudioArtInstruction]

Forget about trying to follow rules: doing so will only stifle you while you're trying to remember them. Rather, train your eye to see these variations in cool and warm. Are you asking for a Quick Tip on the subject?

[@silvers4086]

@@IntheStudioArtInstruction yes please.and.thank you for your reply

[@IntheStudioArtInstruction]

Okay, we'll put it on the schedule.

[@silvers4086]

thank you :-)

[@silvers4086]

i hope you understand my point, when i paint a portrait especially under cool light or trying to paint as if the subject is in cool light, my portrait looks very chalky.. sorry for my English

[@Ff-cw8yr]

Would this rule apply to all sorts of shadows e.g cast shadows , core shadows etc .?

[@IntheStudioArtInstruction]

This Tip refers mostly to what we see in form shadows. Cast shadows are more subtle, but with careful observation, sometimes we can see color changes in them, too.

[@elsevandergoot5491]

excellent exercise in tip 204

[@IntheStudioArtInstruction]

Thanks.

[@estradaoct]

You're the best!!

[@IntheStudioArtInstruction]

Thanks 😇.

[@ayandas5342]

Hi, I am new to oil painting. I purchased my first canvas roll made of cotton which came with a single coat of acrylic gesso. When I tried to paint on it I had to really struggle to put the paint on the surface due to the very rough texture. Also, the paints did not flow smoothly despite adding sufficient medium. It seems to stick to the point where I first applied the paint and I had to scrub a lot that is taking its toll on my brushes. Also painting finer details is almost impossible due to the ruggedness of the surface. Is it a natural characteristic of canvases or you think that my canvas is not just good enough? Could you please suggest some cheap way to make the canvas surface smoother? PLEASE HELP.

[@IntheStudioArtInstruction]

Ayan, I have a couple of things you can do to make the canvas you have now work for you. First, for each section of canvas you take off the roll, after you have either stretched it on stretcher bars OR taped it to a flat, hard surface (such as gatorboard, plywood board, Masonite, etc.), give it a slight sanding with a fine sandpaper. You can run your fingertips across the surface to test it's smoothness. THEN, give the surface a good coat of acrylic gesso. Once that has dried, it should make a rather smooth painting surface. Next, go to Quick Tip 176 and watch it for correcting paint that might be too stiff or to enable the initial layer to flow smoothly over the canvas' surface. You can find QT 176 at kzbin.info/www/bejne/n3uQhpili86UqdU .

[@ayandas5342]

@@IntheStudioArtInstruction Thank you very much Dianne. I will definitely try the things out and let you know the results.

[@puhetinichristelle5920]

I love you, thank you so much

[@TheDudeway]

nice, is this principle also functional for the figure ?

[@IntheStudioArtInstruction]

Yes, it's pretty much a universal principle, but like all principles and techniques, it is open to variation. It's best to let the eye and intention be the guide.

[@TheDudeway]

@@IntheStudioArtInstruction thx, I will keep this in mind. I ha e seen people primeing the canvas with burned umber or sienna first befor the blog in. Is this influencing my overall mood or atmospheric lighting scenario ?

[@TheDudeway]

And if the shadows are in the complementary where is the light ? I'm so confused...

[@IntheStudioArtInstruction]

To your first reply - toning gives color harmony to the whole painting. The color harmony can influence the atmospheric lighting and mood. To you second reply - we see everything because of light and consequent shadow. It's the light being blocked that causes the shadow, whether parts of the image are hidden from the light or something is blocking the light. Hope this helps.

[@halallen55]

excellent , Thank You

[@IntheStudioArtInstruction]

My pleasure.

[@bronislavamacaibockova901]

Thank you!

[@IntheStudioArtInstruction]

My pleasure.

[@synnvelande8919]

Hello :) I am stuck about what is the middle value, is it 4 or 5 ?

[@mahinkayhanfar3042]

Dear Dianne I love to paint stillife but I don’t know how to set up and follow the rules ?

[@IntheStudioArtInstruction]

Forget the rules. See Quick Tip 330.

[@virginiarparker9503]

Thank you so very much

[@IntheStudioArtInstruction]

My pleasure.

[@louielouie4187]

❤

[@IntheStudioArtInstruction]

Thanks.

[@normanevangelista9587]

how to create brown color and how to neutralize it, hope you notice me 😊

[@IntheStudioArtInstruction]

For one thing, brown is not a hue and by the fact of it being "brown", it is already neutralized. So what is it? If you're calling it brown, it is most likely a neutralized orange or red-orange. In that case, if you want to further neutralize it, you add the complement. On the traditional color wheel, the complement is the hue opposite another hue.

[@Mattl0657]

Hey Dianne, I'm 61 and painting using acrylics. I used to be pretty good back in High School 0ver 40 years ago. Thanks for teaching

[@IntheStudioArtInstruction]

And thanks for watching.

[@Mattl0657]

@@IntheStudioArtInstruction I have a question. I'm 61 and getting back into acrylic painting, so why are sunsets so hard to do?

[@IntheStudioArtInstruction]

Matt, sunsets require your observing the values, hues and intensities of colors you are seeing as well as brush techniques for the subtle blending for putting those together. In this respect, one thing that makes them difficult is that the sky changes so fast that it's tricky to explore these in plein air and the camera will not register nuances you're looking at. I suggest a series of small studies--not intended for show, but for study only--where you put your focus just on what you are seeing.

[@ngonidzashemwanjira208]

how can anyone hate this

[@IntheStudioArtInstruction]

😊

[@carolina.rentes]

You ruined all other painting resources for me. I don't like other KZbin channels anymore, I'm even struggling with the Richard Schmidt book I began reading (I had already finished the Alla Prima some time ago, and I had started reading the new version)... You must be tired of reading my comments, but your way of explaining things is one of a kind. Thank you very much for this channel.

[@IntheStudioArtInstruction]

Thanks for that, Carol. But don't give up on James Gurney, Marco Bucci, Proko and Cesar Santos. They augment and enhance what I'm doing here. And no, I don't tire of reading your comments.

[@welterdavin5486]

Lol

[@lobsangtrinle1834]

thank you so much

[@IntheStudioArtInstruction]

And thank you for watching.