Materials: Canvas, board, paper, etc. (9 x 12 inch is a good size)
Brushes
Liquin, or a preferred medium (water for acrylic users)
Palette:
-Ivory Black
-Titanium White
-Yellow Ochre
-Burnt Sienna
-Also known as the “dead palette” based on the idea that the colors above are not as intense as the primary or secondary colors. As a result there are subtle changes in Hue, Value and Intensity.

Part I

Objective: Print these two GEOMETRIC FORMS , and copy them onto a piece of canvas paper. You will notice each plane or shape within the form contains a number. This number represents the value, hue, and intensity of each shape. The number 1 value is your lightest light (White, touch of Yellow Ochre, and Burnt Sienna). The number two will be slightly darker in value, and richer in hue (white, a touch of yellow ochre, burnt sienna, and Ivory black). Continue with the same process; higher numbers represent the darker values. The intensity of the colors will desaturate with each shape as you continue towards the higher numbers. This will happen automatically because you are mixing colors that are close to opposite ends of the color wheel.

Part II

Depending on instructions in class, you are to use the “Dead Palette” or create an “under-painting” using Titanium White and Burnt Sienna.

Objective: You are to copy a portrait painted by LUCIAN FREUD. You may google an image or print the one linked to this page. Focus on two areas: color and paint application. Attempt to mimic every possible mark. Notice how the brush marks create the structure of the head / face. Notice how Lucian Freud focuses on the planes of the head and figure. Simplify the form into geometric planes. When mixing color focus on extracting a variety of Hue, Value, and Intensity. Notice the color change on your palette when you add other colors. Ask yourself if the color is cooler, warmer, greenish, reddish, etc.

Part III

Objective: Using the same “dead palette”, a mirror, and an undisturbed area to create a SELF-PORTRAIT. Using the same approach to painting any form, rough in the general shapes / masses within the head. Remember to measure the height and width prior to working within the interior. Also remember that your eyes are in the middle of your head. Draw a vertical and horizontal line to represent where your eyes and nose intersect. The bridge of your nose is the mid-point (also a good starting point) of your head. Use plumb verticals and horizontals to line up shapes, relationships, and reference points. Refer to the handout for additional questions. Make mistakes, take off and put on: the key to learning how to paint.

EXAMPLES OF ARTIST'S SELF-PORTRAITS, and or portraits of others.