Jeff Hein Portrait Workshop Conclusion

After lunch on the second day, I came back and tried to apply this technique to the panel. The angle I had from where my easel stood was an almost profile. The beard gave me fits too. Because it dries faster, we used burnt umber instead of asphaltum.

On the third and last day, Jeff's demo consisted of finishing the direct portrait he started on the first day, plus painting on the second method until the lunch break at 1:00.

Jeff uses a fairly limited palette: Flake White hue or replacement, Ivory Black, Transparent Yellow Oxide, Transparent Red Oxide, Burnt Umber or asphaltum, Cerulean, Ultramarine Blue, Lemon Yellow, Transparent Orange, Cad Red Light, and Windsor Red Deep and sometimes, Alizarin Crimson. But basically, he says any three primaries will work. For flesh he started off with a mixture of Cerulean blue, Windsor Red and Yellow Oxide. and white. He says "the face is the palette, not the paint", which really makes sense. And of course, don't forget the ....


..."Magic Squint". Basically, this is how I see without my glasses on and I tried drawing without them on purpose to simplify the shapes and values. Also: Paint across the form not into it.

I didn't get very far on my piece once we got back. Curse you paint!! I figure I have miles of canvas to go before it becomes my friend and a tool in my hand like the pencil. Overall, what was most impressive to me, is Jeff's work ethic. He is so disciplined and his artistic approach is a combination of passion, drive and expression. He never paints for the market. Although he loves looking at other current artists' work, he cautioned us to limit that exposure otherwise you risk "losing yourself". I have to think on that more. Other than feeling a bit discouraged at my inept attempt at painting, I came away from the workshop with oodles of notes and more knowledge to help me in my journey. All in all, very worthwhile.

Workshop: Day Two

On the second day of the workshop, Jeff decided to teach us a second approach to portrait painting. He realized we were all struggling with the placement of the shapes and masses without some form of under painting or drawing. He had panels all prepared for us. He puts up to 5 layers of 100% acrylic based house paint on his panels and sands them smooth.
Using the color asphaltum, and no medium, he begins drawing with his brush (likes W&N Eclipse and Monarch soft brush for this), laying down values, masses and shapes. It's pretty much the same principle, except you aren't making the decisions about color in this step. He used this step in his technique for a number of years but realized that he could eliminate it after awhile.
Jeff did a lot of talking during this demo. He said he can usually recognize an artist who lacks confidence in painting. They usually produce highly finished works, applying paint with thin layers, afraid to fuel the brushstrokes with paint and to lose edges. Er...HELL-O...that would be me.
Jeff also said that even if you use photographs for your reference, as opposed to painting from life, treat the photo like a model. Don't rely on a grid or (heaven forbid) tracing. Don't turn the photo upside down either. The only aid he used was the mirror to check for flaws. He said if you continue to use these methods, especially the grid, you will forget how to draw. He is very confident in a person's ability to learn to see and draw accurately, but it takes practice and a desire to "do whatever it takes to stretch yourself as an artist". Always be aware of angles. Create imaginary plumb lines on your canvas. He will often imagine a shape within a shape to compare size and accuracy. Of course, the "magic Squint" is vital to this process as well.
Here are the two methods, side by side. Break for lunch and it's our turn. SURE.
To be continued...

Workshop: Day One

This is Dave, our model. He was awesome. Could hold a pose for an hour without moving or needing a break. You rarely had to correct his pose when he returned. He's a poet and hiker. Poor guy had to wear the same shirt for three days straight.

Jeff began the day with a demo. He has a rather simple palette and uses no medium. He began putting down the lightest lights. He says one of the most important things to do is SQUINT, simplifying the masses and shapes and averaging out the value and color. Forget detail at this point. It's all about seeing relationships between abstract shape and value.
Jeff continued to squint and lay down more of the first layer. I'm amazed at his ability to accurately see and measure. He warned us to be wary of simultaneous contrast with both colors and values. He loads his paint and rarely makes more than three strokes before returning to his palette. He challenged us to avoid allowing the brush to touch the canvas, using the paint as a barrier. He used transparent colors in the shadows and opaque in the lights.

Here is 90 minutes worth of work. Lunch time and then....we get to try. Send in the clowns......
You can't imagine how intimidating this technique is for me. No under painting or any type of drawing. Simply applying the paint with a sure stroke while asking these 4 things: What is the 1. value; 2. color; 3.location and 4. temperature. After 3 and 1/2 hours, this was my portrait. Poor Dave. No ears or cranium or hair. On to the next day.....

Jeff Hein Portrait Workshop

I'd like to introduce Jeff Hein. Above is a self portrait, front and back. I studied with him awhile back at his atelier in SLC and learned much under his tutelage. Last week I was able to attend a three-day portrait workshop at his studio. Jeff's style is very direct....very painterly and his flesh is dead-on. The photos don't do his work justice, but thought I would post a few of his to show his style (although, once again he is evolving).

Below is one of his earlier works that I just love.This sketch shows Jeff's newer approach. His recent works have this wonderful Rembrandt-like quality to them with his impasto and brushwork.Below is a commission portrait in progress. I love the gesture and feeling of this boy. I can't figure if it's the last day of school or the first.

Above is a work called 12 Shades and they are all on separate panels. I was able to see him paint a few of these portraits while at the atelier.

I love this family portrait. This photo was taken at one of Jeff's exhibits at the Springville Museum of Art. It's titled, "Growing Up".

Tomorrow I will post about day one of the workshop.