Portrait Society of Atlanta Workshop

In February 25-26th I held a workshop "Paint Like a Master" for the  Portrait Society of Atlanta at their spacious North Shallowford Road annex. I shared many examples from Rembrandt, Titian, Sargeant and Zorn, and compared how limited the palette range was for so many oftheir portraits. We then concentrated on how important values are in creatiing the illusion of realistic volume. I shared many lighting techniques as well as pointers on creating a likeness. The workshop was well recieved by all of the participants. Please see the review here from their publication, The FOLIO here: https://portraitsocietyofatlanta.org/paint-like-a-master-with-mike-wimmer/

With examples behind me, I share with the participants many examples of limited palette color schemes. I share the process of beginning the portrait of the Colonial Soldier, without any preliminary drawing, using only my measuring method to create a good likeness, concentrating first on proportions and value shapes. Since the workshop lasted two days, I was able to work with each participant individually to share advice and give feedback on color and value ranges, as well as any recomended adjustments to proportions. I was able to complete the portrait demonstration by the end of the second day, but brought it back to my studio to add any finishing refinements I thought necessary. About 2-weeks after the workshop each member shared their finished portrait with the grouiup via email and a Zoom meeting. 

In one of the self portriats that I created for the workshop, I shared the Zorn Palette made up of the colors at top: White, Yellow Ochre, Cadmium Red Light (Vermillion) and Ivory Black, and painted in the Alla Prima method. From start to finish, this demonstration took a total of 3 1/2 hours. 

In another set of self portraits, using the same reference, I painted using a monochromatic underpainting, using White, Yellow Ochre, Raw Umber and Transparent Oxice Red. This is an analogous color scheme that works very well as an underpainting stage for later completion. It was at this stage that I shared my measurement technique on a seperate piece of paper and then transferred the drawing to the canvas surface. During this very quick underpainting stage, I lay in the shadows thinly and build up the paint thickness with thicker more opaque colors. The whites are painted thickly with a thick and stiff Underpainting White, 

Here is one more self portrait demonstration, painted in the Alla Prima method, using another Limited Palette combination of White,  Transparent Oxide Red and Prussian Blue. Limiting the Gamut Range automatically harmonizes the color scheme of your painting. The subtle greys and neutrals are derived by the mixing of complimentary colors in this case a blue and an orange, with white. Depending on how you swing the range, either cooler or warmer (oranger or bluer) your greys will adjust likewise. Another point of interest; notice how the portraits were created using value contrasts; Middle Value > Dark Value > Light Value > Dark Value, otherwise known as Chiaroscuro or Chiaro=bright or clear, Scuro=dark or obscure.