Young Painters

It's Earth Day! Get Outside and Paint!

2010-04-22T16:40:00.000-07:00

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It's Earth Day! Grab some recycled water bottles, watercolors and paper. Then, go outside. Your subjects will depend on the immediate environment of your school. Trees, rocks, flowers, and plants are all possibilities. Here are some things to keep in mind:

1. Use the white of the paper for whites.
2. Start with the lightest colors in your palette. (probably yellows)
3. Use the whole page.
4. Choose a simple subject.
5. Avoid pencil sketches, if possible.
6. Need palettes? Try waxed paper.
7. Need drawing boards? Tape the paper to chip board or recycled corrugated cardboard sheets.

No nature in the neighborhood? Is it pouring? Print out some pictures from your last vacation. Encourage kids to choose the one they like the best and then do a landscape, or invite them to invent a scene.

Tomatoes in a Blue Bowl Giclee Print by Linda Armstrong at Art.com

2010-02-27T11:33:00.000-08:00

Tomatoes in a Blue Bowl Giclee Print by Linda Armstrong at Art.com

PUT FRUITS OR VEGETABLES IN A BOWL OR ON A PLATE

Materials:
watercolor paper and watercolors
or paper and tempera
or canvas/board and acrylic
or pastels/crayons and paper

Encourage each student to create a simple still life by placing two or more fruits or vegetables in a bowl or on a plate.

Invite painters to make several quick composition sketches from different points of view, and then choose the one that works best.

Set a timer and tell artists to work quickly to fill the entire support. (paper, board, or canvas)

If desired, students may photograph their setups from different points of view with phones or other digital cameras

Cut it Up

2009-05-05T11:25:00.000-07:00

The Walnut Canyon Series by bluerabbit
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Objective: to rethink and combine two finished works
Materials: two paintings on paper done with similar colors, scissors, glue
Procedure:

Tell students to choose the painting they like the least and cut it up.

Encourage them to experiment with placing the pieces on top of the other painting.

Glue the pieces in place.

Glue any remaining pieces to a blank sheet and use them as a starting point for another composition.

Paint Some Lines

2009-05-05T11:13:00.000-07:00

Peach Abstract by bluerabbit
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Objective: to introduce line
Materials: tempera, watercolor, crayon, tissue overlay, or graphite
Procedure:
--On the board, encourage volunteers to make various kinds of lines. They can be thick, thin, curved, or straight.

--tell students to cover a sheet of paper with an overall texture or a painted color.

--over the top of this surface, students should add several instances of one of the line types discussed above to create a unified composition. For example, if they choose curved lines, they should only use curved lines.

One Pear, One Orange

2009-05-04T15:54:00.000-07:00

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The easiest, most practical still life for the classroom is a single piece of fruit. Try a pear, an orange, an apple, or a banana.

Here's the one we created during Spring Art Week.

Orange by bluerabbit
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Be sure to encourage students to fill the available space on their paper. This insures effective, interesting negative space.

Make a Face!

2009-05-04T15:38:00.000-07:00

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Grades: K-12
Objective: to use tints (hues + white) to create a painting of an abstract head
Materials: tissue paper and starch, watercolor, crayon, or tempera, a print of one of Paul Klee's heads

Procedure:

Show students the reproduction and encourage them to discuss the shapes and colors
they see.

Introduce tints of red, yellow, blue, and other colors. Demonstrate how to mix them if you are using paint. Always add the color to white on your palette. This makes the result easier to control.

Invite students to draw a large head shape. Encourage them to fill the space on the paper.

Tell them to add features and then to divide the face into abstract shapes.

Almost Like Mondrian

2009-05-03T10:10:00.000-07:00

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Mondrian's crisp, musical canvases have inspired clothing designers, interior decorators, and architects for decades.

They are also a great way to help students see the differences between hues (colors not mixed with black or white), tints (colors mixed with white, such as pink), and tones (colors mixed with black). Mondrian's hues, set off by black and white, sing.

Before this Spring Art Week fifteen-minute demo began, I roughed in a loose grid of black lines and white rectangles. Volunteers added primary colors (red, yellow, and blue) to the composition.

The project is easy to do in any classroom, or on your own. Use cut construction paper, tissue collage, crayon, or tempera. You might even want to try Adobe Photoshop or Corel Painter.

Here is the painting we did together.

Almost Like Mondrian by bluerabbit
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Vase of Peonies by Manet

2009-05-03T09:37:00.000-07:00

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Above, you will see the beautiful painting by Manet that I used for inspiration with some classes on the last day of Spring Art Week this year. (Click on it for a larger view)

After discussing various types of paintings (landscape, portrait, abstract, and still life), I showed participants a faded reproduction of this luminous work in a book.

I blocked in the main elements on my 16 x 20" canvas, including the background, the vase, and the flowers. Volunteers came up one at a time and added paint by applying an acrylic-laden brush to the appropriate spots. (I also showed them how to mix a tint of yellow on a foam plate palette.)

In each 15-minute demonstration, I was able to demonstrate

--the advantage of working on a dark-to-midtone background with an opaque medium such as acrylic.

--color mixing

--the advantage of studying works by great artists

Students should be able to produce similar variations on classic artworks with tempera or crayon.

Here's the painting the students and I created.

Variation on Manet by bluerabbit
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Color to Color

2009-05-01T09:31:00.000-07:00

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Above is one of the Homage to a Square prints by Josef Albers, inspiration for this lesson.

Yellow to Purple by bluerabbit
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Objective:

to mix complementary colors to create rich, subtle hues

Materials:

poster paint, tempera, watercolor, or acrylic
a foam plate or an old dinner plate (a palette)

Procedure:

Review the complementary pairs red and green, orange and blue, and yellow and purple.
Demonstrate how to create the design. Start with a generous amount of the lighter of the two hues on your palette. For example, if you are using yellow and purple, start with yellow. Paint the outside edge or an inner rectangle with the lighter hue (yellow).
Mix a little of the complementary color with the original hue on the palette. Blend it just inside of or outside of your original rectangle on the page.
Mix a little more of the opposing hue.
Add and blend it.
Continue toward the inside or the outside of the composition.
If desired, show students reproductions of prints by Josef Albers. They are available in books and online.

Landscapes

2009-04-23T20:52:00.000-07:00

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The abstract cityscape above shows an effective use of a high horizon. (Painting by Michael Longo) The one below uses a low horizon to highlight a spectacular sky. (Painting by Nikolai Konstantinovich Rerikh)

Objective: To plan a landscape composition

Materials: Crayons, watercolor, or tempera

Procedure:

Point out that the page can be turned to create either a vertical or a horizontal composition.

Explain that the picture will either be mostly about the sky or mostly about the ground.

Draw two identical vertical rectangles. Draw a low horizon on one and a high horizon on the other. Ask which one would be better for a picture about clouds.

Show students how to draw four possible compositions on one page. Base the sketches on an outdoor scene or on a photograph.

For more ideas and some examples, visit

http://www.schoolsliaison.org.uk/kids/landscape.htm

http://getty.edu/education/for_teachers/curricula/landscapes/ib.html

Alphabet Paintings

2009-03-14T07:36:00.000-07:00

The Letter F by bluerabbit
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Objective: to recognize familiar symbols as art objects and to use them in new ways.

Grade Levels: K-12

Materials: tempera, watercolor, crayon, marker, or pencil

Procedure:

Start with a short class discussion about favorite letters or share an alphabet book.

Tell students to use one letter for their drawing or painting.

Explain that the letter can be used many times in the composition. It can be large or small, outlined or filled in. It can be tall or short. It can even be sideways or upside down.

Encourage older students to find different typefaces in books, magazines, or on the computer.

Younger students will want to work quickly and directly. Emphasize that every bit of the paper is part of the composition. The "Oh, Lucky You" painting above is almost 4' x 3' and has just three U's, but the yellow passages between the lines and extending to the edges of the canvas are just as important as the letters themselves.

Encourage older students to make several sketches before deciding on a final composition. They should draw four or more small rectangles on a sheet of copy paper and plan out a different possible arrangement of letters in each one.

Evaluation: Display the finished works at a special show in the hallway, as part of a Young Authors festival, or photograph them to create a class alphabet book.

Portraits

2009-03-01T18:45:00.000-08:00

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The portrait above is by Paul Cezanne.

Objective: to give students an opportunity to draw another student
Grade Levels: Grades K-12

Materials:

pencils, pens, crayons, tempera, or watercolor
paper suited to your chosen medium

Vocabulary:

portrait: a painting or drawing of a certain person
full-length: head to toe
bust: shoulders and head

Procedure:

Encourage each student to choose a partner.
Show examples of portraits painted by famous artists.
Tell students that one will pose for the other, and then they will change places.
Distribute materials. Give each student 5 -10 minutes to draw. Younger students will need less time.
Warn older students that no erasing is allowed. Tell them to press lightly or use lighter colors at first.

Organic Blue

2009-02-28T11:17:00.000-08:00

Objective: To introduce curved lines

Grade Level: K-6

Materials:

crayons, tempera, oil pastels, colored tissue, or colored construction paper
drawing paper suitable for your chosen medium

Vocabulary:

line: a two-dimensional representation of an edge. A line has length and width.
curve: a line that is not straight. An S is a letter that is made of curves.
organic: related to living things. Drawings of living things often contain many curves.

Procedure:

Draw a box on the board to serve as a frame.
Discuss different kinds of lines. These might include straight lines, curved lines and zigzag lines.
Invite a volunteer to draw a curved line in the box. Encourage other volunteers to add more curved lines.
With chalk, fill in some of the spaces between the lines to form a simple composition.
Distribute your chosen materials and encourage students to create a curved-line composition of their own.
For optimum effect, limit colors to three. If students are using paint, they may blend the colors. If they are using cut paper, they may choose to leave some areas white.

Painting with String

2009-02-27T16:27:00.000-08:00

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The bold, caligraphic painting above is by Franz Kline

Line Dance #1 by bluerabbit
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Objective: to encourage students to try unconventional art supplies

Grade Level: K-12

Materials:

string or yarn
black tempera or ink
paper cups or other small tip-resistant containers
colorful copy paper, 9" x 12" construction paper, or plain white construction paper
newspapers to cover tabletops

Procedure:

Show students reproductions of Japanese Calligraphic paintings or works by Franz Kline
Pour black paint or ink into a cup.
Tell students to dip string into the paint.
Tell students to quiet their minds and close their eyes.
Tell them to open their eyes, pick up the string and draw it across the paper.
Tell students to put the finished work aside and repeat on another piece of paper.

Evaluation:

Spread the finished works out on a table.
Encourage students to pretend someone else did them.
They should ask themselves what pictures the marks suggest and what the picture have in common.

Visual Poetry

2009-02-27T16:00:00.000-08:00

Night Clouds and Stars by bluerabbit
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Objective: to develop visual imagination

Grade Levels: K-12

Materials:

pencils

copy paper

a poetry anthology suited to student age and ability level

Vocabulary:

visualization: forming mental pictures

Procedure:

Read a poem from "Talking to the Sun" or another poetry anthology for children.

Without referring to the text, students should do a sketch based on their impressions.

Students should develop their drawings into paintings. Their works will not be illustrations of the poem. They will be like the perfume of an orchard in bloom--not at all the same as the flowering trees.

If you can't find an anthology, many poems are available online. Look for vivid images.

Here is a link to the poem we used at the Art Center: "Night Clouds" by Amy Lowell http://www.poemofquotes.com/amylowell/night-clouds.php

or, try this one:

(Louis Untermeyer, ed. (1885–1977). Modern American Poetry. 1919 )

Pear Tree

by HD

SILVER dust
lifted from the earth,
higher than my arms reach,
you have mounted.
O silver,
higher than my arms reach
you front us with great mass;
no flower ever opened
so staunch a white leaf,
no flower ever parted silver
from such rare silver;
O white pear,
your flower-tufts,
thick on the branch,
bring summer and ripe fruits
in their purple hearts.

Evaluation:

Create a class anthology filled with illustrated poems by pairs of students.

Inventing Animals

2009-02-27T15:11:00.000-08:00

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Objective: to encourage students to combine to unlike elements in new, original ways

Grade Levels: 4-12

Vocabulary:

combine: to put two or more different things together
mythological creatures: dragons, unicorns, griffins. fairies, Pegasus, the Phoenix, mermaids, mermen

Materials:
pencils
copy paper
illustrated books of mythology and folktales for children
illustrated books about animals
magazine or resource pictures of animals

Procedure:

Encourage students to use reference pictures to sketch two or three different animals.
Tell them to draw two different original creatures. Make one mean and ugly. Make the other beautiful.
Encourage them to write a story that includes both creatures. Each beast should have a name, a special place to live, and some kind of special power.

At the Circus

2009-02-27T11:56:00.000-08:00

Objective: to practice using basic shapes to create a nonobjective compostion.

Grade Level: K-6

Materials:

crayons, tempera, watercolor, colored construction paper, colored tissue, or oil pastel
drawing or painting paper, or recycled corrugated cardboard (if supplies are an issue and you are using tempera or other opaque media)

Vocabulary:

shape: a two-dimensional space enclosed by edges. Circles, triangles, squares, hearts, stars, diamonds, and shamrocks are shapes.
form: a shape in three dimensions. Regular forms include spheres, cones, and pyramids, but most forms are irregular. Form is often suggested in two-dimensional works through the use of linear perspective, shading, or both.
nonobjective: a nonobjective painting or drawing is abstract. It does not represent an actual person, place, or thing. Nonobjective paintings free students from the "I can't draw" syndrome and allow them to explore the elements and principles of art without fear.

Procedure:

Introduce a basic shape such as a triangle, a square, or a rectangle. Students have studied these shapes in mathematics. They should be able to name some properties, such as the number of sides. For the purposes of this lesson, use only one shape.
On a large sheet of painting paper, draw a medium-sized version of the shape. Invite volunteers to the front to add more versions of the same shape. They can be larger, smaller, thinner, or thicker.
After students have filled the page, use a large brush loaded with tempera to paint around the objects, filling the spaces to the edge of the paper. Paint the shapes with a different color. Students can do this with markers or crayon, but, for demonstration purposes, paint is much faster.
Distribute materials and encourage students to use the same shape to make compositions of their own.

Evaluation:

Tell students to leave their work on their tables. Take the class on a "studio tour". Point out one interesting thing about each painting.
With this as a precident, encourage students, in later lessons, to offer positive observations about the work of their peers.

Fish in a Pond

2009-02-27T10:52:00.001-08:00

Objective: to teach the importance of negative space in a two-dimensional visual composition.

Grade Level: K-6

Materials:

an apple, a pear, a potato, or any other object with a distinctive, simple shape (one per participant)
regular white copy paper to serve as a background for each object
one sheet of drawing or painting paper per participant
crayons, tempera and brushes, watercolors, pencils, colored pencils, artist's charcoal, or oil pastels
table protection such as newspapers or tarps for easy clean-up

Vocabulary:

two-dimensional: a space that has length and width, but no physical depth. Paintings and photographs are usually two-dimensional. Sculpture, architecture, blacksmithing, jewelry, and ceramics are three-dimensional.
positive space: The space inside the objects you are drawing is called positive space.
negative space: The space around the objects you are drawing, all the way to the edges of the composition, is called negative space.

Procedure:

Place an apple or other simple object on a sheet of white paper. On drawing or painting paper, encourage students to color in the shape of the white space instead of the object.
Show older students examples of great paintings and photographs. Point out that the "background" shapes are just as important as the subject. Still life paintings by Cezanne are excellent for this purpose.
Show younger students photographs of goldfish in an outdoor pond. Invite them to create their own paintings of fish. Tell them to include at least three fish in the picture. If they are using tempera paints at an easel, give them large brushes. This will keep them from making tiny fish in the middle of a big empty page. Encourage them to paint the water, too. Every part of the white paper should be covered by either water or fish, that is, positive or negative space.

Evaluation

Display student paintings on a bulletin board or on the class website.
Photograph student works and include them in a book, along with short poems or other writings inspired by the paintings. Print them from the computer.
Make a multimedia film or computer slide presentation featuring student works for parent night. Accompany the pictures with student narrative or music created by students using simple percussion instruments.

The Conductor

2008-04-27T14:06:00.000-07:00

Objective: to teach students to use their own sketches as reference material for finished compositions.

Grade Levels: 3-12

Materials:

copy paper, pencils (for sketching)
drawing or painting paper
tempera, student acrylics, watercolor, crayon, colored pencil, or other media for finished work

Vocabulary:

reference: a source of information. Encyclopedia articles, books, and magazines can be sources for school reports. Photographs, sketches, and direct observation of people, places, and things, can be references for visual compositions.
plagiarism: copying or stealing work from someone else. Just as you would not copy a chapter from a book and turn it in as your own report, you would not make a copy of someone else's painting or photograph and call it your own work. This does not mean you can't use ideas and facts from a reference work. It just means that you must take those ideas and make them your own.
sketch: a quick drawing to record information or plan a composition. Sketching is like taking notes or making a rough draft of a book report. It does not have to be perfect. In fact, sketches are much better if they are not perfect.
composition: a composition is a finished work of art. Stories, novels, symphonies, and paintings are all compositions. They have been composed, or created with thought, creative energy, and careful planning.

Procedure:

Encourage students to fold the copy paper once in each direction to form four rectangles on each side.
Take the class outdoors or to an indoor space with a variety of interesting things to look at, such as a science lab or the library.
Tell them to make eight quick sketches of things that catch their attention. Explain that they should press lightly with the pencil at first, so they can make changes without erasing. To make a change, they just have to press a little harder and make a darker line on top of the one they do not like.
Back in class, encourage them to choose one of the sketches and develop it into a painting or drawing on a larger sheet of paper. Tell them not to try to reproduce exactly what they saw. Instead, invite them to use visual ideas they have captured in their drawings such as beautiful curves or exciting areas of light and dark. To make this more effective, limit the work time.
As an extension, assign sketches as homework. Pick a day and encourage students to choose a sketch made at home to produce a finished piece. Show examples of Van Gogh's sketches and his finished paintings. Students will notice how the artist used energetic line strokes, like the gouges of woodcuts, to capture his ideas quickly on paper.

Painter's Note:

To show students how they can get ideas from many sources, I created this acrylic painting from a quick sketch I made during a performance of the Grand Valley Symphony Orchestra.

The conductor in elegant long tails was passionately involved in his task, and I did numerous drawings on a sheet of regular white bond copy paper that was folded up in my purse.

I told students about the times I used to visit the Los Angeles Zoo and watch animation students draw the animals. Like a moving conductor, an animal will repeatedly take the same position, so if you have several drawings going at once on a single sheet of paper, you will obtain enough reference material to help you create a convincing rendering.

This painting was done very quickly, is expressionistic, which means it is mean to express movement and feelings. I thought about reworking it to make it more literal, but have decided, at least for now, to leave it as it is.
For more paintings and additional lesson information see my Spring Art Week hub at http://hubpages.com/hub/EdThruArt

An Explosion of Birds

2008-04-25T21:51:00.000-07:00

Objective: To teach the uses of cool colors

Grade Levels: K-12

Materials:

crayons, tempera, student acrylic, oil pastel, colored tissue or construction paper
drawing paper

Vocabulary:

color wheel: a special design showing the relationships between hues, or colors that have not been mixed with black or white.
cool colors: colors that suggest cool things such as water, shade, or snow. Cool colors include blues, greens, and purples. Browns and blacks can be cool, too, when they are mixed with cool colors.

Procedure:

Provide students with only cool colors.
Invite them to name some places or things suggested by these colors.
After a brief discussion, encourage them to draw one of these places or things from memory. Emphasize that it does not matter whether the finished painting looks like that thing. Explain that they will be concentrating on the colors in the composition and how they interact with each other on the page.

I love abstract paintings. Students from one of the visiting District 51 classes made some bold, exciting strokes over a plain blue painting that had been hanging around in my studio for a couple of years, and magic happened. As I worked on this canvas, dolphins and birds appeared. This is the magic that makes painting rewarding for me. I make discoveries.

Getting Ready for Spring Art Week

2008-04-09T13:14:00.000-07:00

I know how busy classroom teachers are. I taught for 18 years. I also know that, with the current emphasis on testing, there is little time for art. This is sad because children love art and it helps them in many ways.

Through interacting with visual art, young people improve such vital thinking skills as comparison, contrast, and the difference between fact and opinion.
They learn practical applications of scientific principles. Visual artists use their knowledge of such fields as geology, anatomy, botany, and chemistry every day.
Since works of art have been treasured around the world for thousands of years, visual arts give children a window into other times and places.
Most of all, the arts show children that each person has something beautiful, important, and unique to contribute to the world.

Fortunately, many schools in District 51, Grand Junction, Colorado have partnered with the Western Colorado Center for the Arts to bring local visual artists together with school children in a yearly event. During Spring Art Week, children have an opportunity to find out about various artistic media, and meet people who have jobs in the arts.

I am proud to be a participant in this program. I will be demonstrating acrylic painting. Here is some information for classes planning to attend my session.

Here are some words I will be using.

abstract: a painting based on an idea or emotion. Usually, abstract paintings have no recognizable subject.

acrylic: a special type of plastic. When an acrylic painting “dries”, a chemical reaction takes place. The paint cannot be dissolved. This is not true of watercolor or tempera.

complementary colors: colors that are opposite one another on the color wheel. These colors can set each other off for drama, or can be used for mixing. Adding a little green to a bright red, for example, dulls it down.

composition: the way a painting is designed. Some paintings are based on triangles, others on diagonals. Many follow the Rule of Thirds, which is based on the Golden Ratio.

easel: a special rack with three legs and a crossbar. Acrylic and oil painters like to put their work on an easel so they can stand back and see it from a distance. Many painters stand at an arm’s length from their work. Watercolor painters usually use a drawing board or table instead of an easel because runs and drips are important in their work. It is easier for them to tilt the drawing board to control these effects.

expressionist: an expressionist artist expresses feelings through his or her work.

medium: the material an artist uses to create a work of art. It is an old Latin word, so the plural is “media.” Examples of media include pastel (a special chalk), watercolor, oil, acrylic, pencil, crayon, and tempera. The word “medium” is also used to describe a special solution used to thin paint. Each type of paint requires a different medium.

negative space: the shape of the space between objects.

opaque: something is opaque if you can’t see through it. Cardboard and wood, for example, are opaque. Glass is transparent, and tissue paper is translucent. Most acrylic artists apply the paint thickly, and it is opaque. Some artists, however, use it like watercolor, thinning it with water or a special medium until it becomes transparent.

palette: a plate or other surface that an artist uses to mix custom colors.

palette knife: a special flat plastic or flexible metal knife used for mixing paint and applying it to the canvas.

pigment: a powdered color, mixed with a binder (a kind of glue) and medium to create paint. Pigments are made from minerals and compounds created by inventive chemists. The old masters used pigments ground from gem stones such as lapis lazuli.

primary color: three basic colors used to mix all of the colors on the color wheel. Red, yellow, and blue are primary colors.

reference: a sketch, photograph, an object, or a scene that an artist refers to, or looks at, as he draws or paints. Just as you use many references when you write a report, an artist looks at several sources when he or she paints. Some paintings, such as abstract works, require no references.

secondary color: three colors created by mixing primaries. Orange, green, and purple are secondary colors.

stretcher bars: wooden bars designed to fit together to create a rigid rectangle. Canvas, linen, or other material is stretched tight and tacked or stapled to these bars. This makes a lightweight, flexible, and strong support for an oil or acrylic painting.

style: an individual artist’s way of painting. The American artist Hopper, for example, has a very distinctive style. Nobody else paints quite the way he did.

support: a support is the surface on which a work of art is created. It can be a piece of wood, a cloth banner, a sheet of paper, or stretched canvas. I use canvas.

synthetic brush: artists’ brushes can be made out of animal hair or out of synthetic fibers. Bristle brushes, made from stiff animal hair are good for oils. Sable brushes, made from soft, flexible animal hair are best for watercolor. Synthetic, or manmade fibers, are best for acrylic. These brushes are stiff enough to pull thick acrylic paint across the canvas, but they are also flexible enough to handle fine detail.

texture: roughness or smoothness

tint: any hue plus white. Pink is a tint. So is lavender.

tone: any hue plus black.

tube: a container for paint. This form of paint delivery became popular in the 1800s. Tube paints made it possible for Impressionists to take their work out of their studios and into to the countryside.

Websites with More Information
National Visual Arts Standards
A set of standards for visual art, and also for music, drama, and dance. Includes links to helpful lesson materials.
Art Links for Kids
A treasure trove of information for children, parents, and teachers. Includes art appreciation, online galleries, and project ideas.
Teaching Composition and Design
Easy and practical ways to teach the elements and principals of art.
Visual Art Vocabulary for Kids
Essential words for discussing art are listed here with clear definitions.
Great Ideas for Painting Projects
Need inspiration for a classroom art project? Check this out.
Prize-Winning Children’s Paintings
Check out these winners of a United Nations competition. The subject matter was the environment.