Portrait Society Chairman, Gordon Wetmore, kicked off the Chattanooga Portrait Academy at the University of Tennessee at Chattanooga with a painting demonstration on Friday, October 5, 2007. According to Dawn Whitelaw's introduction, Wetmore is known for working equally well in oils, pastels, and watercolors. He began his demonstration by describing his somewhat abbreviated palette. His palette went from light to dark and warm to cool and consisted of Titanium and Permalba White, Cadmium Yellow Light, Yellow Ochre, Venetian Red, Cadmium Red Light, Alizarin Crimson, Sap Green, Chromium Green Oxide, Cerulean Blue, Ultramarine Blue, Raw Sienna, Burnt Sienna, and Ivory Black.

Painting in what he described as "an uninterrupted flow from what goes in his eye to what comes out his hand," Wetmore began at the top of the head, contouring the hair as it outlined the face and neck. He sketched the figure with angles, noting the landmarks, and watched for details particular to that individual versus generic features.

Wetmore advised his audience to find an artist they admired and study with them if possible, or at the very least study their work. As the demonstration continued, he maintained his detailed instruction into technique. He pointed out that the face has four bands of color: the bottom yellower or greener/gray; ears-cheek-nose and some chin are redder/pink; eyes are bluer/cool flesh tone with black or purple; and the forehead is yellower since the skin is pulled tight over the skull.

Following Churchill's advice that one should "keep some troops in reserve," Wetmore held back so that he wouldn't reach the limit too quickly, and he likewise advised that one should leave room to get lighter. He stated that it is important to use the least number of strokes possible, and one should not think too much about the strokes. Stressing the role that form plays in the completed portrait, he stated, "If the form is correct, the details will fall into place."

The evening concluded with a brief question and answer session where audience members were able to ask both Wetmore and Whitelaw about technique, medium, frame size, and more.

Saturday morning several artists returned for a day-long workshop in the studios of Wetmore and Bart Lindstrom. Both artists were on hand to answer questions, work one-on-one with students, and share advice. The day concluded with more individualized attention as the instructors gave portfolio critiques. One attendee commented, "Everyone was very productive, inspired, and seemed quite satisfied with the generous amount of information, the gentle kindness of the instructors, and the whole group experience."

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