Week 5:

Begin adding more nuanced areas - refining lights and shadows, beginning to add details like facial features and background information. While you're working on details, don't forget to still mind the big picture, as this will help you keep the lights and shadows you've developed so far.

Tips:

• Pre-cut shapes
• Organize shapes into piles of hue and tone
• Step back to see how your piece is developing
• Look at your work in a mirror
• Turn the lights off in a room during early evening to look at your work in dim light

Week 4:

Complete the "underpainting" before working on the lights and shadows, and details. Focus on the big picture before getting distracted by the little things like nostrils, pupils, highlights, etc. This is in case you need to change proportions or tone - that you won't have to redo what you've already done.

Week 3:

In between now and October 22nd, work on your collaged piece. This is the portrait you'll work on for the rest of the course. As you're collaging, remember to squint to see lights and shadows as this will make the biggest difference in the realism of your portrait. Rip or cut your paper, or play with a combination of the two. The more time you spend on your artwork, the more refined you'll be able to make it. Try to work on your piece at least 2 hours outside of class.

Week 2:

Finish your collaged portrait, created by cutting shapes with scissors / xacto knife.

Choose a portrait you want to work on for the rest of the course.

Want to find your own portrait? Here's a list of masters to choose from:

• Jacob Jordaens
• Jan Brueghel the Elder
• Dirck van Baburen
• Titian
• Guercino
• Guido Reni
• Jan van Eyck
• Peter Paul Rubens
• Caravaggio
• Fayum Portraits

Choose a portrait that has high contrast, interesting shapes, fun texture, etc.

Week 1:

Finish your collaged portrait, creating only with ripped pieces. Squint to see tone, because accurate tonal values is what will create a realistic portrait!