Portrait Painting in Zorn Palette

Patrick Byrnes was born in Busan, South Korea in 1984 and raised in La Grange, Illinois. He earned his undergraduate degree in Art History and English from the University of St Andrews in 2006. Byrnes moved to New York in 2010 to train under Jacob Collins, Edward Minoff, Joshua LaRock, Scott Waddell, and Colleen Barry at Grand Central Atelier. Following the completion of his studies in 2014, he worked as an instructor of painting and drawing in the atelier’s full and part time programs. Recently Patrick relocated to Paris, France, to become a principal instructor at the newly founded Paris Academy of Art.
9:30 A.M.-4:30 P.M.
Live Model
Gage Georgetown

  • 3 panels OR 3 stretched canvases with dimensions between 11×14” and 18×24”
    • Panels: New Traditions brand C13 panels, or primed boards such as Ampersand Gessobord;
      alternatively—linen canvas glued to panel
    • Stretched Canvas: any portrait-grade, tightly stretched linen canvas (e.g. Claessens Belgian Linen
      13/Artfix 84C/any smooth Belgian linen)


  • Wooden palette or pochade box
  • Solvent (*only OMS is permitted, e.g. Gamsol or Turpenoid)
  • Proper jar/vessel for solvent
  • Refined Linseed Oil
  • Palette Knife
  • Paper Towels


  • Titanium White
  • Yellow Ochre
  • Vermillion OR Cadmium Red
  • Ivory Black

*Most professional-grade brands are acceptable, such as Winsor & Newton, Gamblin, Charvin,
Williamsburg, et al. I personally use a mix of Michael Harding, Old Holland and Rublev brand

Brushes: Have a variety of hairs, shapes and sizes. I work with a mix of synthetic, mongoose, sable, and bristle brushes in a variety of shapes and sizes.

In this five day workshop, artists will employ a limited palette inspired by the great Swedish painter Anders Zorn to create a portrait painting from the live model. Using just titanium white, yellow ochre, vermillion, and ivory black pigments, participants will discover how to achieve a surprisingly expansive range of colors by mixing careful modulations of hue, value, and chroma. By limiting the number of pigments, one can explore color space in a controlled manner, gain insight into color relationships, and develop strategies for translating the seemingly elusive colors we perceive in human flesh. Byrnes will guide artists with daily demonstrations and in-depth personal critiques through each stage of the process. Cranial anatomy, materials, paint handling, and the physics of light will also be discussed throughout each session. Some previous experience with oils is recommended.