Wow this is such a great video. It's something all portrait artists need to be exposed to ASAP. When I started drawing, I ended up combining both methods without true awareness of the distinction of the two. And that becomes messy, because you start relying on measurements in places where one should ideally rely on knowledge of anatomy instead...
I just started following you because I ask God to guild me to the right way of improving my art skills and I truly believe He’s sent you. I’ve been learning so much in the last 2 days of following you than I have from any other artist. God bless you and keep doing what you’re doing bec you’ve been a blessing to so many ❤
Superb demo. You remind me of my wonderful drawing instructor Abbey Sangiamo who taught for a number of years at the Maryland Institute College of Art. He referred to the "meat and potatoes" kind of drawing. Hated flat modelling Our assignments were always to seek out the "structural" aspects of form and NOT to copy value but to understand how to use value to organize the marks on the paper into a three dimensional re-creation of the optical image. Once you understand this mindset it changes how you work completely. I think the structural approach is so evident in drawings of the Renaissance especially Michelangelo, Da Vinci, Raphael. I think the Loomis model is very helpful in understanding the construction of the head. Your explanation is right on the mark (pun intended) Your understanding of form and sensitivity to technique work so well together. I am an old dog and can't learn too many more new tricks but really appreciate seeing quality instruction in the midst of so much fluff on line. thank you and good luck with your Patreon lessons.
Happy I came across this video… i tried using the loomis method but also trying combine what I visually seen! Its gets confusing, for me more frustrating just because I’m so focused trying to make sense of it so I get just putting things together that shouldn’t be, overlooking it! Much needed
Excellent video! I know you cover much (all?) of this material in greater detail in other videos I'm watching on Patreon, but I like watching a video that summarizes so many points, as repetition is the key to learning! Hearing the same thing (or some same things) explained slightly differently is valuable.
Your breakdown is excellent, and as a fellow painter, mainly focused on floral subjects, I have intuitively developed similar modes of seeing to simplify my subjects. In addition to the two modes you mentioned, I have also utilised a third mode, not explicitly mentioned, along with the possibility of other elaborations. 1. The first mode involves seeing in terms of value shapes, simplifying the subject into light and shadow shapes with two distinct values. 2. The second mode, referred to as the structural mode, simplifies the subject in terms of form, relying on the ability to envision and depict three-dimensional form on a two-dimensional surface. 3. The third mode encompasses contour lines, particularly evident in subjects with flat lighting or silhouettes. Many students find it easier to understand and implement the shape mode of seeing, while some struggle with the structural method due to the need for spatial visualisation. The ease of the third mode depends on the lighting situation. Regarding the Loomis method you mentioned, I personally found it challenging as it relies on representing spherical form, which can be ambiguous when further dividing the structure. I have discovered that a planar approach to structural form, where the sphere becomes a cube or another polyhedron, is easier to work with. Straight lines, as you mentioned, facilitate comparing relationships more effortlessly than curved lines. It's worth noting that you also employ a straight line construction method, which differs from the Loomis approach. The Reilly method, with its increased utilization of curved lines, can be even more tricky for the same reason. One issue with the shape/value mode arises when the subject is lit in a way that makes it difficult to simplify into distinct light and shadow areas. This is evident in subjects lit from the back or front. In such cases, relying on contour lines, or the silhouette line, becomes crucial. A structural form approach can help alleviate the challenges posed by the shape/value mode to some extent in this situation. I wholeheartedly agree with your emphasis on the accuracy of the block-in stage. While it is a basic and fundamental step, it sets the foundation for the iterative refinement process.
@@stephenbaumanartwork thanks - appreciate your explanation as it got me thinking about other ways of simplifying and emphasising different visual aspects.
Another high quality content- the 1st method is exactly what the atelier school teaches, which I am using. 2nd method is too daunting for me. Thank you for generously make this video ♥️
@@stevencruz9336 It is not simply skill. Not every person can do it. Some are without doubt pre disposed to excelling in this discipline. There is no doubt about that.
Hey Stephen can you please make a video about the kind of cross-hatching you did within your Halftones of your Eye of David tutorial? They were cut out and I really want to see and learn how to do ornate kind of cross hatching like that. Please!
@@stephenbaumanartwork Yes. I have found very little information about this ornate hatching online yet in most of Bargue's drawings we can see him doing it, especially in the Halftones. I appreciate how in your Bargue tutorials you stress the conceptual understandings of what Barge was trying to instill in us, but yes sometimes it's nice to have the more straight forward "how to" videos on techniques like that. I think it would be very well received too because knowing you, yours would be one of the only good ones on the internet on the topic. :)
You make it look easy! My problem is my bad habits and my in ability to see light and dark- I just see a face. Maybe if I turn it upside down I can fool my brain. Are there any other tricks?
This is really interesting, the head on the right is the way I learnt to draw heads at school, but I recently went to a class in portrait painting and we learnt to paint the head by blocking in the shadows like the head on the left?
thanks Stephen! really appreciate the explanation and the example. it's hard to understand how things are in 3D in my head, i kept practicing but do sometimes wonder, will it ever click to me, and when? i've been drawing as a hobby for 10 years. how i see shade and the physical aspect of hand-eye coordination is pretty good by now, but i truly can't wrap my head around the form in 3D space at all. any tips or mindset for practice or study? should i just accept this shortcomings and fake it forever? 😅
@@stephenbaumanartwork thanks so much, if possible, I would be cool to see more portraits of, I guess, "less structural" faces. For example; chubbier faces. I'm just curious how you would go about it
Quisiera ser tu discípulo pero no tengo dinero para pagar , ni vivo en tu mismo país. Tal vez en mi siguiente vida pueda ser artista visual como siempre quise. 😔
![ลองสุ่มไอโฟน 990 โกงมั้ย? [ โกงมั้ยครับ ep.101 ] | DOM](http://i.ytimg.com/vi/bfsWe0j492k/mqdefault.jpg)
the fusion between the 2d and 3d approach is so key. top tier content!
🙏🙏🙏
Wow this is such a great video. It's something all portrait artists need to be exposed to ASAP. When I started drawing, I ended up combining both methods without true awareness of the distinction of the two. And that becomes messy, because you start relying on measurements in places where one should ideally rely on knowledge of anatomy instead...
Well said!
I just started following you because I ask God to guild me to the right way of improving my art skills and I truly believe He’s sent you. I’ve been learning so much in the last 2 days of following you than I have from any other artist. God bless you and keep doing what you’re doing bec you’ve been a blessing to so many ❤
I need to force my self to avoid curvy lines like this I will see my reference geometrically , great video as always thank you
Superb demo. You remind me of my wonderful drawing instructor Abbey Sangiamo who taught for a number of years at the Maryland Institute College of Art. He referred to the "meat and potatoes" kind of drawing. Hated flat modelling Our assignments were always to seek out the "structural" aspects of form and NOT to copy value but to understand how to use value to organize the marks on the paper into a three dimensional re-creation of the optical image. Once you understand this mindset it changes how you work completely. I think the structural approach is so evident in drawings of the Renaissance especially Michelangelo, Da Vinci, Raphael. I think the Loomis model is very helpful in understanding the construction of the head. Your explanation is right on the mark (pun intended) Your understanding of form and sensitivity to technique work so well together. I am an old dog and can't learn too many more new tricks but really appreciate seeing quality instruction in the midst of so much fluff on line. thank you and good luck with your Patreon lessons.
I absolutely love the way you present these techniques. So clear and concise. Let the practicing begin!
Thank you so much!
This video helped me to decide to subscribe to your channel. I was already leaning towards that as I like how you explain & demonstrate your thoughts.
Totally thought he was crazy when he said just squint, and then I tried and it totally worked, kinda crazy! Love that for shadow!
I know what you mean 👌
Happy I came across this video… i tried using the loomis method but also trying combine what I visually seen! Its gets confusing, for me more frustrating just because I’m so focused trying to make sense of it so I get just putting things together that shouldn’t be, overlooking it! Much needed
Im really surprised, people like you can draw on a 90 degree angle!!! That's so cool!!
Anyways, Nice drawing!
You're a beast. Your draftsmanship and teaching are top level!
Many thanks!
I am captivated. You address all the uncertainties I have while drawing. Thank you,
Thank youuuuuu❤ God bless you always!!!
Excellent video! I know you cover much (all?) of this material in greater detail in other videos I'm watching on Patreon, but I like watching a video that summarizes so many points, as repetition is the key to learning! Hearing the same thing (or some same things) explained slightly differently is valuable.
Extremely useful. I understand the difference sook much better now.
Getting back into drawing after maybe a decade of not doing anything and this video was immensely helpful. Thank you so much!
I loved the squint down you popped up
Heavy lol factor :)
very generous ref! Thank you! Great video
Your breakdown is excellent, and as a fellow painter, mainly focused on floral subjects, I have intuitively developed similar modes of seeing to simplify my subjects. In addition to the two modes you mentioned, I have also utilised a third mode, not explicitly mentioned, along with the possibility of other elaborations.
1. The first mode involves seeing in terms of value shapes, simplifying the subject into light and shadow shapes with two distinct values.
2. The second mode, referred to as the structural mode, simplifies the subject in terms of form, relying on the ability to envision and depict three-dimensional form on a two-dimensional surface.
3. The third mode encompasses contour lines, particularly evident in subjects with flat lighting or silhouettes.
Many students find it easier to understand and implement the shape mode of seeing, while some struggle with the structural method due to the need for spatial visualisation. The ease of the third mode depends on the lighting situation.
Regarding the Loomis method you mentioned, I personally found it challenging as it relies on representing spherical form, which can be ambiguous when further dividing the structure. I have discovered that a planar approach to structural form, where the sphere becomes a cube or another polyhedron, is easier to work with. Straight lines, as you mentioned, facilitate comparing relationships more effortlessly than curved lines. It's worth noting that you also employ a straight line construction method, which differs from the Loomis approach. The Reilly method, with its increased utilization of curved lines, can be even more tricky for the same reason.
One issue with the shape/value mode arises when the subject is lit in a way that makes it difficult to simplify into distinct light and shadow areas. This is evident in subjects lit from the back or front. In such cases, relying on contour lines, or the silhouette line, becomes crucial. A structural form approach can help alleviate the challenges posed by the shape/value mode to some extent in this situation.
I wholeheartedly agree with your emphasis on the accuracy of the block-in stage. While it is a basic and fundamental step, it sets the foundation for the iterative refinement process.
Wish I could double like this comment- great contribution to the convo! Thanks 🙏
@@stephenbaumanartwork thanks - appreciate your explanation as it got me thinking about other ways of simplifying and emphasising different visual aspects.
THank you man ! I like first method more expresive
Happy to help!
Another high quality content- the 1st method is exactly what the atelier school teaches, which I am using. 2nd method is too daunting for me. Thank you for generously make this video ♥️
Thank you so much for this top tier content. Love it
Thanks so much for this! I learned things!
It really would be a joy to be this talented. I guess it’s best to leave art to the artists.
It’s not a talent it’s a skill. It can be refined with practice.
@@stevencruz9336 It is not simply skill. Not every person can do it. Some are without doubt pre disposed to excelling in this discipline. There is no doubt about that.
Thank you for this, it was so informative. I particularly like the second method :)
This is another level...
Thank you!
Hello Stephen, thanks for the lesson!
Thanks à lot Stephen, is à great information, help me à lot for my drawing...
Thanks Stephen, for such an insightful video 😊
Hey Stephen can you please make a video about the kind of cross-hatching you did within your Halftones of your Eye of David tutorial? They were cut out and I really want to see and learn how to do ornate kind of cross hatching like that. Please!
Sounds cool- like a "how to shade" type video...
@@stephenbaumanartwork Yes. I have found very little information about this ornate hatching online yet in most of Bargue's drawings we can see him doing it, especially in the Halftones. I appreciate how in your Bargue tutorials you stress the conceptual understandings of what Barge was trying to instill in us, but yes sometimes it's nice to have the more straight forward "how to" videos on techniques like that. I think it would be very well received too because knowing you, yours would be one of the only good ones on the internet on the topic. :)
Thank you so much!
No worries!
Excellent.
Always brilliant! Thank you Stephen!
Great video! Love the background music too :)
I prefer the Reilly method for head and body as it figures out foreshortening and the rhythm to the body/face
Helpful!!!! GOLD!,
¡Gracias!
Many thanks!
Thanks 🙏
11:34 for the best advice 👌
Really interesting.. thank you!
Glad you enjoyed it!
Thanks.
Amazing video. Thank you for sharing your knowledge Maestro Stephen
Glad you enjoyed it!
You make it look easy! My problem is my bad habits and my in ability to see light and dark- I just see a face.
Maybe if I turn it upside down I can fool my brain. Are there any other tricks?
This is really interesting, the head on the right is the way I learnt to draw heads at school, but I recently went to a class in portrait painting and we learnt to paint the head by blocking in the shadows like the head on the left?
The visual approach translates very well to painting.
Super valuable information. love the background music too.
Thank you!
thanks for sharing:)
Excellent videoand explanations.
Thank you 🙏
Thank you so much 😊 been wanting to know this ❤
Hello . Thank you for your videos they are really helpful. Can you tell me what kind of pencil you are using here?
Try my FAQ's: www.patreon.com/posts/frequently-asked-37008290
@@stephenbaumanartwork thank you for your prompt reply.
Your first best guess is objectively accurate, Stephen. Prefer Loomis over Riley.
wha- where the hell have I been?!?!?! I wish I see your vids earlier , this helps so much tysmmmm❤️❤️♥️♥️
You're so welcome!
Wow
Thank you, that was helpful!:)
Cool video format stephen!
Hey, thanks!
Fantastic demo work sir 👌🌼💐👍
Many thanks
thanks Stephen! really appreciate the explanation and the example. it's hard to understand how things are in 3D in my head, i kept practicing but do sometimes wonder, will it ever click to me, and when? i've been drawing as a hobby for 10 years. how i see shade and the physical aspect of hand-eye coordination is pretty good by now, but i truly can't wrap my head around the form in 3D space at all. any tips or mindset for practice or study? should i just accept this shortcomings and fake it forever? 😅
Try sculpting- it really bends your mind. I think thats what did it for me.
@@stephenbaumanartwork thanks for the tip, Stephen!
Been liking the new style of editing 👍👍
Thanks- we've been working hard to level up!
Thanks! Kind regards :)
Thank you too!
Do you study muscle/bone anatomy? If so, could you make a video about what you know and look for, and how you use your knowledge to make a portrait?
Someday- on Patreon this. will be a reality.
@@stephenbaumanartwork thanks so much, if possible, I would be cool to see more portraits of, I guess, "less structural" faces. For example; chubbier faces. I'm just curious how you would go about it
I have been looking for that russian book! Where did you get it????
Incredible video mate!
Glad you enjoyed it :)
Exactly hits the spot! I’m so pleased you’ve put these two techniques together, and in such a clear way, so helpful to a beginner. Thank you 🙏
You are so welcome!
If you have a degree in art, I think this would be helpful. Doubt it is helpful for someone more beginner.
Ur mother
Has Stephen Bauman ever met Stefan Baumann?
Great👍👍 ❤❤
0:54 What is that Russian book underneath when you're sharpening your pencil?
Don't know the name in English- bought it from a Russian website before the sanctions.
Could you draw 5 different people using one Loomis template as the structure? Would that work?
yep
How can i find those type of reference picture ?
My Patreon is FULL of them: www.patreon.com/stephenbaumanartwork
❤
13:30
Weird question but can I use the source images to create my own professional paintings free of copyright? 🤔
yep
Please of US who advance in draw
What kind of paper do you want us to use? How big is the sheet?
Stonehenge, 16x20
@@stephenbaumanartwork OK Thx.
Quisiera ser tu discípulo pero no tengo dinero para pagar , ni vivo en tu mismo país. Tal vez en mi siguiente vida pueda ser artista visual como siempre quise. 😔
I think first 5 minutes of portrait is most important. You didn't show any measurements?
❤god loves u he is coming soon! spread his word please. remember he died on the cross for you