Oil Portraiture with Ali Ghassan
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Ali is a master artist in oil painting and this is the first time SAI invited him to teach in Colorado Springs. Students will embark on this painting class with Ali, who teaches an incredibly energetic, all prima method. You will grapple in oil paint learning and practicing accurate color mixing, drawing and perceptive lighting, values and develop your ability to paint. Do not miss this incredible class.
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Class Dates: September 8 - October 13
Duration of class: 6 weeks Level: All Credit: 1 Cost: $120 Time: 9:00 am - 11:30 am Location: Room 312 |
Portrait Painting emphasizes the structural characteristics of the face that are most responsible for likeness, but goes on to explore the chromatic characteristics of facial complexion. In addition, students will learn how capturing the “personality” of the sitter, not merely a likeness, results in more engaging paintings. This is achieved through class lectures on facial structures and features as well as facial anatomy. Students will begin with an initial drawing, mapping out the important proportions of the head and features, and will transfer the drawing to their painting supports, eliminating any need for adjustments in measuring to take place in the painting process. As a “rehearsal,” students will then do a small color poster study of their model to determine broad color mixtures and variations in values and color chroma. We can now begin to paint with greater awareness and confidence in portraiture. More time will then be given to achieving personality and expression of the sitter as color relationships and proportions are now an established foundation of a successful portrait painting. I will cover how to achieve more accurate drawing, as well as the thought process for developing value structure, mixing accurate colors (in addition to flesh), creating a sense of atmosphere and bringing your subject to life. Most importantly, all aspects of my teaching are thoroughly demonstrated and explained by me. I don't delegate the important task of critiquing my students to assistants. If I'm not demonstrating or lecturing, I’m working one-on-one with each of you. I will cover how to achieve more accurate drawing, as well as the thought process for developing value structure, mixing accurate colors (in addition to flesh), creating a sense of atmosphere and bringing your subject to life. Most importantly, all aspects of my teaching are thoroughly demonstrated and explained by me. I don't delegate the important task of critiquing my students to assistants. If I'm not demonstrating or lecturing, I’m working one-on-one with each of you. My class goes far beyond merely conveying how to replicate accurate life-like flesh. The color aspect needs a framework to support it. Color is important but is much more effective in the context of illusionistic space. The ability to create depth, structure and the effect of light are what’s at the heart of all great portraiture. I don't, however, teach a preconceived or formulaic way to arrive at these things. I champion keen observation and intelligent reasoning, based on true understanding, as the ideal way to make the most appropriate decisions, particularly when working in life painting classes. Working from live models is a key factor in artistic training. Once you can understand how to portray the three dimensionality of the model you can in turn adapt this perception to your portrait paintingss, even if you are working from photos. My principles are broad based and can be utilized with any type of painting style: loose, tight or whatever. It is the knowledge that supports informed choices. The answer is not in some magic medium or mystical ritual. Painting mastery is a state of mind and, coupled with a great worth ethic, there is no limit to what can be achieved.I believe the most effective way to teach is by showing people what to do while explaining each and every step. I will be demonstrating the following:
• Techniques for achieving great drawing accuracy
• Transparent under-painting for building luminosity
• Preparation and use of the Mattelson Flesh Palette
• Painting with the Grisaille Method
• Techniques for achieving great drawing accuracy
• Transparent under-painting for building luminosity
• Preparation and use of the Mattelson Flesh Palette
• Painting with the Grisaille Method
Materials Needed:
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Download the material list file:
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Paints (Windsor & Newton Artists Oil Colors not Winton. Small tube or
as specified)
- Titanium White (large tube)
- Cadmium Yellow Light
- Yellow Ochre or Yellow Ochre Pale
- Burnt Umber (large tube)
- Raw Umber (large tube)
- Ivory Black (large tube)
- Ultramarine Blue
- Alizarin Crimson
- Cadmium Red
- Cadmium Orange (optional)
Mediums
- W&N Damar Varnish (in bottle, not the spray)
- W&N Cold Pressed Linseed Oil, or refined linseed oil
- 100% Odorless Mineral Spirits
Brushes (Filberts- Soft synthetic hair or sable) (The more brushes the better)
- Recommended; Utrecht series 239 Synthetic Blend brushes or Creative Mark Ebony Splendor brushes
- 4 or more of each size: 2, 6, 8, 12 (Utrecht sizes) and at least one of each 00, 0, 1
- 1 medium to large sized fan brush- soft!
- Large soft brush 3-4 inches wide
Canvas
Raphael oil primed linen panel, size 11x14”
Miscellaneous
- 2 Jars with lids (for cleaning brushes)
- Make-up sponges (wedges found at the make-up section of the pharmacy)
- Brush holder
- Palette Knife (this one is recommended)
- Viewfinder (grey square with sliding window)
- Wooden Palette or disposible paper (grey only) palette. Handheld.
- Medium Cups at least 2” wide and 1” deep, metal with large opening
- Eye Dropper
- Paper Towels
- Mirror (no smaller than 4x5, undistorted)
- 2B graphite pencil
- piece of soft charcoal
- Putty Eraser
- Tracing Paper (11x14”)
- Paper (11x14”)
- Masking Tape
- Drawing Board approx. 16x20
- Knitting needle
- Plumb line (a piece of string with a heavy fishing weight on the end)
- Sandpaper pad
- Exacto Knife