By Deborah Kepes

On October 4, 2003, in a filled auditorium at the Hunter Museum of Art in Chattanooga, Tennessee, artists from as far away as Pennsylvania gathered to take part in a two-day workshop featuring Daniel Greene and Wende Caporale. Greene began his demonstration with a brief discussion addressing the importance of working on a toned palette and canvas. He prefers a limited palette, which he uses for portraits, still lifes, or landscapes. Greene gave useful advice throughout the demonstration. For instance, he pointed out that errors in the drawing happen within the first five minutes, so it is important to take your time at this stage in the painting. Also, placement is essential, so he suggests using a mirror to look over your shoulder to better judge the accuracy of the drawing. Some interesting tips included using plumb lines and angles to determine placement and lines to indicate the patterns of shadows and light.

The afternoon session began with a chronological view of Greene's career. During a slide presentation, he discussed his transition from expressionism and distorting the human form to his present style of painting. A highlight of the presentation was the inclusion of many of his earliest works. The day's events concluded with a question-and-answer session and portfolio reviews.

For the final day of the academy, Wende Caporale, Master Pastelist did a portrait demonstration with Abigail Wetmore as her model. Wende explained her techniques as she was rendering the painting and discussed her preferred supplies, which included a pastel set produced by Unison. By working from the inside out she started at the nose, determining the distance between the forehead and the bottom of the chin. As she completed the drawing, she moved on to color, blocking in the darks, which indicated patterns of shadow in the portrait. She then began to build the light. With the application of color, Abigail's likeness was cemented immediately.

Overall the weekend proved to be insightful as well as inspirational. The Portrait Society's commitment to education was evident, as several scholarships had made it possible for high school and college students to attend. The Portrait Academy proved to be a great opportunity to see top artists at work and to spend time with many fellow artists.

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