Lesson Plan: Oil Painting Techniques Grades: MS & HS Art

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1 Lesson Plan: Oil Painting Techniques Grades: MS & HS Art Supplies: Oil Paints Oil Brushes Canvas Panels or Framed (for project) Canvas Paper for worksheet Gesso Odorless Turpenoid Linseed oil Palette Knife Jars for mediums & solvents (glass jar or tin can) Paint Medium Comparison Handout Basic Oil Painting Techniques Worksheet Advance Oil Painting Techniques Worksheet Labels for jars Lesson One: Introduction to Oil Paints Lesson Two: Exploring Different Methods of Applying Paint (Part One) Lesson Three: Exploring Different Methods of Applying Paint (Part Two) Objectives: Students will understand the difference between water based & oil based mediums. Identify & experience oil painting supplies. Learn & experience various oil painting techniques. Students will learn about the medium of oil paints, care of supplies, & how to paint with them. Students will learn how to set up their painting area. Explore different methods of applying paint. They will learn various techniques & procedures for getting started, painting with oil paints, and cleaning up procedures. Preparation: Pre-mix the medium (1:1 ratio of Linseed Oil & Odorless Turpenoid) & pour in small glass jars (baby food or small canning jars work great). Copy Paint Medium Comparison Handout one per student (Optional) or display with document projector. Copy Basic Oil Painting Techniques Worksheet onto cardstock or paper canvas one per student Copy Advance Oil Painting Techniques Worksheet onto cardstock or paper canvas one per student

2 Lesson One: Introduction to Oil Paints Delivery: Class One (45 minutes) 1. Oil Paint: a. Observe and experience the differences between water-based and oil-based paints. (See Paint Medium Comparison Handout) i. What are differences in Watercolors, Acrylics and Oil Paints? 1. Watercolor: Water-based paint that can be reconstituted when water is reintroduced to the paint. This is not considered a permanent paint. Watercolors have a fast drying time and absorb into the paper. Water is used to thin the paint. 2. Acrylic: Water-based polymer (plastic) paint that can NOT be reconstituted when water is reintroduced to the paint after it has dried. This is considered a permanent paint when it is dry. Acrylics have a fast drying time and sit on top of the gessoed canvas or paper. Acrylics are thinned with water or gel medium. 3. Oil: Oil-based paint that can NOT be reconstituted when a solvent is reintroduced to the paint after it has dried. This is considered a permanent paint when it is dry. Oils have a slow drying time by themselves, but special mediums can be added to increase drying time. Oil paints sit on top of the gessoed canvas. Paper is not an advisable surface for oils to be painted on. Oil paints are thinned with paint thinner, linseed oil, Liquin, or another oil paint medium. ii. Observing the Differences: Show physical pieces of art painted with all three: watercolor, acrylic, and oil paints. Set the artwork up side by side. Have students discuss observations that they notice about the different paintings. Optional: Break into groups and record observations then share as a class. Prompts: 1. Is the paint thick or thin? 2. Is the paint transparent or opaque? 3. Are there layers of paint? 4. Do the paint look heavy or light in weight? 5. Can you see the paint texture? (this answer has to do with how the artist applied the paint) 6. Is the paint shiny or does it have a matte finish? iii. Optional Experience-Feeling the Difference: 1. Put a small daub of acrylic paint in some student s fingers, have the smoosh it between their fingers- discuss observations about the paint. Wash off with water. 2. Put a small daub of oil paint in each students fingers, have the smoosh it between their fingers- tell observations/differences between the 2 types of paints. Try to washi it off with water-what happens? Demonstrate how you have to clean up from oils and discuss the difference between the oil versus water-based paints. 3. Discuss the colors we will be using: Lemon Yellow, Cadmium Yellow, Yellow Ochre, Cadmium Red, Alizarin Crimson, Ultra Marine Blue, Prussian Blue, Viridian Hue, Sap Green, Burnt Umber, Lamp Black, & Titanium White. 4. Optional: Color Mixing Chart Lesson

3 b. Prepare Paint Palette: Laying out the colors on the palette i. The Palette: there are many options for the palette itself. 1. Glass (with tape around the edges): allows for a smooth mixing surface, but clean up requires using a utility blade to scrape off the paint. This may not be something you want to do with school age children. 2. Plastic tray with wax paper: This is the method I use with my class. I purchased Creativitray Fingerpaint Trays and we cut a sheet of wax paper to line the bottom & sides. We also put five dabs of medium on the tray before placing the wax paper on top. This helps the wax paper to not move as you work on the palette. Cover with foil to store it. ii. Set up your palette like the color wheel adding white, black and brown. Place paint on the outside perimeter of the palette & leave space in between paints and in the center for mixing. *If you need more mixing surface, get a small sheet of wax paper to work on (this paint cannot be saved so don t mix large quantities on this spare sheet). iii. From left to right: Lemon Yellow, Cadmium Yellow, Yellow Ochre, Cadmium Red, Alizarin Crimson, Ultra Marine Blue, Prussian Blue, Viridian Hue, Sap Green, Burnt Umber, Lamp Black, & Titanium White.

4 2. Brushes: Knowledge of brushes and the types of strokes they can create is very important. Brush strokes can define volume, edges or plains, create texture, and redefine the shape of an object. a. Bristle versus Sable Brushes: i. Bristle brushes are made of hog bristles. They are course and stiff and will usually leave visible brush strokes in the paint surface. They are good for sketching basic shapes, blocking in masses, and general blending. ii. Sable Brushes are made from weasel, horse, etc. The bristles are very soft and won t leave obvious brush strokes. They are good for detail work, smoothing, and painting fine lines. b. Types of Brushes: i. Flat: the ferrule is flat Flat ii. Round: the ferrule is round iii. Bright: the ferrule is square but short & stubby iv. Filbert: the ferrule is shaped like an oval at the top c. Brush Sizes: The number on the brush refers to the size of the brush. The lower the number the smaller the brush size. The larger Round the number, the larger the brush size. d. How to hold brushes: i. Classic: like holding a pencil ii. Overhand: like how you would hold a screwdriver e. Palette Knife: Palette knives can also be used to apply paint to the canvas. Palette knives are excellent for producing a range of textural effects. i. Load the palette knife by placing the knife on its side in a thin layer of paint and pulling it along the palette to pick up a roll of paint. ii. Palette Knife Techniques 1. Use the long side of the blade to spread paint across your canvas as you would spread butter on a slice of bread. 2. Create a textured effect by pressing the blade with paint and gliding it onto the surface. Even pressure will create a smooth texture on the surface of the paint. Slightly lifting and rocking the knife back and forth, it will create a rough and broken texture called Scumbling. 3. To produce small dots or a Stippling effect, apply paint using only the tip of the blade. 4. To create thin lines, press the thin edge of the knife down and drag the side of the knife keeping it upright. 5. Sgraffito: Apply a thin layer of paint (let dry) and apply a second coat of a different color on top. Use the knife to scrape back into the paint to reveal underlying layers of paint. f. Cleaning Brushes: i. 1 st Use odorless Turpenoid Natural to remove the majority of the paint. Swirl brushes in the container until it is mostly clean. ii. 2 nd Use soap & water to remove all remaining paint from brushes or knives. iii. 3 rd Place brushes and knives upright or laying down flat to dry.

5 3. Mediums: Medium in art can have two different meanings: first, the tool used to create art with-painting, sculpture, print, etc. or second, in oil painting, the term medium refers to the substance used to thin the paint (a solvent). This is the way we will use this term. Oil paints can be thinned with linseed oil, turpentine (odorless Turpenoid), or mineral spirits. a. For our medium, we will use a mixture of half Linseed oil & half odorless Turpenoid b. When to use the mediums? i. To help the paint have a smoother flow (thinner). ii. To clean the brushes (only Turpeniod or mineral spirits). iii. Linseed oil or Liquin added to the paint thins it as well and is used for glazing (layering transparent layers of paint over existing paint). This technique has been used for hundreds of years. 4. Canvas & Gesso: Canvas panel is the type of surface we will be painting on. It is coated with a special primer called gesso. a. Types of surfaces: canvas panels, framed/stretched canvas, and paper coated with gesso or canvas b. Gesso: The gesso is applied to protect the canvas & provide a nonabsorbent surface to paint on. Brush on at least two coats of gesso, letting it dry in between applications and sanding the surface with sandpaper to get rid of any large stroke textures. a. Toned Canvas: Imprimatura is the Flemish technique of applying the first layer of thin paint also called toning the canvas. Toning the canvas seals the canvas and creates the first layer of thin paint over thicker paint. i. Combine a mixture of medium and solvent with some oil paint (usually a neutral color like brown-burnt sienna is my favorite color to tone canvas with). Make sure is it is nice and thin before applying it to the canvas. Use a large bristle brush to apply the paint all over the canvas. Wipe away the excess with a clean rag or paper towel. 5. Set up Your Painting Area a. Place newsprint on top of the table to protect it. This is advisable even when working on an easel. b. Place canvas propped up on easel in the middle of the newsprint. c. Place palette to the right hand side of the canvas, left handed students should place it on the left hand side. d. Put labels on mediums (Medium & Cleaner) in small glass or tin jars. Place jars above of the palette. Place 3-4 folded paper towels under the jars. e. Keep a small coffee can for brushes still being used-keep bristles upright. f. Put newspaper/newsprint under your canvas to protect the table. g. Get a small container (glass jar or tin can) with odorless Turpeniod to clean brushes. Oil Paint is permanent-it will dry & harden on any surface & ruin paintbrushes/clothes.

6 6. Storing Artwork: Ideally canvas panels should be stored in a vertical position preferably with limited air flow (so dust does not attach to the wet oil paint). This can be hard for an art room because there is usually so many different projects going on, so storing the wet paintings can be a little tricky. Here are a couple ideas for storage: a. Pizza Boxes taped together vertically. See the tutorial of how to create a Pizza Box Drying Rack here: This example shows the pizza boxes horizontally positioned, but you could easily turn the boxes to a vertical position. b. Metal Shelf with Peg Board Dividers Activity Class One: Toning Canvas & Cleaning Brushes Instructions: 1. Combine a mixture of solvent with some oil paint (usually a neutral color like brown-burnt sienna or burnt umber are my favorite colors to tone canvas with). 2. Make sure is it is nice and thin before applying it to the canvas. 3. Use a large bristle brush to apply the paint all over the canvas. 4. Wipe away the excess with a clean rag or paper towel. 5. Place somewhere to dry overnight. 6. Some artists will begin sketching in the composition into the wet paint and this is fine too.

7 Lesson Two: Exploring Different Methods of Applying Paint (Part One) Basic Oil Painting Techniques Worksheet Delivery: (Teacher Guided Demonstration & Activity) 1. Loading the Brush a. Season the Brush: To begin, dip the brush in the medium first, wipe it off on a paper towel. This seasons or conditions the brush, it helps protect the bristles and makes it easier to clean. b. Load the brush by dipping it into the edge of the daub of paint, then pulling and lift it toward the middle of the palette. c. DO NOT dip it into the middle of the daub of paint, always pull paint from the side. d. Gently rub it from side to side to get more paint on the brush. 2. Mastering the Basic Brush Strokes a. Edge of Brush i. Thin Tip of Brush (For Flat brushes): Use thin side of flat brush to create a series of thin lines. ii. Wide Edge of Brush (For Flat brushes): Use wide side of flat brush to create a series of wide lines. Turn the brush slightly to vary the width of the line. b. Flat Stroke The goal is to create a wash of solid color. Pick up a wide flat bristle brush, load brush with paint. Use the side of the brush to cover the box with a solid, smooth layer of paint. Blend the edges by overlapping your strokes to create a seamless block of color. Optional: Clean off brush. Add 2 stripes of a different color on top. c. Flip-Flop X Stroke Load paint on brush with a light color on one side and the other side with a darker color. Using a flip-flop motion, paint a short and diagonal strokes making an X pattern. The strokes will sometimes blend together. If you don t want them to blend too much, then make sure to reload the brush often with the two colors. d. Dry Brush Apply a small amount of paint on the tip of the brush, swipe brush on a paper towel so there is very little paint on it. Rub it on top of another color gently to add shading or texture. Try with a dark background with light colored paint dry brushed on top and try with light background with dark colored paint dry brushed on top. *This brush technique works best if the bottom layer of paint is dry. e. Wrist Flick Pivoting from your wrist push the brush tip up and lifting away in a "flicking" motion in a fast movement. f. Calligraphic Line Thick n Thin (Thin With Medium) Switch brushes to a thin round brush- dip brush in medium, blend it together with a little paint so the paint is a thinner consistency. Load the brush with the diluted paint and shape the brush it a point. strokes varies from thick to thin by the amount of pressure applied to the brush- use round brush or use a flat brush and twist it from side to side. This is also called calligraphic line. *Works best with diluted paint. Hold the brush at a right angle. Using only the tip of the brush, make one continuous line. Experiment with different kinds of lines (curving, short, lone, calligraphic-thick to thin, start off thick & go thin-like a blade of grass).

8 g. Hard Edge: Create a sharp edge or rigid feeling in your object with sharp, unblended edges brush strokes. Apply one color directly next to another without overlapping or blending the strokes. Hard edges are typically reserved for objects that are closer to the foreground. h. Soft Edge: Create a soft feeling in your object with blurred and slightly blended brush strokes. Apply one color directly next to another, but slightly overlap or blend the strokes. This creates a fuzzy edge. Soft edges are typically reserved for objects that are further way in the background or where the light is dim and dark. 3. Creating Blended Transitions of Color Gradation: Gradation of blending two or more colors together with smooth transitions between the colors. Practice painting the gradation of blending two colors transitioning into each other. Start with applying a couple of strokes your first color in the box. Mix a little bit of your second color and apply a couple of strokes partially overlapping the edge of the first couple of strokes. Continue to mix more of your second color in and apply the paint. One color slowly takes on more of the second color until it is only the second color remaining. Make sure to create smooth transitions between colors. 4. Value a. Tint: A tint is a lighter value of a color. The most common way to lighten is by mixing it with white, but you can use a lighter color to lighten the first color (keep in mind that this changes the color). Choose a color and mix it with white. b. Shade: A shade is a darker value of a color. The common method is to add black to darken, but that is not best for all colors. Warm colors, especially yellow and orange, will turn an olive greenish-brown color. I usually darken yellow and orange with a darker color close to them on the color wheel or with a burnt sienna. You can also darken a color with its complementary color (keep in mind that this will dull the color). c. Value Scale: Create a block value scale by mixing two values of tints and two values of shades of one color. Pure color goes in the middle. When finished the blocks should show a progression of values from light to dark. d. Graded Value Scale: Practice painting the gradation of the tints and shades of one color blending together smoothly. Try a different color in each box 5. Create 3D Form: Practice painting the illusion of form by painting each of the different forms using tints and shades of a color. Incorporate the 5 Elements of Shading into each form. Make each form a different color.

9 Lesson Three: Exploring Different Methods of Applying Paint (Part Two) Advanced Oil Painting Techniques Worksheet Delivery: (Teacher Guided Demonstration & Activity) 1. Stipple or Pounce This is a good for adding texture. Fan out the bristles of the brush so they are separated. Gently dab brush in a thin amount of paint. Softly plunge the brush head down onto the paper and make a pouncing motion. Reload paint as necessary. Try layering different color values on top of your first strokes this will give more dimension. 2. Scumbling (Palette Knife & Paint brush) Apply a thin layer of paint. Over the top of that layer, choose a second color to lightly drag a brush or palette knife with just a little paint on its side so it skims across the top of the first layer of paint only partially touching the surface. **Rock it side to side to create a rough and uneven texture. This creates a broken texture covering of the new color over the top. Painting over wet paint will result in the colors slightly blending together. Dry over dry will keep the colors separate. Try light paint on top of dark and dark paint on top of light. 3. Sgraffito (Palette Knife) Sgraffito in Italian means scratched in. It refers to the process of scratching through one layer of paint to expose the layer underneath. Paint a thin layer of paint in the box with a brush, let dry completely. Then either paint on or use a palette knife to apply a thick layer of paint over the first layer of paint. **While the paint is still wet, use either the opposite side of the brush or a palette knife to scratch into the paint exposing the first layer. Try with a dark background with light colored painted on top and try with light background with dark colored painted on top. 4. Impasto: (Palette Knife) Impasto is a thick application of paint. Vincent van Gogh used the impasto technique. Put a lot of paint on a smaller round bristle brush, paint in thick, short strokes. The paint should stand up in ridges. 5. Glazing When showing the transparency of an object in the painting, apply opaque colors over the top of transparent colors. Oil painting allows the artist to completely paint over and completely cover other paint layers as long as they are dry. If you plan on using multiple layers, start out with thinner layers of paint in lighter colors. Slowly make your way toward thicker layers and darker colors. 6. Splatter Use a stiff brush to splatter paint. Denture brushes work great! a. Splatter Paint Thinner into WET THIN Paint: First apply a layer of paint that has been thinned down with b. Splatter Thin Paint on top of an existing layer of paint 7. Printing or Stamping Choose four items with interesting textures to stamp or print into each of the four boxes. Apply come paint onto the surface of the item and press in into the box. On the line below each box, write the name of the item you used.

10 Methods of Painting There are two main methods of oil painting: Alla Prima and Layering using the Fat Over Lean technique. 1. Alla Prima: is an Italian term which means at first or at once. It is also known as direct painting or wet on wet oil painting. An Alla Prima painting is started and finished in one painting session. Little to no medium is used in this method. The objective is to complete a painting while the paint is still wet usually in one day. 2. Layering - Fat over Lean: This method involves applying the paint in several layers. The process begins with painting with lean or thin layers of paint first (paint mixed with thinner or medium), then painting with thicker layers on top (paint only or paint mixed with linseed oil). This means that each additional layer of paint should contain more oil than the layer below to allow proper drying. If each additional layer contains less oil, the final painting will crack and peel. a. Tone Canvas Lean Layer 1 : the thinnest layer of paint mixed with lots of paint thinner. b. Sketch composition with thinned paint (mixed with medium or thinner) Lean Layer 2 : c. Underpainting Lean Layer 3 : i. Blocking color & major values: Working from dark to light values, block in color with diluted paint (paint mixed with medium). Use shading as you paint. This allows you to define the edges of the object and begin to give it form before using the thicker paint. d. Fat Layer or final thick layers of paint. Little to no medium is added to the paint or paint mixed with Linseed Oil is acceptable (especially for the glazing technique). This is the layer of painting with full color and value. Object s shapes are refined and given full form. Edges are made hard or soft and highlights are added last. Paining Extras: Chiaroscuro Chiaroscuro is one of the oldest oil painting techniques for expressing the volume of an object. Leonardo da Vinci pioneered this technique during the Italian Renaissance in the late 15th century. It focuses how light falls across the surface of the object through light and dark contrasting. Chiaroscuro is an Italian term that translates to mean light and dark. chiaro, light, scuro, dark. Chiaroscuro specifically refers to a gradual transition of values used to achieve the illusion of how light and shadow interact on 3D forms (real objects.) Color Intensity Knowing how to intentionally use bright and dull colors could equate to the success or failure of a painting. Bright colors should be reserved for the foreground, highlights, and used very sparingly. Dull colors should be used to help create form, shadow and depth. The dullest colors should be reserved for backgrounds and shadow areas.

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12 Basic Oil Painting Techniques Worksheet Basic Types of Brush Strokes Name Date Class Thin Tip of Brush Wide Edge of Brush Flat Stroke (Wash of Solid Color) Flip Flop X Stroke Dry Brush (Light over Dark) Dry Brush (Dark over Light) Wrist Flick Stroke Calligraphic Line (Medium Added) Blending 2 Colors-Gradation Blending so there is a smooth transition of values/color. Practice 2 times Hard Edge Soft Edge Value Mix a Tint Mix a Shade Value Scale change the value in each box to progressively get darker Lightest Value Pure Color Darkest Value Gradated Value Scale Create a blended value scale showing a smooth transition of values. Practice 2 times Lightest Pure Color Darkest Lightest Pure Color Darkest

13 Create 3D Form Paint each form so that it looks 3- dimensional. Light source is coming from the upper left. Use the 5 elements of shading and show a full range of values from black to white. Try painting some forms with smooth blended strokes and others with the flip-flop stroke showing more texture.

14 Advanced Oil Painting Techniques Worksheet Name Date Class Advanced Brush Strokes Stipple (Pounce) Stipple (Pounce) Scumbling Scumbling Light over Dark Dark over Light Light over Dark Dark over Light Sgraffito Sgraffito Impasto Light over Dark Dark over Light Glazing Splatter (Paint Thinner into WET Thin Paint) Splatter (Thin Paint onto a layer of paint) Printing or Stamping: Use various objects to apply paint to the surface then press (stamp) onto the paper surface. Write the name of the object used below the box. (Examples: Bubble Wrap, Corrugated cardboard, a flower, etc.)

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