Your students are so fortunate to have you as a teacher. Your instructive critiques are brilliant. If you ever come to London to give classes please announce it loud and clear. I will be the first to sign up.
This gentleman's teaching technique is wonderful. What a great teacher he is. The way he explains things cuts through all the nonsense and mystery. Excellent video. Thank you.
Love the video! So funny! Including the bags! And some have suitcases! You are hilarious! Thanks so much for all your coaching. It is such an eye opening for so many areas we don’t think as important. It all makes sense now. Love it. Blessings and take care.
for real! Almost hyper realism. There is a fine line between hyper realism art and photography... not sure where replication creates a loss in expression... but to have that level of control, at very least, is something all artists should at least aspire to. Once a high level of control is achieved, then a manipulation of reality or an expression of the artist can be fully realized. I believe Picasso said, as a child, i painted like an adult, and as an adult, painted like a child. I think that is something a lot of artists ignore, the ability to translate the real world accurately onto 2d. Only after that control is achieved, will they be able to control the more abstract ideas effectively.
As a painter, my goal would be to set myself up with personal coaching from you. I place that at the top of my bucket list. You have much to offer any painting student. Thank you, Stephan.
Thank you Stefan, I really enjoy your videos that give me insight into oil painting rather than specific techniques. Also, I agree with some of the comments below about your students being fortunate to have you guide them through their oil painting journey. Again thank you, cheers Peter
Greetings from Athens, Greece! Thank you for another wonderful art lesson. Your videos have helped me tremendously to improve my art. You are an amazing teacher; inspiring, communicative, knowledgeable with a delightful sense of humour. I look forward to your next video.
I think part of the problem with muddiness stems from working additional paint into previous applications. It tends to get mixed all together and turn into a brownish/greyish mess on the canvas surface. Painters sometimes either don't clean their brush or don't load it enough. When they apply more paint, they work it in too much and stir up the bottom layers instead of laying new color/paint on top. An illustration: My wife used to do cakes for weddings. When she started out, she had a tendency to work the frosting back and forth too much on the cake surface. This tore up and broke down the cake and turned it into a crumby mess. She learned that once you put it down, don't over work it. Lay it on carefully and then leave it alone.
I have the utmost respect for you as an artist and teacher. I don't want to come off as condescending or patronizing in any way or sound like I'm telling you your craft. My ability and experience is nowhere near yours. That said, I do find it mildly surprising that you say the over mixing of paint on the canvas plays no role at all in muddy or dead color. Perhaps due to my lesser experience, I find it somewhat counter-intuitive that jumbled up colors don't appear muddy. Maybe I need to study more and work harder.
Sir, your thorough, in-depth knowledge is amazing! I like your great sense of humour too as it makes the learning all the more interesting. Your teaching style is very inspiring and motivating. I eagerly await your educative videos. Thankyou!
I laughed at everyone after you gave them the new homework assignment... THANK YOU SO MUCH FOR SHARING YOUR GREAT KNOWLEDGE. I thoroughly enjoy listening to you!
Do you recommend Wilson's medium for alla primos? I'm been using it from rubles arts and it's a great medium for paintjng glazes and shadows! Also, are you using build medium for highlights? Thanks!
Dear Stefan, on one of your videos you mentioned about the olden canvas sizes, but I can't find the video. Could you share me with some of the canvas proportions you'd recommend? Thank you so much, you inspire me :)
There are some hyper realism artists that do enormous portraits and they look amazing. I think what you mean Is don't paint larger than life if you don't yet have the skill level to make it work
Jan Žižka there is hardly any cheating in art, only preference and technique. A protector to get a basic shape on to a canvas real quick so you start with the right proportions is not cheating, it's intelligent and efficient.
So why is there so many hyperrealists today, i mean much more than in the past? You dont have to call it cheating, but there is so many ways, camera obscura/lucida etc.
Jan Žižka Isn't the answer to that obvious? Technological advancement. Better variety of brushes, greater variety of types of paint, huge assortment of tools that never used to be available, new medias that never used to exist...and of course...the Internet. More people know that hyper realism exists and thus set goals for themselves to achieve that. As well as the ability to watch "how-to" videos. The more information spreads about something, the more you see it recurr. Or is watching a how-to video cheating too?
The juxtaposition of warm and cool is a fantastic insight. I'll definitely make use of it. David Lafell makes an interesting point on the muddiness and chalkiness of a piece, as well. His contention is that a painting goes astray into chalk or mud due to the lack of a central focal point. Or, conversely; too much attention and detail painted into the background and supporting elements. Anybody have any thoughts on the way the approach of Stefan and David are similar or different?
So, I've been searching through your videos trying to find the one where you give your suggestion on skin tones. I think you mentioned two colors. Phthalo yellow green and something else make a great skin tone. What was the other color? Thanks! Love your philosophy on painting!
I used those colors last night but found I thought I needed to add a touch of yellow, BUT the guy who heads up our portrait painting weekly Wednesday sessions gave me a great compliment: He said You did representational!
Who is West...? Most American artist from the 1780sh,went to England to study under him.....this is all I know......thought you may shed some light on this...thank you
I've seen large portraits on Portrait Artist of the Year commission finales, and they look great, and are hung in National Galleries, but hung fairly high I guess.
As an inspiring artist I look to your guidance in these videos. I would love to meet you in person someday, and have you critique one of my paintings. I think this eye for detail is lacking in so many instructors. I think being able to take criticism is the only way you can pull yourself forward. It brings you out of your comfort zone. Thank you so much!
@@mikedonovan8811 he said at beginning that everything he says is incorrect. :) Art is so subjective, he's not trying to make rules, he's explaining his way and how he achieves things... which is a very solid path, but its not the only path, and hopefully, everyone diverges at some point, as we all should create uniquely. But for intro, to intermediate, to advanced, his "rules" will help most people achieve a likeness to their subjects, while also helping troubleshoot potential areas that offer less drama. So a chalky painting isn't against the rules, its just less dramatic than one who's color temps are balanced to emphasize a focal point.... but there are no rules. Im sure there are MANY incredible artworks that are by definition too muddy or chalky. He is trying to teach the "rules" so people understand how to bend the "rules" effectively, or break them without producing complete junk. When he says going for something else, he means Close is not trying to create a realistic scene in a still life setting. Close was being dramatic with a slight fish eye effect to contort the perspective. Close is an amazing artist, but I don't think Mr. Baumann is teaching that. He is teaching his method for capturing a realistic scene and helping people find drama to make the scene exciting via light, which creates the feels art should give the viewer. If you can already create hyper realism from your imagination, (which is near impossible) then you probably cant learn anything from anyone except how to have a better imagination. So his advice has a LOT of value, but as he said, he is incorrect, unless you are attempting to create a style that he creates, in which case, he is 100% correct, because he is the master of his style. So if Baumanns work speaks to you and you want to achieve those effects, then you want to listen to what he says and don't create portraits larger than life, as they are not conducive to his style. If you want to create super sized portraits, then you are going for something else, and you should seek that teacher. does that make sense?
Hi Stefan, Recently found your advice and Am finding a lot to assist me. Loved the little boy being stifled video. We can all relate to that. Can you imagine the fuss if art teachers allowed pupils to be completely free to create? How should Art be taught in schools? I was a natural and excelled but many other classmates were not and they were helped way more and their ability accepted in art classes than I was in Maths, Physics or Chemistry !!! Is Art given more respect in the States than here in Britain. Here it's seen as a pastime and not a serious option for a childs future. Hwyl Fawr Dai from Pembrokeshire
❤️ your vids 🎨 so wish I could afford to join your phone/online tutorials or lived over there to attend classes. I attend a local art group 2hrs a week, enjoy it but not enough time. Try and do as much as I can at home but at the moment things are difficult. Did a self portrait a few weeks ago in the group looking in a tiny mirror, hubby said I look miserable in it, I replied "because I don't do enough painting" 🙁 😉. Would love your opinion on it if you have the time x
In a Warm Light/Cool Shadow (and visa versa) paintings, it is possible to have both muddy and chalky areas. Muddy and chalky colors are colors that are out of context. Muddy means it's to warm for the context, and chalky tells us it's too cool for the context. It's as simple as that.
I don't think I make this mistake but I've never heard of it before now. My biggest fear is 'what did I not learn from never taking a painting class' since I've been painting for 5 years now. I worry about 'first day of class' type stuff I may have missed. For example the first full year of painting I had NO CLUE you could add linseed (or any other binder) to the paint from the store. When I needed more oil I would use color tubes I knew had more linseed in them already. Which was kinda advantageous because it made me experiment a lot more with different color combinations. Thank you for your videos because I want to do tutoring at some point but don't want to sound like an idiot missing simple stuff.
Amen. I wold L O V E to know, to learn, to feed myself with Bouguereau's techniche... do you know where can I get that information? I have Mayer, Eastlake, Aristides and Cateura books...
I wonder when hyper realism looses the artists self expression. Definitely love this masterpiece, and one must learn the rules... but then one must bend the rules to express ones self... otherwise, its a photo.
Love your videos and your philosophies, Stefan. Thank you for sharing. I've tried visiting TheGrandview.org and StefanBaumann.com, and both Websites won't let me in without a password. Is that how it's supposed to work? Or is something broken>
We don't paint things we paint effects (affects) is true. It's hard to find "your" voice as a painter (says me). Or I guess, what I mean to say is... what does "your orange look like." Good stuff.
I thought cool shadows and warm highlights was his proposed esoteric knowledge; I guess not. I'm pretty sure it isn't 80% dark to 20% light, or vice-versa, either. Maybe he really does have something I've never heard of before.
The thing about native peoples of the Americas not "seeing" ships is a misconception. It's attributed to Columbus, Magellan, da Gama, Cortez, etc. but the original notion came from the botanist Joseph Banks on Captain Cook's 1770 voyage to Australia, when he wrote that he was troubled that the aborigines didn't pay attention to the expedition's ships. However when they tried to come ashore, they were repelled by men with spears. What's more, the entire incident is isolated from the rest of Banks's journals where he mentions many times different groups of native Australians reacting to the ships and their landing parties. As for Columbus, the first people he encountered, the Lucayans on what is now San Salvador in the Bahamas, came out to meet his ships in ships of their own. It's really, really unlikely that a pre-colonial person couldn't conceive of a sailing ship having never seen one. It's a neat story to demonstrate cognitive biases, but it's based on faulty readings of history.
I think that if you look them up, including Norman Rockwell mentioned below (who worked more as an illustrator anyway and sometimes people are more familiar with reproductions that the originals) that while the overall canvases are large, that the individuals in them are still life size. I haven't seen Wiley in person, but the dimensions of his canvases seem to bear that out. Stefan mentions the same thing about Singer. I think this is a convention of representational painting. I do agree that artists working contemporary styles like Chuck Close are breaking these rules to great effect but that purposeful isn't it?
Baumann is teaching the "rules". You must first learn the rules, to properly break or bend the rules. Doing a hyper realism head 400% scale, is not so much about learning the rules of creating realism, as it is about creating an effect on the viewer, which is the subjective part of art. If you can already create hyper realism, then the "rules" Baumann speaks about, are not as relevant to you.
Your students are so fortunate to have you as a teacher. Your instructive critiques are brilliant. If you ever come to London to give classes please announce it loud and clear. I will be the first to sign up.
I do have phone coaching, the information is on our website
Charles Peterson sam
Wow, the whole muddy / chalky thing now makes perfect sense. Thanks!
Stefan, please post more videos, you are one of the best inspirations for Painters!
I am working on them
I am a beginner and have watched a lot of art videos and this is the first time I ever heard what causes chalky or muddy paintings. Thank you!
This gentleman's teaching technique is wonderful. What a great teacher he is. The way he explains things cuts through all the nonsense and mystery. Excellent video. Thank you.
Love the video! So funny! Including the bags! And some have suitcases! You are hilarious! Thanks so much for all your coaching. It is such an eye opening for so many areas we don’t think as important. It all makes sense now. Love it. Blessings and take care.
You are so welcome!
@@StefanBaumann I would like to talk to you. Can I please have your number. Thanks so much.
Can hardly wait until your next video, i enjoy them so much!! You give such logical advice!
Great now paint paint paint
Great now paint paint paint
The painting at 14:25 is stunning. Wow. Can't imagine being able to perceive so many values in foil.
for real! Almost hyper realism. There is a fine line between hyper realism art and photography... not sure where replication creates a loss in expression... but to have that level of control, at very least, is something all artists should at least aspire to. Once a high level of control is achieved, then a manipulation of reality or an expression of the artist can be fully realized.
I believe Picasso said, as a child, i painted like an adult, and as an adult, painted like a child.
I think that is something a lot of artists ignore, the ability to translate the real world accurately onto 2d. Only after that control is achieved, will they be able to control the more abstract ideas effectively.
As a painter, my goal would be to set myself up with personal coaching from you. I place that at the top of my bucket list. You have much to offer any painting student. Thank you, Stephan.
Then give me a call 415-606-9074
I appreciate the time you took to put this video on line. Thank you for sharing.
Your welcome
Stefan Baumann you mean "you're" welcome
Thank you Stefan, I really enjoy your videos that give me insight into oil painting rather than specific techniques. Also, I agree with some of the comments below about your students being fortunate to have you guide them through their oil painting journey. Again thank you, cheers Peter
You can too, try my coaching
Greetings from Athens, Greece! Thank you for another wonderful art lesson. Your videos have helped me tremendously to improve my art. You are an amazing teacher; inspiring, communicative, knowledgeable with a delightful sense of humour. I look forward to your next video.
Thanks
Im always making new ones so stay tuned
I love you, Stefan Baumann!
I love you more!
I think part of the problem with muddiness stems from working additional paint into previous applications. It tends to get mixed all together and turn into a brownish/greyish mess on the canvas surface. Painters sometimes either don't clean their brush or don't load it enough. When they apply more paint, they work it in too much and stir up the bottom layers instead of laying new color/paint on top.
An illustration: My wife used to do cakes for weddings. When she started out, she had a tendency to work the frosting back and forth too much on the cake surface. This tore up and broke down the cake and turned it into a crumby mess. She learned that once you put it down, don't over work it. Lay it on carefully and then leave it alone.
That is so not true, It is a temperature issue.
I have the utmost respect for you as an artist and teacher. I don't want to come off as condescending or patronizing in any way or sound like I'm telling you your craft. My ability and experience is nowhere near yours. That said, I do find it mildly surprising that you say the over mixing of paint on the canvas plays no role at all in muddy or dead color. Perhaps due to my lesser experience, I find it somewhat counter-intuitive that jumbled up colors don't appear muddy. Maybe I need to study more and work harder.
@@smasica Humans err and Stefan is correct 95% of the time, I've learnt a lot from him, but in this occasion I agree with you.
Sir, your thorough, in-depth knowledge is amazing! I like your great sense of humour too as it makes the learning all the more interesting. Your teaching style is very inspiring and motivating. I eagerly await your educative videos. Thankyou!
Thanks so much, I trying always to post new videos for you .
I laughed at everyone after you gave them the new homework assignment... THANK YOU SO MUCH FOR SHARING YOUR GREAT KNOWLEDGE. I thoroughly enjoy listening to you!
Great pointers, TY
👍🙏🎨🏆
This was great. Thanks again for simplifying insights into painting that would take us years to learn on our own. Plus a shout out to the class!
Thanks
You’re amazing. Thank you so much! Please one to Australia! 👌👏👏👏
Your videos are great works of information. Keep them coming😀
Great video as always, that bit about the chalky and muddy paintings was really helpful and made so much sense when you said it. Thank you
Your welcome
Being one of the "other students" of course I like it. Thanks for sharing your knowledge with us Mr. Stephan
Your welcome
Your welcome
POST MORE VIDS! I learned so much!!! Will use your services!!!
This guy is legendary!
I just found your videos. Love the critiques and lessons. I just watched 3 of them! I'm going to try the foil and self-portrait on my own. Thanks!
you are an amazing teacher l'm from Lebanon.
Just thank you
Welcome
Loving your teaching videos!!!!
Very helpful, thank you
Great information, Stefan. You do so well.
hey, lovely vid
Your teaching about muddiness and chalkiness is very useful and important point. thanks a lot for your help.
Your welcome
excellent teacher thankyou
thanks
Do you recommend Wilson's medium for alla primos? I'm been using it from rubles arts and it's a great medium for paintjng glazes and shadows! Also, are you using build medium for highlights? Thanks!
Please inform
Dear Stefan, on one of your videos you mentioned about the olden canvas sizes, but I can't find the video. Could you share me with some of the canvas proportions you'd recommend? Thank you so much, you inspire me :)
Look up Golden Mean
I am really enjoying your videos. If you ever come to Australia, please let me know.
I will
There are some hyper realism artists that do enormous portraits and they look amazing. I think what you mean Is don't paint larger than life if you don't yet have the skill level to make it work
OK maybe if it works for you
technology, projectors. They cheat.
Jan Žižka there is hardly any cheating in art, only preference and technique. A protector to get a basic shape on to a canvas real quick so you start with the right proportions is not cheating, it's intelligent and efficient.
So why is there so many hyperrealists today, i mean much more than in the past? You dont have to call it cheating, but there is so many ways, camera obscura/lucida etc.
Jan Žižka Isn't the answer to that obvious? Technological advancement. Better variety of brushes, greater variety of types of paint, huge assortment of tools that never used to be available, new medias that never used to exist...and of course...the Internet. More people know that hyper realism exists and thus set goals for themselves to achieve that. As well as the ability to watch "how-to" videos. The more information spreads about something, the more you see it recurr. Or is watching a how-to video cheating too?
The juxtaposition of warm and cool is a fantastic insight. I'll definitely make use of it.
David Lafell makes an interesting point on the muddiness and chalkiness of a piece, as well. His contention is that a painting goes astray into chalk or mud due to the lack of a central focal point. Or, conversely; too much attention and detail painted into the background and supporting elements.
Anybody have any thoughts on the way the approach of Stefan and David are similar or different?
David is a great painter
Stefan Baumann I agree. as are you, sir! Thank you for all the insight, teaching and guidance you provide for artists around the globe. :)
T8
Mind blown thank you
the red pepper painting was bad ass
yea
thanks for posting hey you did talk about abstract maybe you can have
a video about abstract art
So, I've been searching through your videos trying to find the one where you give your suggestion on skin tones. I think you mentioned two colors. Phthalo yellow green and something else make a great skin tone. What was the other color? Thanks! Love your philosophy on painting!
Aliz.
Stefan Baumann Thank you!!
I used those colors last night but found I thought I needed to add a touch of yellow, BUT the guy who heads up our portrait painting weekly Wednesday sessions gave me a great compliment: He said You did representational!
Who is West...? Most American artist from the 1780sh,went to England to study under him.....this is all I know......thought you may shed some light on this...thank you
14:25 is a photograph right?
nope, das painting
Brilliant . Stefan can you recommend a watercolour teacher as good as you are in oil?
I teach watercolor also so give me a try
I've seen large portraits on Portrait Artist of the Year commission finales, and they look great, and are hung in National Galleries, but hung fairly high I guess.
YOur Correct its just when the size is close to real when it looks funny
@@StefanBaumann oh thank you for your reply. Clarity is everything. Peace and love.
As an inspiring artist I look to your guidance in these videos. I would love to meet you in person someday, and have you critique one of my paintings. I think this eye for detail is lacking in so many instructors. I think being able to take criticism is the only way you can pull yourself forward. It brings you out of your comfort zone. Thank you so much!
You might want to look into my coaching program the information is on my website
Would love if you came and taught up in Victoria BC!
Love your teachings. You are amazing wish you were in Alabama.
You’re great!
so are you
please tell me which colours are cold and which are warm
Every color can be warm or cool depending how you use them
You are so amazing! Trank you
Thanks
It was San Salvador, Bahamas, where Columbus landed.. 😀
What about Chuck Close's portraits?
The heads in Norman Rockwell's Freedom to Worship are larger than life.
He is going for something else
Which one? Chuck Close or Norman Rockwell?
@@mikedonovan8811 he said at beginning that everything he says is incorrect. :)
Art is so subjective, he's not trying to make rules, he's explaining his way and how he achieves things... which is a very solid path, but its not the only path, and hopefully, everyone diverges at some point, as we all should create uniquely. But for intro, to intermediate, to advanced, his "rules" will help most people achieve a likeness to their subjects, while also helping troubleshoot potential areas that offer less drama.
So a chalky painting isn't against the rules, its just less dramatic than one who's color temps are balanced to emphasize a focal point.... but there are no rules. Im sure there are MANY incredible artworks that are by definition too muddy or chalky.
He is trying to teach the "rules" so people understand how to bend the "rules" effectively, or break them without producing complete junk.
When he says going for something else, he means Close is not trying to create a realistic scene in a still life setting. Close was being dramatic with a slight fish eye effect to contort the perspective. Close is an amazing artist, but I don't think Mr. Baumann is teaching that. He is teaching his method for capturing a realistic scene and helping people find drama to make the scene exciting via light, which creates the feels art should give the viewer. If you can already create hyper realism from your imagination, (which is near impossible) then you probably cant learn anything from anyone except how to have a better imagination. So his advice has a LOT of value, but as he said, he is incorrect, unless you are attempting to create a style that he creates, in which case, he is 100% correct, because he is the master of his style. So if Baumanns work speaks to you and you want to achieve those effects, then you want to listen to what he says and don't create portraits larger than life, as they are not conducive to his style. If you want to create super sized portraits, then you are going for something else, and you should seek that teacher. does that make sense?
Hi Stefan,
Recently found your advice and Am finding a lot to assist me. Loved the little boy being stifled video. We can all relate to that. Can you imagine the fuss if art teachers allowed pupils to be completely free to create? How should Art be taught in schools? I was a natural and excelled but many other classmates were not and they were helped way more and their ability accepted in art classes than I was in Maths, Physics or Chemistry !!!
Is Art given more respect in the States than here in Britain. Here it's seen as a pastime and not a serious option for a childs future.
Hwyl Fawr
Dai from Pembrokeshire
I agree
❤️ your vids 🎨 so wish I could afford to join your phone/online tutorials or lived over there to attend classes. I attend a local art group 2hrs a week, enjoy it but not enough time. Try and do as much as I can at home but at the moment things are difficult. Did a self portrait a few weeks ago in the group looking in a tiny mirror, hubby said I look miserable in it, I replied "because I don't do enough painting" 🙁 😉. Would love your opinion on it if you have the time x
great answer, Tell your hubby to try it, that should shut him up!
😆
In a Warm Light/Cool Shadow (and visa versa) paintings, it is possible to have both muddy and chalky areas. Muddy and chalky colors are colors that are out of context. Muddy means it's to warm for the context, and chalky tells us it's too cool for the context. It's as simple as that.
Brilliant
Stefan you have an absolutely wonderful skill of in parting your knowledge to students . Thank you so very much 👍😉
I don't think I make this mistake but I've never heard of it before now. My biggest fear is 'what did I not learn from never taking a painting class' since I've been painting for 5 years now. I worry about 'first day of class' type stuff I may have missed.
For example the first full year of painting I had NO CLUE you could add linseed (or any other binder) to the paint from the store. When I needed more oil I would use color tubes I knew had more linseed in them already. Which was kinda advantageous because it made me experiment a lot more with different color combinations. Thank you for your videos because I want to do tutoring at some point but don't want to sound like an idiot missing simple stuff.
Just take from really good teachers
I would love to have a homework assignment, I live in England, do you have an online course or blog ?
I have international phone coaching Please give me a call 415-606-9074
Good video..keep it up.
Im trying as much as I can thanks
Dear Maestro Stefan: talking about bigger size of a human body, what about Bouguereau's first mourning?
If you paint as well as Bouguereau then you can do anything you want
Amen. I wold L O V E to know, to learn, to feed myself with Bouguereau's techniche... do you know where can I get that information? I have Mayer, Eastlake, Aristides and Cateura books...
Stefan Baumann I can paint as well as bougereau, but I still think the head should be 10% smaller than life size.
where can i see an example of a muddy or chalky painting?
on your easel
@@StefanBaumann LOLLL
14:21 that is an absolute masterpiece! More of this!
I wonder when hyper realism looses the artists self expression. Definitely love this masterpiece, and one must learn the rules... but then one must bend the rules to express ones self... otherwise, its a photo.
Where's their self portraits Stefan? I want to see Judy's!
There on the way
Stefan Baumann "THEY'RE" on the way. 🤤😲
@@bobwilson5910 He was saying they are "there" and on the way... to wherever they are going. I think he forgot the comma; There, on the way.
LOL
Love your videos and your philosophies, Stefan. Thank you for sharing.
I've tried visiting TheGrandview.org and StefanBaumann.com, and both Websites won't let me in without a password.
Is that how it's supposed to work? Or is something broken>
WE had problems but there are fixed
We don't paint things we paint effects (affects) is true. It's hard to find "your" voice as a painter (says me). Or I guess, what I mean to say is... what does "your orange look like." Good stuff.
Thanks
Self portrait. A GREAT exercise. No need for the groans!!!
LOL
I thought cool shadows and warm highlights was his proposed esoteric knowledge; I guess not. I'm pretty sure it isn't 80% dark to 20% light, or vice-versa, either. Maybe he really does have something I've never heard of before.
I do, Join us in our phone coaching and see what you are missing, it will blow you away
Bags and all? How depressing!Lol!😍❤️💕
better still,come to beautiful new zealand and teach. your videos are fantastic.
thanks I would love to
The thing about native peoples of the Americas not "seeing" ships is a misconception. It's attributed to Columbus, Magellan, da Gama, Cortez, etc. but the original notion came from the botanist Joseph Banks on Captain Cook's 1770 voyage to Australia, when he wrote that he was troubled that the aborigines didn't pay attention to the expedition's ships. However when they tried to come ashore, they were repelled by men with spears. What's more, the entire incident is isolated from the rest of Banks's journals where he mentions many times different groups of native Australians reacting to the ships and their landing parties. As for Columbus, the first people he encountered, the Lucayans on what is now San Salvador in the Bahamas, came out to meet his ships in ships of their own.
It's really, really unlikely that a pre-colonial person couldn't conceive of a sailing ship having never seen one. It's a neat story to demonstrate cognitive biases, but it's based on faulty readings of history.
Ever seen portraits of Terry Rodgers or Kehinde Wiley? Your lessons are great but that thing about portraits insn't right mister Baumann.
I think that if you look them up, including Norman Rockwell mentioned below (who worked more as an illustrator anyway and sometimes people are more familiar with reproductions that the originals) that while the overall canvases are large, that the individuals in them are still life size. I haven't seen Wiley in person, but the dimensions of his canvases seem to bear that out. Stefan mentions the same thing about Singer.
I think this is a convention of representational painting. I do agree that artists working contemporary styles like Chuck Close are breaking these rules to great effect but that purposeful isn't it?
but what it Im right ?
Baumann is teaching the "rules". You must first learn the rules, to properly break or bend the rules. Doing a hyper realism head 400% scale, is not so much about learning the rules of creating realism, as it is about creating an effect on the viewer, which is the subjective part of art.
If you can already create hyper realism, then the "rules" Baumann speaks about, are not as relevant to you.
the yellow pepper and reflections is begging for some cubist treatment!