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An amazing way to paint!

In this workshop Kevin will emphasize a more intuitive way to look at drawing and painting. Learning to see 'impressionistically' -the ability to 'suggest', rather than 'render' the subject will be explored.

This approach involves many quick drawing and painting exercises from the figure, as well as having students work on more finished paintings during the course of the workshop. Demonstrations will be done every morning, followed by students exploring what was taught during the demonstration."

Not sure if this is the class for you? Read Help me Choose.

Instructor -- Kevin Beilfuss

After graduating from Illinois State University and the American Academy of Art, Kevin set out on a free-lance illustration career which lasted thirteen years. Working mostly in the editorial area of illustration, his work consisted mostly of paintings for book covers and magazines. Some of his clients include: Penguin Publishing, Viking Press, Houghton Mifflin, Harlequin, Signs of the Times, Guideposts, Readers Digest, and Golf Digest.

" I had always dreamed of becoming an Illustrator," explains the artist. " But the demands of painting someone else's ideas finally took it's toll. I decided that life is too short and that I had to paint from my heart. We're only given one chance at life, and I had to paint what was important to me. What's important to me," says Kevin, " Is that I try to capture a little of what God has already created in each of my paintings. One can obviously see the beauty of God's creation in nature, but for me it is even more profound when I see and experience that beauty in people."
"Someday you'll find me out painting landscapes, but for now I love to paint the human figure. I find it stimulating to interact with my models as we explore ways to capture what might make an interesting painting. I often come to a modeling session with a preconceived notion of what I would like to explore, such as lighting, color, symbolism, or costuming, but it is usually the model that comes up with the most natural pose allowing more of their true selves to shine through."
Kevin's training at the American Academy of Art in Chicago was his biggest influence on his art career. "Our training was in the classical tradition," he explains, " "we had two classes a day: a 3 hr. figure DRAWING session in the morning, and a 3 hr. figure PAINTING session in the afternoon. With training like that, it's hard not to fall in love with the human form. Whether the figure is clothed or unclothed, the artist must meet the unique challenge presented by both."

Students are responsible for their own supplies.

    Workshop Supply List for Kevin Beilfuss

Personal note from the artist:  "ALL MATERIALS ARE SUGGESTED, AND WHAT I USE. THEY ARE NOT REQUIRED, BUT RECOMMENDED. WHERE THE WORD REQUIRED APPEARS BELOW- IT IS STRONGLY SUGGESTED".

OIL PAINT COLORS:
    Titanium White (Large tube) (Winton)
    Permanent Yellow Lemon (Holbien)
    Permanent Orange (Talens/Rembrandt)
    Yellow Ochre Pale (Windsor Newton)
    Raw Sienna(Talens/Rembrandt)
    Permanent Red Medium (Talens/Rembrandt)
    Permanent Rose (Windsor Newton) (sub for Alizarin Crimson) Transparent Maroon (Windsor Newton) (sub for Burnt Sienna)
    French Ultramarine Blue (Windsor Newton)
    Turquoise Blue (Talens/Rembrandt)
    Viridian (Talens/Rembrandt)
    Permanent Green Light (Talens/Rembrandt)
    *These are the colors I use and are NOT required. Students may bring their preferred colors if desired.

BRUSHES:
    Bristlon All-Media Brushes by Silver Brush
    *I prefer these brushes to traditional hog-hair brushes, because they hold their shape much better!
    Filberts: Sizes 0, 2, and 4 (size '0', and '2' are REQUIRED)
    Flats: Sizes 2, 4, 6, and 8 (larger if desired.)
    * You must have some 'flats' in these sizes- but they don't have to
    be Bristlons, but I prefer them.
    Winsor & Newton University Watercolor 'One Stroke Brushes' (series 680) 3/4", or 1". If the student does not wish to purchase these, I would stingily suggest some sort of soft-haired 'flat' brush. These
    will be used for washes.
    * A small 'Liner' or 'Rigger' is desired as well for making fine lines
    *All the brushes are suggested and NOT required by the student
    (with the exception of the 'o', and '2' filberts.)

CANVAS:
    1 pad of Centurion Deluxe Oil Primed, or Acrylic Primed Canvas Pads (16x20)
    * It would be best if you could have a panel and 4 clips to clip the canvas sheets to.
    -3-6 panels of Centurion Deluxe Oil Primed, or Acrylic Primed Panels
    (sz. 14x18, 16x20, or 18x24)
    -3 panels of Centurion Deluxe Oil Primed, or Acrylic Primed Panels (9x12)
    *Canvas type can be the student's choice, but I find these (Centurion Panels) to be inexpensive yet are not too rough in surface texture. Student's can also bring gessoed panels if they prefer, but I would prefer them to make them themselves.

OTHER TOOLS:
    Palette Knife(s)
    Blending Stump ( not a tortillion- the kind that you unravel.) It should be pointed at both ends- about 1/4 in. in
    diameter- ( I believe these are sz. # 2 and can be bought by the dozen)- I use these to draw with
    (REQUIRED)
    Sand paper (rough)
    (REQUIRED)
    Odorless Minerals Sprits/ some sort of cup- I use a soup can
    Paper Towels (I prefer Viva)
    Palette (any)
    Easel- (check with school to see if they supply one)
    Laptop, ipad, or photos if desired. (We may spend time working from these)

*ALL MATERIALS CAN BE PURCHASED THROUGH JERRY'S ART O RAMA, OR ART SUPPLY WAREHOUSE.    http://www.jerrysartarama.com  •   http://www.aswexpress.com/

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On-site accommodations are available:

  • Picturesque rural setting on the bordering Sumter National Forest
  • Private rooms with queen-sized beds and full in-suite bathrooms
  • Chef's menu of home-cooked meals prepared and served daily
  • model fees included
  • Color-corrected lighting (over 120 fluorescent tubes) plus natural-lit studio

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