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Workshop Title
Expressive Portrait Painting: Drawing and painting the face with acrylics and charcoal
Level
  • Beginner
  • Intermediate
Medium
Acrylic
... Other medium:
Charcoal
Subject / Focus
Expressive Portrait Painting
Class Description
Beginning with the fundamentals, you will be lead through a series of exercises that involve creating the illusion of form to express a 3-dimensional shape.

We will touch upon the subjects of composition and colour theory. You will see how artists, both contemporary and historical, approach drawing and painting the face.

Preparing your panels for painting, you will be incorporating traditional methods with more contemporary practices of building up backgrounds. Your instructor will now work with you to create 2 very different, though complimentary, paintings.

In addition to what you’ve learned, you will leave with 2 paintings. This will be the beginning of expressing your inner artist! This can also be the beginning of a journey, creating your first body of work! It may be a continuation of you learning a few rules, then finding joy in breaking them!
About the Artist
Audrey Smith is an award winning Canadian contemporary figurative artist. Born in Quebec, her studio practice is now in Caledon, Ontario.

Audrey’s paintings are recognized for her chaotic line work and energetic, visceral brushstrokes. Paradoxically, the atmosphere of her work is pensive, quiet, reflective and sensitive.

In addition to solo exhibitions, Audrey has participated in numerous juried Canadian and international group shows. She was an award finalist in the Carrousel Du Louvre
International Art Exhibition in Paris, France and a finalist in the international “Figureworks” exhibition held in Ottawa, Ontario. In December, 2024, Audrey won the Society of Canadian Artists “Artistic Excellence Award”. She now has works in Canada, the U.S. and Europe.

Audrey is an elected member of the Society of Canadian Artists and Headwater Arts. “My work explores the essence of people, capturing crystal slivers of time. I build
transparent layers of reality to create a visual, tangible history.
Instructor website
Instructor phone
416-524-8375
Instructor Email
 

Supplies Students Should Bring:

Paint / art media
Clear acrylic gesso to prime/protect panels (Liquitex/tri-art)

Paint* (heavy body acrylic, in tube). Acrylic paint kit OR
Titanium white, Yellow, yellow ochre, Vat orange, Pyrrole Red, Cerulean Blue (deep), Viridian green, Burnt Sienna, Burnt umber, Paynes Grey (paint names vary between brands - this is a suggested list)

Most importantly: Your favourite colour, if not included above! (Teal, magenta, purple…)
Art Surface / Support
2 Wood panels - 12x12” and 12x24”
Supplies and Tools
Painters tape (to protect edges of panels)
Paper towels
Sketchbook
Pencil (2B), sharpener, kneaded rubber eraser
Charcoal pencil (“Generals” brand, soft and medium)
Brushes, assortment of synthetic bristle for acrylics, long-handled
Bring what you have and Flat, 2” (disposable), Filbert, #8, #12, Round, 1”
Sand paper or sanding block (medium and course grit)
Palette paper
Spray bottle
 

Workshop Outline: Complete boxes accordingly (as noted under each box)

Session 1
COURSE OUTLINE
Day 1 - A.M.

Our goal, this first morning, will be to learn basic facial proportions and the underlying fundamental structure of the skull. Students will be lead through 2 exercises; learning to create the illusion of form with the use of light and dark and then applying this skill to draw a face. An outline will be provided. The goal is to use the outline to create a believable 3 dimensional head. The exercises are slightly dry; so I break up the time with a presentation of substrates, types of mark making tools such as charcoal, graphite, conte and pastel, brushes and creative implements for colour application (spatulas, sand paper, forks, barbeque tools, etc), colour theory and composition.

If we finish this phase of the day early, we’ll begin to prepare the panels.

P.M.
The afternoon will be an exploration of how artists, both traditional and contemporary, have drawn and painted the face. We will prepare our panels for the next day (with gesso). Following a brief discussion of colour theory, we will begin an individualized approach to applying colour to the panels. I encourage this part of the day to be flexible; artists work at their own speed with colours and implements that they choose.
Session 2
Day 2

10am to 4pm with a agreed upon break for lunch
will be even more individualized. We will be focusing on creating the 2 paintings. I’ll provide a reference photo, which we’ll transfer to out boards.

Combining colour theory with colour preferences, we begin. Furthering the subject of composition, the faces will be applied to the boards. The first 12 x 12” painting will focus on the face. The second 12 x 24” painting will be composed of both the face and the body, though the body will be highly abstracted.

We’ll be experimenting with a variety of deconstruction tools. The process of layering is always a focal point in these courses, so we’ll be going back and forth between the 2 paintings. It’s fascinating how differently each person uses the tools that they share and the knowledge that they’ve learned together! At the end of the day, those comfortable with doing so, put the paintings up for all to see. People enjoy seeing the uniqueness of the paintings. I use this time for a brief “critique”, focusing on the strengths of each of the paintings.
 

Office Use - Workshop Booking

Year of booking
2025
Month of booking
11
 

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