When I was taking drawing classes at my local university, everyone was told that before the next class started, they were to tack their drawing to the cork board wall. On the designated morning, when the prof entered the room with coffee cup in hand, he looked for a moment at the 15 or so 18X24 inch still lives on the wall, walked up to mine, ripped it down and said, "Whatever you do, don't do this!" My 'crime' was putting the still life directly in the middle of the paper and having empty space all around it. Best art experience I ever had. Being critiqued (and rejected from shows!) was the most valuable lesson in my progression as an artist.
I find creating a strong and pleasing composition to be one of the most challenging aspects of painting and being an artist. It's an exercise in imagination.
First secret to painting is to turn off RU-vid and start painting:) I will wait till your done before I turn it off - but it is midnight here so tomorrow:) I start from the top because I like to do farthest away first. Also I love clouds - never have trouble starting if I've got ideas for clouds. Thanks!
@@treetop1957able I will clarify - I start with the sky because in my paintings it contains the farthest off elements. I start at the top because I start with the blue I want and then lighten / gray it down as go down to the horizon to get atmospheric perspective. Then I start on clouds. Often I have the sun behind clouds or a sunset, and I want to get that light settled so I know where it will reflect on other elements. I just get the idea in, then I block in the rest. More details are closer - take more time and thought - a place I can get stuck. The sky and clouds - less detail, more carefree. So when I just need to get going, I can usually get motivated by the sky:) I expect others have their own way of getting motivated. When I work on florals it's a different thing. Example - I have only been at this less then a year: instagram.com/p/B1k3W8IH8Pz/
When I sit in front of a white canvas I get that deer in headlight look lol. Staining and drawing with paint first makes me loosen up. My problem is I start adding color and get hung up in one or two places on details , then add color somewhere else and bam...all that detail work changes and not always for the best. Thank you Steffan for this video and many others. I’ll practice., Maggie in NC
mwrehab1 have an idea or a sketchbook. Then transfer an idea, even if it is a flowy idea. My other advice is to start in one tone. For example black and white or red and white etc and then once you have it how you look then add different colors otherwise colors can distort your composition if it’s not done and confuse you
Oh goodie! Another new Stefan vid, yay! I took your advice and went to Lowe's and asked where the masonite was. Would you believe it, but he told me Lowe's quit selling masonite board about a year ago? Weird. So, I went to Amazon, ordered 10 pieces of cut board for less than 2 bucks a piece. Shall use Rustoleum tomorrow to prime, as you say. I got 11 x 14s, but now wish I'd gone bigger. Oh well, shall start with these. Thank you so much for all the great advice. Best, Deede
Your videos have a ton of good information. I just wanted to add (when you started talking about light) another great resource is the book: Art & Physics ; Parallel Visions in Space, Time & Light written by Leonard Shlain You and/ or your students may find this interesting. Its like an art book fell off the shelf in the physics lab, hits you in the head, and takes you back for a progression of art and physics history.
Yes; the close spotlight gives high contrast of light and dark which is helpful to give the wide range of tones from light to dark. However? When a larger light is present the shadows and cast shadows may be softer and lighter; there is no reason why they cannot be emphasised to make them darker. In landscapes the largest light is the sun here we cannot ask the sun to spotlight things for the artist. So here there needs to be seen for the use of other phenomena. And as last resort make up your own. The spotlighted painting and the bigger light on other settings give a brighter picture. Yes painting light effects is correct, but we don't have to limit our view with large shadow areas and little spots of light effects all of the time?
Stefan, I have just come across your channel this evening. Thank you so much for taking the time to create this channel. I have one question can I check if I send you an email is it read by yourself only? Many Thanks, Regards Rahul.
omg I have my Grandmothers collection of Walter foster books I have "drawing in charcoal" with Charles La Salle and How to paint mountains by Alfred Wands and "Painting on location by Blaine Henrie, Price $1 NZD...they are awesome to read I love reading them, old school lol!
@@annacollier5372 I guess he's busy but try it! Then you'll have your own answer; the only one I personally trust on matters of art mat'ls and equipment! I used W&N and found them "weak" and without "Juicy-ness" like you get with traditional oil paints, but used them anyway (for convenience) when travelling in Europe a few years ago!
@@ronschlorff7089 As it happens W&N water mixable is the only thing I use and the only thing I have been using since I started working with oils (if you can even call it that, I understand they're not quite the same). I was wondering what I'm missing out on I suppose! 😂 But I am very hesitant to work with traditional oils as I work from home (I have a dedicated studio, but still) and I have 2 small children as well as 2 cats and a dog. I am concerned about the fumes from the turpentine.. Thank you for replying :)
Best advice: "just jump in!!" to a painting. It's a lot like swimming, just jump in, most of the time you'll be ok, you won't drown, especially if someone like you is nearby as a "lifeguard" to save them if they get into trouble. So many students want to approach art like science, with a formula, and a right answer at the end. It's never like that cuz every painting and every subject is different. Lately I've been doing the sky last, cuz a great workshop teacher (Matt Smith) I had always did the sky last; cuz he said most people do it too dark blue and that messes up all the other values in your painting and you end up with an over all too dark or even too light chalky looking painting. The sky is often mostly white with a touch of blue, and not blue with a touch of white. BTW, a touch of Veridian with white makes a killer clear sky, especially for early morning and late afternoon scenes; that faint green luminous glow makes the rest of your painting really pop! Nice video, thanks.
Stefan !! Oh Geeeeezzz ?! 😯 Whilst you were describing the matter of starting from the top left corner and working down , you were describing ME ! 😲, . . . I have * hated * to have to work this way, and I work each stage in pretty much 80% completed detail ! Not ideal ! 😞 I only venture back when paint is touch dry, to add finishing touches, especially on the eyes of my "victims" 😞 since that's what they truly are ! My subjects are "trapped" within the confines through my lack of permitting myself to paint loosely and with emotion ??!! I feel a sense of guilt every time, cuz I paint strictly from a photo, which leaves me feeling void of any "self expression" ? ! 😕... I only paint what I see, and do not, EVER allow myself to experiment and have fun with colour ?! I always paint much like .... parrot fashion ! Also, my work is painted so "tightly" leaving no room for freedom of thought or experimentation ? , 😑... This leaves me feeling more of a copy cat, than that of a "True artist" ! And the sadest part of all ? Is that only since I discovered you on your channel, have I learnt about the importance of the use of "LIGHT" ??!! Bless you to bits for sharing your incredable knowledge with so many , who like myself, simply fall short of the "fundamentals" of TRUE artistic expression !! Kindly Sonia Sawyer, from sunny South Africa 😆
You would do well in my coaching program. We will find a better way for you to create originals from your heart with passion Call me 415-606-9074 information is on my website www.StefanBaumann.com
Oh Stefan By Golly Thanks Soooo much !! I would love to be under your guiding hand !! 😃.... I do love to paint ! Started sketching wildlife from a tender age in preschool years, I started to paint very late in life though 😕, a mere 7 years ago, truly self taught ! Although, I haven't really taught myself anything artistically ? 😐 Since I copy from a photo ! I am no more capable than a beginner ! Anyone !! Can be a copy cat ! It's a paradigm that I so long to change !!! 😊
😆 Stefan !! Simply through discovering you and your highly informative RU-vid videos, you have inspired me to do the previously "unthinkable" ?!!!! ~ I was so full of "self doubt" ~ but now, and thanks to YOU 💖 I am going to get on board with the rest of the world, and sign up for Facebook, etc, . . . .and open up my own website !!!! I'm gonna title it " Colour Gone Wild " 😃😆😉 since that is what "True" art should be !!! A splash of colour to canvas, should be a celebration of life itself !! 😁 Blessings to you !! 😉😊 Kindly, Sonia Sawyer 💖🎨😄😉😊
Secrets behind painting: Consider the subject, its purpose and the observers perspective. Put yourself in the scene and envision the mood your want to convey. 1. Divide your canvas into 5/8ths (1.618, 1/3rds) with lines. 2. Pick an intersection of those lines to place focal point that is the pinnacle purpose of the subject. 3. Loosely paint focal point based on subject and use highest contrast compared to rest of painting. 4. Support focal point with lighting effects on surrounding "stuff", creating flow lines and rhythms that refocus eye toward focal point. 5. Fill in entire canvas with correct values that don't take away or overpower focal point. 6. Fill in entire canvas with correct hue and chroma. 7. Sign it 8. Forget 1-7 and just paint something. Focal point is entire point of the painting. Make it epic with lighting effects. The rest of the "stuff" is less relevant, it just supports the focal point. Only place paint if it improves the painting. Eventually start developing the texture of the painting.
