Two more child mixed media portraits | Doris Charest | Skillshare
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15 Lessons (56m)
    • 1. Introduction to the next two portraits

    • 2. Materials you will need

    • 3. Learn how to do a photo transfer with a photo

    • 4. Adding collage to your photo transfer

    • 5. Adding paint to your collage and transfer

    • 6. Final details for this portrait

    • 7. Cropping may improve your portrait

    • 8. Photo transfer of a drawing onto collage

    • 9. Adding the first layer of paint

    • 10. Adding even more paint and details

    • 11. Improving your portrait by adding contrast

    • 12. A wash of pink to unify the portrait

    • 13. Fixing what is not working

    • 14. Finishing touches

    • 15. Conclusion

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About This Class

Join me in creating two more child portraits and learn new ways to create your own child portrait. Learn new techniques and ways to create collage.  Learn about photo transfers. Learn about different ways to use photo transfers. Learn new ways to create collages. All this while having fun making a unique artwork that can only be yours. The uniqueness of mixed media work is the best way of creating artwork.


Meet Your Teacher

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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 the next two portraits: Child. Mixed Media Portrait's by Doris Survey This is my second course on child mixed media portrait. It's and we're going to continue learning new techniques that you can add to your child. Portrait's like I said in the other course, I have lots of education and practice. I have a bachelor's degree in fine arts and a master's degree in visual art education. I have taught classes all over Alberta, and what I present here is a very simplified technique that anybody can learn and have fun doing. In the 1st 1 we learnt about drawing the portrait, and then we add a collage and pink and all kinds of other things. For child number two, you're going to learn tips about photo transfers, collage and paint. For child number three, you're going to learn about collage, acrylic, Pan Inc graphite and acrylic. I have lots of new techniques for you to learn, and we're going to have fun doing it. So join me in my second course on child mixed media portrait. It's where you learn to other, different ways to create a child portrait. See you in the next section 2. Materials 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. Learn how to do a photo transfer with a photo: welcome to our second project with mixed media child portrait. It's and this is child number two in this one. The unique thing is actually using photo transfers. Let's say you don't want to draw this portrait. It's too hard or you really want that like this. What you can do is do this photo transfer and then work around it. It's really fun. So let's watch the first step where we actually do the photo transfer. This is a shortened version because I'm assuming that you know how to do a photo transfer. Already here is my baby photo, and that's baby number two jail transfer. This is my example. So here's my baby, and I decided I didn't feel like drawing my baby again. So here's a review of how to do a gel transfer. What you want to do is put gel on the photocopy, the area that you want to transfer. You want to keep the jail relatively even, and you want to create what I call a gel sandwich. So the gel sandwich means that you put gel on the photocopy and you put gel on the paper or the campus itself. Now what I'm going to do is I'm going to put gel on my paper here I am filling it up, and I've used an old watercolor that I've washed out, and I kind of like it as a background. It's going to give me a yellow on their color, and I like that part. I like the idea that the yellow will show through on the photocopy. So again I'm trying to create a gel sandwich. So I put lots of gel exactly where I want my photo, and then I take my photo and I place it on top of that jelled area, and I rob gently with my fingers. You want to create that suction between the two gels? The jails joined together, and that is what will create the transfer. So that's a great way to change, to transfer an image onto a canvas or a piece of paper for the sake of size. I chose paper this time, but it works Justus well on canvas, so you let the paper dry overnight. I always tell my students that you want to let the paper cure the gel cure, because if you wet the gel too soon, what will happen is the gel will re dissolve. But in 24 hours, like the next night, it won't. So then you're ready to take the paper off. So you wet the paper and take a much off as possible. And it just comes right off just like that. And then you'll wet it again and rob the areas where the paper is still there. So I'm rubbing my paper and I'm really scrubbing with my fingers. I'm pressing hard. I want to get that paper off. This is something you may have to do more than once you wet the paper, let it soak in, and then you can take it off. What happens is the ink get stuck or impermeable. It's the gel, and then you have a wonderful transfer like this one. So keep rubbing until all that paper is off. You should be able to get it off reasonably well. If there's little areas where didn't work, it didn't transfer. There was an air bubble there, and you want to avoid that? That's why you were rubbing when you created that gel sandwich. So keep wetting the surface and rubbing until all the paper is off and There you go, rob. Rubber rub. So I'm we're taking the paper off left, and then I can start adding paint. This is the really exciting part. Look how wonderful that transfer is. It's really great that that photo transfer came out so well. So do this part now and we'll see you in the next section where we start adding pink. 4. Adding collage to your photo transfer: having collage and paint to your portrait by Darvish are in. So now the transfer is dry and we can start adding collage. So you just choose the papers that you want and start adding, It's generally better if you don't cut your papers that you tear your papers because when they overlap, then there's less of a line and you can create a softer look. So when one collage paper goes over the next collage paper, they're semi transparent, so you see some of the other paper on underneath. You can kind of see that with this one. See how you can tell there's polka dots under there. That's what happens when you overlap papers, and it's a great effect. You can use thicker papers or more opaque papers when you want to hide something, cause sometimes I have to say you want to hide something, then you just cover it up with more paper. It's just adding and adding and adding, So I've spa speeding up the camera so that you can see that I'm just layering different papers here. I'm choosing the color, so I have chosen to work with the polka dots and this green paper and I use papers that have similar colors and that are interrelated. Whenever I use one of the papers, I use it three times, and I usually if those of you have taken my other classes before, you'll know that I like you to use a paper three times small, medium and large, so you have small poke, a small piece of polka dot a medium sized piece of polka dot in a large piece of coconut. This gel dries clear so you can use just about anything you like. Here I'm adding pieces of a map. This by baby happens to live far away, so I'm telling a story at the same time as I am doing the collage ing. So if this is a collage portrait that you are doing about your child, think about their likes in this length and try to include that in their remember you put gel under the paper and over the paper let everything dry overnight, and now I'm going to add some dark color. So I just create some visual elements that will look a little darker and highlight my figure so unjust, adding some elements to see what it would look like here. I'm actually using watercolor. I was using watercolor and now switched to graphite. The graphite. What happens with the graphite is it dries a lot lighter. So this really dark looking area will actually be quite late. Will be more of a grey when it's done. I'm using three different sizes of that color or that gray, and that's what I want to include. Now I'm going to add a bit of white. I'm going to do the same thing as I did with the gray black. I'm going to add the white in three different areas. I want to create texture, so I just scrape in there to create a texture. I add it over there, too. I don't want so much of that checkered paper to show, and I just keep going like this. Remember, to added, in three different areas. Do this part now and we'll see you in the next section. 5. Adding paint to your collage and transfer: adding line and paint to your portrait. So here I'm going toe. Add some line and I'm using an acrylic pen so you can buy these at any art supply store, and you couldn't create any kind of lines with it, and you can sort of paint with it. I want to add that line so that I can add a bonnet on top of her head. I thought that would be pretty cute. She often wears a bonnet, and she seems to be wearing a lot of flowered patterns. So I'm adding some different lines with my acrylic paint. Excuse my arm. It's hard toe work otherwise, and I'm no good with my left hand. If I did that with my left hand, sure wouldn't work at all. So I'm adding just lines and patterns. Take your time to decide these ones. It's hard to decide on the spot like I'm doing, and I'm decided to add symbols of used and growth, and those air leaves that air growing there, and I'm going to add some more at the top. Oh, I've been positioned my camera properly and you can't see it, but you will see it in a minute. When I move the peace over here, I'm using markers so you can buy archival markers in all kinds of colors, and then you can outline different things. Remember, this is a mixed media project, so you can use any materials you want, and you can create any kind of design that you want with those markers. And you can buy these in any colors because this painting has a green already. I'm going to add a lot of green. I bought a green marker just for this, and I'm going to add another flower using the green marker and then paint inside of it later. Maybe I have to decide this as I go. So when you're drawing your own, remember, take your time, decide what elements are important and then just add them very carefully. Now, with this marker, I cannot erase. So I have to make sure that I really want those shapes there. And then I add the pink hat. This is a pink hat that might have to add more than one layer to that pink cat. This paint is a little bit transparent, but I can do that if I let the paint dry and then a lot, another layer. You can see that paint is relatively sinned, and I'm going to add some to the flower again. I apologize for my hand. I'm just no good left handed. I just can't do it at all. So here we go. We're adding pink in different areas, some to the hat, and then I want to add it elsewhere. Not only do I want to put pink on the hat, but I need to choose other areas with pink as well. So now I've decided that that's too much green. That's too much polka dots. So I'm going to and some more tissue on top of the paint. Remember, in mixed media. That's the beauty of it. You can change it up any way you want at any time. The only thing you have to worry about is your paintings going to get heavy and thick, and I I don't think that's much of a problem. Remember, you add papers in three different sizes small, medium and large, and it's OK if the old papers peek through the fact that adds just one other more interesting dimension. I'm going to add another layer off pink here, so do this step now 6. Final details for this portrait: adding more details to your portrait by Dr seven. So what we're going to do now is add a few more details to make it a little more interesting. I've decided to add polka dots, toe the hat that's really cute on a baby, and I want to keep it simple this time. I want to keep the design and the whole effect really, really simple so that you're I actually goes to the baby and not to all that extraneous detail that you see there. So I'm just going to add white in contrast to that bright pink, and that creates, Ah, riel focal point. So my eye goes more towards the baby than it does anywhere else on the painting. I want to repeat that weight, and I haven't repeated in several areas. I want to make sure that the white is repeated in different areas. Sorry for my arm again. I just can't do anything with a left, uh, my left hand, so we'll have to endure here. Keep in mind that I will probably keep tweaking this painting even after I am done, because what I would like is to just add a few more details and then a few more details and keep adding. So now I'm going to fill in some yellow in the leaves and as a different color. Again, my theme is use and growth and new things, and that's what I wanted. Choose the colors that show that so the bright pink shows that the yellow shows that the happy look of the painting also is a real effect that I wanted to create. There's joy and happiness related to babies, so I want to create the other fact there. So I'm going to add a bit of yellow to the flowers center, and we can still see those polka dots underneath. I think I'm done mostly. I like those areas, but I'm going to add a little bit more green when adding a few more flowers to repeat the flower shapes. I'm adding details, just linear details, something that won't detract from the portrait itself but adds to the story. So remember that you are creating a story when you're creating a painting, and that's what you want to do. And again, I think comes thinking of cropping that thinking. But I'll show you that in the next section right Now I've decided to change those little lines to polka dots so that I'm repeating the pattern that I was doing before here. I'm going pretty fast. I'm going over the lines. You might wanna take your time a little more. So I'm adding just a few more polka dots to help guide my eye towards the baby, and that's what I want to do. So if I add polka dots in one area, I want to add them in other areas, too, so that my eye is guided via the polka dots to the baby. These air a little tips and tricks that you learn as you go. And I'm trying to help you create a shortcut here. So take your time. Do this part very carefully. It's the details that are really important. So I'm going to add more yellow to the centers. Notice how that changes the look. My eye goes more towards the baby. This way. I'm going really fast, creating a really loose portrait. You might wanna have more detail. It's up to you. You want to create something that you're happy with. Create your own patterns, your own designs, and then you have your own tissue papers. It'll be totally different from mine, but using these techniques. So add those details now and we'll see you in the next section. 7. Cropping may improve your portrait: cropping by Doris Shelley. Sometimes when you have a portrait like this and it's lovely, I did all kinds of really nice work on there. But there's so much of it that it's distracting to the actual portrait of the baby. So now what I'm doing is I'm cropping the paper so that I focused mostly on the baby. I'm not focusing on all the detail that I did. I might want to add some more detail because sometimes cropping makes you realize what you forgot. So I'm adding more pink dots because I want some consistency. I want all the dots to lead my eye towards the baby. Dots is the theme polka dots, I should say. So this is something that you might consider doing. Try putting a white edge like this around your portrait and see if cropping helps. In this case, I think it does, and you can move these edges, which is really just a math that I've cut, and now I'm using it as a framing tool to decide if I need to crop. So do this part now and we'll see you in the next section 8. Photo transfer of a drawing onto collage: jail transfer. Example. Number two by Doris Shoni This time, what I've done is I've done a drawing. And then I copied the drawing. I made a photocopy off the drawing and then I did a gel transfer. Now, I'm expecting you to know how to do this because we did this in the other child portrait, and I'm just going over the drawing part. So all I did is re photocopy a drawing. And I love doing this part because usually that means that I can make the drawing bigger. I could make the drawing smaller. I can play with it in photo shop and do special effects on it. And if I want to work on a big canvas, I can make the image bigger. If I want to work in a smaller canvas, that could make the image smaller. It's very versatile to do this with a drawing. So what I've done is I've done the gels sandwich, and now I'm taking off the paper. So if you remember, what you need to do is to put gel on your canvas gel on your foot, a copy, make a sandwich, let it dry overnight, and then we went the surface and robbed the paper off. So most of my drawing has come through. There's a little bit of it that has not, so I might have to draw it again. Now here's a trick I've learned over time. If you use a tiny little sponge that's damp, damp is a key word. Then it's easier to rub off that paper and then you don't work off your fingers the way you normally do it comes off really well. So a small DAP synthetic sponge is all you need to help. Take that paper off. Keep in mind, you might have to do this more than once. You're going to have to rub the paper until it's completely off. What happens if you don't? Your image gets light grey fuzzy because there's still some of that paper there. So do this now. Transfer a drawing onto a background like this, and we'll see you in the next section. Have fun doing that. Pick your favorite drawing 9. Adding the first layer of paint: painting the face by Doris Shy. So here we have child number three. So what we're going to do is DRI draw some parts of it and then paint a face now. Usually, what you want to do is to make sure that the mouth is wide enough. So if you go from pupil on one side to pupil on the other side and go straight down and those air the edges of the mouth, the ears are usually from the eyes down to the middle of the lips, and I'm just going to add a bit more hair there. I think I made the chin a little wide, but we'll leave it for the moment. We're going to just put the general proportions in there and then keep adding other things . What I'm going to do is divide the canvas into sections and then add some elements there. It's just creating a design and something that leads my eye towards the face. That's the important part. So what colors you need for the face? Our That's very basic. You need white yellow joker, a cool red like capital red or a loser in crimson and black. So if you want a pinkish face, you add more red. If you want a white ish face, you add more white. Now the yellow Joker is used for the team. Teen. Sometimes some people use burnt sienna, but in this case I'm using Onley. These four colors. These four colors are the basics, the classical colors that have been used for years and years. And then I'm going to bland in some of the color. You might have to do this in more than one time period because the layer here I can see underneath it and sometimes I don't want to see underneath it. So I'm going to just maybe do more than one layer here. I'm going to hide my pencil line because it wasn't good. And then I'll redraw the neck or repaint the neck, I should say, and a little pink are red of add a little white at a little yellow Oakar, and here we go. We're adding highlights right now, so I go back in and add light areas. I'm trying to cover most off the underneath layer. There are times I like leaving the underneath layer for for for this time I would like to just cover the whole surface. So I'm adding a lighter area right now, and I'm trying to keep it soft. The lips look a little heart there. I'm going to have to soften that up. What happens sometimes The reason you want to add more than one layer is if you work one area too long by adding layers and layers of acrylic, it starts to bunch up and make bumps on your surface so you don't want to do that. So every once in a while, let your paint dry, and that works a lot better now. Next are usually bigger than most people think, but a child snack is not as as biggest, and adults usually next start right where the same with as the year. But this child has a very small neck. She's very petite, so we're just going to add one layer there and let everything dry and keep painting after this. So this is the first layer. Remember that you have to get some white, some yellow Oakar, some cool red and maybe a little bit of black. For when you're doing the shadows again, I'm adding more highlights. I'm taking a risk here trying to make it happen. Very so I wouldn't keep everything very soft. And I'm changing brush so I could get a softer edge. Babies faces our Children's faces air very, very soft. The skin is soft and it looks soft. So when you're doing skin for a child, you want to keep all the edges very soft. Okay, What I'd like you to do now is put one lier minimum on your face and then we'll see you in the next section to add a second lier. So right now I'm blocking in areas where I don't want to see the tissue paper underneath because it for this time I've decided not to leave the tissue paper showing. So do this now and we'll see you in the next section. 10. Adding even more paint and details: adding white and detail to your portrait. So here I'm going to add another layer of paint. You can see that the paint dried quite pink compared to what it was in the other video. So right now, what I want to do is mix some yellow and some white and redo the yellow part that's coming in from the side. So I have this ray of light area that's coming and bringing my focus towards the portrait, and I want to do that, attract the attention of the viewer. The goal. Always when making any kind of portrait. There's for the viewer to look at the face. Duh, you would say. So I'm adding yellow and I'm creating that visual look off the light coming towards the figure, and I love that effect, and here I'm going to add a little more flesh color and just mix that in. Just block that in carefully and make sure that the tissue paper is well covered. Like I said before, sometimes I let the areas of the tissue paper show through, but in this case I'm only going to leave a little bit and you want to block everything. You and I'm adding a neck here. So what happens here is the neck is usually the with of the ears, so you go from the bottom of the year down, and that's the edge of the neck. But for Children, Children have smaller next. So we're going to just leave that and have a smaller neck, just like Children do. We're blocking in color. We're making sure everything's really well covered and hiding that tissue peeper underneath . So this looks very white, but it's going to dry lighter. So here there's a little lighter, and I'm adding brown for the eyes because my Children have brown eyes. So I put brown eyes on all the Children unless I'm doing a specific portrait. But when I'm doing a more generic portrait like this one, I usually do brown I. There's lighter areas around the top where the above the eyes. And here I'm just adding eyebrows and eyelashes. I'm going to add a bit of lips here. Keep in mind that lips should always be soft. They should be very soft at all the edges. You shouldn't have a really hard line anywhere. I'm using the burnt sienna, which is the brown in my hand, and I'm using that as a dark area. So there's a bid of a dark under the eyes not very much, and I do the touch ups. I try to make the eyebrows look similar. Even in real life. People's eyebrows are not the scene, so it's very important to remember that. But we expect them to be the same, so it's just normal for us to want to make them the same here. The pinks There's usually more pink in the forehand like we're seeing now. There's often white highlights on the sides where the light is shining in. There's usually white highlights on the nose. White highlights on the ears sometimes and a little bit above the lip and on the the bulb of the chin. So this is still the blocking in process. This is not adding a lot of detail. We're going toe, add more values and more changes in the next one here were blocking out the major area. So I'm putting in shapes of color and not necessarily blending them to the extreme amount. I'm blending a little bit, but not a lot, so I'm adding G colors, lightning blending a little bit, but we're really going to refine this more later. What you want to do at this point is get the shapes right. Get the angle of the cheekbone. Right. Get the angle of the eyebrows. Right. Get the eyes right. Get the mouth shape. Right. And then you can go from there. Here. I have a little bit of ink. I'm going to add a few lines of ink. Just create more darkness and more edges. Some things have harder edges, and I'm trying to use the ink. It doesn't work well with my stick. Usually the stick is what I like the best. And I love using that stick. Now the blending isn't happened very well. It's I'm making more of a mess than I am doing anything else. So that was one of my bad decisions. Instead of taking that out, I've decided to show you exactly what I've done. Step by step, even my bad decisions. Because you'll find that when you're making your own work, you won't always have good decisions. You'll have to make some better decisions later. So now what I'd like you to do is the one more step for your portrait, and then we'll see you in the next section here. I want to highlight that yellow isn't light enough for me. So I'm going to add white there, and I think that looks better. And I'm going to just soften that white so it looks like a haze of white coming through. So I'm just going to just smooth it out a little bit, I think. And to do that, I often use a paper towel like this. And there we go. We have little spots of white with some little spots of yellow. That's perfect for me. That's exactly what I was looking for. Now, to do that, you Sprinkle your white with water, let it sit and then use a paper towel. So do the next step now, and we'll see you in the next section. 11. Improving your portrait by adding contrast: adding gray and black to your portrait so to at the gray when I would sign it to do is use water soluble graphite, and I can blend this just like you would watercolor. And it's really nice in when it's wet, it looks really dark, but when it's dry, it looks gray, so you'll find that it really helps. So what I want to do is to extend these lines that you see through her hair and just have it so it looks like it's part of the design, and I want to add a little shading to make her face look a little rounder and her hair. The color it is, it's her hair is actually quite dark, so I'm just going to add little bits of graphic porter and make it a little dark her and it looks horrendously dark right there. But when it dries, it'll look a lot lighter, and I can add little bits of great remember you want to at the grey or the darks in areas that guide your eye towards the portrait. So here I've put so much bought them some on the right hand side and these air lions that guide my eye towards the portrait. So I'm going to add some text here, the child's name and I'm going to start adding a few darks to kind of make it all work together. So pupils really help to make a portrait. Look, Riel. So far, add the pupils. It really is help and a little bit of a darker lying where the mouth is again. Remember that you want that to be soft. Do you want anything related to the lips to be very soft and right now looks really harsh, so I don't want that. So you wet your brush and then you put just water near those areas and it helps soften the edges, and I soften the edges right there created difference between the chin and the neck, but I do it in a soft, gentle way. So see, what I've done so far is extend the design and then and pupils add a bit of darkness to the hair. I'd lines that lead my eye towards a portrait. Now this part I'm going to add more white here so that the white doesn't just start in the middle of the painting. It starts from the edge, so I just brush in some light. Sorry about my hand. Like I said before, I am no good with my left hand, and I just can't do otherwise. So I'm painting and just covering up those areas. I still want the background to show through. I just wanted to look like this light coming through. So I looks like I have a ray of light that's coming onto my portrait and I add some white areas because if I have some dark areas that lead my eye towards the portrait, I also have some white areas that lead my eye towards a portrait trip. So double check what you have here. I have white on one side, white from the bottom and a bit of weight that's leading my eye from the right. So my portrait is surrounded by areas of light that leave my eye to the face and areas of dark that lead my eye to the face, and that's what you want to do. So I'm just tweaking it here so that I have a relying that guides my eye. And this line is similar to the one I just put at the bottom thes air. Just tiny little touches that you can put in that barely show but really help guide your eye towards your face. And that's the important part. And don't forget the little highlights on the eye where the light is shining on those air. Really important. See how it makes the portrait look alive. Now my face is starting to look more like a person and last like a photo. So what I'd like you to do is do this part now and we'll see you in the next section. 12. A wash of pink to unify the portrait: adding pink and white to your portrait, I decided that this portrait doesn't look like a little girl portrait. So what I'm doing is I'm adding pink. This is actually her absolutely favorite color. So I'm going to add a wash of pink, let that dry, and then add more color accident. So here it is all pink. The pink wasn't heavy, it was transparent. So now I'm using in acrylic pen and I'm adding some of her favorite things. One of her favorite things is climbing trees and going outdoors, So I'm adding that kind of lee shape right there. So when you're actually organizing your own portrait, keep in mind that you're telling a story. You're telling the story of this child and you want to add elements that really tell more about the child. So this child likes outdoor A. She likes running around. She likes doing outdoorsy things, but at the same time, she's very much a little girl, and she just loves pink and dresses and nail polish and little girl things. So keep in mind that you want to add things that suit the child here. I'm repeating my leaf elements. I put my leaf elements in more than one spot. If I'm going to use them, I create a small medium and a large spot of leaf elements. And here I'm just going to go back in and add some more gray. So I'm gonna dark in this area so that my eye goes right there. It looks black, doesn't it? But when this dries, it's going to be very great. It won't be black, so I'm adding some of the top, and I put the camera to close. But I'm adding gray in three different areas. I want my eye to lead be led to the portrait. So I wanna add some of these greys so that my eyes guided towards a portrait in three areas on the dark's three areas on the whites and so on. So now what I'm doing is adding design elements. I love this segmented line, and I'm going to add it in and see how it leads my eye towards the portrait. It all It is almost automatic, and I keep adding design elements. You might want to choose your own elements. Maybe you like polka dots. Maybe you like squares. Use the what works for your child portrait and use what works for you use elements that suit you. This is not a course where you copy exactly when I do. This is a course where you are inspired by what I do and create your own unique portrait. And here I'm adding design elements with white, and I'm going to just let that dry and come back and work them. Some of this white doesn't quite cover, and that's okay in some parts. But in other parts, I want it to cover better than it does in my mind. When I'm adding elements like this, I ask myself, Are these elements helping me look towards the portrait? Are they telling part of the story? How are they helping should they be there? These are all things you ask yourself. So do your part of adding more elements and then we'll see you in the next section. 13. Fixing what is not working: fixing what's not working by Doris Shove a belief elements that were there. I took that out. In fact, I didn't take that out on the video because my again, my camera, then quite work. Somebody called me and it shut off the video, so I covered it in pink. And now I've decided that pink doesn't work either. It's not a nice color to put big elements right there, so I'm blocking that out, and what I'm going to do is really light in that area where I'm going to have bits of the pink showing through and bits of the weight. But first I need to cover that whole area really well. Don't be afraid to change elements that don't work. That's what I'm trying to tell you here. I'm spraying the paint while it's still wet. I let it sit there for a little while. In fact, I usually count 20 and I wait till there's a little ads around the water droplets. So every water drop that is an area that's going to turn pink again, you're going to see the underneath layer. So here I put paper towel on top and I gently rub, I don't move the paper toll in here. Look, the pink is showing through again so you can spray it again and do it again. And you can get even more areas. And I want soft areas near the face, so I just take my finger, dip it in water and soften, and I can add paint if I want and just redo some of these areas. So I'm just repainting some of the areas, leaving some of the pink showing through. I think that as a lot to this portrait, it's way better than used to be. So now I'm going to add more collage. This pink isn't making it for me, so I'm going to collapse some tissue paper with a design in it. This is T shoe paper that is sometimes used for wrapping, or you can buy it at the art supply store. When I first started buying this tissue paper, it was wrapping paper, and now it's become a design element that's very popular with a lot of collage painters. So I add the collage elements in more than one area. So that's a good spot for that same design, and there's a good spot from that design. So I've used this collage element three times now and then I can decide if that works for me. I can add more graze. I can touch up and tweak this portrait for a long time. In fact, I do tweak it for a long time. I will keep adding things even after this video is over. Usually takes me weeks and weeks to put a portrait together, I trying to create elements that help part of the story of the child. So this child loves books I on pieces of text. This swirl that from the tissue paper in a way, works really well because it tells part of the story to it tells the part that she's really more of a dreamer than anything else. She loves climbing trees. She loves being outside, but she's a little bit of a dreamer. So it's really fun to tell the story in a way that people can suddenly learn about your subject matter. But your portrait. So think about this when you're creating your own portrait and I'll see you in the next section where we're going to just look at the final product 14. Finishing touches: laugh details by Doris Chavez. So what we're going to do now is have a look at little finishing touches, things that you can add that you might not know about. Here are some basic design elements. I talk about this many times, so the trick is to repeat elements that you use. I've used the book pieces or Tauron books in five different spots. I've used Ah, swirly tissue paper and three spots. I have repeated elements all the way throughout. I've repeated, Ah, broken line. I've repeated it in different ways. I made it a longer broken line at the top there, but more segmented. I've repeated elements all the time. So here's the guideline. When you repeat elements you used, Um 357 uneven number of times, and then you make sure that you also have colors that repeat so you're color should repeat here the pink repeats, the white repeats, and now I'm going tohave the white line. Repeat because I have the white line in two spots and I really needed in three spot. So I'm adding the white line and the white line is the leaf element so small, medium and large, so one small spot, one medium spot, one large spot. And you do this for every single thing that you add. Now, one thing I want to do is add a few, uh, elements as well. I'm going to darken the name of the person, and then I'm going to add some design elements, little touches that help like a dot here dot there. And don't forget to repeat your dots, so I'm going to just repeat them in other spots. So here's a good spot for a dot. Now I want to pick another spot as well. So you want to repeat the elements three times, and I've repeated the darks three times. I've repeated the white shapes three times. Now I need to repeat the dots three times, and you do this for every single item that you add to your portrait. I have the light that's coming in from the left on my portrait, and I want it dull down the areas that are on the edges so they're not completely stark white, and leading my eye out I want to be able to read them is white, but not very. Wait. So it starts at white and goes to a dollar Wait. I want I have elements that bring my eye into the picture and I want to keep the viewer looking at the picture. I'm going to add one more dot here. I want elements that lead my eye towards the portrait. I'm going. Where else should I add? And I can't decide. So here's a guideline. If you're unsure what more you can add, usually it's a sign that you're done. So do this part now at the finishing touches, and we'll see you in the next section. 15. Conclusion : conclusion. Remember to enjoy the process of creating Take your time, think about your decisions, mixed media as an intellectual exercise. So you need to think out all the steps. But most of all, I hope you had fun, and I hope you learned lots of new techniques. And I'll see you in the next course where I do two more kinds of mixed media portrait. It's mixed media child portrait, so I should say so we'll see you in the next corns.