Painting Teacher Interview Questions And Answers

When it comes to questions to find out your opinion, it is advisable to answer them as exhaustively as possible. Maybe you see art as a way for children to stimulate their imagination offering them an opportunity to express themselves. Inform them how you can tap into a child’s talent and nurture their creativity. Art also requires concentration thereby helping students concentrate better in their day-to-day activities. These questions should be answered by adding a personal touch to them, avoiding any generalization.

"This allows candidates to give a theoretical answer – one that anyone who swotted up could give you – balanced with a personal reflection that shows how effective they are."

The component of paint that allows pigment to be applied to a surface; imparts workability and fluidity (the vehicle can also be the binder, though this is not necessarily so)

a substance of specific color which, when processed by grinding into small particles can impart color to a mixture. Pigment particles should not chemically react with the medium into which they are mixed, nor should they dissolve into solution, instead remaining physically distinct from the vehicle, as bricks are distinct from mortar.

A mixture of fatty substances and water achieved through a third substance (an emulsifier) which attaches dissimilarly charged molecules that would normally not mix

These recently introduced colours act as an extension to oil-painting. They have a uniform speed of drying. They may be used for under-painting, and are excellent with glazing over dried-out oil films. As a painting medium by themselves they do not retain brush marks and impasto to quite the extent of oils; but these characteristics may well suit some manners.

From the mid I7th century artists' pigments when mixed with oil were stored in small bladders. To use them the painter made a small hole with a tack, squeezed out some colour then pushed the tack back into the hole. Towards the evolution of the tube, the bladder was followed by a form of syringe. In 1840 the collapsible tube came into being.

An instrument to polish either a metal surface or other substance that will take it. It is either shaped from hardened steel or the semi-precious stone, agate. In the 15th century Cennini in il Libra dell' Arte mentions using a piece of hematite.

One of the oldest drawing materials, charred sticks were used with the early cave-paintings. The Romans used them and throughout the history of art the material crops up again and again. It was often the medium for preliminary drawings. Various types of wood produce different characteristics; willow and beech tend to produce brittle sticks, vine twigs the softest and blackest. The charcoal can be applied to the paper in a direct manner, and then manipulated with a tortillon, a hog brush, a fingertip, a piece of rag or a plastic rubber. The drawings need to be fixed when finished.

Substances that are added to oil-paints to hasten the drying. The idea is, if possible, to make all the colours dry at an even speed. Quick-drying pigments include: umbers, siennas, ochres and flake white; slow-drying are such as alizarin crimson, ivory black and vermilion.

The process of making rubbings rhrough paper of objects or textures underneath. Brass-rubbing is frottage. Max Ernst was one Surrealist who explored the idea, he was seeking to find some visual stimulus for his subconscious. In his 'The origin of the pendulum' it can be noted how he has rubbed rough boards for parts of the design.

(also termed: McGuilp, magilp) An 18th-century oil-painting medium, a mixture of linseed oil, mastic varnish and lead driers. It is a jelly-like substance slightly cloudy and yellow. It does impart an ease of working to the colours, but it is liable to make the paint film brittle and cause heavy cracking.

A form of paper made by the early Egyptians. It was made from the reed Cyperus papyrus; strips of the reed were laid over each other, then they were soaked with water and pounded, lastly being dried in the Sun.

Sheets of ivory about 1/16 in (1.5 mm) thick or less are considered the standard support for the miniaturist. Other substances that have been used include: ceramic platters, various cards, parchment, and at times such as stretched and treated chicken skin.

A wooden or metal stand for holding a canvas, a panel or a drawing-board. It may range from a small, light, tripod sketching-easel up to a large studio easel which will take canvases up to 12ft (3'65 m) high and which can be raised, lowered and canted by worm-gears and winding handles or wheels. There are also small easels for resting on a table that will allow a drawing-board to be almost vertical or gently sloping as for water-colour wash work.

A term describing a graphite pencil characterized by a flat ovoid wooden grip surrounding a wide graphite core capable of making thick and thin pencil lines. Popular for sketching and drawing.

Describes the action of one colour running into another. Most applicable to water-colour, where a second or third colour can be dropped on to an already applied wash while it is wet. To a certain extent the result is uncontrollable, but a wise hand will be able to judge approximately. Bleeding in oil-colours is associated with pigments such as asphaltum that can mix with other colours after application and drastically affect the optical and physical qualities of a painting.

Suitable for use in creation or care of artifacts of potential or actual antique value; likely to resist natural deterioration when used according to sound practices

An oil jelly medium popular in the 18th and 19th century; made by mixing “black oil” (linseed oil cooked with lead) and mastic varnish; considered by many modern technical experts to be risky and unsuitable for permanent painting. Gamblin manufactures a “Neo-megilp” unrelated to the original, but intended to approximate the working properties of the historic medium.

An economic board for oil-painting. It is made from several sheets of paper sized together. The face is then primed with a ground of white lead, chalk and oil. The back was often painted grey. It had a considerable vogue in the late 19th century.

A stiff durable ply-produced cardboard suitable for pen and ink work or water-colour and gouache.

An obsolete term which described the rosy pink, flesh colour of a female portrait.

Any liquid that will dilute or thin a substance, as opposed to dissolving it.

The first known examples are probably those used in Egypt which were simple bundles of thin reeds bound to a handle; the British Museum has one of these and its date is put at about 1900 BCE. Since that time many strange hairs and bristles have been used. Apart from attempts to use human hair; at least the following animals have been tried: horse, cow, ox, black sable, kolinsky, weasel, squirrel, ring-cat, skunk, civet, fitch, badger, pony, goat, bear, hog bristle from China, India, Poland, France and the Balkans; and from the sea the Blue, Fin, Sei and Humpback whales have contributed baleen. Plant fibres from Agave, Yucca, Sisal, Bahia, Gumati, Palmetto and Hickory splits have also been used. Broadly stated, hair brushes are for water-colour, gouache, miniature work, inks, tempera while the hog bristle is for oils and acrylics. Brush shapes that can apply to both hog and hair are: round, bright, flat, filbert, sword, rigger, fan or sweetener, mop. In the 18th century small sable or other hair brushes generally set in quills were termed pencils.

As opposed to mathematics and other mandatory course work, art is usually seen as a chosen elective, and therefore students must have a passion for it to continue learning at higher levels. Do you have what it takes to keep a student interested in your classroom? Discuss your abilities to keep your students involved in each art project as well as how you’ll encourage creativity; this would be a definite plus towards landing the role.