Recorded Lesson
10 hours and 40 minutes of Video Instruction
4 email correspondence critiques
This class will focus on the basic block-in of a portrait, as well as the more advanced techniques of incorporating multi-colored and lit florals into a portrait and then dealing with the resulting reflected lights with the forms of the skin tones. Background abstraction/atmosphere and balance will also be discussed... and last but not least! Florals!
Please do not be intimidated by the idea of sourcing flowers. The supermarket florist will be your best bet, and second to that, a garden. But unless you are a super avid gardener, you may find that not everything you desire is in season this week, so be open to using both resources for your painting.
In this recorded course you will receive three separate lessons, each buildiing upon the next.
For your homework, I encourage you to select a portrait model to work from. This can be a self-portrait, somebody you know, or a hired model. Since we are online anyway, I will be working from a photo. During class, I will explain this in further detail.
You will also want to source those flowers! Buy whatever you like. Perhaps try a few different sizes, colors and forms.
Before class, I will provide the reference photos that I intend to work from so that you can see what I am looking at as I do my demonstration.
You will receive four email critiques from me. At a point during each video, you may have questions that I do not answer. These should be saved up and sent along with your photos if your first, seconded, third and final passses on your painting.
Emailing photos of in progress work can be challenging. Try and shoot your paintings in a daylight setting in order to get the colors as accurate as possible. Unfinished paintings invite glare, so feel free to take some images from an angle or do a closeup or two on your details.
I look forward to seeing your work! Please email me at Art@TeresaOaxaca.com
Painting The Floral Portrait (Recording Only)
Supply list- This list is what Teresa Oaxaca uses herself. Please feel free to substitute any colors you find too troublesome to acquire. It is optional to have the same materials for this course.
Ultramarine Blue Green Shade (or any ultramarine blue from Old Holland or Michael Harding or another brand of your choice)
Chromium Oxide Green
Viridian
Lemon Ochre (or any Yellow Ochre)
Chrome Yellow Primrose (or a cadmium Lemon Yellow)
Lead Tin Yellow Dark (not necessary, just my favorite)
Cadmium Orange
Pozzuoli Red (a fancy name for red iron oxide pigments. Try looking for Venetian Red or English Red too)
Rose Madder (or Alizarin Crimson, our Permanent Rose)
Cypress Umber Raw Dark (or a raw Umber)
Lead White (or Titanium white, Flake White Replacement)
Bone Black (“Ivory Black” No one makes paint from natural Ivory anymore, it's just a fanciful name)
Cadmium Red instead
Cerulean Blue
French Sienna
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Canvas Support- One 16x20” stretched and primed linen canvas (or panel)
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