So let me start off with an overview, and then get into the highs and the lows. This is Cesar Santos' Secrets of Portrait Painting.
ROBERT LIBERACE PAINTING DEMO SERIES
In the end, he said, the painting just has to look good.Today I wanted to give my little review of this new DVD series that was so generously given to me for Christmas from my family. When asked about values, he said it was comparative. He prefers hardboard to canvas because he likes to “fling” color. He uses cooler versions of the primaries and applies retouch varnish when a painting is done. Haverkamp shared that his secret is that he is “not” a realist he uses whatever color he wants to, disregarding some of the long-held views about warm light and cool shadow. Typically, he will apply about six layers of background colors, allowing a day to dry in between layers. He covers it with paper towels before flinging on more color for the background. He allows the background to dry and then works on the subject the next day. He placed the shadow under the nose, used his “iris” blue as a turning edge, and lifted other transitional areas.Īsked about his multi-colored backgrounds, he said he begins by laying the board flat and splattering fluid washes of color on it with a 1” bristle brush. He commented that with lots of paint on his board he could use it as a palette and scumbled the mixtures to define the forms. He finished the irises, shadows, and eye folds. He applied his darks (dioxazine purple and brown) and then warmed the tear duct. With paper towels, he wiped down to the gray ground for a 3-D effect and applied the lightest lights. Haverkamp’s focus was on the different planes of the face, and he squinted often to see shapes. As he builds the painting, he gets subtle changes with each pass, so he keeps it “ugly” as long as possible. He pushed and pulled color on the board and said he initially wants an “ugly” painting. He selected one feature to be “the correct spot” and let every other feature evolve around it. Using other variations of orange, he refined the drawing. Using a #6 filbert to apply a mixture of white and cadmium orange, he warmed the forehead and nose bridge. He continues to use the same principles whether executing paintings from life or photography. Using a #2 filbert bristle brush and thinned brown paint, Haverkamp made “scribbles” on his toned panel and smudged with paper towels until the eyes, nose, eye line, chin line, and top of hair were indicated. Within 2 minutes of starting his demo, there was a likeness, and in 20 minutes we saw an amazing portrait evolve. The rest of his oil palette included cadmium orange, cadmium yellow light, permanent rose, permanent magenta, manganese violet, cobalt blue, dioxazine purple, and cremnitz (lead) white. He likes to use transparent brown oxide oil paint for drawing. Haverkamp’s demonstration was done on hardboard toned with a value 5 mid-gray acrylic paint. In 2008, a portrait of his daughter, Echo, earned him best in show in the Portrait Society of America International Portrait competition. Haverkamp has had numerous one man shows and creates interesting still-life paintings, but his chief subjects are his wife and children. With Liberace, he felt the freedom to develop his own methods and style as an artist. Then, in the summer of 2004, he attended a Studio Incamminati workshop with acclaimed artist Nelson Shanks and never traced again. Haverkamp later studied with Robert Liberace, who had a great influence on him. In those pre-Incamminati years, he meticulously produced perfect drawings and used tracing paper to transfer the detailed drawings to his canvas. degree in painting from Carson-Newman College in Jefferson City, TN, in 2003.
Haverkamp attended Cleveland Institute of Art and Memphis College of Art before earning his B.A.
While adjusting the lights on his model (his wife Katherine) for the sitting and preparing his limited palette, he explained his evolution into a more creative artist. His 6’4” stature and youthful demeanor caught the attention of his audience, who remained captivated throughout the painting process. Using drawing and painting methods learned at Studio Incamminati with Nelson Shanks, Seth Haverkamp demonstrated some of his portrait painting techniques at the September meeting of the Portrait Society of Atlanta.
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