Painting

Scheme 2015

Scheme:

Observational drawing and painting of the

working farm surrounding the school, using
pencil, pastels, acrylic paint, focusing on the
sheds and infrastructure in relation to the
landscape. Complete A4 painting on board.

No. Of Lessons:

Group:

8 Doubles & 16
single
Total Time:
600 mins or 10
hours

Second year

No. Of Pupils:
20 students

Aims

To help students to
1. To look at the farm buildings and rural environment in different ways by describing,
investigating and conveying the qualities of the subject matter, (environment)
through recording information in preliminary drawings and notation to inform their
landscape painting.
2. To develop students awareness of the significance of comprehensive research and
the importance of careful selection of appropriate use and application of colour and
painting techniques in conveying the space, depth and atmosphere,
3. Paint management using a knife man
4. Glazes with acrylic and brushes, fan transfer dictionaries to explore the effect of
colour when mixed in a completely different way,
5. Complete an A4 painting on board using one or all of the techniques learned during
the scheme.
6. Explore the critical and contextual significance of the history and appreciation of
landscape art through group discussion, Constable, historical Bruegel first
agriculture , Paul Henry nationalism brush marks, John Shinners and Donald Teskey.
7. Vocab pre-teach vocab like in CELTA.
Historical, context, questions

Overall Learning Outcomes for the Scheme

On completion pupils should be able to:

1. Investigate the subject matter in context through observational drawing- describing
and investigating the qualities of the subject matter in a rural farmland setting.
2. Develop an understanding of the process of thorough visual research and
experimentation of materials and how this informs their final painting.
3. Make a landscape painting, which conveys the space and mood of the subject matter
using a variety of techniques, colour mixing and application.
4. Be aware of the critical and contextual significance of the history and appreciation of
landscape art

Investigating
Subject matter- working farm at school.
Its a warm sunny spring day, the lowering sun casts long lazy shadows across the
landscape and we are at the farm.
Long vista of sweeping fields surrounded and enclosed by wild hedges and different trees,
the only sounds heard are the birds, sheep bleating, cows lowing, people walking and
talking, dogs barking, and the odd car horn. All this is washed over by the sound of the
gentle breeze rustling through the trees.
Sitting on the warm dry grass, the sun is strong, or it is raining, causing us to squint, and the
farmland transforms in front of our eyes. Looking around through our squinting eyes it
becomes a series of angular and organic shapes, with different tones and textures.
These shapes are the farm buildings, trees and bushes as they merge in to the shadows they
cast. The shadows are patterns, created by long solid trunks, intertwining branches and
dappled shadows as the sun filters through the foliage. The dark blocks of clipped formal
hedge, that surround the pale blue/green metal park benches, look like cubes, topped by a
bright pale green horizontal strip, the sun catching the top edge of the of the leaves.
The colour of the grass changes gradually from a bright almost bleached green to fresh
grassy green to a deep forest green. Trunks of the trees caught in the sunlight contrast
dramatically against the deep green background of the bushes and surrounding fence.
The large angular cattle sheds with counter levered roofs contrast the sweep of the land and
fields. The curved almost translucent roof of the sheep tunnel casting a cool light on the
sheep pens and their occupants.
The shapes and shadows follow the contour of whatever they fall across and create edges,
dark butting on to mid gray and brushing with white.

The farmyard at Pails Kenry Agricultural College and Secondary School.




The farmyard at Pails Kenry Agricultural College and Secondary School.

History and Critical Studies (include illustrations):

John Constable 1776 1837

John Constable (11 June 1776 - 31 March 1837) was an
English Romantic painter. Born in Suffolk, he is known
principally for his landscape paintings of Dedham Vale, the
area surrounding his home - now known as "Constable
Country"- which he invested with an intensity of affection.
"I should paint my own places best", he wrote to his friend
John Fisher in 1821, "painting is but another word for
feeling". His most famous paintings include Dedham Vale
of 1802 and The Hay Wain of 1821. Although his paintings are now among the most popular
and valuable in British art, he was never financially successful and did not become a
member of the establishment until he was elected to the Royal Academy at the age of 52. He
sold more paintings in France than in his native England. Contrast
http://www.john-constable.org/ 10/1/15

Pieter Bruegel (also Brueghel) the Elder, 1525 1569) was

a Dutch Renaissance painter and printmaker known for his
landscapes and peasant scenes (so called genre painting).
He is sometimes referred to as the "Peasant Bruegel". A
number of Bruegel's paintings focus on the lives of Flemish
commoners. Pieter Bruegel the Elder, 1525 1569

Paul Henry 1876-1958 Donald Teskey 1956 John Shinnors 1950

Studio work Oil pastels on board Studio work Oil on board

Teaching/Learning Strategies:

Demonstrations and experimentation. Use physical examples. Visual and written record by
the students about their work, instruction on how to use equipment and clean. Handouts.
Whole class instruction, 1:1, group work. Colour dictionaries. Time to paint.

Use of Digital Media:

Cameras to record the project inside and outside the classroom. Overhead projector will be
used to show slides. Create instructional films.

Differentiation:

Establish a routine and clear simple rules, seat SEN students to have clear view of board
and demonstration.
Break tasks into small clearly structured steps and allow adequate time for completion.
Give one instruction at a time. Keep verbal instructions brief and simple. Task analysis of
each aspect of the painting process, paint management, colour theory and drawing:
presented in slide and printed form. Examples of work in progress created in the studio in
tandem with the development of the scheme.

Glazes with acrylic and brushes, fan transfer dictionaries to explore the effect of colour
when mixed in a completely different way by creating layers.

Create a Buddy system, in pairs or groups depending on the tasks and location.
The SEN case study, I notices behaviour by an non-statemented student behaviours identified
as ODD (Oppositional Defiance Disorder). I do not know if this student has ODD or was affected
by a changing home situation but the learning and teaching strategies recommended to
support students with ODD really helped and this student made great progress, engaged more
with me and the other students.

Literacy:

Students will improve their literacy and descriptive language through articulating their
experiences in written and spoken form and analysising and presenting their work.
Keep records of their painting process and experiences. Notate drawings.

How to sheets: Images and text hung in appropriate areas, cleaning areas, inkie and non
inkie areas for all students to see.

Pictures of the paints used, image of medium, knife, palett, news print cut to same size as
the palett to make prints. Paint on the palett with brush and a tiny bit of water, then take
palett print. Two paint dispencery areas, students pick up paletts, descide on the colours.
Take small amounts allways use a clean knife.

Numeracy:

Measuring and mixing, perspective, distances, forms, inside and outside the classroom.
Recording the proportions of different primary colours used in the creation of a new colour.
Using viewfinders to frame different views and perspectives from different perspectives.

Materials/Resources/Facilitates:

COATS, T-shirts or apron, girls wear sports clothes. A2 drawing boards for
drawing/painting on, acrylic paint, acrylic medium, painting knifes, palettes, pastels.
Seating bags, View finders

Safety Precautions:

Guided tour, supervision and introduction to farm safety, operations and suitable behaviour
around animals by a Lecturer from the on-site third Level Agriculture College, Caroline.

Timeline/Sequence of Lessons:

25/2
4/3
11/3
18/3
25/3
15/4
22/4
29/4

Double class Wednesday

Introduction
Outside drawing

Outside painting


Outside painting

26/2
5/3
12/3
19/3
26/3
16/4
23/4
30/4

Single Class Thurs

Outside drawing

27/2
6/3
13/3
20/3
27/3
17/4
24/3
1/5

Single Class Friday

Review of work


Done Paint.