Portrait Phase I – II -III :
I : This phase will introduce you to several monochromatic palettes. This means you will not be venturing into the realm of color as of yet. Instead, monochrome will give you ample time to focus on more important concepts: manipulating edges and values in oil paint. You should start cultivating an acute awareness of value judgment and edge manipulation, as well an appreciation of why these concepts are so important. We will work from photos of casts, skulls, and the Asaro planes of the head from straight, three-quarter, and profile positions. As with all initial phases, much patience and presence should be channeled to prepare you for the next phase. Every phase builds on the one prior to it.
Remember, there are some subjects that can be simply read about, watched, and then understood. Painting is not one of them. All knowledge must be refreshed and maintained through repetition so it is ready to be used at a moment’s notice. You will find this a more demanding style of studying and visual memorization, but ultimately it will be much more rewarding. Like exercising any muscle, these skills will improve and strengthen with time.
Lessons
- Skull Profile Pose
- Asaro Profile Pose
- Cast Profile
- Skull 3/4 Pose Part I
- Skull 3/4 Pose Part II
- Asaro 3/4 Pose Part I
- Asaro 3/4 Pose Part II
- Cast 3/4 Pose Part I
- Cast 3/4 Pose Part II
- Skull Front Pose Part I
- Skull Front Pose Part II
- Asaro Front Part I
- Asaro Front Part II
- Cast Front Pose Part I
- Cast Front Pose Part II
- Closing Thoughts
II : Now, after grounding yourself in the foundation of portrait in oil, it’s time to open up your palette range a bit. First we will jump into the “Zorn” palette, named after famed Swedish painter Anders Zorn. This four color palette is truly amazing. You will learn to premix this palette, then Jeff will introduce you to five different approaches to laying in and painting a portrait from photo reference. These traditional techniques have been mastered by portrait painters throughout history. This should prove to be an eye opening phase. Try all the methods, and start to think about which one resonates with you most.
Lessons
- Creating the Zorn Palette
- Burnt Umber with Color Part I
- Burnt Umber with Color Part II
- Burnt Umber with Color Part III
- Burnt Umber with Color Part IV
- Direct Approach Part I
- Direct Approach Part II
- Direct Approach Part III
- Soft Scumbling Approach Part I
- Soft Scumbling Approach Part II
- Soft Scumbling Approach Part III
- Tiling Approach Part I
- Tiling Approach Part II
- Tiling Approach Part III
- Abstract/Drybrush Approach Part I
- Abstract/Drybrush Approach Part II
- Closing Thoughts
III : In this phase we will be exploring the individual features in three palettes. We will work from both male and females and utilize photo reference as well as master studies. It is essential to Familiarize yourself with each feature from as many different types and angles as possible. This will prove very beneficial as we move towards executing longer finishes from photo’s as well as life.
Lessons
- Female Eye – Burnt Umber and White
- Female Eye – Zorn Palette
- Male Eye – Warm and Cool Palette
- Female Nose – Burnt Umber and White Palette
- Male Nose – Zorn Palette
- Male Nose – Warm and Cool Palette
- Male Lips – Burnt Umber and White Palette
- Female Lips – Zorn Palette
- Female Lips – Warm and Cool Palette
- Cast Ear – Burnt Umber and White Palette
- Female Ear – Zorn Palette
- Female Ear – Warm and Cool Palette
- Fechin – Female Eyes – Warm and Cool Palette – Part I
- Fechin – Female Eyes – Warm and Cool Palette – Part II
- Rembrandt – Male Eyes – Warm and Cool – Part I
- Rembrandt – Male Eyes – Warm and Cool – Part II
- Sargent – Female Nose – Warm and Cool Palette
- Rembrandt – Male Nose – Warm and Cool Palette
- Sargent – Female Lips – Warm and Cool Palette
- Lyendecker – Male Lips – Warm and Cool Palette
- Bouguereau – Female Ear – Warm and Cool Palette
- Lyendecker – Male Ear – Warm and Cool Palette
- Closing Thoughts
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