Which is the most successful way to teach Y8 painting:- Through controlled mark making exercises or teaching experimental techniques approach?

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1 Which is the most successful way to teach Y8 painting:- Through controlled mark making exercises or teaching experimental techniques approach? Motivation behind my research project. Prior to my teaching post at the Perse I had taught Art to sixth form students for a number of years, and as a consequence I found it difficult to recall teaching painting to any lower school groups. The Perse Art Department delivered very little painting within the curriculum. On surveying the overviews for schemes of work I only found painting contained in one scheme of work. There were many references to painting objects after they had been constructed, however this is very different. My primary aim therefore was to extend current provision in lower school and reintroduce the process and media at this level to my teaching. To do this I felt I needed to find out the most successful way of delivering a painting programme. I selected to work with the Y8 year group as the theme of Landscape would work well and I could then assess any adaptations or differentiations required to deliver painting to Y7 or Y9. As part of the starting the research I referred back to literature recommended when first starting teaching. Here Clement referring to pupils states that many will view painting as a means of colouring in drawing- and will have been frustrated by the number of times they have ruined a perfectly good drawing by trying to paint over it (1986, pg 144). It is clear then that drawing and painting need to be considered as separate processes from each other. He also discusses the ease in which pupils will be able to paint from direct observation as compared to the difficulty of converting their own drawing into a painting. (1986, pg 145). The problem arises as pupils around Y7 / Y8 will have relatively good drawing skills established but the lack of formal painting tuition and in my opinion the introduction of colouring in books at an early age means that pupils painting skills are under developed by comparison. Obviously this is a sweeping statement and there will be exceptions to the rule but this is the general case. One way to approach the subject then as suggested by Clement (1986, pg 147) may be to make logical connections between drawing and painting. He recommends guiding pupils through a series of works made for the same source material starting with a line drawing, then a tonal piece, turning the tone into colour pastel then into paint. I have used this method previously and found it to work quite well, however it can result in rigid and predictable results that allow for little creativity, obviously problematic considering creativity is the top strata of the revised Blooms Taxonomy. Another way to approach the problem would be to give the pupils total free rein, allow them to create. What then is the teacher s role? it is important to be aware of the differences between independent learning and students working by themselves but actually not learning much (Hodge, 2010, pg 112). This is particularly true of the Art room. Many pupils may be engaged in doing rather than learning if lessons are not carefully planned. With this in mind I approached Mandy Wilkins to see how she taught the part of her scheme dedicated to painting. Her approach was on this occasion placed between the two opposing positions outlined above. Mandy gave the students hand outs with different ways in which paint can be applied clearly outlined with a view that once Mandy had discussed painting and demonstrated varying techniques the pupils would be then free to use the

2 knowledge gained to create a painting. This seemed to be a good starting point for me as Hodge recommends you should step back and allow students time to develop thinking skills and methods of self- sufficient working and creative problem solving (2010, Pg112). As part of my own on-going personal research I had been reading Why Painting is Like a Pizza (Heller 2002) and became interested in the idea of building up layers in paint. I have observed that this is something very few students consider without prompting at any age, yet it is clearly an approach in many professional and academically produced paintings students observe. I decided to use the approach of Mike Bernard in my teaching. He very clearly builds up layers of both collage and print. I originally questioned what is the best way to teach painting to Y8 pupils and found I now had two approaches to try out. Action research process and measurements The research took place towards the end of the summer term I taught two year eight groups. One group (referred to as group A from now on) were given the hand outs that Mandy had used in her lessons. They were also given demonstrations of the methods of paint application. The second group (referred to as group B from now on) were guided through a series of paint application processes in a particular order. Both groups received the same guidance in paint application and images. However group two had the addition of collage (as block colour) to start with and the order in which they used the paint application techniques was guided, whereas group one selected their own order for the application techniques. I explained to the groups that these activities were part of a mini research project and explained what I was trying to find out. Both groups were issued with questionnaires. The questionnaires were designed to establish their perceived understanding of their abilities in art in general then in painting in particular. A copy of the questionnaire is attached as appendix 1. Results from questionnaires Findings Group A (8N) group with step by step instructions 12 pupils were surveyed 3 pupils agreed that they had been taught how to paint previously. 6 pupils agreed that they had never been taught how to paint. 3 pupils strongly agreed that they had never been taught how to paint. Group B (8R) group with the step by step instructions and layers

3 10 pupils were surveyed. 1 pupil agreed they had been taught how to paint previously 5 pupils disagreed that they had been taught how to paint previously 4 pupils strongly disagreed that they had been taught how to paint previously. Results from painting activities. Group A (8N) Whilst both groups had equal amounts of time on the paintings, this group struggled the most. They were able to select paint techniques and follow the instructions and apply the processes demonstrated quite well. However they failed to consider the support as a whole. They typically would discuss the work in terms of sky. Land and sea. This being so they proceeded to apply paint within the shapes of those areas and discussed their thoughts in terms of sky sea and land rather than shape and colour. As a consequence the surface of the support was treated in sections rather than a whole. Pupil A1 did not consider the back or mid ground round before painting in the very foreground flower shapes. The pupils did not think about the over all piece or indeed the order in which paint needs to be applied but rather which application techniques they would like to use. Pupil A2 The same can be said for pupil two too. I set a homework where I asked the pupils to write a short piece about what they had been hoping to achieve with their paintings. The following is pupil A2 s response I used many techniques in my painting; I used techniques such as glazing, impasto, stippling, dry brush and knife. I found stippling with brown paint gave a good effect as [sic] the debris and

4 seaweed on the beach. Also the dry brush over the clouds with white and grey gave a stormy effect. However, when I used impasto for the blue sky it did not go very well because there was too much of a difference between the heavy impasto and the very light free painting and dry brush for the clouds. I am yet to use the knife but I think that I will use it for the wooden planks on the pontoon. I think the other techniques worked well as well. I also need to use glazing but I know that I will use it for the sea Pupil A3 see image below I used four techniques to experiment with and form a painting. These four were Stippling, Sgraffito, Impasto and Spattering. I chose these as I thought they would provide contrasting effects the thick layering of the impasto carefully complementing the light stippling effect. Also I thought thye would be most fun to experiment with a provide the effects I wanted on my painting. This assumption was evidently made prematurely as the effects didn t quite give the effects I wanted the stippling gave too thick an effect, though that may have been the fault of mine, as I did not know how to fully optimise this effect. Also, the spattering was too uncontrolled, meaning that it didn t only spatter where I wanted it to it covered other parts of the painting as well. And the sgraffito effect did not provide the effect I imagined, as the end result was too blurred, instead of the hard edge I imagined. I started with the impasto as this was the effect that would cover most of the painting. On this, it was, perhaps, a bit rushed as the effect did not fully work. This also needed the longest to dry. Then, I did the sgraffito on some parts with the impasto on. This was to do it whilst the paint was still wet perhaps a vital error. Then I used stippling to provide the rest of the texture to the piece. Finally I used the spattering to compliment it. At the start I was stuck and di not know what to do. I was unsure as to how to administer these techniques because I had never had any real painting lesson. As such, if I were to start again, I would make sure to fully inform myself of how to do the techniques, and perhaps chose different techniques to perhaps fit my painting more

5 Whilst this pupil does not label or separate out parts of the image he still discusses the work in terms of technique and does not consider the whole surface except on one occasion. Group B This group tended to work across the surface of the support and consider all areas as one. They did not tend to break the surface down into sections that they named sky etc but rather like the final pupil discussed form the previous group these pupils considered the painting in a complex abstract form in which the formal elements such as shape, colour and texture were considered and how these related to one another. As they had started with collage across the surface that broke the boundaries of the names shapes ie sky, land and sea they continued to work with this. As I controlled the layers they were adding through the introduction of the techniques in a particular order the pupils were able to build up the surface of the work in a cohesive manner. The pupils were free to use the techniques wherever they felt it would work on the image it was just the order I controlled. Whilst both groups had the same amount of lessons group B progressed much further and with greater success in terms of outcome. Pupil B1 So far I think that this method of painting has really helped me because usually I struggle at the start with making shapes. Laying out the background really helped see image below

6 Pupil B2 I am pleased with my painting so far- different techniques? I normally paint without a background. See image below Conclusion Whilst both groups gained a greater understanding of techniques and gained subject specific vocabulary I feel that I would repeat the way I taught group B. giving them the background layer that

7 breaks through the drawn shapes really helped them to consider the surface as a whole rather than breaking it up into colouring in book style shapes. This then fed in to the succeeding layers. The painting project was unfortunately cut short due to other commitments but it still did bring out some interesting things to consider and in some ways an answer if not a conclusive one to the question I set out with. Bibliography Clement, R The Art Teachers Handbook. Hutchinson Education, London. Heller, N. 2002, WHY A PAINTING IS LIKE A PIZZA. A Guide to Understanding and Enjoying Modern Art. Princeton University Press, Woodstock Hodge, S. 2010, The Art & Design Teacher s Handbook. Bloomsbury education, London.

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