1. Large Scale Portrait Painting “Altering the Course of History” BarbierAVI4M

2. First thing is first… Monochromatic What? A monochromatic colour scheme, is when one colour alone is selected from a colour wheel to be used exclusively in a composition. A monochromatic colour scheme, is when one colour alone is selected from a colour wheel to be used exclusively in a composition. Achromatic scheme is when only black or white is used (also known as grisaille). Mono= ONE! Mono= ONE! Your self portrait will be an abstraction of your face (tying in examples we have looked at/ you will look at) in addition to a monochromatic study using 5 tones from dark shade to light tint showing a full range. Your self portrait will be an abstraction of your face (tying in examples we have looked at/ you will look at) in addition to a monochromatic study using 5 tones from dark shade to light tint showing a full range.

3. Using Value in Your Painting No colour (except black and white) has an intrinsic value. Value exists in relation to other values. No colour (except black and white) has an intrinsic value. Value exists in relation to other values. The value of a shape will appear different according to the values it is near The value of a shape will appear different according to the values it is near Similar values appear to blend Similar values appear to blend Contrasting values will intensify each other Contrasting values will intensify each other

4. Low or High Colour Scheme? A high key painting is light A high key painting is light A low key painting is dark A low key painting is dark Many artists start with either the darkest or lightest colour value (ex. deep purple or deep green) to key all the other colours. This means all the other colours will be related to that colour. This is called a colour key. Many artists start with either the darkest or lightest colour value (ex. deep purple or deep green) to key all the other colours. This means all the other colours will be related to that colour. This is called a colour key.

5. High key Low key

6. The ‘Right’ Colour The colours aren't as important as the values. As long as the value and temperature are appropriate the colour doesn't matter much.  Ex. In a night painting it doesn't matter if the sky is brown because the sky is dark and therefore any dark colour will work.

7. Finally, Value & Contrast A painting with a narrow range of values will appear more still and peaceful, even if all the values are dark. A painting with a narrow range of values will appear more still and peaceful, even if all the values are dark. If the value range is wide, the composition will appear livelier. If the value range is wide, the composition will appear livelier. Maximum drama is achieved by placing very light shapes next to very dark shapes. This is why bright highlights placed next to dark shadows have such visual punch. Maximum drama is achieved by placing very light shapes next to very dark shapes. This is why bright highlights placed next to dark shadows have such visual punch.

8. Portraits Part 2: YOUR Theme Altering the Course of History Paint YOURSELF Into an Art Historical Portrait Paint YOURSELF Into an Art Historical Portrait

9. How To Do This!?!?

10. Step 1: Homework Sheet or canvas brought in Sheet or canvas brought in Resealable containers (at least 4) Resealable containers (at least 4) … if you have paint (especially white or black LATEX house paint) and large brushes … if you have paint (especially white or black LATEX house paint) and large brushes

11. Step 2: Begin Info File & Proposal Sheet Completed To begin any art work an idea is needed right? SO, first you will begin researching imagery, ideas, colours etc, you are interested. To begin any art work an idea is needed right? SO, first you will begin researching imagery, ideas, colours etc, you are interested. Show and tell to class (show imagery/ what you found) Show and tell to class (show imagery/ what you found) You will hand in a completed proposal You will hand in a completed proposal At the end of the project your info file will be collected for the first time. At the end of the project your info file will be collected for the first time. Art Proposal

12. Step 3: Digital Image Into Contour Drawing/ Cell Identification First you will obtain digitally an image of yourself (i.e. take at school and download to student space or send yourself a picture via hotmail) First you will obtain digitally an image of yourself (i.e. take at school and download to student space or send yourself a picture via hotmail) Next you will pull it into photoshop and play with ‘levels/ contrast’ until specific cells of a variety of distinct shades can be seen Next you will pull it into photoshop and play with ‘levels/ contrast’ until specific cells of a variety of distinct shades can be seen Finally, you will produce a simplified drawing of contours only with your cells labelled (*** You must have a minimum of 2 tints, the original colour, & 2 shades) Finally, you will produce a simplified drawing of contours only with your cells labelled (*** You must have a minimum of 2 tints, the original colour, & 2 shades)

13. Step 4 & 5 Step 4 is to turn your contour self portrait with labelled areas into an overhead Step 4 is to turn your contour self portrait with labelled areas into an overhead Step 5 is while you are waiting you are making a colour chart of the tints and shades you will be using for your overall painting in the one main colour you choose. (you will hand this test strip in) Step 5 is while you are waiting you are making a colour chart of the tints and shades you will be using for your overall painting in the one main colour you choose. (you will hand this test strip in)

14. Step 6: Frame Construction With a partner you will construct the frame: With a partner you will construct the frame: (i) obtain 2x 2 foot pieces of wood, 2 x 3 foot pieces of wood (all so far with a 45 cut on ends), (i) obtain 2x 2 foot pieces of wood, 2 x 3 foot pieces of wood (all so far with a 45 cut on ends), (ii) Working on one corner at a time: place a bead of glue along the corner, drill the corners in (ii) Working on one corner at a time: place a bead of glue along the corner, drill the corners in No middle piece should be needed at this size No middle piece should be needed at this size

15. Step 7: Stretch the Canvas Go from the middle at one end to the middle at the other, ensuring to pull the fabric taught each time you staple it down to the wood Go from the middle at one end to the middle at the other, ensuring to pull the fabric taught each time you staple it down to the wood Alternate ends and then to other edges Alternate ends and then to other edges Ensure the staples are flush with the wood Ensure the staples are flush with the wood Try to keep corners as neat and invisible as possible (cut extra fabric as needed) Try to keep corners as neat and invisible as possible (cut extra fabric as needed)

16. Steps 8 - 10 Step 8: Prime your canvas (1/2 gesso or house paint- any light colour – whole purpose is to prevent the paint from seeping through fabric) Step 8: Prime your canvas (1/2 gesso or house paint- any light colour – whole purpose is to prevent the paint from seeping through fabric) Step 9: Enlarge your design onto the canvas using pencil or charcoal (& SEAL – if you want to try Stephen H’s approach) Step 9: Enlarge your design onto the canvas using pencil or charcoal (& SEAL – if you want to try Stephen H’s approach) Step 10: Paint! (ensure areas are evenly applied- no canvas showing through- & crisp edges. This may take patience, multiple coats and tricks you’ve learned along the way i.e. masking tape edges to ensure clean lines etc). Step 10: Paint! (ensure areas are evenly applied- no canvas showing through- & crisp edges. This may take patience, multiple coats and tricks you’ve learned along the way i.e. masking tape edges to ensure clean lines etc).