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TRANSCRIPT
PortraitsPortrait Workshop
Please print this document for future reference. This information applies to both people portrait and pet portrait classes. People are four days and pets are typically three days.
CLASS DEPOSIT: To register for a class, go to the website, www.paintwithdarla.com, click on painting classes, scroll down to the portrait class you want, click on “book.” Fill out the information. Depending on the date of the class, you may have to pay the entire fee if the class is less than 30 days away. Date that are several months, you will need to pay the deposit to hold your spot. The deposit is 50% of the class fee. If you cannot use PayPal, you will need to contact me so you can send me a check. The remaining balance of the class will need to be paid in full 30 days prior to class. If you are signing up late and it’s less than 30 days, you will receive an PayPal email for your balance to be paid immediately. There are no exceptions to this policy. If your seat is not paid for 30 days before the class date AND you have not contacted me/replied to my email, your seat will be given to the first person on the waiting list and you will not get a refund or fee forwarded to another class.
REFUNDS: If you have to cancel, you have to cancel before 30 days prior to the class date. In order to get a refund minus PayPal fees. If you cancel less than 30 days from the class date, you will not get a refund but the deposit will be applied to a future class, whether it be a regular class or portrait class. If it’s less than two weeks, the deposit will not be applied to future classes.
GUARANTEE: There is no absolute guarantee that your painting will be 100% finished at the end of class. Each portrait is different. A lot of times, the final details like whiskers are not applied until after the painting has dried a few days. If you are not happy with your portrait at all, I will keep the painting and you will get a refund minus any PayPal fees.
PHOTO: Once I get an email that you have booked a seat, I will send you an email with a document that you need to read. The document outlines the best picture to use and how to get it. You will need to email the picture you want to use as soon as possible. You can send it via text (386-302-8885) or email ([email protected]). The photo must be approved prior to class. Many people think any photo will work and that is not the case. The image must not be blurry at all. A close picture in the natural light is best. We are looking for a head and shoulders type of photo. This applies to both people and pets. Keep in mind that you will not be painting any detailed backgrounds in this class. Detailed backgrounds are for more advanced classes.
DAILY SCHEDULE: Portrait Classes are typically from 10 a.m. to 6 p.m. (times may change depending on the location of the class). You need to arrive early to set up your work station. Occasionally, it may be later than 6 p.m. if the student needs additional help. We will break for a 1-hour lunch. It is recommended that you bring your lunch and drinks, but there are food establishments nearby. Other breaks are taken as needed.
PORTRAIT CLASS FEES:
Provided by Instructor: Students Need To Bring:
1. Paints/Medium 1. 14x18 canvas 2. Palette (borrow for the day) 2.. You must bring a 5x7 (or larger) Black and White 3. Small disposable cups for medium a 5x7 (or larger) Color Photo 3. Cleaning solution called Awesome 3. Brushes* to include a small mop brush, small dome 4. Projector/watercolor pencil blender and small detail liner brush 5. Hairpray 4. Q-Tips and Swisspers (pointy Q-tips – cosmetic
5. Viva Paper Towel 6. Notebook and pen (for taking notes) 7. Easel – small portable 8. Apron 9. Palette Knife
* Students will need to have their own brushes prior to class. I sell brush sets by Scharff and Valerie Stewart brushe but do not have all the brushes. Please text me or email if you are interested in buying brushes from me. You can order a set and get them at the class. If I don’t have the Scharff brushes in stock, I highly recommend that you order them online. I recommend the flat shaders and flat brights.
Here are the essential brushes:
1. Flat or Bright Brushes – sizes 0, 2, 4, 6, 8 and ½ wash 2. Dome Blender – size 4 or 6 (medium size – you do not want a large) 3. Small Liner Brush – for detail 4. Small Mop Brush
FIRST TIME STUDENTS: Yes, you can paint portraits. You just have to have the desire. Don’t worry if you don’t know how to prep the canvas or get the image sketched on the canvas. The supplies needed to do all that and the projector will be available at class. You will be shown how to mix the acrylic color with white gesso and apply it to the canvas. Darla will have her portable projector and tripod at the class. You will be shown how to use the projector. A watercolor pencil (dark brown) or graphite pencil is used to sketch the image onto the canvas. Hairspray is used to seal the sketch so it don’t get rubbed off.
CANVAS PREPARATION: There are several ways to prep your canvas. It depends on which underpainting technique you are going to use. People portraits – use the Skin Tone method. For animals, use the White Canvas method.
Skin Tone Gesso - There are several flesh color acrylic paint colors that you can use and mix with white gesso. Some people use Terra Cotta in the DecoArt line or something similar. You can find this product at Hobby Lobby or Michael’s. You want the color to be a nice flesh color. I use a red cup to mix them. I use a chip brush (very flat and smooth bristle brush) or a foam brush that you can get at Hobby Lobby, Michaels, or Home Depot. You apply the paint using long strokes the length and width of the canvas. Make sure there are no heavy lines of paint on the canvas. Keep going over it with the brush lightly until it looks even. There should be no “teeth” showing on the canvas which means every nook and cranny should be covered on the canvas. Let the first coat completely. Apply a second coat the same as above. Let dry.
White Canvas – You don’t need to put any tinted gesso on this canvas. You need to add two thin coats of white gesso to the canvas. Follow the directions above as the white gesso is applied the same as the skin tone gesso.
TRANSFERRING THE IMAGE TO THE CANVAS:
Most of the time, the sketch will be provided for the students or it will transferred onto the canvas in class.
IMAGE PLACEMENT ON THE CANVAS:
1. Place the top of the person’s head 3 inches from the top of the canvas on a standard “bust” portrait. If it’s an animal, it depends on the size of the animal. Normally, we don’t like the subject of the portrait to be bullseye in the center of the canvas. 2. The nose should never be lower than halfway down on the canvas. 3. Do NOT make the subject larger than life. 4. Use either graphite paper or a projector to get the image onto the canvas.
GRAPHITE PAPER: If you do not have a projector, you need to have the picture printed the size of the canvas. You then use graphite paper to transfer the image. You do not need to trace every single line, but you need to make sure you have all the critical aspects of the picture like the eyes to include the pupils, mouth, ears, hairline, eyebrows, mouth creases, nose (especially the nostrils), neck, clothing, collar, pocket, buttons, etc. Make sure you trace any teeth that may be showing.
PROJECTOR: The other way to transfer an image to the canvas is using a projector. There are several projectors that work great – I use a small portable one on a tripod that uses an adaptor for my iPhone. Works best with the lights off. Trace the eyes first. Do not press too hard on the canvas as that will distort the image. Make sure to get the pupils. Trace around the hair, head, ears, nose, mouth, neck, shoulders, arms, and any clothing features. If the person wears glasses, trace those too. Jewelry is also traced. If the person has an open mouth where teeth are showing, trace the teeth.
Understanding The Value Scale
toadhollowstudio.com
The shading process and underpainting stage of the painting is like a road map to the finished painting. Any subject has a wide variety of shades or values with any one color. For example, a blue shirt may have 10 or more shades/values depending on how much light is shining on it and where. When looking at the blue shirt, you will find your darkest blue which can even appear blackish. When look at the lightest blue, it can even appear almost white. Look at the darkest blue as #10 and the lightest glue as #1. Any shades/values in between would vary between 1 and 10 according to the strength of its color.
In this workshop, we will be using Burnt Umber to complete the underpainting process. When the Burnt Umber is applied, we are looking at the shadows and highlight from the photograph and painting each area according to the value you see. Remember, you don’t paint what you think you see, you paint what you see using the photograph. That ensures the best likeness of the finished painting to the reference picture. You will get a likeness to the person or pet you are painting simply by shading each feature and detailing accurately. The more refined the shading is, the more three-dimensional the painting will become.
Your painting should look like a finished painting in one color. The time and effort put into this stage will show in the quality of your finished paintings.
If your finished underpainting looks cartoonish, it means there isn’t enough shadow variety in the painting. Study your photo and make adjustments before adding color.
Underpainting Stage: The underpainting stage is an Old Masters technique. We use the Brunei (brown/burnt umber) monochromatic underpainting technique for ease and simplicity. It is very easy to do and simplifies the painting process which then makes it easy for students to learn. The underpainting stage uses the value scale.
Please print this document for future reference. This information applies to both people portrait and pet portrait classes. People are four days and pets are typically three days.
CLASS DEPOSIT: To register for a class, go to the website, www.paintwithdarla.com, click on painting classes, scroll down to the portrait class you want, click on “book.” Fill out the information. Depending on the date of the class, you may have to pay the entire fee if the class is less than 30 days away. Date that are several months, you will need to pay the deposit to hold your spot. The deposit is 50% of the class fee. If you cannot use PayPal, you will need to contact me so you can send me a check. The remaining balance of the class will need to be paid in full 30 days prior to class. If you are signing up late and it’s less than 30 days, you will receive an PayPal email for your balance to be paid immediately. There are no exceptions to this policy. If your seat is not paid for 30 days before the class date AND you have not contacted me/replied to my email, your seat will be given to the first person on the waiting list and you will not get a refund or fee forwarded to another class.
REFUNDS: If you have to cancel, you have to cancel before 30 days prior to the class date. In order to get a refund minus PayPal fees. If you cancel less than 30 days from the class date, you will not get a refund but the deposit will be applied to a future class, whether it be a regular class or portrait class. If it’s less than two weeks, the deposit will not be applied to future classes.
GUARANTEE: There is no absolute guarantee that your painting will be 100% finished at the end of class. Each portrait is different. A lot of times, the final details like whiskers are not applied until after the painting has dried a few days. If you are not happy with your portrait at all, I will keep the painting and you will get a refund minus any PayPal fees.
PHOTO: Once I get an email that you have booked a seat, I will send you an email with a document that you need to read. The document outlines the best picture to use and how to get it. You will need to email the picture you want to use as soon as possible. You can send it via text (386-302-8885) or email ([email protected]). The photo must be approved prior to class. Many people think any photo will work and that is not the case. The image must not be blurry at all. A close picture in the natural light is best. We are looking for a head and shoulders type of photo. This applies to both people and pets. Keep in mind that you will not be painting any detailed backgrounds in this class. Detailed backgrounds are for more advanced classes.
DAILY SCHEDULE: Portrait Classes are typically from 10 a.m. to 6 p.m. (times may change depending on the location of the class). You need to arrive early to set up your work station. Occasionally, it may be later than 6 p.m. if the student needs additional help. We will break for a 1-hour lunch. It is recommended that you bring your lunch and drinks, but there are food establishments nearby. Other breaks are taken as needed.
PORTRAIT CLASS FEES:
Provided by Instructor: Students Need To Bring:
1. Paints/Medium 1. 14x18 canvas 2. Palette (borrow for the day) 2.. You must bring a 5x7 (or larger) Black and White 3. Small disposable cups for medium a 5x7 (or larger) Color Photo 3. Cleaning solution called Awesome 3. Brushes* to include a small mop brush, small dome 4. Projector/watercolor pencil blender and small detail liner brush 5. Hairpray 4. Q-Tips and Swisspers (pointy Q-tips – cosmetic
5. Viva Paper Towel 6. Notebook and pen (for taking notes) 7. Easel – small portable 8. Apron 9. Palette Knife
* Students will need to have their own brushes prior to class. I sell brush sets by Scharff and Valerie Stewart brushe but do not have all the brushes. Please text me or email if you are interested in buying brushes from me. You can order a set and get them at the class. If I don’t have the Scharff brushes in stock, I highly recommend that you order them online. I recommend the flat shaders and flat brights.
Here are the essential brushes:
1. Flat or Bright Brushes – sizes 0, 2, 4, 6, 8 and ½ wash 2. Dome Blender – size 4 or 6 (medium size – you do not want a large) 3. Small Liner Brush – for detail 4. Small Mop Brush
FIRST TIME STUDENTS: Yes, you can paint portraits. You just have to have the desire. Don’t worry if you don’t know how to prep the canvas or get the image sketched on the canvas. The supplies needed to do all that and the projector will be available at class. You will be shown how to mix the acrylic color with white gesso and apply it to the canvas. Darla will have her portable projector and tripod at the class. You will be shown how to use the projector. A watercolor pencil (dark brown) or graphite pencil is used to sketch the image onto the canvas. Hairspray is used to seal the sketch so it don’t get rubbed off.
CANVAS PREPARATION: There are several ways to prep your canvas. It depends on which underpainting technique you are going to use. People portraits – use the Skin Tone method. For animals, use the White Canvas method.
Skin Tone Gesso - There are several flesh color acrylic paint colors that you can use and mix with white gesso. Some people use Terra Cotta in the DecoArt line or something similar. You can find this product at Hobby Lobby or Michael’s. You want the color to be a nice flesh color. I use a red cup to mix them. I use a chip brush (very flat and smooth bristle brush) or a foam brush that you can get at Hobby Lobby, Michaels, or Home Depot. You apply the paint using long strokes the length and width of the canvas. Make sure there are no heavy lines of paint on the canvas. Keep going over it with the brush lightly until it looks even. There should be no “teeth” showing on the canvas which means every nook and cranny should be covered on the canvas. Let the first coat completely. Apply a second coat the same as above. Let dry.
White Canvas – You don’t need to put any tinted gesso on this canvas. You need to add two thin coats of white gesso to the canvas. Follow the directions above as the white gesso is applied the same as the skin tone gesso.
TRANSFERRING THE IMAGE TO THE CANVAS:
Most of the time, the sketch will be provided for the students or it will transferred onto the canvas in class.
IMAGE PLACEMENT ON THE CANVAS:
1. Place the top of the person’s head 3 inches from the top of the canvas on a standard “bust” portrait. If it’s an animal, it depends on the size of the animal. Normally, we don’t like the subject of the portrait to be bullseye in the center of the canvas. 2. The nose should never be lower than halfway down on the canvas. 3. Do NOT make the subject larger than life. 4. Use either graphite paper or a projector to get the image onto the canvas.
GRAPHITE PAPER: If you do not have a projector, you need to have the picture printed the size of the canvas. You then use graphite paper to transfer the image. You do not need to trace every single line, but you need to make sure you have all the critical aspects of the picture like the eyes to include the pupils, mouth, ears, hairline, eyebrows, mouth creases, nose (especially the nostrils), neck, clothing, collar, pocket, buttons, etc. Make sure you trace any teeth that may be showing.
PROJECTOR: The other way to transfer an image to the canvas is using a projector. There are several projectors that work great – I use a small portable one on a tripod that uses an adaptor for my iPhone. Works best with the lights off. Trace the eyes first. Do not press too hard on the canvas as that will distort the image. Make sure to get the pupils. Trace around the hair, head, ears, nose, mouth, neck, shoulders, arms, and any clothing features. If the person wears glasses, trace those too. Jewelry is also traced. If the person has an open mouth where teeth are showing, trace the teeth.
Understanding The Value Scale
toadhollowstudio.com
The shading process and underpainting stage of the painting is like a road map to the finished painting. Any subject has a wide variety of shades or values with any one color. For example, a blue shirt may have 10 or more shades/values depending on how much light is shining on it and where. When looking at the blue shirt, you will find your darkest blue which can even appear blackish. When look at the lightest blue, it can even appear almost white. Look at the darkest blue as #10 and the lightest glue as #1. Any shades/values in between would vary between 1 and 10 according to the strength of its color.
In this workshop, we will be using Burnt Umber to complete the underpainting process. When the Burnt Umber is applied, we are looking at the shadows and highlight from the photograph and painting each area according to the value you see. Remember, you don’t paint what you think you see, you paint what you see using the photograph. That ensures the best likeness of the finished painting to the reference picture. You will get a likeness to the person or pet you are painting simply by shading each feature and detailing accurately. The more refined the shading is, the more three-dimensional the painting will become.
Your painting should look like a finished painting in one color. The time and effort put into this stage will show in the quality of your finished paintings.
If your finished underpainting looks cartoonish, it means there isn’t enough shadow variety in the painting. Study your photo and make adjustments before adding color.
Underpainting Stage: The underpainting stage is an Old Masters technique. We use the Brunei (brown/burnt umber) monochromatic underpainting technique for ease and simplicity. It is very easy to do and simplifies the painting process which then makes it easy for students to learn. The underpainting stage uses the value scale.