OBJECTIVES AND CONTENT

The main objective of this workshop is to focus on one of the most important and riskiest issues the artist faces when executing and solving a figurative painting. 

We will try to discern the moments when it is necessary to stick to a methodology and at what stages of the painting you have to get carried away by intuition, chance or folly, in order to get the painting to a higher state and not just bare representation. For this, it is essential to identify the building phases of a portrait; in which circumstances or situations certain specific procedures can be used for a formal and material resolution of what is represented and identify the scenarios in which it is necessary to be carried away by our intuition, seeking a more personal artistic vision, in search of what we should call magic in the painting. 

SPECIFIC OBJECTIVES
Eliminate the creative barriers that we impose ourselves from the mental conception of the painting, adhering to that pre-established idea that prevents us from developing and addressing the freest creative process during the execution of the painting. 

Investigate the advantages and disadvantages and the multiple ways and tools we use when applying paint (direct and indirect method), through chromatic harmony, different media, different mediums, paints, varnishes and brushes, for each of the phases of the painting. 

METHODOLOGY 

We will visit the Prado Museum on March 13 to analyze the conception and methodological side of the paintings that throughout history have managed to cross the barrier of the simple representation. 

The painting will be done through a layering procedure, taking advantage of the qualities of the under-painting to obtain the necessary textures and resources for a good surface that represents both the formal and material side of the portrait. In order to subsequently apply the supra-painting we will take into account fundamental aspects such as tonal and chromatic adjustment to be able to develop these improvised actions and give way to our intuition in order to conclude the portrait. 

The work support will be a 50cm x 50cm canvas.This exercise will start from a digital image of a portrait supplied by the teacher. 

During the workshop sessions, the various stages of construction of a portrait will be developed and, through practical examples, the following aspects will be analyzed:
• The importance and impact of an adequate preparation of the painting support.
• The importance of the previous development of the image to be painted; as sketches or studies, through digital image editing programs.
• The possibilities offered by the underpainting or first material layers to obtain the ideal representation; in this case the skin and flesh.
• The qualities of the application of color to represent the flesh (transparency and opacity). 

The teacher will focus on each participant individually to achieve the greater technical advances, taking into account the specific characteristics of every artist.