Highlights from the Hein Academy of Art’s NYC trip are finally posted! Check them out on the school website.
There are many ways that other artists throughout history have gone about creating their paintings and preparing for the compositions. Some artists will plan out every detail of a composition in small miniature versions of the larger painting, in full color studies. Their reasons are that it saves on time, paint, and mistakes later on. Other artists such as Velázquez, prefer to jump in per say, with little or no planning out, and they cherish the discovery, creating in the moment, problem solving of the process. Velázquez would add on sections of new canvas, sewing them on with a cloth support behind the linen, as his compositional needs demanded.
I would liken it to driving automatic vs manual, or better yet, driving with a GPS to an unknown location, versus getting in the car, rolling the windows down, hand out of the window to feel the air currents and driving down unknown roads to see whats on the other side of that hill. Either way gets you to where you are wanting to go, just depends on your focus and intent of the journey.
Jeff’s seven year old son came in today to the studio and was the model for the multi-figure painting in progress. This session was just the beginning for drawing references that will be later used to start a base painting. Jeff has plans to finish drawing him tomorrow for another session. From the rafters, Jeff attached two strings to a bandana that was then used to support his son’s neck and head and help keep him in the right position and ease any strain that sitting, without moving would cause. Unfortunately, I didn’t get to see as much of the process today as usual, hence the short update, and for that I apologize to the interweb masses. Have a wonderful evening, and looking forward to the morrow.
The post on this blog, and its brother on the Hein Academy Blog , “Archival and Transparent Oils” are very interrelated today. Mainly because they came from the same conversations revolving around Jeff Hein painting on his large still life painting.
Light and Paint.
So please check both blogs to get both parts. Enjoy!
While Jeff Hein was working on his still life painting today, I was quite enamored with some of the areas in his painting. It was just beautiful, and still unfinished.
I asked if he had worked on those areas since last time I had viewed it, and he said no, it was the light coming in from the sky light that was allowing me to see it clearly for the first time. That got me thinking about light sources and Jeff’s studio, and what he preferred.
I sat down with Jeff and asked him to tell me about his light sources. He explained that he had two large sky lights placed at specific spots in the roof. They were both certain measurements from one another, so that Jeff’s easel, palette, and painting in progress would have the light from one skylight, and his live model would be under the other skylight. He has this ingenious and handmade lever and pulley system to customize which direction the light is coming in from, and how much of it. The glass on the skylights are not clear to allow a defused soft sunshine in. Jeff Hein prefers to use natural light when at all possible, and will wait to work on a painting for that special day when the light is at its optimal brightness for some of his projects.
When Jeff does use lights in his studio he uses a hooded full spectrum HID light. It allows for great color compared to other lights, but has a tendency to gray down some skin tones to his trained eye, so he has to be aware of that at times and perhaps compensate for it.
He was also telling me that he almost never crosses light sources. In other words, to place his model under natural light and his painting under artificial light. The only time he would ever do this, and it has to be done with caution because its risky, would be if he wanted to push the warms or cools of the subject on his canvas beyond that which he was looking at. It’s a cool trick to keep the eye from getting used to or adjusting to the colors that you are looking at for extended periods of time.
Another ingenious tip that Jeff was willing to share, was creating the same light as candle light on a model. He said that when you are taking a picture, to use a candle. However for his paintings which are from life, it sometimes takes countless hours and days, which means a lot of candles. So he would use a light bulb and a piece of highly reflective copper sheeting to bounce the light back on to the models face. He said nothing else, but the copper, would give him that flame like color and glow to simulate a candles light.
I hope you all enjoyed the blog for today, and learned as much as I did. Have a wonderful weekend, Ciao!
In the studio, Jeff was busy working on his multi figure painting and was resolving the face of his daughter.
Her face has the base layer of painting on it, although a little bit more resolved then the other child at this stage. I am enjoying seeing how her face is painted up close, and the brush strokes, even though I know that most of this will be painted over in the layers to come. Jeff is seriously considering adding in other children, and is making plans to have them come in to the studio to sit for a drawing session.
I am excited to see the progress made on it, as I heard about the sketches of the additional children on the canvas, after I had already left. I will make sure to post those for tomorrow’s update. Ciao!
Today, I have the pleasure of posting a quick demo clip from Jeff Hein. He painted Joanne, one of his students, from life. He has been in the long tedious process of editing the full length video. I believe 4 cameras were used at the same time to get simultaneous shots and close-ups. The painting took him about 3-4 hours to paint, and a couple more to set up the cameras, lighting, and make sure everything had good color balance and clear views. Countless more hours will be spent on editing all of the camera views for the final video. He started out this demo a little differently than the other demo video posted on this blog. The other clip shows him starting from the inside of the face and working outward, slowly revealing the face structure color by color. In this demo, Jeff started Joanne’s face very loosely in a pattern of shadow and light planes.
He explained, that this way of painting felt almost sculptural in nature, as you slowly refine and resolve the face to the clarity you are wanting in the final composition, by building as a whole slowly. Jeff was telling me that from the very beginning he is thinking of his cools and warms on the figure, in what relationship to the other colors they are, and in what abstract shapes.
I noticed that as Joanne became more resolved, Jeff’s brush strokes grew smaller and more concise. Finally, we have the finished, beautiful and very sculptural painting for this demo of Joanne, by Jeff Hein.
Enjoy the quick (and silent) clip!