Description

Foundations of the Portraitw/Ellen CooperOctober 31 and November 1Tuition includes model fee

While working from a live model (one 2-day pose) this workshop will emphasize how to achieve accuracy of the facial structure and features as you block in, and how to mix the right color and value for the light, shadow, and midtones as the portrait is developed. Instructor will demonstrate both days in a step-by-step process to support students’ work.
We will work on a toned surface so that we can paint directly with color after doing a block in. Some drawing experience recommended. Handouts provided. One-on-one feedback at your easels in a supportive, friendly atmosphere.
Brief bio: Ellen Cooper is a professional artist, painting commissioned portraits for the public and private sectors. She has an MFA in Scenic Design for the Theatre (Temple University) and a BFA (Tyler School of Art), has studied portraiture with renowned contemporary portrait artists, and is a Signature Status member of the Portrait Society of America. www.ellencooper.net.

Brushes:good-quality bristle or synthetic bristle filberts: #2, 4, 6, 8, 10. Dick Blick brand works fine. Silver Brush Grand Prix filberts are very my favorite.1 soft mop-like brush to “knock down” edges (ex. Silver Mop #20)Bring any other types and sizes you like including sables, flats, rounds, synthetics. It’s nice to work with some soft or sable brushes in addition to bristle.
Oil Paints (37 ml tubes):Transparent Yellow Iron Oxide (made by Graham)Transparent Red Iron Oxide (made by Graham)Sap GreenFrench Ultramarine Blue DeepBurnt Umber
Painting Surface:Two surfaces (one for each day), roughly 16” x 20”. This can be a primed board or primed canvas. If canvas, it can be pre-stretched primed canvas, or, unstretched primed canvas taped to a stiff board (board size should not exceed 18” x 24”).We will work on the surface un-toned.Try different painting surfaces to find which works best for you; the ground or primer on which you work makes a big difference in how your paint moves on the surface. I prefer a less absorbent ground such as oil primed canvas or linen or board.Centurion OP DLX comes in pads and is a nice surface for a workshop purpose.
Other supplies:Palette either hand-held or table-top in wood, plexi-glass, or disposable paper palette. I like using a mid-value-grey palette. If you have to purchase, disposable grey paper palettes come in 6” x 9” size which works for this workshop, as we’re only using one puddle of paint.Palette knife for mixing paint.Gamsol, turpenoid or other odorless thinner in container. Make sure it’s completely odorless; if you can smell it, don’t bring it.Large Palette cups to clip to palette for medium and thinner, or tuna cans or plastic jars.Rags and/or paper towels for wiping brushes.A roll of blue absorbent car wipes from Pep Boys or hardware store are nice for grisaille, and can take the place of rags/paper towelsMedium, optional. Small jar of Liquin or medium (made with odorless turps) or linseed oil.
OPTIONAL:Hand-held mirror to check the accuracy of your work (about 5” x 7” mirror)
Bird watching binoculars, for the ability to see detail close up.Link for the binoculars that I use from B&H Photo, the Pentax 6.5x21 U-Series Papilio II Binoculars: https://www.bhphotovideo.com/c/product/1113227-REG/pentax_62001_6_5x21_papilio_ii_binocular.html/?ap=y&gclid=Cj0KCQiA1NbhBRCBARIsAKOTmUshDAcODx-jL-7a2RnPkeMkSHGWDDb865d6JtBlH8erN7EyK_xIDqwaAr86EALw_wcB&lsft=BI%3A514&smp=Y

Instructor

Ellen Cooper