Painting Teacher Interview Preparation Guide Download PDF
Painting Teacher related Frequently Asked Questions by expert members with job experience as Painting Teacher. These questions and answers will help you strengthen your technical skills, prepare for the new job interview and quickly revise your concepts
89 Painting Teacher 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.
2 :: Please explain me about a successful behavior management strategy you have used in the past that helped engage a pupil or group of pupils?
"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.