Mixed media collage portraits #2 | Doris Charest | Skillshare
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11 Lessons (39m)
    • 1. Introduction to two new portraits ideas

    • 2. Materials that you will need

    • 3. 2. Doing a photo transfer of Marilyn Monroe

    • 4. 3. Adding Pop Art details

    • 5. 4. Marilyn Monroe Final steps -almost

    • 6. 5. Marilyn Monroe -Very final details

    • 7. 1. Charlie Chaplin Photo transfer

    • 8. 2. Charlie Chaplin Adding paint

    • 9. 3. Charlie Chaplin Adding Collage

    • 10. 4. Charlie Chaplin 2nd part

    • 11. Conclusion

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About This Class

Join me for even more ideas on how to create a mixed media collage portrait.  We will create a portrait of Marilyn Monroe in a 'pop art' style and a second using Charlie Chaplin as a subject. I present you with ideas for collage backgrounds, adding paint, adding ink lines and more.  These are all ideas that will inspire your own creation of your own unique portrait.  I discuss choosing colours and even design elements.  Come have fun with in creating mixed media collage portraits.


Meet Your Teacher

Teacher Profile Image

Doris Charest

Contemporary Fine Art Specialist and Instructor


Doris Charest - Biography


BED University of Alberta, Edmonton, AB

BFA University of Calgary, Calgary, AB

MED University of Alberta, AB

Mixed media is Doris' favorite favorite form of painting . She loves exploring with textures, shapes, and a more contemporary look. Nature and the world around her inspires Doris. Her love of texture won her the Allessandra Bisselli Award and a First Place in a Still Life show with the Federation of Canadian Artists in Vancouver. Look for Doris Charest's work in the American Magazine: Sommerset Studio (Summer, 2007) and British Magazine: Leisure Painter. Both feature a three pages of Doris' artwork. She won the Sylvie Brabant award in 2011 for her work in the art community. In 2013 she won First Place for he... See full profile

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1. Introduction to two new portraits ideas : mixed media portrait. It's by Doris Sharia. Portrait's of annals made easy Welcome to my second class on mixed media Portrait's Welcome to my second class on mixed media portrait. We're going to look at using retro images to create portrait, so we're going to work in the style of Andy Warhol for the 1st 1 And in the 2nd 1 we're going to learn to use drawing techniques and for the transfer techniques and use it in two different ways. So you have two different ways to use the same image. Mixed media portrait. It's off adults made easy. I'll show you easy step by step processes to making portrait's See you soon. 2. Materials that you will need: materials. These air the materials that you will need. You need some basic materials. This is acrylic paint. Whatever colors you prefer, you'll need a painting surface that's paper or canvas or even illustration. Board. If you like that, you need brushes. You need probably a minimum of two brushes, one small one and one medium. One you will need collage papers, different kinds. You can make your own, as in my course on mixed media collage for beginners. Or you can buy some collage papers and the KRILIC gel to glue the papers onto the surface and to seal the surface in the end. Here are optional materials watercolor paints that you can use for creating if at soft effects or textures, water color, crayons or watercolor pencils, acrylic pans, different colors, water soluble graphite or a dark watercolor pencil Inc Now these air materials that I use in my mixed media portrait. It's but you don't have to use them. These are optional materials. For example, if you would like a soft effect that watercolor does, you can just water down your acrylics. Instead of using water soluble graphite, you can use a watercolor pencil that is dark Instead of using ink, you can use paint, so these are just options. But you do need your basic materials of acrylic paint, a painting surface, brushes, collage papers and acrylic gel. See you in the next section. 3. 2. Doing a photo transfer of Marilyn Monroe: Welcome back. Now what we're going to do is we're going to choose a surface to put our adult face. This is the very beginning off the process. So what I'm going to do is I'm going to just choose a surface one with stripes and yellow, one with green and text, or even one with just tissue paper. These three are my choices that I have to work on. So I have this one that's highly textured with beautiful colors. I have to decide if this is the right surface for what I want to do for the face that I want to do. It depends what message I wanted to create. So sometimes the message you create is something that may be a bright, happy color. If you want a happy message, here's a tissue paper, one that I might consider that looks really good. I love that surface. Pick the surface that works the best for you. Here I'm showing you canvases that I've prepared with surfaces that I'm going to use to put different subjects on. But I also use paper. What I like about the paper is that it's small enough that you can see it. When I'm filming, you can see all aspects of it, and you can see every single detail. Now we're going to talk about the proportions off the face. The eyes are approximately 1/2 a little higher than halfway through the oval, so if you imagine a face as an oval, the eyes air approximately near the middle, and then half way in between that is the nose and then halfway in between. The other half, which is the quarter, is the lips now the eyebrows, or about 1/3 of the way up. If you look at the pupils, that should be. If you draw a straight line down most people, that's the end of their mouth. If you look at the edges of the nose for most people, the inside of the eyes, the line that lines up the outside of the nose, the nostrils, however thes, are only guidelines. Everyone is different. Some people have bigger eyes. Some people have bigger noses. Some people have hardly any lips, so these are all things you have to consider. This is like a generic face, and then what you do afterwards is you just change it to make it look like the person you're thinking off. So this is how you start a face. You would add lashes later. You would add the top of the eyelids. You would add way more detail. But this is the generic face that you would have Now there's all sorts of ways to transfer that drawing. You can either draw it right on the paper or the canvas, or you can transfer to transfer it. What you do is you dark in the backside like I did here, and I'm going to darken it some more and you create your own carbon paper. I've picked this paper to use as a background. So now I draw my face just like that, and I'll trace every single element. And what happens is the carbon is transferred to the paper and then I have my drawing. I can reuse this drawing more than once if I want to, and it's really easy to do so here I have toe a shaded, very faded part off my face. I'm going to redraw it in so that you can see if it was me at home, I would probably leave it pale. But now what I want you to do for this part is to put in a face either on a canvas or a piece of paper, and we'll start collage ng next. Here we are of basic generic fees for this class. I've chosen not to create a likeness, but to create more of a general face that everybody can recognize. I'll see you in the next class for collage ing. See you soon. 4. 3. Adding Pop Art details: adding pop art details By Doris Shari So what I want to do now is add some different colors that make me think of pop art. So pop art is a movement that happened in the sixties, and it continued into the seventies and even longer, and it's known for bright colors. So what I'm going to do is add some brighter colors to Maryland here, So we're going to create her portrait in the style of Andy Warhol. Andy Warhol was the leader of the pop art movement, and if you look him up on the Internet, he's very interesting. He is also known for his images of Maryland and very bright colors. Andy Warhol did a whole series of prints with Maryland on them, so now I'm going to use an acrylic marker. You don't have to use white like I do. You can use different colors. Acrylic markers come in all kinds of colors. You can get pink red, any color you can think of. And if you prefer, those colors just used, um, and we're going to add lines. Whatever lines I add, I wanted to add to the portrait and bring my eye towards the portrait itself. So I keep adding elements of design like this and adding just different ways that my Aiken be guided. I keep in mind that whatever design I add, I use it three times. Now here's another archival marker. I'm going to use Purple Purple if you is on the other side of the color wheel of yellow. So it's a complementary color, and it's great to put with the yellow because it will make the yellow pop. So in the style of pop art, I'm going to add different design elements like thes dots. That ad that pop are look, and the circle with the curlicue in the middle is definitely one of those designs. I want to look up designs and use designs that suit the time period, and these were very popular, drained the fifties and sixties time period, and the Warhol was one of the first to use designs from media as in advertising, and incorporate that into his artwork. Here I'm adding the same design in a done in another area. I want this designed to be repeated three times. You'll get tired of hearing me say this, but it really adds to the whole design if you add the same element at least three times in different quantities, so you might have a small amount of large amount and a medium amount here, I'm adding green. I'm going to add that same concept, that same design, another time in green. Now I'm going to add more tissue paper. So this tissue paper is something I bought at the gift store, and I kind of like the pink quality. So I'm going to add pink paint in different areas to match the tissue paper. Remember, we're trying to work in a pop art style, so we're going to add the pink in different parts of the painting and then collage in those pink papers. Sold dots are really popular. I like using dots you might like using squares. You might like using semi circles. You might like using different elements than I do. Don't be afraid to use what you like. Now, if you don't like a certain element, remember, you can always wash it off or wipe it off. And so I keep working on it. I'm going to add this tissue paper now with gel, so when you're adding tissue paper, keep in mind. You put gel under and you put gel over. You want to create a good seal between the two papers or between the campus and the paper. If you end up with little bumps or dry areas, it doesn't stick very well and it will wear off. So you want a good seal between all the papers. So here, adding the flowers at the top here and I need to make sure I have gel underneath everywhere . It doesn't stick very well at all unless I do so here. I'm adding more collage elements like this, and I'm creating the elements three times. So these air some pop art details that I've added. Why don't you add your own pop art details to your portrait and we'll see you in the next section? E kind like that thought there. I have to decide if I want to add some more, and I do so here we go. Last elements for you in the next section 5. 4. Marilyn Monroe Final steps -almost: more details to your portrait by Doris Shari. So here I've decided to add some lines, following the lines in the paper in the background and maybe see what would happen when I do at the lines I've chosen White for in this case because I have white lines in other areas and I want everything to be matching if that's the right word. When you use one design element, you use it more than once, and you repeat that design element. So I keep adding the lines and just making sure that it works. I keep trying to decide what the breast strategy is. Keep in mind that these decisions are hard, and it's not an easy task to add those kind of marks without thinking about it first. Now I've decided to add a bit to the hair and really follow into the pop are trend where it was quite often done that painting over prints or other marks are other kind of advertising , or things like that was often done. So this gives her hair a bit more curling a bounce and attracts the eye more towards her. So I've speeded up the camera because it's kind of boring watching me work so slowly, and we're going to just add more of her hair. It's a little lighter on the left, but it's okay. I can add a few more light marks elsewhere. The idea is to create that effect of pop art. No, I don't like that, but in parts we remember, you can wipe things out when you don't like them. So now I'm going to add the yellow in some areas because I've used it in that one spot and I want to use it again. No, everything's dry and I'm excited. I really don't like that white line because it separates Maryland the portrait from the rest of the painting. So I'm going to add this yellow, deeper yellow color and create a bigger element next to her to create even more contrast so that our eye goes really to that portrait area. So we want to cover everything just to make sure that our I really goes towards their so want to soften the edges. That's way too harsh of an edge for me. I like that yellow ochre color to just kind of blend in with the hair color that already looks a lot better simply because it brings out the portrait more and it brings more elements together. Before, they were just too many broken up parts. Remember that when you add one color somewhere, you have to add it somewhere else. So I'm going to add it here to the bottom and just touch up those areas quite often. With acrylic, you have to redo areas because what happens is when the paint dries, you start seeing pores. So I have three different yellow areas that bring my eye towards the portrait. Now I'm going to add a few dark, so I'm gonna darken these areas and that area there, and I dark in the area so so that my eye goes towards the portrait. So my eyes being guided to the portrait by the darks by the yellows and by the light areas . And I think that's it. That's the basics of creating a pop art portrait. In fact, quite a few portrait it's make sure that your eyes being guided towards the important part , and that is the face that you're doing. So have fun doing this kind of portrait and let me know what yours looks like. It would be great to know what kind of artwork you have chosen to do 6. 5. Marilyn Monroe -Very final details: finishing Maryland in a pop art style by Doris showed a So I was really unhappy with what I did in the last, uh, video. So I've decided to change things up. And I've told you before that quite often I end up changing my mind, and I keep tweaking in tweaking. So I've decided that there were too many elements that didn't work together. So one way to unify all these elements is to put a light wash of one color over most of them. Not all of them, but most of them. And that unifies the look of the portrait. So now I'm adding yellow over a lot of the areas, and it's giving that portrait more of a unified look. If I look at it compared to before by I goes to the portrait way more than it ever did again the last time, so that it looks better already. But I'm not done. I want to create even more of an effect that will bring my eye towards the portrait. So what I'm going to do is I'm going to add some white and I'm going to show you the water drop technique. So I go and I paint around the portrait and I'll cover that whole area with white. I'm going to brush that whole area. Just those lines doesn't look that great, but I am repeating it and adding some of the white so that I'm repeating that color more than what's and the one more line. And these lines help to guide my eye towards the portrait. I'm repeating this over and over again, but that's a very important part, so I really don't like those lines. So I'm brushing them over with more white, and I'm going to do the water drop to sneak. So then what you do is you take a water bottle and spray you count to 20 and let the droplets soak in. When you have a bit of an agile in the water droplet, it's time to take your paper. It'll where they don't top gently. Rob Gwala. Here's bad effect. I love that water droplet effect, and I think that's the breast finish yet even better than what I had before. So try this technique out if you can. If it works for your project and we'll see you in the next portrait 7. 1. Charlie Chaplin Photo transfer: Charlie Champs and Gel Transfer by Doris Shelley. Now, Charlie, chapter in this portrait starts with a gel transfer. Here you have a drawing, and I made a photocopy of my growing. So what I'm going to do is a gel. True, the photocopy just like this. Now, those of you that have already made jell transfers keep in mind that you need to be generous with the gel and you put the jail where you want to transfer to happen. If I don't put very much dell, sometimes the transfer does not work. So make sure your generous with your gel, so put gel evenly as possible onto your ah, portrait. Then you put gel on the surface. You want to add the portrait, too. Now the fun part of doing a drawing and photocopying that drawing is that you can make the drawing bigger. You could make the drawing smaller, and you can make it the size you want for the canvas that you have. You could do a large drawing, get a photocopy and make it small. You get can get a small drawing and make it bigger. It's just lots of options there, and it's way better than working with the original. So here I put face to face gel to jail, and I gently rob to get the canvas and ah, paper to stick to each other. So here gently get out the bubbles. Where there's a bubble, there will be no transfer, so make sure there's no bubbles. Gently rub out all the bubbles and let it dry overnight. 24 hours is best when you spray it with water just like that, and then you start taking off the paper so gently take off the paper and she not comes off really well when it's dry. What you're going to do now is rub some more and take more of that paper off. I'm going to show you two different ways to do Charlie Chaplin. One way is to do it on the blank surface and the other ways to do it on a textured or a colored surface. But this is the very first step in creating a gel transfer, and for those of you that have not done it before, be very diligent about taking the paper off rob carefully until all the paper is gone. One little tip is to use a small sponge and rub some of that paper off. It works great for taking off all the little bits in this one. I probably won't show you that you will have to do the rubbing part more than once. So do your transfer now and we'll see you in the next section. 8. 2. Charlie Chaplin Adding paint: adding paint to Charlie Chaplin by Doris Shy. Now we're going to add a bit of paint to Charlie Chaplin. I've decided to try and stay as much as possible in the black and white. So because Charlie Chaplin did black and white films, I want tohave a film theme. So I've decided to draw Or, I should say, paint the look of film as a design element that I put in to the painting. So I'm just going to use black and gently add line the very first line. Those who killed I don't know much about Charlie Chaplin. He was an American actor that also did filmmaking. Charlie Chaplin did films that caused a lot of controversy, and he got asked to leave the United States because of his films because he criticized the government quite a bit. That's what I read about him in Wikipedia. I just find Hills his films very funny. I discovered him not very long ago, and I thought that's really need lots of slapstick kind of comedy and I can see why he was popular. He was very popular during the years when there was no words spoken in film, so it was black and white film and film that had no speech. This was the era before a speech was possible. In film, it's hard to imagine, but we've come a long way, and I show I'm showing a film strip here and I'm going toe. Add to it. Later I'm drawing or painting the very first steps to a filmstrip. I'm going to let that dry and then add something else. Remember, in painting and adding element to your collage, it's important for you to go step by step and do a little bit at a time make the decisions very slowly because once they're on there, they cannot stop and see what I'm saying. I could not stop. I added one more element. I'm going to continue the film at the bottom. Here, do this very first painting part and I'll see you in the next section. 9. 3. Charlie Chaplin Adding Collage: Finishing Charlie Chaplin by Doris Shoni. So now I'm going to add some collage elements I have decided to add White got white block and to the white because I want to keep as much as possible to that black and white Dean. What I did there for that corner is wet the edge of the collage where it stopped near the ends of the canvas and it made it easy to tear. So you're going to see this again. So I wet right there. I went the tissue and then it's easy to tear and I can put it back and I have that approximate shape. It's a great technique to learn and to share, and I need one more spot of that collage element. As you know, I like to add collage whatever color I use three times. So this is what I'm trying to do right now. I found just about all the paper I had that was in black and white and try trying to decide what worked and what didn't work. And I chose this element. So now I'm going to glue it down with gel. Keep in mind I'm repeating myself again, but be generous with your jail. Put some under the tissue and over the tissue. If it goes over the edge like that one, you can let it dry and then just take some scissors and cut it off. It's way easier to cut it off when it's dry. If I tried to cut it now, I'm I tear it in the wrong places. So again I put gel under an angel over, and I'm going to let that dry. It still needs a little something there, so I need to think about what cooked. So I've decided to add pieces of old books text. So it kind of tells the story of Charlie and all the problems he had when he was making films. And that's an old book. So it's nice and yellow, and it makes it makes us think of old times. So there's a double purpose there, so I just glue and tear and it doesn't have to be even if you don't want it to be. But it can be so I'm going to add some more text near the black line. I want that newspaper or that book, that text to hug but Black Line and it helps to guide my eye towards the subject matter. Right now, I'm leaving Charlie pretty white, and I'm still trying to decide if I wanna add any more than that to his face. That white suits the films that he made because he would powder his face white whenever he made his films. And that kind of works with the whole theme. So there's a lot of thinking involved there with getting things ready for him for his portrait. So now I'm going to add the numbers on the film. So 1234 or more These numbers also helped guide my eye towards the portrait, and this is all about the person that you're putting in your painting and here these other little dots, as in empty numbers or numbers that they're moving so fast I can't see them. That adds to the design, and it helps guide my eye around the portrait. So think about these elements and what you're going to do and what you'd like to do for this porch It Charlie's hat is really important. I'm going to add some dark there to create that look of a hat that he would have He always had a bowler hat on, and it made it interesting, so it makes it look a little bit like a hat. So I have the brim a little darker and then the rest going up. It's not necessarily to copy the idea of a hat, but it's also to guide the eye. So I'm going to darken the eyebrows, the mustache, so that we look at him more. But as much as possible, I'd like to stay with the black and white, so I'm adding white in some areas and graze and others and blacks in others, too. Here, I'm going to cut off the hat. Just add a white break because I happen. Go that high up. It was a bowler hat, so it wasn't that high, and I would just want a soften that dark area there so it just fades into the background. Just create another element where the light is coming in, and it's going to just bring my eye towards the portrait a little more black, just to cover that up and tweak it. Remember that sometimes you have to let things dry in between different layers. Afterwards, here, I'm trying to do it all at once. When I'm not on camera, I often just take the time to let it dry and then rework. It just makes life easier. So do another step on Charlie and we'll see you in the next section. 10. 4. Charlie Chaplin 2nd part: Charlie Chaplin. Version two. I decided to do a second photo transfer just to give you an idea of what it would be like to transfer onto a colored surface. So I had this paper with old and old watercolor and I washed out the watercolor. And here we are. We have a background, and I'm just going to show you what a fuller transfer on a colored background looks like. I thought just showing you on a white canvas wasn't quite enough. I thought you should see what happens on a colored surface. You do the same thing as you did before you do the gel sandwich, you let it dry, and now you're wiping it off. And as you wipe it off, you see the nuances off whatever you had underneath showing on your trash for under your transfer. And it looks awesome. I really like this. Look, I thought this look really added to the portrait. It gives you that old film old movie look. And now I can just take off the paper and we can start collage ing and adding paint and creating a whole different look. In fact, using this transfer a fine did maybe 10. 20 of these. Each of them would look different because every time you transfer, it's a little different. Make sure you wipe out all the little pieces of paper and let it dry before you actually add paint. Now I'm going to add a few pieces of climbs, some of this paper that is very similar in color, and I'm going to use that similar color to help frame the portrait. It's pieces oven, other paper that I've cut up, and I'm going to use it like a film edge. So Charlie, this time, instead of having film around him, is going to be part of the film. So I'm putting him in the frame service, and I have these little pieces like this one, and I'm going to Adam as design elements. Remember that when you use elements, usually you try to use them three times, so I'm going to just add a bit of text. I love old books, and this really works with this theme as well. So Charlie is going to be in the frame using the old books. And because Charlie is part of an old film industry, it works really well with the theme, and I'm going to add some more up there to finish the edge. Remember to put gel under Joe over for each one. So here's the edge again, and Charlie is now in a film frame, and I'm making sure that everything's nicely gel down. I have Jell O Virgil under and every everything is sticking in place. I'm going to add a few more collage tissue collage elements. I love this tissue with the swirl in it. It gives me that dreamy look. And because film kind of gives you that same concept, I think it suits this film. So the idea of the swirl is the twirling of the film to create an image, and I think it works. So remember, when you're using elements, you want to use thumb three times minimum, so I'm going to add another one right here. So we're going to let that dry, and then what we'll do is come back and add some more collage elements. I've decided to add one more line right there just to help frame, and I'm going to add one more at the bottom, and that will be it for Charlie. So sometimes some projects are way easier to do than others. And this one it was pretty easy. So I can now add, maybe Darken. His mustache is eyebrows if I want to, but I don't really have to. This is an old film. He could be faded on the film strips if I wanted to. So there it is, a very quick and easy collage right now with a photo transfer. So that's it for now, and I hope to see you in the next section. 11. Conclusion: conclusion. Thank you for joining me with Mixed media portrait. It's of adults. We have learned lots of new techniques We've learned about doing a drawing photo transfers , using retro images, using all kinds of new media. So I'm glad you came and joined me, and I hope to see you in my next course, which is mixed media portrait. It's off, Children, so for you in the next course.