Click below to watch the recorded Livestream
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Jeff Hein was born in New Windsor, New York in 1974. He began studying drawing at Ricks College in 1992 under Gerald Griffin. In 1997, after four years off to serve a mission and battle cancer, Hein resumed his studies in painting and drawing at Salt Lake Community College under Rick Graham and Rob Adamson. From 1998-2002 Jeff attended the University of Utah where he also studied painting and drawing. Hein began a full-time painting career in 2002. From 2008 to late 2010 Hein took a two-and-a-half year sabbatical to devote to personal study and exploration of naturalist painting techniques. Hein has also taken workshops from renowned artists including Steven Assael.
Hein has been written up in numerous magazines and newspapers including "American Art collector", "Fine Art Connoisseur", "Arts and Antiques" and "Jetset Magazine". His work has appeared on the covers of "American Art collector", "Art Calendar" and two years of the annual Spring Salon Catalog of the Springville Museum of Art (SMOA). His work has also been shown in prestigious locations such as the Utah Museum of Fine Art, The SMOA and the Salmagundi Club in NY. It has been included in many prestigious collections including that of the SMOA, John Huntsman Sr., Mitt and Ann Romney, Senator Gordon Smith and The Church of Jesus Christ of Latter Day Saints. Jeff has won numerous awards including 2nd place in the National Portrait society's portrait competition, 2nd place in the figurative category of the Art Renewal Center's salon and first place in Springville Museum of Art's annual Spring Salon. Jeff has served as a faculty artist for the Portrait Society of America Portrait Conference from 2013-22. In 2007 Hein founded the Hein Atelier of Traditional Art in Salt Lake City where he trains 12 apprentices in person and 45 students online in the naturalist tradition. Hein is known for his portraits, multi-figure narrative and scriptural paintings. His work also includes complex large scale still-life works and sculpture.
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Medium: Oils
Skill Level: All Levels
Duration: 3 hours 10 mins
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Jeff Hein’s Live Stream
Jeff Hein’s Materials List
Jeff Hein’s Reference Image
Jeff Hein’s final painting (image)
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Live portrait painting from life (alla prima)
Insight into workflow and decision-making
Alla prima technique
Understanding of composition, proportion and handling of form
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This video will be available to re-watch at your leisure until 1st of June 2027.
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Yes! As soon as you purchase, you will have access to Jeff’s materials list, so you can paint along from home.
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We do sell some of them, yes! We have listed them below.
*Worldwide shipping is available, please email us if your country is not available at the checkout.
Jeff Hein’s materials, available from our online store…
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Organic – My Quinacridone Gold is made from nickel azo and quinacridone. It is organic, transparent, and has an average drying time. It also possesses excellent lightfastness and high tint power. This is a rich, amber, golden yellow that is transparent and ideal for glazing or mixing to produce interesting hues. Its shift from mass tone to undertone is pronounced, with a rich, transparent orange-brown. It’s beautiful, perfect in every way, particularly for artists who enjoy glazing or just having a crazy time with colour. You might find yourself in rehab to cure your addiction to it.
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Inorganic – No. 113 is an obviously beautiful mid-blue. The discovery in the 1820s of a Sodium Sulphosilicate compound, which had appeared as a mysterious blue deposit on soda-ash furnaces, was a liberating moment for financially challenged artists everywhere. Up to then the only available version of this compound was the often-unobtainable Lapis Lazuli ore, mined in Afghanistan. Ultramarine has a high tint power, and our chosen shade produces strong green shade blue hues and makes wonderful violets with Magenta and the red Lake colours. It is also useful in greens and greys. The only chemical weakness is a recorded sensitivity to atmospherically borne acids, which can bleach it out. Ultramarine Blue is one of the more difficult paints to make, as it forms an intractable runny syrup when first ground into oil, which must then be stabilized with a small amount of wax.
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Inorganic – Sometimes known as Barium Yellow, as it is Barium Chromate. It was introduced into painting after the Lead Chromates, circa 1820. Unlike Lead Chromates, though, Barium has proven permanent and non-reactive. Most colourmen consider this yellow obsolete, and Michael Harding is probably the only one still making it. By itself, it’s an acidic looking yellow with weirdly green overtones. Its low tint and covering power mix with Magenta and the cooler reds to produce modulated greys artists sometimes seek for certain passages of flesh painting. This is the only yellow chrome paint that doesn’t discolour.
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Organic – Alizarin Claret has a slightly lighter mass tone than that of Alizarin Crimson, and yet it has greater resistance to UV light than Alizarin Crimson. I specifically formulated this beautiful, full-bodied colour for those artists who are reluctant to use Alizarin Crimson. With its versatility and beautry, Alizarin Claret is perfect for portraitures, landscapes, and non-figurative works, and it’s a delight for mixing with other transparent colours.
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Beautiful Indanthrone Blue was invented in 1901 as a synthetic dye that resists fading. Its popularity came about because of this resistance and a need for it in the automotive industry. Michael attracted to it because it’s inky and interesting! This blue is essential for those wishing to expand their understanding of such a hypnotic shade. Blue can have a strong psychological effect on artists, from the shades of Lapis Lazuli through intense Phthalocyanines to the shade of Indanthrone Blue. When Michael recently painted a nocturn using my Indanthrone Blue, it fulfilled my needs, producing an almost narcotic effect upon him, like a poetic musical note! MH Indanthrone Blue is a strong inter-mixer. He so enjoys getting little surprises of colour when mixing with whites, yellows, and reds. Because my oil paints are not compromised by dryers, fillers, or extenders, mixing a few colours together leads to interesting colour outcomes! Try it!
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Inorganic & Organic – Sap Green is a generic name for a rich, deep green. Colourmen progressively changed its composition through a variety of natural, organic lakes. This green has an exceptionally rich, earthy, even mossy range of yellow undertones that suggest all variations of vegetation and undergrowth. Permanent Sap Green is ideal for the landscape/plein air painter.
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Inorganic – This Iron Oxide has been used as a wood dye, and its capacity to enrich hardwood grain makes it a wonderful candidate for paint making. It has great warmth, with gingery undertones quite different from those seen in the Indian Yellows. Because the pigment particles are small, it could almost be mistaken for a Lake. It has huge tint power that pulls whites and other yellows into a golden, rich, Titianesque zone of warm, low tones. Try it with Aureolin and the Earths.
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Titanium White No. 1 is the most brilliant white in my range, suitable for crisp, cool, opaque, light shades. If you want a powerful mixer that lightens , then this is it. Although not subtle, this white is the most suitable for a bright, fresh palette. It forms a strong and durable film when cured. PW6 is an inorganic pigment.
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Inorganic and Organic Pigments –Adored by the landscape painter, Pale Violet adds vibrancy to any sky. Those confusing, hard to express violet shadows we all see in clouds are now easily achievable with this colour. Pale Violet is a wonderful addition to our range of colours. It’s made from three stable, reliable, and lightfast pigments. Although these pigments are available in pure pigment form in Michael’s range, artists always tell me they can’t achieve quite the same vibrancy when mixing in their studios. Pale Violet also allows the portrait artist to achieve interesting shadow combinations—for example, as a complimentary colour to create vibrancy in greys. Pale Violet has an obvious place in still lifes and interiors. Modern artists will love it as well. Enjoy!
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Inorganic – Manganese Ammonium Pyrophosphate is a bold, heavy Violet that was first made in Germany in 1868 as one of the mid-19th century wave of synthetic inorganic metal salts that prompted a change in artists’ palettes. Manganese Violet has mild, reddish overtones that do not cut through mixes and that some find useful when making reflex or shadowy greys. Its average tint power allows it to be added without greatly lowering the tonality of the result.
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Inorganic – Cadmium Sulphide is a dense, lean, mid-shade warm yellow, indispensable as a foundation colour for warm mixes of all kinds.
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Cadmium Green (No. 412) is a vivid colour created from pigments PY35 and PG18. With excellent lightfastness and opaque transparency, it adds depth to compositions. Its average drying speed and linseed oil binder make it a versatile choice for artists seeking reliability and vibrancy in their work.