Splatter Painting with stencils for kids

Splatter Painting with stencils:

LEVEL: Pre-School & Early Primary School.

Messy but a lot of creative fun.
Splatter Painting with stencils school paints
Think of a theme to follow like space and rockets

You will need:
: Think of a theme to follow like space and rockets. Have children cut basic shapes from light card.  Like circles, stars, moons and rockets.
: Tempera Poster paint in bold colours.
: An old tooth brush
: Sheets of paper.
: Apron and sheets of newspapers – plus paper towels – for clean-up.


Let’s get started:
Cover the floor area with newspapers and wear aprons. Making sure you are well away from walls and curtains.  On a nice day you could even paint outside.

Put your sheet of paper to paint on in the middle. 

Arrange your cut out shapes on the paper.

Splatter the paint with the tooth brush. Try more than one colour.

Lift the shapes off the paper very carefully.

Allow to dry.

TIPS:  
If you want edges to be darker.  Just splatter extra paint with the toothbrush very up  close to the edge, keep doing it until you get the colour you want.

Experiment and have fun.

Be careful where you paint.  Watch walls and curtains. Make sure children are supervised.

Share and enjoy
Tony Parker
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Paint Imprint Stamping lesson with school paints

Paint Imprint Stamping lesson with school paints:

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LEVEL: Pre-School & Early Primary School.
This is so much fun, it really gets kids thinking outside the square and using their imagination. In fact sometimes it’s more fun looking for, and collecting objects to paint with than the paint imprint stamping itself. 
Painting Imprint Stamping lesson
Try using old toys
Paint imprint stamping is using any object and paint to make interesting imprints.
Old toys are brilliant for this.  Tyre tracks from old toy trucks and cars and feet of dolls.  But you can also use sponges, corks and other interesting found objects to make a paint imprint stamping masterpiece. 

You might need to wash some of the objects before you use them.

You will need:
: Look for objects to stamp and imprint with (see above).
: A good thick Tempera Poster paint in bold colours.
: Sheets of paper.
: Shallow paint trays + paint brushes
: Water and a dishcloth to clean objects between colours.
: Apron and sheets of newspapers – plus paper towels – for clean-up.

School painting stamping with tempera paint
Try to use nice bright colours
Let’s get started:

Prepare a flat surface work area with a newspaper and put on the aprons. 

Pour the Tempera Paint into the low shallow paint trays.
Let the children dip the objects into the paint or use a paint brush for more detailed items.    

Press, roll or walk the objects against the paper.
You will need to use a paper towel or wash the object between colours.

You can also try folding the paper in half and press the paint onto the other side to get the mirror effect.
For the best result try combining a number of shapes and colours into other recognizable shapes, like a house or a tree.

Allow to dry

TIPS:  
It is a good idea to have a test sheet of paper to try out the imprints before the children do.  So items like wheels have a good even coverage.

Thicker paint is better. 

You can use anything to stamp and imprint with.  Experiment and have fun.

Don’t pour the used paint back into the bottles. Keep used paint separate.

Share and enjoy
Tony Parker

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Artist Painting Lesson Things to guard against


artist lesson

THE MECHANICAL CENTRE

That is to say, the actual centre.  Draw a straight line from diagonal corners, and where they cross is the place to stay away from with any major element of your composition.  Ornaments of equal size placed equally spaced along a shelf may look very nice in a home but that thinking has no place in a work of art.  I often plot the centre and mark it when I first start to map out my composition, so I know where to avoid. 

LINES ACROSS THE COMPOSITION 

These divide the composition up and form visual barriers to the viewers eye, so that sub-consciously they are not encouraged to “walk” into the composition.
Horizontal lines are unavoidable but don’t allow them to span right across your work.

DETAIL TOO CLOSE TO THE EDGE

So often it seems like detail is squashed by the edge of the canvas.  Remember a frame is going on after you have finished.  So don’t make it look crowded by the frame.  Keep it simple.

Happy Painting
Ron Gribble
www.FASpaints.com

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Scraper Paint Basic Lesson


LEVEL: Pre-School & Early Primary School.

This is a quick way to make fun and colourful artworks.  Children love spreading the colours around the page and making designs and shapes. 

You will need:
: A scraper set (see photo). Old credit cards are also ideal.
The scraper sets are normally made of plastic and in a set of 4 different shapes.  They will need to be cleaned between colours.

scraper sets of 4 plastic
A scraper set

: A good thick Tempera Poster paint in bold colours.
: Sheets of paper.
: Water and a dishcloth to clean between colours.
: Apron and sheets of newspapers – plus paper towels – for clean-up.

Let’s get started:
Prepare a flat surface work area with a newspaper and put on the aprons. 

There are two main ways to do Scraper Painting.
One way is to put a blob of paint on a page and move it around in one solid sweeping move with a scraper. All the time trying not to lift the scraper off the page until you have run out of paint to spread. Then do another colour and then another. 

The other way is to paint a picture, like a solid blue sky and then a solid block of green for grass.  Then move your scraper from one side of the page to the other.  You can move in zigzag’s or in a up and down flowing movement.
Scraper Painting school paints

For the best results try to have one solid movement without lifting off the page.  

Using too many colours will start to get messy.

Allow to dry

TIPS:  
-   Thicker paint is better
-  You can use anything with a straight edge to scrape with.  Experiment and have fun.

Share and enjoy
Tony Parker

www.schoolpaints.com
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Adding scale in Painting

Adding scale in Painting:
Ron Gribble

I often look at a work of art and I am left uneasy, because, I have nothing to compare with, in the composition, that will tell me how big, or small that feature is. Like a photo I once saw of a prematurely born child in an adult’s hands, so we could all compare the known quantity, the finger, with the unknown and conclude accurately how small the hand was.


Adding Scale to a Painting

So in your work, if you are depicting objects that vary in size – i.e., mountains, rocks, trees, houses, rivers, valley, beaches, the list goes on and on.

Add a point of reference that varies very little, like people, (our subconscious tends to average these out, but even the extremes that exist taken into account, helps to narrow down the true relative size of objects around them).

What about fences, sheep or animals generally? A heard of cows will turn a backyard into a paddock. I could extend the list but I think you are getting the idea.

A word of warning. Make sure you get the sizes right! I have seen a horse that if correct compared to the fence would be a toy. I have seen a big snow-capped mountain that, compared to the visual eyes, shouldn’t have snow on it, because it would be only a hill.

By contrasting one against the other you can get a very dramatic statement.

We have finished with the subject of contrasting for now, so we will move on in the next tip to the next subject on my list. Overlapping.

I don’t want to spend a lot of time on these, as I have already spent a lot of time on general composition.

So leave comments, questions and answers. If you have found a practice that has helped you, it may help others and me also.


Happy Painting
Ron.

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Face Painting Tips on using brushes and sponges


It is hard to make mistakes in face painting. It’s all about having fun!

You will need a jar of water, clean sponge or brush and paper towels.

For more complex designs try doing sketch first or make a stencil out of plastic or card. Try to paint thinly as the skin is a flexible surface, thick and heavy coatings may crack. Place an old towel or paper towels around the shoulders. Have your model relax their face - no squinting. HAVE FUN!

Using Face Paint Colours:
If you do not have all the colours you need, try mixing the colours together to make a new colour. Mix on the back of your hand or in a saucer. See the mix and match colour guide below.
face paint color mixing guide


Painting Details: Narrow thin brush
school paints painting faces
Paint your details with a thinner brush. Make sure you wash your brush between colours or have a brush for each colour. Paint carefully around eyes and never go too close with your brush. Try cotton buds/swabs for easy control.


Using Sponges: for backgrounds.
Sponges or cotton wool is used to apply a smooth base colour over the face.
Face Paint with a sponge

Sponges need to be just damp with water and not drippy.

Have your model relax and close their eyes. Dip the damp sponge into a little amount of face paint and using a either a brushing sweeping action or dabbing, apply to the face.

Try starting from the top of the forehead and sweep with one long stroke to the point of the chin. If you want a duotone (two colour), always apply the lightest colour first. The second colour can be blended in by lightly dabbing along the adjoining edge. Wash sponges between colours or have a sponge for each colour.

Using Brushes:
Face Paint is ideally suited for synthetic or sable brushes. Try to paint thinly as this will avoid any cracking and allow the face painting to last much longer. Use a fine thin brush for fine lines. Try to keep your lines continuous with confident brushing rather than broken and sketchy.

Share and enjoy
Tony Parker
www.schoolpaints.com
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Face Painting Basic Tools

Face Painting Basic Tools with school paints:

There are two main types of face paint, the compound makeup in a pallet form and the standard everyday liquid paint (see our post on facepaint for more info).  We are focusing on the standard liquid paint here.
Face Painting Basic Tools
Face Painting Basic Tools
Paint
You can apply the Face Paint with fingers, sponge or a brush directly from the jar.

Try to always have plenty of water, brushes, sponges, clean towels, tissues or wipes, mixing pots or palette, a mirror, book of face painting designs that they paint.
Brushes:

You will need a selection of different size brushes, some for painting and others for effects. Sable hairbrushes are best but nylon brushes will work perfectly well. Some people prefer flat and others round brushes, but the important thing is to a good selection of sizes. If you can, try to have one brush for each colour you are painting or thoroughly wash out the brush between colours.
Sponges:

Buy make-up sponges made from soft foam. You can cut larger sponges into smaller wedge shapes. Sponges are ideal for applying your base coat or large areas of one colour. Again, it is best to have one sponge per colour, as things get messy very quickly.
Spare Pots or Mixing Palette:
Most professional face painters prefer to mix the basic 5 or 6 colours to create their own colours. For this you will need a mixing tray or pots. You can cover the tray with a cling film or put the lid on the jars to reuse the paint later. You may need to add water if you leave it for a few days.

Share and enjoy,
Tony Parker
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Videos that might be helpful:


ehow video on Face Painting Tools:
http://www.ehow.com/video_4440047_tools-face-painting.html 

Howcast video on Face Painting Tools.
http://www.howcast.com/videos/499255-How-to-Do-Face-Painting-Tools 

Artist tip on preparing to paint on location

Artist tip on preparing to paint on location
By Ron Gribble.

We have been concentrating on basic house keeping tips lately, cleanliness and organization. This becomes doubly important when you go ‘Plein Aire’, that is painting on location. The wind will find any disorganisation and create havoc.
Painting outdoors artist tips

You will need Bull Dog Clips to keep your rag from flapping paint all over the general landscape.

If you clean your brushes firstly on a piece of paper to remove the excess paint. I use a portion of telephone directory, as this is very absorbent and remain bound down the spine even if after I have removed ten or twenty pages for my days painting.

Then secondly wash it in your brush cleaner and use the rag to remove the turpentine. Don’t put paint on the rag!

The pages of the book can be folded over and clipped down with a bulldog clip to secure it from the effects of the wind. If the rag does flap about, it’s only turpentine on it anyway.

I am off to paint my way around the South Island of New Zealand soon, so I will be fighting the same problems first hand.

Happy painting;

Ron Gribble
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Wax crayon and dye batik design:

LEVEL: Primary School.

school painting batik design
Paper batik design
Batik is a centuries-old art form that involves painting melted wax on fabric and then dipping the fabric in dye.  But here is a simple project for children to make a colourful batik effect with paper wax crayons.

You will need:
: Water based school dye, a food dye or vegetable dye.
: Wax crayons in bold colours.
: Sheets of paper.
: Apron and sheets of newspapers – plus paper towels – for clean-up.


Let’s get started:
Prepare a flat surface work area with a newspaper and put on the aprons. 

Use the wax crayons to make a picture, a motif, or a design. Work heavily laying down plenty of colourful wax crayon.
Then crumple the picture, flatten it and crumple it again. This can be done several times to obtain a crumpled batik effect.

Smooth out the picture and make it flat.
Now paint lightly with one colour of dye into the cracks of the crayon. Turn the picture over on to the newsprint paper and smooth out the picture so that the newspaper absorbs the excess dye.

Allow to dry
TIPS:  
-          One colour of dye works best
-          Plastic crayon do not work very well.
-          Try not to use too much dye, just a light brushing over.

Share and enjoy

Tony



Artist Tip: Put your dark colours on first

Artist Tip by Ron Gribble; 

This theory is a very sound one for painting in Oils. But that is on its own will not be enough.  As well as putting on darks first, start with thin paint and no detail, and work towards ‘Fatter’ and fatter paint and more and more detail. I will explain over my next three months. 
DARKS ON FIRST art tip school painting

DARKS ON FIRST:
Remember, you are painting the deepest darks first, were very little light is penetrating. Especially if you are painting a scene outside, much of this deep shadow could be some distance from you. Conclusion: Nobody, unless their father is an eagle can see detail in deep shade at a distance. So don’t put any detail in at this stage. 


Try to lather paint on with as little brush strokes visible as possible, just like painting the house – ‘Lay off’ the paint by gentle horizontal and vertical brush strokes, with a beard flat brush. This prepares the way to contrast some detail against the “quiet” area, when you lay on high lights.

This works particularly well with distant details in landscapes. It will also, if your colours are wisely mixed, add to the depth, as it confirms the viewer’s subconscious expectations, that detail recedes with distance.

Next month, Start thin, Finish Fat, the opposite of weight watches.

If there are subjects you would like covered, please e-mail me.

Regards
Ron Gribble
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