The Art Portfolio Unit 5 Painting 1006AT LOA CLASSROOM Tom McGrath The Art Portfolio Unit 5 Painting Published in England by classroom resqurces PO Box 1489 Bristol BS99 301 Website: www.classroom-resources.co.uk Copyright © Tom McGrath 1997 ‘The moral right of the author has been asserted All rights reserved. No part of this publication may be reproduced, stored or introduced into a retrieval system or transmitted in any form or by any means whatsoever without the prior written permission from the publishers with the following exception: ‘once purchased and paid for in full, this document may be freely copied for use solely within the purchasing school or academic in: tution. ISBN 1 84106 115 8This resource was written by a practising teacher Classroom Resources Limited know that teachers work hard producing high quality resources for their own pupils. We can market those resources, ideas and innovations to other schools, colleges and academic institutions worldwide. They can benefit. You can profit. [Selling with Classroom Resources Limited costs you nothing. Simply submit your teaching ideas, photocopiable notes or software to us for review, and if we think the resource meets a need in schools then we will take care of all the production and marketing through our carefully targeted promotional literature. You will be paid royalties for every single copy we sell, we will give you higher royalties than any other publisher and you will jearn an additional income for work you have already done! For further information please contact us at: Classroom Resources Limited PO Box 1489 Bristol BS99 3QJ Tel: 0117 9406409 or Fax: 0117 9406408 Or visit our web site at: www.classroom-resources.co.ukfo Taking a Line for a Walk Take a line for a walk by putting your pencil on the paper and moving it along as if you were going for a walk with a dog, leading it along. This idea was first used by the Swiss artist Paul Klee ( pronounced Clay ) Paint your work using mixtures of ONE colour. Start with the colour you have chosen. Spread the colour on the mixing palette and then fill in an area of your painting, Then add in a small amount of another colour, perhaps White. Paint the new mixture onto an area of your painting. Then add in another small touch of the second colour and paint that into your design. In this way you will produce many different tones of the same colour. You can add in more colours, always mixing them with your colour. PL CLASSROOMLettering Painting NBIC DIEHG JIL IWIN © [P QRSTU Draw out your initials, about 6-7 cms.high, on a piece of card and cut them out. Use imple block lettering. Use the letters to sketch out a lette lesign, as shown below. = LA When you start to run out of space, make Ws the later letters seem to go behind lier letters, like this: the ear- Task 1: Use a strong colour or black to paint in the shapes in between the letters or... Task 2 : Choose a colour (red, blue, green and yellow) are good. Mix this colour with any colour you use. This will make a colour Aarmony. If you ch instance, you can use pink (red and white), orange (red and yellow) and purple (red and blue) Use your mixtures to paint in the letters. 2 ROOM ose red, for JN clSketching for Painting and Underpainting There are really no fixed rules for painting. John Constable and later the Im- pressionist painters broke the rules of their day . In our own time Jackson Pollock (called "Jack the Dripper ") threw paint onto the canvas, calling it "Action Painting”. It is useful, however, to learn the ways of painting used by painters of the past. Start with a drawing. If the subject is a landscape with lots of empty sky, very little drawing is needed. For a work with people and buildings, however, more care- ful drawing is required. Usually underdrawing is done in pencil or charcoal. This first drawing can be "fixed" with a wash of water over the marks. The old masters such as Michelangelo and Leonardo would start with an under painting in grey or blue, and then use thicker paint over the top, or use a succession of thin coloured glazes to build up the colour. Things to Do S Task 1: Draw a landscape in charcoal and paint a wash of wa- = ter over the surface. eS Task 2: Draw a still life and_paint it all in blue or grey. BBPainting Techniques Some special painting techniques are scumbling, frottage, impasto, sgraffito and glaz- ing. Scumbling is where thick paint is applied on top of a layer of dry paint in a “broken " way, so that the layer underneath shows through. This is good for textures such as tree bark. A stiff brush or rag can be used to drag the paint across the surface. Texture can also be created by the use of frottage. A layer of paint is laid down and then blotted " with a piece of shiny paper from a glossy magazine. Impasto is the use of thick, heavy paint, often with a palette knife. Some artists add sand, plaster or special mediums to build up the thickness and solidity of the paint. Another effect is sgraffito. Here, two layers of paint are used. The first layer is allowed to dry, and then the second layer is painted over the top. While the second layer is still wet, marks are scratched through to reveal the first colour underneath. Glazing is where a second, transparent colour is applied thinly over the top of another colour. A warm glaze, for example, can be applied over a blue or grey underpainting. Things To Do Task 1: In your sketchbook, paint an example of each of the following: Scumble Frottage Impasto Sgraffito Glazing Task 2: Use all these techniques in a still life painting of objects with interesting surfaces, such as wood, a can with peeling paint, a rock etc. For example... CLASSROOM. eas Oil Painting Oil paint is a mixture of linseed oil and pigment. Because it is oil-based, oil paint is thinned with turpentine and not water. It can stain clothes, so wear an overall. Oil paint can be used on paper, but it is best to use a stronger painting ground such as canvas or hardboard. Canvas is stretched on a wooden frame and secured with tacks, Prepare the surface with two coats of acrylic primer. Acrylic primer is a plastic paint and water-based, and must be cleaned quickly from surfaces and brushes before it dries. Set out your colours on a palette. Varnished wood , plastic or old enamel plates make good palettes. 1 Ivory Black 2 Burnt Umber 3 Ultramarine Blue 4 Cobalt Blue 5 Cadmium Red Light 6 Cadmium Yellow Light 7 Cadmium Yellow Deep 8 Venetian Red 9 Yellow Ochre 10 Naples Yellow A good range of colours eee ae) Use bristle brushes. Tone the canvas or board first. Use a thin wash. of perhaps Burnt Umber. Traditionally , charcoal was used for the drawing out of the composition, but you may prefer to use a thin brush with diluted blue to mark out the main shapes. When painting the actual picture, load the brush with thick paint and then stroke it onto the canvas. Avoid scrubbing the paint and try to have a "silent" brushstroke, so that the brush never actu- ally touches the canvas. At the end of the painting session, good clearing up is essen- tial. Scrape off unused paint with a palette knife. (These can also be used for a very broad, direct form of painting.) Clean brushes, palette and all surfaces with turps and rags or paper towels. Do not attempt to wash oil paint off under the tap! CLASSROOMHow to paint in watercolours TREE 7 - “eon” * ome cg 2) (sl (2) fe] (s] fg a) (al(a) ( 2 Bile] |S A] /}a)|a| |e { 1. Draw your design lightly in pencil. Watercolour is transparent, so any psc) marks you make will be seen through the colour. G Make a puddle of wash ( thin, watery colour) Use a large wash brush. +) 3, Lay the wash over the area to be covered. This might be the whole paper. Any white areas should be left unpainted. Start at the top and, tilting the paper slightly, lay strokes horizontally across the width of the paper., so that the top of each stroke just touches the bottom of the previous stroke. Allow to dry. 4. Any paint which gets out of control can be mopped up with a "thirsty" brush. ) A thirsty brush is made by squeezing the brush between the fingers. G&G Use a smaller brush and a thicker mix of colour to paint in the detail. » 6. After use, always clean up your paints. Use the thirsty brush to remove any ) surplus water. G FASSROONHow to paint in Temperapowder C 1. First, dip your brush into the colour you want. LY 2. Next, move the brush full of paint to the mixing palette and spread it out, stirring to make a smooth mixture. If you want a thicker paint, dip into the powder again. 3. If you want to mix a colour, dip into the next colour with your brush. You do not need to wash out your brush until you want to make a new mixture. eo 4. Begin to paint. You can use dabbing strokes or longer strokes) but do not scrub or push the brush, as this damages the hairs. Ne, 5. If your paint pot needs re-filling, carry the pot to the refilling area. Hold the pot over the jar or packet while you re-fill the pot} with a spoon. \ 38 CLASSROOMWet in Wet Painting Wet -in-wet painting can be used with either oil or watercolour painting. With watercolour, wet the paper either by putting a wash of water across all the surface of the paper or by painting coloured washes onto it, Further colours are "dropped in” to this first wash. It is superb for atmospheric effects, particularly sunsets and stormy skies. (When the paper is soaked with water it will” cockle "or wrinkle, so some artists stretch their paper by soaking it first and then sticking it to a drawing board with brown paper tape.) When the surface is almost dry, add stronger and darker accents . In oil painting, a colour is laid on the surface and then a second colour is added, The two colours are blended together on the surface. Then a third colour is added, and so on. PB CLASSROOMPerspective Perspective is used to give the effect of depth on the flat sur- face of the paper. Artists need to know the basic rules of perspec- tive . Briefly, a horizon line is drawn on the paper and one or two vanishing points are marked. Horizontal lines seem to converge towards the vanishing point or points. OU Single vanishing point Task 1. Copy the above two diagrams. Task 2. Draw a street you know, using the knowledge iC you have gained. G FASSROONInterior Perspective To draw the inside of a room, one vanishing point is usually enough. Task 1. Copy the above two diagrams. Task 2. Draw the room you are in, using a single vanishing point. PioMUA CLASSROOM Name of Resource The Art Portfolio Unit 5 Painting CLASSROOM RESOURCES LIMITED operates a programme of constant improvement and updating of its resources. Tf you have any comments to make on this resource, please complete this page and return it to us at P.O.Box 1489, Bristol BS99 3QJ Please place a cross on each line at a point which best indicates your response to the question above it. 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