1. The document provides instructions for a series of art lessons focusing on self-portraits, portraits using grids, and combining photos of oneself with animal images. 2. Artists mentioned include Chuck Close, who uses a grid method for portraits, and Cindy Sherman, who creates self-portraits using disguises. 3. Students are directed to take photos of themselves, combine them with animal photos to create hybrid images, and use those hybrids to create painted self-portraits using grids and tonal layers.

1. Year 9
Portrait /Alter Ego

2. CHUCK CLOSE
Watch the clip ‘On following the
Grid’ (on dept website)
Why did Close start using the
grid in the first place?
How does he paint each
square?
Why doesn’t he feel the need to
step back form the painting to
see how he is getting on?

4. Self Portrait
“Inspiration is for amateurs. The rest of us just show up and get to work. If you wait
around for the clouds to part and a bolt of lightening to strike you in the brain, you are
not going to make an awful lot of work. All the best ideas come out of the process;
they come out of the work itself.” ― Chuck Close

6. Finger prints
Paper making
Grids

7. The creation of self-portraits can create a connection to yourself and your artwork.
Artists represent themselves from both their own internal views and the way they feel
the world sees (or should see) them.
Using different materials, methods and perspectives can help portray the same subject
in a new and interesting way.
What is the purpose of a self-
portrait?
In what ways do artists
represent themselves?

8. LESSONS 1 & 2
Today you will have your portrait photograph taken so that you can complete this
project on Portraiture and The Alter Ego
Learning Objective:
Understand how to use the “Grid Method” in drawing and be
able to apply a range of tones using a 2B /4B pencil
Learning Outcome:
Choose one of the following 4 images by Chuck Close and
copy each square carefully using the grid provided.

9. Drawing task
Look carefully at each square on the photograph.
Choose the tone that you feel is the most dominant.
Shade in the corresponding square on the blank grid in that tone.

10. Drawing task
Look carefully at each square on the photograph.
Choose the tone that you feel is the most dominant.
Shade in the corresponding square on the blank grid in that tone.

11. Drawing task
Look carefully at each square on the photograph.
Choose the colour that you feel is the most dominant.
Shade in the corresponding square on the blank grid in that colour.

12. Drawing task
Look carefully at each square on the photograph.
Choose the colour that you feel is the most dominant.
Shade in the corresponding square on the blank grid in that colour.

13. LESSON 3: CHUCK CLOSE FINGERPRINT TASK
Chuck Close Fingerprint portrait of Phillip Glass (1979)
Learning Objective:
Understand how to build up tonal values using layering
Learning Outcome:
Using only your fingers/thumbs and black printing ink try to copy the image on to A3
cartridge paper.
Once completed make a line drawing tracing of your portrait photo.

14. Your teacher has now enlarged your
line drawing onto A3 cartridge
paper.
LESSON 4:
Learning Objective
Understand how to build tone by
layering different thicknesses of ink.
Develop understanding of
monochrome painting.
Learning Outcome
Complete your own finger print
portrait over your A3 drawing. Pay
close attention to the tonal values in
the original photograph.
Use different fingers for smaller and
bigger prints.

15. LESSONS 5-7: A3 Pencil /Fine liner self
portraits using a GRID
Learning Objective:
Understand how to use mark making and
pattern to create different tonal values.
Learning Outcome:
Create a detailed pencil line drawing using
the grid system and your portrait
photograph.
Complete each square on the grid with a
different line pattern to create different
tones.

16. 1. Your teacher will give you an A3 Grid
and your A4 photograph.
2. Take your time and really focus on one
square at a time to create your own
photorealistic drawing.
3. Once you have completed the line
drawing, complete each square using
a PATTERN
4. The pattern you choose must match the
tones in the photograph.
5. Change your patterns in each square.
As long as each square reflects the
correct tonal values in the photo you will
succeed!
See the next slide for examples. It may be
an idea to practice a section in your
sketchbook first!

18. LESSON 8: Alter EgosLESSON 8: Alter Egos
An alter ego is a second self. A person who has an alter ego is said
to lead a double life.
International artist Moritz Wehrmann was invited by WERK to show 'Alter Ego’ at
Longbridge Light Festival. The installation which blurs the lines between Science
and Art was one of the highlights of Longbridge Light Festival (part of LPAP)
exhibited in an empty cavernous industrial unit situated on the grounds of the former
Longbridge car factory. Queues formed throughout the night with over 550
participants entering the mysterious black box structure, two at a time, where they
saw their bodies merge together through the use of special glass and light
technology
Moritz Wehrmann LINK

19. ‘Pearls on by day, tattoos out by
night’ –
a photographer's cleverly-styled
images show how people often have
more than one side to them.
Toby Dixon, 34, who is based in
Sydney, Australia, recruited a stylist
and make-up artist to transform a
man and woman's appearance into
two halves and captured the pair's
alter egos on camera.
On the one side they look distinctly
'serious', with combed hair,
buttoned-up collars and glasses,
while on the other they appear more
'playful', displaying inches of inked
flesh and cheeky smirks.
Toby Dixon

20. Dixon proudly said about this project, "No cutting, no comping, no
Photoshop trickery."

21. Cindy Sherman reveals how dressing up
in character began as a kind of
performance and evolved into her earliest
photographic series.
Cindy Sherman invents a myriad of
disguises, metamorphosing from
Hollywood starlet to clown to society
matron.
Often with the simplest of means—a
camera, a wig, makeup, an outfit—
Sherman fashions ambiguous but
memorable characters that suggest
complex lives lived out of frame.
Sherman's investigations have a
compelling relationship to public images,
from kitsch to art history (Old Masters and
Surrealism) to green-screen technology
and the latest advances in digital
photography.

23. Paul Smith
Smith acts as the unnamed hero for these dramatics, in a Die-Hard, James Bond
style character. Although independently coherent, the images are a deliberately
montage that creates a scene that is clearly fake. By doing this Smith avoids any
documentary overtones and produces an entirely fantastical environment in which to
play the hero.

24. HOMEWORK: Superhero Images (Collage and drawing double page)
Grade 3 Grade 4 Grade 5
Image is cut out and
superimposed on a
different background. The
drawing is mainly line with
limited shading.
The image is thoughtfully
created with some
thought about camera
angle and lighting. The
drawing shows a range of
3 or more tones.
The photograph is well
taken with consideration
for lighting , camera angle
and pose. The background
has been carefully chosen
to fit the scene. The
drawing is an excellent
copy of the collage
showing 5 different tones
creating depth in the
image
1. Take photographs of yourself in super
hero poses.
2. Cut yourself out of the photographs and
collage yourself into different
backgrounds. (You can use photoshop if
you prefer.)
3. Stick the finished collage in your book.
4. Draw your scene in pen or pencil. Fill the
page.

25. LESSON 8: Practical Task
Learning Objective:
Interpret the work of John Stezaker.
Consider composition carefully to create an
effective portrait.
Learning Outcome:
Combine your portrait with your neighbour’s in different ways to create a
range of outcomes.
John Stezaker
Alternative way to collage

26. John Stezaker
In pairs create a combined portrait.
Experiment with repeating features,
cutting images up horizontally,
vertically or diagonally.
Extension: Create a painting of this
collage in black and white acrylic.

27. Charlotte Caron
The paintings of artist Charlotte Caron explore both the ancient tendency to
humanize animals and the dreams of humans to transform into animals.
Caron’s acrylic paintings of animal faces are set on the photographed portraits of
people as if they were masks. The people of the photographs not only assume the
appearance of the animals, but nearly seem to embody corresponding
personalities
LESSON 9: Animal Instinct

28. Daniel Lee, ‘Manimals’
One of the disturbing
things about Daniel Lee's
“Manimals,” is how normal
they appear, at least at
first.
Even more disturbing,
however, is how possible
they seem in the gene-
splicing age.
Bare-shouldered, Lee's
creations either look off
into the distance or straight
ahead, evoking such a
quiet dignity through their
seamlessly merged
features it almost feels
impolite to stare.

29. Which animal best reflects your personality?
Animal Characteristic Animal Characteristic
Fox Sly Lion Fierce, brave
Cat Independent Meerkat Quick witted, caring
Owl Wise, thoughtful Dove Calm, innocence
Monkey Cheeky, happy Adder Cunning, wisdom
Cheetah Quick, focussed Deer Gentleness
Dog Faithful Peacock Beautiful

30. Combine a photo of yourself and an animal of your choice. It could be your pet at home?
Try to think about the personality of the animal and how it may affect your portrait. Does
the animal reflect who you are or who you want to be?
Collage your portrait together with an animal. You do not have to follow a straight line.

31. Once you have your animal /human hybrid collage, photograph it and open it in a word document.
Turn it into a ‘Cut-out’ image. In Word, select the image, select Format then Artistic Effects and Cut-
out.
LESSON 10- Image Manipulation
If you are doing this in Photoshop: open the image, select Filters, then Cut-Out. Select the number of
layers that allows you to see the image without it becoming too complicated. Eg. 5
Trace your new stencil image onto A4 tracing paper. Your teacher will then photocopy this image on
to A3 cartridge paper ready for you to paint next week.

32. Before you begin mix 8 different
tones of paint using just black and
white and create a tonal scale in
your sketchbook.
Begin to paint in the very lightest
tones on your painting.
Refer closely to the original image.
LESSON 11
Learning Objective:
Develop an understanding of mixing shades and tones using acrylic paint.
Learn from painting experiments before starting the final painting.
Learning Outcome:
Painting experiments and the lightest tones on the painting filled in.

33. LESSONS 12 & 13
Learning Objective:
Improve control of colour
mixing and applying paint to
complete the painting.
Learning Outcome:
Complete the mid tones then
finish with the darkest tones to
complete the painting.