Lesson video

Hi, everyone.

I hope you're having a good day.

My name is Esther, some people call me Miss Esther, and I'm an artist and art teacher.

And I'm here to share a lesson with you today.

The lesson title is Painting a Portrait with Color and Feeling, and it's part of our unit, Charting Self: Exploring Portrait and Identity.

Great, let's get started.

Our outcome for today is that by the end of the lesson, you should be able to create a layered portrait exploring how color and paint share emotion and identity.

We have some keywords to go through together for our lesson.

I'll say the keywords and then we'll have a look at some of the meanings of the keywords.

Some of these words you'll know already.

Our first key word is 'color wash', and then we have 'pigment', and 'tone', and our last key word is 'restraint'.

So we'll have a look at those meanings now.

A color wash is a thin, watery layer of paint that you brush over a surface to add soft color or tone.

Pigment is the color part of paint that makes it bright or bold.

Tone in art is how light or dark a color is.

Restraint, you might have come across this in a different context, but it's about, when we talk about it in art, it's giving yourself almost rules or limitations and using a small amount of something but doing this intentionally, doing this on purpose in your work.

Here's our lesson outline for today.

We will be making a color wash to set the mood of our work, using line to show character, and layering with colors to build up emotion, to show feeling.

We're going to start by making a color wash to set the mood.

We've got an amazing image here to look at by an artist called Frank Bowling.

The title of the work is South America Squared, and it was made in 1967.

I'd like you to pause the video here and look at the image on the screen.

It's quite a large painting.

I would like you to focus in, really zoom in, have a look at this image and talk to a partner about how the color makes you feel and what you notice about the color as well.

When you're ready, restart the video.

So we've had a look and we've got a question here.

Does looking at this painting change your mood? We have Sofia, Jacob, and Andeep who are all looking at and discussing this painting.

We can hear some of their thoughts on the feeling of the painting.

Sofia says, "It looks like the shape of a country, but it's kind of glowing or fading.

Maybe it's a memory." Well, I really find that idea interesting.

Thanks, Sofia.

Andeep says, "The red makes it feel hot or emotional, like something important happened there." And lastly, we've got Jacob.

Jacob said, "It's not just one red, there are drips and different shades.

That makes it feel alive." So we have the same question to consider.

Does looking at this painting change your mood? How does the artist, do you think, use color or shape to show emotion, to show feeling? And what else do you notice? Pause the video and talk as a group about how color changes our moods.

Restart the video where you've had your group conversations.

Well done for your conversations.

We'll take a deeper look at Frank Bowling as an artist now.

Frank Bowling uses color washes to express ideas around memory and place.

He paints with flowing colors to show memories of where he has lived and the feelings that those memories and places give him.

So color is very significant in Frank Bowling's work.

Single pigments can create a specific emotion on their own.

Frank Bowling's work shows how mixing and layering colors can express moods and create feelings in the viewer.

A single pigment is one pure color used on its own without mixing it with other colors.

In painting, the pigment is the color that gives the substance to the paint.

So when an artist uses a single pigment, they're relying on just that one color to create mood, feeling, or atmosphere, rather than blending multiple colors together.

We've got a great image here of lots of different colors being mixed.

That's really exciting.

And we've also got a really great question.

Which single pigments would you use to represent different emotions? So just thinking here about different colors, blue, yellow, red, orange, and then thinking about different emotions, happy, excited, sad, scared.

People have different associations to colors because of their own personal feelings, memories, or culture.

Here's Jacob.

Hi Jacob.

Jacob says, "I think red is scary." Interesting.

Sofia says, "I think red is exciting." And Andeep says, "I think red is lucky and sacred." We'll have a look now at some common color associations.

Common color associations include white for peace.

Black could be seen as for power or fear.

Gray for sadness or boredom.

Purple for mystery or royalty.

Blue for calmness or loneliness.

Red for anger, love, danger or luck.

Yellow for happiness or hope.

Green for envy, growth, and freshness.

Great, we've got a check for understanding to do together.

Have a look at the colors below.

With a partner, pick one color and describe the emotions it makes you feel and say why.

Pause the video, pick a color, it doesn't have to be one that you like, and have a conversation about how that color makes you feel.

Great, well done for sharing how some of these colors made you feel.

Andeep is looking at all these colors.

Andeep says, "Yellow makes me feel excited and joyous.

It's super bright and can represent energy." The first layer of color in a painting is created using a color wash.

Artists use it to create a background tone and an emotional atmosphere.

Andeep has created a color wash by diluting his paint.

He's added water to his paint.

Andeep isn't happy.

Andeep says, "I used too much water.

Now my paper has become soggy and is wrinkling." What could Andeep do differently? Just have a look at the screen for a moment and look at how much water and paint is there, and think about what Andeep could do differently.

I wonder if any of you thought of these solutions to and Andeep's problem.

Andeep could use a damp brush, not a dripping wet brush.

He could also test his wash on a scrap of paper first to check the amount of water and paint he's using.

We have another brief pause here for a check for understanding.

True or false? The first layer of color in a painting is created using a color bath.

Pause video and talk as a group about whether you think this is true or false.

Great thinking, everybody.

Did you get that it was false? Why is it false? The first layer of color in a painting is created using a color wash.

To create a color wash, wet your paper or canvas using a big brush.

Cover the whole surface of the paper or canvas with water.

Spread the water to the edge of the canvas or paper.

Choose one strong watercolor and add the color to the water.

Choose colors in the same range like red and orange or blue and purple.

Let the color sit, don't blend it or smooth it out too much.

Hold up one edge of the paper or canvas and let the extra paint drip off.

Fantastic, we are ready to do Task A together.

Mixing and applying a pure pigment color wash without white or black.

Here's our top tips.

You should choose a color that feels bold or meaningful.

Consider if your color feels warm, tense, peaceful, or angry.

Think about if you saw only this color, what would you think the painting is about? Think of your background color as the beginning of your story, does it remind you of somewhere, something, or someone? Have a fantastic time creating a color wash.

Pause the video and restart it when you've completed Task A.

Well done, everyone.

It's great that you've thought carefully about how your color can show a feeling.

You might have had the same outcomes as Sofia.

Sofia says, "I chose red and orange because they feel bold and full of energy.

This painting is about a powerful feeling or big moment, like shouting or fire or even someone feeling strong inside." Interesting thoughts.

Thanks, Sofia.

We are ready now for our second learning cycle, using line to show character.

We have some looking to do here.

What emotions do you think each face is showing? What do you notice about the eyes, mouth, or eyebrows in each of these portraits? Does anything change when the facial features are placed higher or lower? Pause the video and talk as a group.

One of you point to the screen and say what you feel the emotion is for one portrait, and then the rest of the group can agree or disagree.

I hope you enjoyed talking about it and thinking about what was being shown in the portraits.

We have Sofia, Jacob, and Andeep joining us now.

Sofia says, "The sad face has a wobbly mouth and the eyes are just little dots, but it still looks really emotional." Andeep points out that the artist use thicker lines for the eyebrows and mouths to show more expression in those areas of the face.

Good observation.

Jacob says, "The angry one has eyebrows pointing down, which makes him look cross.

The happy one has closed eyes and a wide mouth like he's laughing." Thank you for sharing your thoughts everybody.

A portrait is more than a face, it tells us about the person.

Artists like Julian Opie use bold outlines and simple shapes to show identity.

The placement of facial features can change the emotions we see.

A portrait does not have to take a long time to create or look realistic to be powerful.

It can be quick and it can be simple.

What do you see under the black lines? Have a careful look at the image in front of us on the screen and think about what you see under the black lines.

Sometimes artists start with light sketch lines to help them plan their drawing and get the shapes right.

Once they're happy with how it looks, they draw over the lines they want to keep.

This is something that you might have done before when making your own artwork.

It's time to do I Do, You Do.

I do use fast back and forth pencil lines to sketch a simple face.

You do.

Pause the video and use fast back and forth pencil lines to sketch a simple face.

Remember to keep your pencil or graphite stick moving.

Restart the video when you've done your pencil portrait.

Great work.

When you did this activity, you might have noticed that the lines overlap each other, the pencil lines overlap each other.

We're ready for another I Do, You Do activity.

I do add black lines to simplify the face.

Use bold outlines to show the main shapes without too much detail.

You're going to do the same thing.

Add black lines over the top of your pencil lines to simplify your face portrait.

Use the bold outlines to show the main shapes without too much detail.

Pause the video and restart when you've added your black lines.

Fantastic work.

It's interesting to see the difference now to your portraits with the black lines added.

When you did this activity, you may have noticed the lines you have chosen show main features and expression.

We're going to look at how line shows characters more now.

What do you notice behind the pencil lines? Just have a look at the screen and think about what you're noticing.

Sometimes artists draw or sketch over a color wash.

The color wash can help to set the mood of the portrait and tell a story about the subject.

We have a check for understanding now, a pause in our activity.

Which of the following uses a color wash behind the portrait? Is it A, B, or C? Have a close look, talk to somebody nearby.

Pause the video and restart when you've decided what your answer will be.

Fantastic thinking and discussing.

Did you get A and B? Both of those images use a color wash behind the portrait.

Now it's time for you to do Task B and get started sketching your portrait of your dried color wash using a pencil or graphite stick.

Restart the video when you've completed Task B.

Well done, everyone.

It's really exciting to draw over a color wash, and I hope you enjoyed that process.

You're doing amazing artistic work today.

Now you've done that work, discuss the questions.

What is different, what's changed in your portraits? How is something like this, a pencil line drawing over a color wash, different from the black line sketch? We have some comments here from Andeep and Jacob.

Andeep says, "I think the painted one feels more emotional.

The red and pink makes it look like the person is blushing or feeling something big." Jacob adds to this, "The lines are bold and simple on the drawing so it feels more like a poster or cartoon." Fantastic.

We are now ready for our last lesson cycle, layering color to build emotion.

Looking at the picture on the screen, what do you see? What do you notice? What do you wonder about? Pause the video and have a conversation with a partner about this image.

I hope you enjoyed talking about the picture.

Now we've got Sofia, Jacob, and Andeep to add some of their thoughts.

Sofia says, "There are big splashes of yellow, orange, and brown paint around her head." Andeep says, "The lines are thin and black, but the colors are soft and watery." So he's noticed a contrast there.

Jacob says, "Her expression looks calm.

I wonder if the colors show her feelings." Artists use layering to change the tone and the mood of a painting.

Pastel colors can make a painting feel soft, calm or dreamlike.

Using restraint means leaving space and choosing color carefully.

Yoshitomo Nara builds a gentle emotion with pale colors and smooth blends.

A pastel tint is a color that has been made lighter and softer by adding white to it.

The result is a pale, gentle version of the original color.

How have the pastel tints been made? Andeep's got the answer.

He says, "Add white to make a pastel tint." Thanks, Andeep.

We have lots of different colors on a palette here.

Bright red is one of them, white is another.

And just thinking about those two combined together, where's the next arrow going to go? To pink, pastel red.

Have a look at the image and think about which of the colors are pastel tints.

We'll have a look now together at a few selected pastel colors.

There's one, a kind of gray-white.

Two, the pink.

Three, the light orange.

And four, a light blue.

And five, a light green.

So now we'll be doing I Do, You Do again.

I do use white acrylic paint as a base.

Mix in tiny amounts of three colors selected from the same color family to make pastel tints.

You do use white acrylic paint as your base.

Mix tiny amounts of three colors selected from the same color family to make pastel tints.

Pause the video while you create your pastel tint.

Great work mixing your pastel tints.

You may have noticed that the colors all look gentle and they go well together.

So thinking as artists about emotion, emotion can be suggested through applying paint with restraint, layering color, and tone.

How is the artist layering color to build emotion in this portrait? Have a look at the color being used and the way it's being added to the portrait.

To create a layered portrait painting, you could begin with blocking in a lighter skin tone, layer slowly, letting the paint dry before applying more, paint in the features of the face, eyes, mouth, shadows.

To build emotion using layering, you could choose one dark color to add outlines or shadows to parts of your portray, add only what feels important to you, add to one side of the face by underlining a curve or adding a shadow.

I'd just like you to pause the video and have a look at these three images and notice what has changed.

Find at least two things that have changed, and then restart the video.

Great spotting the difference.

I wonder what you found.

You might have found that adding color to the eyes and lips make the face look less blank and more expressive.

One of the things you could have said is, I think it's starting to tell a story now because the details make you wonder who this person is.

I also think it makes you start to wonder how they're feeling.

We are ready for you to do Task C.

Layer pastel tints and strong colors to build an emotion in your painting.

While you're doing Task C, consider, think about, how will you apply the color with restraint? Which parts will you paint with stronger colors, which are the most expressive parts for you? How does applying wet paint to wet paint change the outcomes? Pause the video and enjoy layering your portraits.

Fantastic work.

Taking risks with your color choices and how you put that color on is part of the challenge and experimentation of being an artist.

Well done, everyone.

While you layered pastel tints and strong colors to build an emotion in your painting, you might have done something like Sofia.

Sofia says, "I used stronger colors on the lips so the face has more expression." Or you might have done something like Jacob.

Jacob says, "When I put wet paint on top of wet paint, the colors mixed together and looked softer.

This made it feel dreamy and relaxed." Here's a summary of our busy lesson today.

Paint can be used to explore place, memory, or feeling.

A color wash can shape the mood of a portrait.

You did some great work adding pencil sketches on top of your color washes to create your portraits, and the emotional tone can be suggested through restraint, holding back, layering, and color.

And finally, we looked at how strong colors can suggest presence, emphasis, or absence.

See you in another art lesson soon.

Bye for now.