The Portrait Course 

Course Guide

Table of Contents:

Illustrated Glossary............................................................................................................2

Image of Finished Painting................................................................................................7

Colors on the Palette..........................................................................................................8

Materials List.....................................................................................................................8

Featurette Narration...........................................................................................................9

Image of Model: Morgan.................................................................................................22

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Illustrated Glossary:
A.
-Ambient Light: The indirect, diffused light from the environment.
-Ambient Occlusion (fig. B): The darkening of forms as they turn away from ambient light (most
noticeable in the shadows).

B.
-Base color: The average color of an area from which variations in hue, value and chroma are
mixed subtly on the palette when rendering form.
-Block-in: The preliminary drawing done in preparation for rendering.

C.
-Cast Shadow (fig. A): The shadow caused by one form blocking the light from a nearby form,
casting a shadow on it.

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-Chroma: The property of color that relates to its purity or intensity.

-Comparative Measurement: The process of using your pencil, or other straight instrument to
compare distances in your subject to distances in your drawing.
-Conceptual Mode (3 Dimensional Mode): The mode of analyzing your subject through 3
dimensional concepts such as light's interaction with form, perspective and anatomy.
-Contour Edge (fig.A): The perceived edge of a form where an artist's line of sight terminates on
its surface.

D.
-Diffuse Transmission: The effect of light passing through a translucent form, undergoing further
selective absorption and transmitting a more select part of the spectrum (typically resulting in a
heightening of chroma).

E.
-Envelope: A simplified series of tilts describing the silhouette shape of your subject.

F.
-Form Light (Diffuse Reflection) (fig.B): The diffused reflection of light on a form. This is the
kind of reflection we most associate with a form's local color.

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-Form pass: The stage in the painting process where each form is rendered 3 dimensionally in
relation to its light source(s).

G.
-Grisaille: A painting done entirely in monochrome, typically in shades of grey.

H.
-Highlight (Specular Reflection): The mirror-like reflection of the light source that occurs at the
angle of incidence = angle of reflection.
-Hue: The property of color that relates to its classification as red, yellow, green, blue and violet.

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L.
-Local Color: The natural color of a form unmodified by adding light, shadow or other distortion.

O.
-Optical Mode (2 Dimensional Mode): The mode of analyzing your subject flatly on the picture
plane.

P.
-Picture Plane: The plane located between an artist's eye and their subject. The visual
information that intersects this plane is what is drawn or painted on the artist's paper or canvas.
-Plum Lines: The technique of using vertical lines to see how aspects of your subject line up on a
vertical axis. A weighted string is often used to insure the vertical orientation of the line;
however, a pencil or other straight measuring instrument can be used.

-Points: Refers to the points in space where two or more tilts meet.

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R.
-Raking Light (fig C): The light raking across a form that has nearly turned into shadow. Raking
light will accentuate surface texture on a form.
-Reflected Light: Light reflected from the light source off of one form onto another (typically
most noticeable in the shadows).
-Render: The act of modeling with value or full color.

S.
-Shape: A recognizable pattern of tilts seen in the 2 Dimensional Mode.

T.
-Terminator Edge (fig.A): The shadow edge on a form where the light terminates along its
curves.
-Tilts (edges): The lines that connect two points in the early stages of a block-in.

-Transfer: The process by which a drawing is transferred to another sheet of paper, panel or
canvas. Types include: Charcoal Transfer, Conte Transfer, Graphite Transfer and Oil Transfer.
They all involve rubbing their respective mediums onto the back of a photocopy of the drawing.
This is then taped to the new surface and traced with a pen, leaving behind a transfer of the
drawing.

V.
-Value: The property of color that relates to its lightness or darkness.

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 7 
 
Colors on the Palette:

Materials List:
Drawing:
Pencils: Any brand of artist's pencils. I use Derwent Graphic in this video. They range from 2B
to 8H.
Paper: Arches, hot-press watercolor paper. Canson, white drawing paper (smooth).
Standard pencil sharpener.
Kneadable eraser.
Standard drawing board with clips.

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Painting:
Brushes: Watercolor, synthetic rounds. Brands used in the demonstrations include Creative Mark
Beste, Artist's Loft and American Painter ?. Sizes range from 0 to 7.
Solvent: Odorless Turpenoid (use with proper ventilation and keep covered when not in use).
Medium: retouch varnish and refined linseed oil (any artist brand will work. Winsor Newton
brand is used in the video).
Paper towels.
Paint: (any artist brand generally works. I prefer Winsor Newton and Gamblin).
Colors:
-Titanium White
-Yellow Ochre
-Cadmium Yellow
-Cadmium Orange
-Cadmium Red
-Alizarin Crimson
-Raw Umber
-Ivory Black
Palette Knife.
Canvas: Acrylic primed portrait Linen. Brands used include Centrurion and Frederix.

Featurette Narration:
( Note: The following text comes from the original script used to record the featurette. The
featurette was eventually edited to better match the footage. You will come across bits of text
that are not in the actual featurette but still may be useful pieces of information. Also, this script,
which is designed for the video, refers to things that are seen in the video and occasionally loses
context here in written form. )

Welcome to my new video, the Portrait Course. With this video I wanted to do a few new
things. One, I wanted to make available a longer, more complete presentation of how I paint
portraits. The other thing I wanted to do was present a compact, straightforward presentation of

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my process. In past videos my process is revealed over the course of the whole video. In this
featurette I will go through my process quickly, providing important insights into the role of each
step and the estimated time it should take to complete. Finally, you’ll find additional content at
the end of this featurette that will include tips for modeling form, mixing color and rendering sub
forms.

Setup
Before we get started, I wanted to take a few moments to discuss the setup for this
project. There are a few key things you’ll want to think about.

Optimizing your Setup

The first is Optimizing your Setup. What this means is, you’ll want to setup your paper
and eventually your canvas in a way that is comfortable for you to work on and also allows you
to easily compare the model with you drawing and painting. I setup my easel to be perpendicular
to the ground so that my surface is parallel to my picture plane. I like my surface to be as close to
the picture plane as possible. This means that I only have to turn my head slightly to go from
looking at the model to looking at my paper. This makes visual comparison and measuring a lot
easier. For portraits I tend to setup about 6 feet away from my model. This is far away enough to
eliminate distortion and yet close enough to see a lot of detail.

Controlling your Light

The next thing you’ll want to think about is controlling your light. There are two things
you’ll want lit: your model and the surface of your paper or canvas. If the light is coming from
the front, it’s possible that you’ll only need one light to illuminate both the model and your
surface. Otherwise, you’ll likely be using two lights. Light your model first. When lighting your
model try to eliminate all other light sources and reduce the ambient light as much as possible.
It’s not that you can’t use multiple light sources, it’s just that studying form is a lot easier if
there’s only one light source to conceptualize while modeling. Once you’re model is lit, add an
additional light for your surface. Make sure that the bulb you use is the same kind you lit your
model with so that the color will be balanced. You may clip your light to a light stand, your easel
or from above. Whichever you choose you may have to hang fabric or black poster board nearby
to block it from the model.

Consistency
The last thing you’ll want to be sure of when you’re setting up is consistency. Be sure
that you’re always sitting in the same spot and lining up your line of sight on the model in the
same way. Drawing is hard enough on its own, we don’t want to make it more difficult by being

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in slightly different locations while we’re working. This discipline will help improve the
accuracy of your drawing.

Process
Let’s take a look at the finished painting. To arrive at this result, I had to problem solve in
several stages. The first stage was the drawing. This was done in about 3 hours. I then had to
transfer this drawing to the canvas for painting. I reinforced this transfer with oil paint and
solvent. While that dried, I prepared a color study. This color study was done in about one and a
half hours. To prepare the surface of my canvas for form painting and to begin rehearsing 3
dimensional form, I did a thin underpainting which took approximately 2 hours. When that was
dry I began the Form Pass. The Form Pass was by far the most time consuming step in the
process taking approximately 21 hours, broken up over 7 individual sessions. Lastly, I went back
in and made corrections and refinements in what I call the Revision Pass.

That’s 6 steps to the process:

-Drawing
-Transfer
-Color Study
-Underpainting
-Form Pass
-Revision Pass
This breakdown is designed to make painting easier by limiting the number of problems
that need solving in each step. Let’s take a closer look at each one.

Drawing
The finished drawing consists of contour, terminator and cast shadow edges. It also has
important, anatomical structures indicated. This information was all considered 3 dimensionally
as form and a light effect. Before I was able to think very carefully about these 3 dimensional
concepts, I had to figure out the basic placement and proportion of the lines. In my experience,
this is more easily done when I simplify by looking at all information 2 dimensionally as flat
shapes.

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 I start the drawing with a large envelope of the head, a series of tilts that generally
describe the shape of the head. This gives me a rudimentary way of considering her large height
to width proportions. With that in place I can then begin subdividing this envelope and find
smaller, more particular information within the head. I spent about 1 and a half hours working on
this drawing in the 2 dimensional mode. Let’s take a moment to discuss the building blocks of
this stage and the techniques I’m using to assemble them.

Points, Tilts, Shapes

I began the envelope with a large sweeping tilt. I tried to make this tilt similar to the tilt I
perceived in life. I then added the next tilt. These two tilts intersect at a point. A series of tilts
and points create a shape. So, at any given time we could measure these points, compare these
tilts or compare these shapes to those of the model.

Shape Likeness
Once you have a series of tilts relating to one another, they form a shape. This shape can
be compared to the shapes of the model. I try to make my shapes have likeness to the model’s
shapes.

Comparative Measurement
Once you have shapes, you can start to take measurements. You could compare the
bottom half of the shape to the top half until you discover the half-way point. You can compare
the width of the shape to the height of the shape and make sure that the relationship between the
two is the same as it is on the model. You can also take any other shape or distance and compare
it to other shapes and distances. The purpose here is to search out problems with proportion in
the drawing. Once discovered you can switch back to your tilt and shape drawing techniques to
reconcile the issue.

With proportions and placement I could trust, I started to revisit all of my lines as form
and light. This 3 dimensional stage of the drawing took an hour and a half to complete. The key
things I looked for are were:

-Contour Edges
-Terminator Edges
-Cast Shadows

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-Prominent Structures

We’ve all had the experience of doing a drawing that we believe is accurate only to
discover when it comes time to render that certain proportions are way off. We wonder how in
the world we didn’t see the problem when we were drawing. I think that this is due in part to the
difference between how we see distance when we are drawing 2-dimensionally and when we’re
drawing 3-dimensionally. So, I try to bring that kind of 3 dimensional, form based consideration
to the linear drawing to help discover these kinds of problems. I’m arriving at all my contour,
terminator, and cast shadow edges as though I’m crawling over the surface, imagining the
modeling stage.

This pre-modeling approach also helps account for each form we’ll eventually have to
model. There may be shapes from the 2 dimensional phase of the drawing that haven’t been
broken down into individual forms and light effects. By anticipating the modeling experience,
you are more likely to account for these individual forms and effects.

Once I’ve re-visited every form 3-dimensionally and have made all necessary
adjustments, the drawing is ready to be transferred to the canvas for painting.

Transfer
The Transfer is about getting your drawing on the canvas for the painting. The first thing
I do is get a photocopy of the drawing. When I get that copy I consider adjusting the scale of the
drawing to better fit my compositional goals. I will also create an additional small photocopy of
the drawing to transfer for the color study.

To get the drawing to the canvas you’ll have to put some kind of media on the back of the
photocopy so that a line is left behind when you transfer. You could use conte, charcoal or oil
paint. I usually use conte as it produces a nice, clean line. You want to apply enough of the
medium you choose to the back of the photocopy to ensure all of your lines transfer. You then
rub it in with a paper towel to avoid making a mess on the canvas.

You’ll then tape your copy to the canvas, making score marks so that you can line it up
again if needed. Then take a ball-point pen and begin tracing your drawing.

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 Make sure that you preserve the quality of your drawing when you do this. It’s easy to
turn your brain off and treat this like busy work but you’ll be in a much better position to model
successful form if your transfer lines have the quality of the original drawing.

If you did an oil transfer you simply have to wait for it to dry before moving on to the
next step in the process. If you used charcoal or conte you’ll have to reinforce the transfer lines
before you do the underpainting ( otherwise the transfer could wipe away). One option would be
spray fixative. I prefer to go over the lines with raw umber oil paint diluted with mineral spirits. I
do this with a small, round synthetic brush.

Let’s quickly review:

-Photocopy your drawing.
-If needed, Adjust the scale of your drawing.
-Transfer the Copy to the Canvas
-Preserve the quality of your drawing
-Reinforce your drawing.

The Color Study

During the eventual Form Pass, you see me painting each form carefully, one by one. For
me to achieve the quality I desire in this Form Pass I have to move slowly which means I run the
risk of losing sight of the whole head and large color relationships. I can eliminate much of this
risk by including in my process a color study that is specifically focused on the large, simple
color relationships of the head.

To do this well I try to see all colors as flat shapes. I also try to blur my vision so that
these flat shapes are larger and more generalized. The Color Study for a portrait will take about
an hour and a half.

When I analyze color I think about its 3 properties: Hue, Value and Chroma. Hue is the
property of color that relates to its classification as red, yellow, green, blue and violet. Value is
the property of color that relates to its lightness or darkness. Chroma is the property of color that
relates to its purity or intensity.

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 In the Color Study you'll notice my transfer lines are very simple and geometric. That’s
because I like to set myself up to do large simple shapes. My first goal is to cover the surface of
the canvas with large shapes of color. I like to think of these as puzzle pieces. My first task is to
carefully make each piece of the puzzle. I do the best I can with each piece without letting
myself do too much correcting at this point.
Once I’ve made all the puzzle pieces it’s time to sit back and evaluate. Which pieces are
working well with the whole? Which aren’t working quite as well? I create a mental list of
changes, go in and start to modify, one piece at a time. I edit until I get as close as I can to the
relationships I see in life.

Underpainting
The main reason I do an underpainting is to create a better surface for my paint to stick to
during the upcoming Form Pass. Since I will be using paint to create this “better” surface, I try to
take this time to begin thinking about the form and color relationships in my subject. I like for
the underpainting to be relatively thin because I want to be able to see the transfer lines through
it. I do not add any medium. Rather, I add solvent to the paint so that it’s a bit more like a wash.
I follow the same pattern I follow when I paint form. Meaning, I go form by form. I took
about 2 hours to prepare the underpainting for this portrait.

Here are the important goals of an underpainting:

- Prepare the surface
- Rehearse the color
- Rehearse the form

Form Pass
The Form pass is the foremost step in the whole process. Everything before is meant to
support it and everything after is meant to correct and refine it. It’s a big job. We have to account
for everything that happens between the lines we created in the drawing. That means form and
color. Fortunately we have a color study to reference and an underpainting that hints at the
answer to our form and color questions.
This Form Pass took me approximately 21 hours broken into about 7, three hour sessions.
That means I have to plan what form I’m going to paint in each session.

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 We see form through its interaction with the light. The two types of light reflection that I
consider first are: Diffuse Reflection or Form Light and Specular Reflection or Highlight.
Diffuse reflection is when rays of light are reflected in many directions, diffusely. This is
the kind of reflection wherein we see the subject’s local color. The result is that the light most
facing point is lightest in value and highest in chroma as a result of receiving more light.
Specular reflection is when all of the rays of light are reflected at an angle equal to its
incidence. This is what we commonly call the “highlight”. If you are working from a relatively
white light source, the highlight will not only be the lightest part of the form it will also be less
chromatic.
My first priority is to paint the diffuse reflection as it best describes the 3 dimensionality
of the form. Once that is in place and I start to feel like I’m sculpting in space, I begin to add the
specular reflection or highlights. I do this by adding white to my form color to raise the value
and lower the chroma.
I start modeling by isolating a form and identifying the light most facing point. In this
instance I started with the nose. It was a clear, volumetric form in the lights that I could easily
see the color. I analyzed the color by considering its Hue, Value and Chroma. I then went to my
palette and built that color by mixing pigments that seemed like they would produce that same
Hue, Value and Chroma. I then modeled around the curves of that form, lowering the value and
the chroma as I turned the form from the light to represent its drop-off.
As I mentioned earlier in the Color Study section, make sure you watch the Painting
Flesh Tones segment in the Tips and Technique section of this video. In that section I describe in
greater detail my thought process as I mix color on the palette during the Form Pass.
I try to finish each form as go, meaning I work at the top of my ability throughout this
whole process. My hope is that the painting will be perfect by the end of the Form Pass. In
reality that’s rarely the case and I almost always have to revisit all forms to make them relate
with one another better. But, the ultimate quality is decided during this stage. The more I push
the Form Pass the further the painting will go in the eventual Revision Pass.

Key things to remember are:

-Prioritize the Diffuse Reflection before adding the Specular Reflection
-Work Form by Form: Do your best not to jump around. Focus on sculpting each form.
-Finish as you go: Try to complete each form before moving on to the next
-Forward Momentum: When you return to your painting once it’s dry, don’t correct old forms.
Save your revisions for the Revision Pass.

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 Revision Pass
With the head covered we can now see all forms and color relationships. This allows us
to finally consider possible revisions. There are a number of things I keep in mind during this
step in the process.
When we see something we consider wrong in our painting the first impulse is to charge
in and correct it. I recommend you sit back and evaluate your painting without acting. Pretend
your painting is someone else’s painting and that they asked you to give them a critique. Write
down your criticisms.
Now that you’re aware of revisions you’d like to make, don’t charge in and start
correcting them all at once. Maintain the one form at a time principle that you followed during
the Form Pass. It’s easy to jump around during the revision pass because it’s harder to tell where
you have and haven’t been.
I do a few things to prepare my surface for revisions. Doing these things will reduce
seams and other surprises when your revision pass dries.

Scrape down with the palette knife

Scrape the area you are about to paint with a palette knife. Do it gently. You don’t want to
remove too much paint—the surface shouldn’t really look that different several feet back. You
just want to thin and level the surface a bit.

Oil out
Next, you’ll want to brush on a little bit of refined linseed oil to the surface. This revives
the gloss to the dried paint allowing you to more closely match the previous colors. It also
creates a wet surface which recreates the feeling of working wet into wet.

Add Oil to your paint

You can also add a bit of refined linseed oil to your paint as you mix on the palette. This
makes the paint go on a little more translucently which keeps some of the glow to the paint
surface which is very appealing. Otherwise you end up with that dead, opaque look you can
sometimes end up with with oil paint.

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 Stay on the form!
Perhaps my most important advice for the revision pass is “stay on the form”! Again, it’s
easy to wander when you’re glazing corrections over a fully modeled form pass. Stay focused on
the light’s orientation. Correct forms according that orientation. Always imagine yourself
crawling over the 3 dimensional surface of the form. Never lose that connection. The whole
process should feel more like you’re slowly, carefully correcting a 3 dimensional sculpture and
not a 2 dimensional surface of flat paint.

Tips and Technique

I wanted to add some extra content that I haven’t touched on so far in any of my videos.
These include various form modeling tips, technical tips and thoughts on handling special
problems that arise during the painting process.

Using Medium
I touched on my use of medium here and there as I discussed the various stages of the
process but I wanted to take a moment to specifically layout my personal use of medium during
the painting process.
-The Color Study: I do not use any solvent or medium during the color study. I want the paint to
be opaque so that each brush stroke has a clear hue, value and chroma property I can evaluate.
These properties can be a bit more ambiguous when the paint is transparent and the canvas and
tone show through.
-The Under Painting: I use solvent to thin my paint during the under painting. I do not add any
medium. I want it to be thin and dry quickly. This is achieved by the solvent alone.
-The Form Pass: I want my form pass to be opaque. Therefore I want my paint to be full bodied.
I do not use any solvent or any medium during the Form Pass.
-The Revision Pass: This is the first stage where I introduce medium. I use refined linseed oil. I
use it in two ways during this stage of the process. First, I add a small amount of oil to the
surface of the painting I intend to revise. Next, I add a small amount of refined linseed oil to my
paint mixture on the palette.
-Additional Revision Passes: With each subsequent Revision pass I add a little more oil to my
mixture such that each layer contains more oil and is a bit more transparent.

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 Value Zoning
Value Zoning is a term I came up with to describe the effect we get when we organize
common values across a complex area of forms. For example, look at this form which consists of
two subforms. We have a terminator here and here on the two subforms. Here we have a cast
shadow, cast by this subform onto this subform. It just so happens that the value of the dark
lights here are similar to the penumbra value here and the dark light values here. If we were
“Value Zoning”, we would lay down a value that combines these three different effects into one
shape.
The approach I would recommend is modelling each form individually, rendering the
particular effect taking place. Render around this form to the terminator, render the bands of the
penumbra in relation to the cast shadow, and finally model around this form to its terminator.
The fact that there’s a common value passing through all 3 effects should be a coincidence. We
can use that coincidence to help refine and organize once we’re tasked with integrating the forms
together, but to achieve a higher level of realism I like to avoid Value zoning.

Consider and Commit

When you watch my demonstration, you’re seeing 30 hours of work compressed down
considerably. In real time it takes a while for me to mix each color gradation. Ultimately I like to
have my brush marks look confidant and deliberate compared to hesitant and fussy. Therefore I
generally apply a technique I call “consider and commit”. Suppose I have a piece of color down.
I know have to mix out the next color in this gradation. I go to my palette and attempt to mix out
my new color. Before I put down a full brush stroke with this new color I put a little dot of it
down first. I can then see if it is indeed the color I want. I consider making it lighter, darker,
shifting its hue one way or another or making it more or less chromatic. I go back to the palette,
mix again and lay down a new dot. I do this kind of color consideration until I find the right
color. Then I commit. I load up the brush and lay down the brush stroke like I mean it. This kind
of confidant mark making can lend itself to the illusion of solid form.

Painting Flesh tones

When I mix and paint flesh tones the first thing I do is mix out pool of paint that
represents the light most facing part of the form I'm about to paint. So, let's imagine I was about
to paint Morgan's forehead, nose or cheek. The hue I see there is a yellow-red which I will call
"orange" for this little demonstration. If orange is my hue then it makes sense to grab the
cadmium orange to start my mixture.
Her flesh tone certainly is not as chromatic as cadmium orange so I'm now tasked with
lowering the chroma. Before I start mixing I should also consider value. I think that the lightest
parts of those forms could be lighter in value. So, I have to lower the chroma and raise the value.

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Titanium white is both lower in chroma and lighter in value so I add that. Now, the value is
where I want it but the chroma could lower further. If I add more white the value will change. So
I add titanium white and raw umber in equal measure, thus lowering the chroma further but
maintaining the same value. Now I have my base color.
When form turns from the light it darkens in value and lowers in chroma. Raw umber is
both darker and lower in chroma so I start with that. Often I find that Raw Umber neutralizes too
much so I sometimes have to add some yellow ochre and alizarin into the mixture to keep some
of the chroma.
If I want to have even more chroma as I darken I may turn to my cadmium Orange as
well. Notice how this value and chroma change extends like a little gradated branch from my
base color. When I'm actually painting it's a little messier but this is the premise to what I'm
doing.
Now, if I start to encounter a highlight the chroma will go down and the value will go up.
Again, the titanium white will achieve that so I start another branch gradating just with white.
Local hue changes in flesh tones are generally quite small. The orange base that I've
mixed out will either tint towards red or yellow. Whichever the case I again mix little branches
out from my base with either cadmium red or cadmium yellow. I darken or neutralize these with
the raw umber and titanium white just as I did with the original base color.

Subform stuff:
The strategy I follow for painting subforms varies according to their scale. The subforms
here under Phil's eye are rather large. When they are as large as this I tend to start off by treating
them as their own form in the way that I would if I were painting a nose or a chin. I imagine the
light most facing point mix out my flesh tone, which consists of titanium white, cadmium orange
and raw umber in this instance, and model around its curves. I take the form to a fairly refined
stage but unlike when I model smoother surfaces without these subforms, I move on to the next
subform. I isolate it and paint it to near completion and then, once again move on to the next
subform to do the same.
Once I have a cluster of subforms that were individually conceived I then go back in and
do another pass over top while the paint is still wet, to tie them all together and make it look like
a continuous surface with a common light effect.
On these forms there happen to be even smaller subforms. They are so small in scale that
I cannot paint them while I paint the larger curves of form. In fact, there presence is largely
revealed in the pattern of the specular highlight. I add a small amount of titanium white here to
represent that highlight and recreate the pattern that the subforms make.

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 Here on this form above the lip I make my first goal to paint the large round curve of
form first. I'm dropping the value and chroma as the form turns from the light. This consists of
adding more raw umber and yellow ochre to my flesh mixture of cadmium orange, titanium
white and raw umber.
Once covered, and while the paint is still wet I begin to incorporate in the subtle
subforms.
The chin is another great example of this technique. The terminator edge reveals the
varied surface caused by the subforms. Building that carefully goes a long way towards
conveying the texture they create.
I continue working in this fashion. Even here on the forehead where the subforms are
much more subtle, the specular reflecion betrays their presence. I work it in wet into wet after the
large turn of form has been painted.
 

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Image of Model: Morgan

The Portrait Course copyright Scott Waddell 2013

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