The Tutor has graded last week’s 3rd quarter review and is proud to announce that our classroom is excelling! Compared to the less than spectacular results of July’s midterm, our class average is now over the 85% mark. This upward trajectory pleases The Tutor. You all deserve gold stars!
For your records, here are the answers to last week’s quiz:
Thus far, what part of The Tutor’s subject has a cockroach not crawled upon? Answer:c.) her little knees
According to The Tutor, our eyeballs are what? Answer: b.) wet, palm-sized orbs
When sketching our subject, we should begin with which of the following? Answer: a.) the largest shapes
In Lesson X, what does The Tutor say separates an artist form the herd? Answer: a.) discipline
Finish the following statement by The Tutor from Lesson VII: “Like a god, we must ________.” Answer: b.) form our creatures from large hunks of clay
According to The Tutor, a lady does not do what? Answer: d.) relinquish her virtue on first blush
When painting a still life, we should begin by painting which of the following? Answer: c.) the background
Pure, unmixed white may only be used when painting what? Answer: d.) highlights
When painting a subject, we always begin with the darkest values, unless we are painting with which of the following mediums? Answer: b.) watercolor
In Lesson X, what color lipstick does The Tutor apply to the subject? Answer: a.) pink
In Lesson VII, when trolling for a subject, The Tutor begins by doing what? Answer: c.) selecting a neighborhood
Which of the following is not on The Tutor’s table in Lesson XI? Answer:d.) a sewing needle and thread
According to The Tutor, when sketching, it helps to imagine our subject as what? Answer: a.) a series of connected masses
What does The Tutor compare the white of his subject’s eye to in Lesson XI? Answer: b.) a wedding dress
In Lesson IX, what is The Tutor chewing on? Answer: c.) a paintbrush
Now that you’ve demonstrated an exceptional knowledge of the creation phase of painting a still life, class, we are ready to move into the 3rd and final leg of our journey together: completion! I give you Lesson XII: How Do We Know When A Painting Is Done?
Laudations, students, you’ve completed another lesson. Your homework assignment this week is to finish your paintings. As opposed to many of our previous assignments, this one is not based on the careful application of a step-by-step process; this assignment is entirely based on your gut feelings.
Last week’s review was given not only to test our knowledge of The Tutor’s lessons, but to allow us a break from our paintings. The creative process can be so intensive, so overwhelming, that often times we loose sight of the big picture. When this happens, it helps to take a breather, to focus on something else for a period of time, and then return to our artwork with fresh eyes.
So… take a close look at your work. Are you happy with it? Does it feel complete? If so, then you have no homework this week. If, on the other hand, you gaze at your painting and determine that something isn’t right, something feels out of place, something needs to be added or repainted, then go to it. You are your most important audience member, your most valued critic. If your creation doesn’t fulfill YOU, then it’s not yet ready to be framed and shared with the world.
I look forward to viewing your completed works next week, pupils!
Hello, students. As our still lifes near completion, our class is also reaching its homestretch. There’s only one month of lessons left to go, but before we embark on this last leg of our journey together, let’s pause for a 3rd quarter review.
As a refresher, The Tutor has prepared a recap of the creation phase of our ongoing project… so grab a study buddy, put on your thinking caps, and watch this overview of Lessons VII-XI:
Now that you’ve freshly acclimated yourself with the phases of still life painting, are you ready to put your knowledge to the test? Are you ready to surrender… to a pop quiz?
Excellent. When I give the word, answer the multiple-choice questions below. When you are finished, please answer the following essay question in the “Comments” section above: in 100-words-or-less, let The Tutor know which of your homework assignments you are most pleased with, and why. Please include a link to the assignment with your answer.
As always, The Tutor will not tolerate flimflam during test time… so no cheating! If you finish early, please remain in your seat, put your head down, and try not to dwell on impure thoughts.
Okay, students, you may begin the exam. Good luck!
There are a total of 15 multiple-choice questions in your exam, plus 1 essay question. Please ensure that you submit an answer to each question. Results will be posted in next week’s lesson plan.
Top of the morning, pupils… and what a nice morning it is: the soothing hum of schoolyard vending machines, the pitter-patter of tiny sneakers, the lullaby of backpack zippers… they welcome us to another class together. As always, The Tutor is pleased to see you.
There’s no sense in dillydallying on such a lovely day… so let’s take our seats, flick on the fluorescents, and shed some light on this week’s topic: Lesson XI: Highlights:
Outstanding! You’ve crushed another lesson, students! This week’s homework assignment is to apply highlights to your painted still life.
In painting, highlights are the most strongly illuminated portions of our subject(s): the sparkle on her strawberry Janes, the dartle on her strawberry braids, the twinkle on her strawberry stains…
Depending on the strength of the light source and the quality of surfaces within our still life, the highlights will vary: some paintings require only a dab or two of highlighted pigment; other works – like those containing highly reflective items – will necessitate more. As a rule of thumb, however, less is more when painting highlights.
Since highlights represent the strongest, most piercing light that’s bouncing off of our subjects, paint these accents opaquely. Pure, unmixed white may be used for this assignment.
Can you believe that this our 11th week together, students? For a little over 2 months now, we’ve shared this classroom. We’ve painted straight lines together, sharpened pencils together, and even evaded capture together. The Tutor is proud of you for hanging in there this long.
The Tutor is aware that the last few lesson have been especially challenging. The painting of a still life has pushed many of you beyond what you believed to be your artistic precipice. You rose to The Tutor’s challenge, however, and fought through your fears to explore new artistic terrains. For that, you deserve a treat: I give you Lesson X: The Details:
Congratulations on conquering another lesson, pupils! This week’s homework assignment is to have fun with your artwork.
That’s right, class; The Tutor wants you to have fun with your artwork! The process of creation can be so intensive, so laborious, that joy is often overlooked. It’s important to always find pleasure in our craft, especially with the task is daunting.
So, take a step back from your in-progress painting, relish in what you’ve been able to accomplish thus far, and treat yourself to a little creative indulgence.
This indulgence may come in the form of expressive splashes added to your painted still life, or it may be an act of creation completely independent from any of The Tutor’s assignments. Your treat may manifest itself as a Joker’s grin painted on your subject, or as naughty doodles on a chloroform-soaked rag. So long as you’re having fun, the sky is the limit.
The artistry present in your homework submissions impresses The Tutor, pupils. I know you will continue exceeding my expectations in the weeks to come, and look forward to displaying your finished projects at The Tutor’s Gallery in October. The Tutor’s Gallery, however, is not the only venue to share your work with the world, students.
TheMoltingComic.com is currently hosting a “Leave Yer Mark” Art Contest. The winner of this competition will have a full-page of their artwork printed in the 5th issue of The Molting. All ages and artforms (drawing, painting, cosplay photography) are eligible. The Tutor invites you to employ the steps you’ve learned in this classroom to enter the contest. Entries will be accepted through the end of August. Visit TheMoltingComic.com for rules, regulations, and submission guidelines.
Now, on to the matter at hand: I give you Lesson IX: Dark to Light:
Bravo, students, you’ve completed another lesson! This week’s homework assignment is to paint the subject(s) of the still life you assembled in Lesson V.
Before painting, examine your still life. You will notice that each item on display can be broken down into roughly three values: light, medium, and dark. Identifying these values now will help to focus and organize our efforts as we begin to paint.
Step 1: mix your paint medium of choice to match the darkest value of each element present in your still life. We will proceed to medium and light values in later steps, but for now, focus only on the darkest shades. Paint in each element with its dark value, treating the objects as flat, silhouetted shapes instead of 3-dimensional forms. Note: if you’re using watercolor paints, you will need to follow these steps in reverse order, beginning with light values, and then advancing to dark.
Step 2: mix and paint in your medium values. Similar to step 1, treat these medium shades as small, flat shapes that rest on top of the large shapes created by your dark values. You will notice that your still life is already beginning to take form.
Step 3: mix and paint in your light values—small shapes that rest on top of the large shapes created by your medium shades. White paint may be used to in the mixing of these light values, but do not use pure, unmixed white anywhere on your canvas.
Now, paint, paint, paint, students! I look forward to seeing your progress in next week’s class.
The Tutor has noticed that class attendance is waning. This is to be expected. With most courses, once students have settled into a routine, they become lax in their efforts. The Tutor wants you to know that this will not do. Not in this class.
To reward those of you who have been diligent with your attendance and class participation, and to give those of you on the fence an incentive to commit to the program, The Tutor invites you to watch the following PSA:
That’s right, class; The Tutor is going to a host a live event featuring YOUR artwork! The gauntlet has been thrown to all you dabblers, dawdlers and dalliers. Will you accept The Tutor’s challenge? Do you have the courage to create and have your work shared?
Everyone who gets their grind on now and completes all of the homework assignments will have their artwork displayed in The Tutor’s Gallery. Those of you who have fallen dreadfully behind in class should use this opportunity to start creating now. More details on The Tutor’s Gallery will be available shortly… so stay tuned!
In the meantime, let’s get on with this week’s lesson. I give you Lesson VIII: Back to Front:
Commendations, students, you’ve completed another class! This week’s homework assignment is to paint the background of your still life drawn in Lesson VII.
Unless you are using watercolor paints, it is generally a good idea to apply a light wash of color over your entire image surface. This is to replace the stark nature of the naked canvas with atmospheric tone. When doing this, be sure to sufficiently thin your paint so that it is transparent enough to not obscure your drawing. You may wish to test the opacity of your paint on a piece of scrap paper.
If you are worried about messing up your drawing during these painting phases, I recommend you photocopy your drawing before beginning to paint. This photocopy can be used to reapply the drawn image at a later time with the transfer technique we learned in Lesson IV.
Once you have completed the color wash, begin painting the background elements of your still life. Start with the most receded elements, and then work your way forward. For example: if your still life is a bowl of fruit on a table in front of a curtain, begin by painting the curtain, then move your way to the table, and then paint the shadows on the table. Do not paint the actual subject(s) of your still life yet.
Since our still life’s background will serve as a stage for the main subject(s) of our work, it is not appropriate to riddle this backdrop with a lot of detail. Too much detail may distract viewers from the subject(s)… so keep your background loose and expressive. Detailing will come later, so focus more on mood and lighting for now.
I’m excited to see your progress by next week’s class, students. See you then!
Take a seat, students. The Tutor has tallied the results of last week’s midterm exam and as a class, we performed below average: in the multiple-choice portion of the quiz, only 68% of correct answers were given. The Tutor has the sneaking suspicion that many of you gave incorrect answers just to get his attention. If this applies to you, please stand up now, face the chalkboard, and write the following 50 times: “I am a bad, bad student. I am not worthy of The Tutor’s yardstick. I will no longer bleed the red ink from The Tutor’s grading pen with such disregard, and promise to perform better in the future.”
For everyone else, The Tutor wants you to know that he is a reasonable man who recognizes that the point of any classroom is to learn and grow… so do not despair over the poor scoring of this first exam. We will learn from our mistakes and grow together as a class in the weeks to come.
Here are the correct answers from last week’s quiz:
Which of the following elements from Lesson I is not a reference to The Molting? Answer: b.) The Tutor’s rubber apron
In Lesson II, which device cannot be used to sharpen a pencil? Answer: a.) a pencil sharpener
In Lesson III, which tool is not named after a character from The Molting? Answer: c.) Staci
In Lesson IV, what does our pencil become? Answer: d.) a dance partner
Which famous comic book couple is The Tutor’s 6-legged teaching assistants named after? Answer: c.) Marv and Goldie
In Lesson V, which of the following does not bespeak our greater purpose? Answer: b.) the mattress where we sleep
When painting a straight line, to what degree should we angle our straightedge? Answer: c.) 135°
In Lesson III, which of the following colors is not amongst The Tutor’s paint tubes? Answer: a.) Neutral Gray
What adjective is missing from this famous quote by Michelangelo: “If people knew how hard I work to gain my mastery, it wouldn’t seem _________ at all.” Answer: b.) wonderful
Which of the following items featured in Lesson VI does Guilty Susie hold in chapter one of The Molting? Answer: d.) a handgun
According to The Tutor, what motivates creativity? Answer: c.) order and chaos
According to The Tutor, what’s the only way for an artist to thrive in a critical and unkind world? Answer: a.) to be proficient in our abilities
How many scratches are on The Tutor’s left cheek? Answer: b.) three
Based on what you’ve seen thus far in The Tutor’s classroom and The Molting comic book, who has yet to sit in the wooden wheelchair? Answer: d.) Uncle Henry
According to The Tutor, what cannot be taught in his classroom? Answer: c.) an artistic “voice”
Surprisingly, the questions most frequently answered incorrectly had noting to do with The Molting comic book (which I know many of you have yet to read), but to elements pertaining exclusively to The Tutor’s written Lesson Plans. For future reference, be sure to not only watch the tutorials, but to read the supporting homework assignments given here.
For example, only 31% of you answered #7 correctly: When painting a straight line, to what degree should we angle our straightedge? The most popular answer given was d.) 180°, which is not an angle at all (as far as our straightedges are concerned!). 180° is the equivalent of resting our straightedges flat against our drawing surfaces when the point of the exercise is to angle them so we can run the body of our paintbrushes along a raised edge. Placing our rulers flat against the canvas will not only result in sloppy lines, but in messy straightedges covered in paint. This information was originally outlined in Lesson I’s Lesson Plan.
Unsurprisingly, the most popular lesson—according to the answers given in the essay portion of the exam—was the one that required interjecting a personal element into our projects: Lesson VI: Selecting a Subject. This pleases The Tutor because it lets him know that you are eager to create! So, wipe off that soiled ruler and brush away those pencil savings… it’s time to leave behind the preparation phase of this class and journey into phase II: Creation! I give you Lesson VII: Large to Small:
Well done, students, you’ve completed another lesson. Your homework assignment is to draw the still life that you assembled in Lessons V & VI. We will be applying paint to this drawing in later lessons, so select an appropriate drawing surface—if you plan on using watercolors, consider using watercolor paper; if you plan on painting with acrylics, consider an illustration board or canvas, etc.
Before you begin to sketch, it’s important to decide where you will be positioned in relation to your still life. Similar to how we don’t want our still life disturbed, it is important that the angle with which we view our still life does not alter greatly… so, pick a comfortable spot, and stick to it.
For many of you, drawing a still life may seem like a difficult leap from our prior lessons, but if you follow The Tutor’s method—begin with large, simple shapes and slowly work down to details—any drawing is attainable. For example, if your still life is a rose in a vase sitting atop a table, draw the table first, then the vase, then the rose, then the leaves, then the stem, then the thorns.
Hello class. We’re halfway through our course, so you know what that means? That’s right, midterms! The Tutor wants to test how closely you’ve been paying attention to his lessons thus far.
As a course refresher, The Tutor has prepared a midterm review. So, brush the lent off of your pinafores, get your notepads and pencils ready, and watch this overview of Lessons I-VI:
Now that you’ve soaked that in, are you ready to put your knowledge to the test? Are you bold enough to accept The Tutor’s challenge and submit… to a quiz?
Good. Take this stack of Scantrons, keep one, and pass the rest back. The Tutor will not tolerate cheating, so no looking over each other’s shoulders, pupils.
When I say go, answer the multiple-choice questions below. When you are finished, please answer the following essay question in the “Comments” section above: in 100-words-or-less, let The Tutor know which lesson has been your favorite thus far, and why. The Tutor values the opinions of all his students, and will use your answers to improve future lessons.
Also: you will notice that several of the quiz questions are related to the comic book series The Molting, and its tie-ins with The Tutor’s Lesson Plan. While The Molting is not required course reading, The Tutor invites you to check out the series, as it will continue to play a part in future lessons. Proceeds from The Molting are used to keep the lights on in The Tutor’s classroom and the bloodstains out of the recess carpet. The Molting comic can be purchased only at www.TheMoltingComic.com. Thanks in advance for your support.
Okay, students, on your marks, get set, go! Start your exams now, and good luck!
There are a total of 15 multiple-choice questions in your exam, plus 1 essay question. Please ensure that you submit an answer to each question. Results will be posted in next week’s lesson plan.
G’day, students. We’re 6 weeks into the course and I’m happy to announce the details for our first fieldtrip… so get your permission slips signed and join me and director/principal Shem Andre Byron for an evening of adventure at San Diego’s Comic-Con!
There, we will debut a new lesson from “The Tutor” and answer questions about the class. The lecture will be followed by a live shadow-casted screening of REPO! The Genetic Opera, and copies of The Molting Comic will be available in the theatre. So, what are you waiting for? Pack your lunchboxes, top off your thermoses, and order your tickets today! Click on the poster below for details. Note: you do not need a ticket to Comic-Con to attend this event; it’s a separate location and independent box office.
Now, please direct your attention to this week’s tutorial: Lesson VI: Selecting a Subject:
Close your Velcro binders and zip up your backpacks, students… we’ve just completed another lesson! This week’s homework assignment is to interject a personal element into your still life from Lesson 5. This may seem simple, but it is perhaps the most challenging assignment yet…
In this class, I can teach you technical aspects of creating artwork, but I cannot provide you with an artistic “voice”. This task is entirely yours.
You will notice that what separates great artists from plebeians is not merely technique, but visual style and motif. For Salvador Dalí, it was a moustache. For Al Hirschfeld, it was “Nina”. For Albert DeSalvo, it was nylon stockings. And for that Zdunich fellow, it’s those imperishable 6-legged pests.
What will your voice be? What can you include in your still life that is specific to you? Many of you are already demonstrating distinctive “voices” within your homework, and your still life should be no different.
This task may seem daunting, but do not fret, dearest students; we don’t need to get everything correct on our first try. Our artwork will mature with us, and so will our “voices”. All that matters is that we consider our personality as we progress so that we are not merely mimicking, but creating.
The “something special” that you add to your still life can be very simple, like a specific color or symbol, or it can be exceptionally complicated, like red pigtails, a handgun, and ruby red slippers.
I look forward to seeing your “voices” develop, students. For details on how to submit your assignment, visit the “Homework” link above. See you next week!
Good morning, students. I hope that you had lovely, productive weekends, and that you’re excited about today’s lesson.
Before we begin, I want to allay a concern that I’ve heard whispered on campus, a worry that the hard work present in your homework may be going unnoticed. The Tutor wants you to know that this is not true.
My six-legged teacher’s aides and I have personally viewed each and every submission thus far, and we are pleased. I’ve stood outside many of your windows at night watching you work, nodding my head in silent approval. Even those of you with “mysterious” accents, separated by great bodies of water, should anticipate surprise visits from time to time.
The point being: we’re all in this together, and The Tutor recognizes that in a world full of “normals”, we artists are different. This difference often leads to feelings of isolation. In these instances, encouragement is critical, so pat each other on the backs, pupils; you’re doing great work!
In this class, great work is not only encouraged, but also rewarded… so expect some treats on the very near horizon. For starters, I’m happy to announce a special appearance and presentation by The Tutor during San Diego’s Comic-Con in July. Stay tuned for more details.
In the meantime, let’s get on with this week’s tutorial: I give you Lesson V: Posing Our Subject:
Felicitations, pupils! You’ve clinched another class. This week’s homework assignment is to set up a still life. In the weeks to come, we will create a painting based on this display. While this assignment may seem straightforward, keep the following considerations in mind:
Firstly: choose a subject (or subjects) that not only interests you, but is appropriate to your skill level: if you’re a beginner, consider choosing something that’s visually simple; advanced students may wish to pick something more complex. A still life can be as basic as a teacup or as nuanced as a warehouse full of mannequins.
Secondly: position you still life near your organized workspace. You should be able to comfortably view your subject while having unobstructed access to your tools.
Thirdly: situate your still life in such a way that it will not be moved or disturbed. We will be spending the next few weeks drawing and painting this display, so we can’t have it changing before we’re done. If a permanent display is not possible within your workspace, considering marking the placement of objects with tape so that your still life can be easily and accurately recreated. A reference photograph wouldn’t hurt either.
Lastly: not only does your display need to be still and consistent, but so does the lighting on your still life. To do this, you will need to set up a specific light source—a directed lamp, for example. Use lighting that creates interesting shadows and highlights on your subject. These contrasting values will be crucial as we begin to paint in later lessons.
As always, submit your completed assignment within this lesson plan. Please refer to the “Homework” link above for more details. See you next week!
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