Lesson Notes By Weeks and Term v3 - Junior Secondary 2
Painting
Download the Lessonotes Mobile Nigeria 2025 app for faster lesson access on Android and iPhone.
Painting
Download the Lessonotes Mobile Nigeria 2025 app for faster lesson access on Android and iPhone.
Subject: Cultural and Creative Arts
Class: Junior Secondary 2
Term: 1st Term
Week: 3
Theme: Arts And Crafts
This page supports the lesson note with a companion video and a short classroom-ready summary.
For class groups and homework, share this lesson page so learners also get the summary, objectives, and full lesson context.
This lesson introduces students to the fundamental principles and practical application of painting. It is an essential component of visual arts, enabling learners to express creativity and interpret their surroundings through colour and form. Understanding painting techniques is crucial for cultural preservation, artistic expression, and potential career paths in visual arts, design, and related industries within the Nigerian context. Mastery of painting skills fosters observation, hand-eye coordination, and an appreciation for aesthetics, which are valuable in daily life, from home decoration to understanding public art.
Specific Learning Objectives for Students:
Placement: Ensure the object is well-placed on the paper, not too small or too large, and leaves some space around it.
Step 3: Colour Mixing and Preparation Match Colours: On the palette, mix paints to match the main colours observed in the object. Start with primary colours and gradually add others to achieve the desired hue, tint, or shade.
Prepare Washes: For initial layers, mix colours with water to create thinner, more transparent washes.
Step 4: Application of Paint (Building Layers)
Basic Washes (Underpainting): Start by applying broad, thin washes of the dominant colours to cover the large areas of the object. Do not worry about details at this stage. Allow layers to dry slightly if using opaque paints, or work wet-on-wet for blending with watercolours.
Building Up Form: Gradually add darker tones and more saturated colours to create form and depth. Pay attention to the transitions from light to shadow.
Adding Details: Once the main forms and tones are established, use smaller brushes to add finer details, textures, and highlights.
Refining Shadows and Highlights: Carefully observe the deepest shadows and brightest highlights. Apply darker shades to shadows and lighter tints or pure white (for opaque paints) to highlights.
Background (Optional): Paint a simple background that complements the object without distracting from it.
Step 5: Review and Refine Step Back: Periodically step away from the painting to view it from a distance. This helps to identify areas that need adjustment in terms of colour, form, or balance.
Make Adjustments: Add final touches, correct any discrepancies, and ensure the painting accurately represents the observed object. Worked
Example: Painting a Local Mango from Observation Objective: To paint a ripe mango placed on a brown mat.
1. Observation: Shape: Oval, slightly kidney-shaped.
Colour: Predominantly yellow-orange with patches of green and red blush. The stem area might be greener.
Texture: Smooth but with subtle variations.
Light/Shadow: Strong light from one side creates a bright highlight and a distinct shadow on the mat.
Mat Colour: Earthy brown, slightly textured.
2. Sketching: Lightly draw the oval shape of the mango on cartridge paper. Indicate the small stem area. Sketch the rough outline of the shadow cast by the mango on the mat.
3. Colour Mixing: Mango Yellow-Orange: Mix yellow with a touch of red.
Mango Green: Mix yellow with a touch of blue (for the greener parts).
Mango Red Blush: A small amount of pure red or red-orange.
Shadow Colour: Mix a bit of blue or purple with the mango's dominant colour to create a darker, cooler shadow hue (not just black).
Mat Brown: Mix red, yellow, and a touch of blue (or use pre-mixed brown).
4. Applying Paint: Mango Base: Apply a thin wash of the yellow-orange mix over the entire mango shape. Let it dry slightly.
Green Patches: Gently add the green mix to the areas observed as green.
Red Blush: Dab small amounts of red-orange where the blush is visible, blending softly.
Form and Volume: Start building up the main yellow-orange, adding more concentrated paint where the mango is darkest, away from the light source.
Highlights: Leave small areas of the base wash or apply a lighter yellow/white where the brightest light hits.
Shadow on Mango: Mix a darker, slightly cooler version of the mango's main colour (e.g., yellow-orange + a tiny bit of blue) for the cast shadow on the mango itself.
Mat: Apply the brown mix for the mat, painting around the mango.
Cast Shadow: Paint the shadow on the mat with the mixed shadow colour, ensuring it aligns with the light source. The shadow should be darkest closest to the mango and gradually soften.
5. Refinement: Add small details like the texture of the mango skin or subtle colour shifts. Ensure smooth transitions between colours and tones. Check proportions and overall resemblance to the actual mango. This topic covers the fundamental aspects of painting, focusing on the practical application of paint to represent objects from direct observation. 2.
1. Definition of Painting: Painting is the art of applying pigments (colour in liquid form) to a surface (e.g., paper, canvas, wall, fabric) to create an image, design, or decorative effect. It is a visual art form used for expression, communication, and aesthetic purposes. 2.
2. Historical Context (Brief Nigerian Relevance): Painting has a rich history in Nigeria, evident in traditional wall paintings (e.g., those found in ancient Ife and Benin), body adornment (e.g., Uli and Nsibidi patterns), and symbolic markings. These early forms of painting often conveyed spiritual, social, and historical narratives, using natural pigments. Contemporary Nigerian artists continue this legacy, adapting modern techniques and materials while often drawing inspiration from indigenous themes and styles. 2.
3. Essential Painting Materials: Paint Types (Common in JSS2): Poster Colours (Tempera): Water-based, opaque, fast-drying, easy to clean. Ideal for beginners due to their affordability and vibrant colours.
Watercolours: Water-based, transparent, creating luminous effects. Requires specific paper.
Acrylic Paints: Water-soluble when wet, but become water-resistant and durable when dry. Versatile, vibrant, and can be used on various surfaces. (
Note: Oil paints are less common for JSS2 due to drying time and solvent requirements but can be briefly mentioned as an advanced medium).
Brushes: Come in various shapes and sizes (e.g., flat, round, filbert). Different brushes achieve different strokes and effects. Small, pointed brushes for details; larger, flat brushes for broader areas.
Palette: A surface (plastic, ceramic, old plate) for mixing paints.
Water Container: For diluting paints and cleaning brushes.
Cleaning Rag/Tissue Paper: For wiping brushes and spills.
Painting Surface: Cartridge Paper/Drawing Paper: Thick paper, suitable for poster colours and some watercolours.
Cardboard: Provides a stiffer surface, good for acrylics and poster colours. (
Note: Canvas can be mentioned as a professional surface but is usually not used at JSS2 level due to cost).
Pencil and Eraser: For preliminary sketching. 2.
4. Basic Colour Theory for Painting: Primary Colours: Red, Yellow, Blue. These cannot be created by mixing other colours.
Secondary Colours: Created by mixing two primary colours (e.g., Red + Yellow = Orange; Yellow + Blue = Green; Blue + Red = Purple/Violet).
Tertiary Colours: Created by mixing a primary and a secondary colour (e.g., Red + Orange = Red-Orange).
Warm Colours: Reds, Oranges, Yellows (tend to advance or feel energetic, like fire or sunshine).
Cool Colours: Blues, Greens, Purples (tend to recede or feel calm, like water or sky).
Tints: Created by adding white to a colour (makes it lighter).
Shades: Created by adding black to a colour (makes it darker).
Tones: Created by adding grey to a colour (desaturates it). 2.
5. Steps to Painting Objects from Observation: Step 1: Observation and Analysis Choose an Object: Select a simple, stationary object (e.g., a fruit like a mango or an orange, a local clay pot, a bottle). Place it in good light.
Study the Object: Observe its overall shape, individual parts, contours, and proportions.
Identify Light and Shadow: Notice where the light hits the object and where shadows fall. This creates volume and form.
Analyse Colours: Identify the dominant colours, secondary colours, and subtle variations in hue and tone. Are there areas that are lighter/darker, warmer/cooler?
Step 2: Preliminary Sketching Light Sketch: Using a pencil, lightly sketch the outline of the object on the painting surface. Focus on getting the basic shape and proportions correct. Avoid pressing too hard.
Placement: Ensure the object is well-placed on the paper, not too small or too large, and leaves some space around it.
Step 3: Colour Mixing and Preparation Match Colours: On the palette, mix paints to match the main colours observed in the object. Start with primary colours and gradually add others to achieve the desired hue, tint, or shade.
Prepare Washes: For initial layers, mix colours with water to create thinner, more transparent washes.
Step 4: Application of Paint (Building Layers) * Basic Washes (Underpainting): Start by applying broad, Teacher Activities: Introduction (5 mins): Engage students by asking about their favourite colours and what they use colours for. Introduce the topic "Painting from Observation," explaining its importance in art and everyday life. Display examples of simple paintings from observation (e.g., still life, landscape snippets) and some local Nigerian paintings if available. Concept Explanation and Demonstration (15 mins): Explain key concepts: definition of painting, types of paint (focus on poster colours/acrylics), materials, and basic colour theory (primary, secondary, warm/cool).
Demonstration 1: Colour Mixing: On a palette, demonstrate how to mix primary colours to get secondary colours. Show how to create tints (add white) and shades (add black/dark colour) to match specific hues.
Demonstration 2: Observation and Sketching: Place a simple object (e.g., a JSS2 textbook, a cup) in front of the class. Demonstrate how to observe its basic shape, light source, and shadow. Lightly sketch it on a large sheet of paper or whiteboard, emphasizing basic forms before details.
Demonstration 3: Painting Techniques: Using the sketched object, demonstrate initial washes, building up layers for form, and adding simple details. Emphasize starting light and building up darker tones.
Setting up the Practical Session (5 mins): Organise students into small groups.
Distribute materials: cartridge paper, poster colours/acrylics, brushes, palettes, water containers, rags, pencils, erasers. Place various simple, common objects (fruits, local utensils, empty bottles, small pots, stones) at different stations for students to choose from, or provide one object per group.
Guided Practice (25 mins): Instruct students to choose an object and carefully observe it. Guide them through the sketching phase, checking their preliminary drawings for proportion and placement. Provide individual feedback. Monitor students as they mix colours, ensuring they are attempting to match the observed object's hues. Circulate and provide guidance on paint application, encouraging them to start with light washes and gradually build layers. Correct mistakes gently and provide practical tips (e.g., "Use less water," "Try a smaller brush for that detail"). Emphasize neatness and proper use of materials.
Review and Discussion (5 mins): Ask students to temporarily display their work. Facilitate a brief peer review session, where students comment on each other's work (focusing on observation, colour matching, and effort). Summarize key takeaways for painting from observation.
Student Activities: Active Listening and Observation: Pay close attention during explanations and demonstrations. Observe the teacher's examples.
Material Setup: Organise their painting materials neatly at their workstations.
Object Selection and Observation: Choose a simple object and spend a few minutes studying its form, colours, and light/shadow.
Preliminary Sketching: Lightly sketch the chosen object on their paper, focusing on accurate proportion and placement.
Colour Mixing Practice: Practice mixing colours on their palette to achieve various hues, tints, and shades that match their observed object.
Painting from Observation: Apply a base wash of the dominant colour(s) to their object. Gradually build up layers, adding darker tones and details to create form and texture, matching their observation. Paint the main object, paying attention to colours and light. (Optional, if time permits) Add a simple background.
Clean-up: Clean brushes, palettes, and workstations properly.
Peer Review: Participate in the peer review, offering constructive feedback and receiving comments on their work. These questions require students to think through the practical steps of painting from observation.
Question 1: You have chosen a ripe red apple as your object to paint. Describe the very first steps you would take before even touching your paint brushes.
Solution 1: Observation: Carefully study the apple. Note its round shape, any slight indentations, the colour (predominantly red, but are there green patches, yellow highlights, or darker red areas?), where the light hits it, and where shadows fall. Notice its stem and any subtle textures.
Sketching: Lightly draw the outline of the apple on your paper with a pencil. Focus on getting the correct size and proportion relative to the paper. Indicate the stem and the general area where major light and shadow will be, without pressing too hard.
Question 2: After sketching your red apple, you need to start applying paint. Explain how you would mix the primary colours to get the main red colour of the apple, and how you would create a lighter version (a tint) for a highlight and a darker version (a shade) for a shadowed area.
Solution 2: Main Red Colour: If a pure red poster colour is available, use it directly. If not, some reds can be slightly warm (more orange) or cool (more purple). If starting from primaries, this can be complex, but for a JSS2 context, assume pre-mixed red is available. If using limited colours, a "red" is often a primary.
Creating a Tint (Highlight): To create a lighter red for highlights, mix a small amount of the main red colour with white paint on the palette. Gradually add white until the desired lighter red (pinkish) hue is achieved, matching the observed highlight on the apple.
Creating a Shade (Shadow): To create a darker red for the shadowed parts, mix a small amount of the main red colour with a tiny touch of black or a dark complementary colour like dark green/blue. Be careful not to add too much black, as it can dull the colour. Add it gradually until the darker, richer red shade is achieved, matching the observed shadow on the apple.
Question 3: You are painting a clay pot from observation. It has a rough, earthy brown colour. Outline the practical steps you would take to paint this pot, from beginning to end, assuming you have already sketched its outline.
Solution 3: Mix Base Colour: On the palette, mix colours to achieve the earthy brown of the pot. A good starting point is mixing red, yellow, and a touch of blue until a satisfactory brown is achieved. Adjust with more red for warmth, or blue for coolness.
Apply Base Wash: Using a medium-sized brush, apply a thin, even wash of this base brown colour over the entire pot area on your sketch. This provides a foundational layer. Allow it to dry slightly.
Build Form and Texture: Observe the pot for darker areas (shadows) and lighter areas (where light hits). Mix darker browns (base brown + a tiny bit of black or dark blue/purple) for the shadowed areas and lighter browns (base brown + white/yellow) for the highlights.
Apply Shadows and Highlights: Using appropriate brush strokes, apply the darker brown to create the form of the pot, indicating its curves and indentations. Then, apply the lighter brown or a very light highlight colour to the areas catching the most light.
Refine Details/Texture: If the pot has a rough texture, use dry brush techniques or dabbing with a stiff brush to suggest this. Add any subtle markings or patterns observed on the pot.
Cast Shadow: Mix a darker, cooler version of the background colour, or a dark grey/brown, to paint the shadow cast by the pot on the surface it's resting on, giving it depth and anchoring it.
Final Review: Step back and compare the painting to the actual pot. Make any final adjustments to colours, tones, or details for accuracy and overall resemblance.
Cultural Documentation and Storytelling: Painting can be used to visually document Nigerian history, traditional festivals, daily life in local communities, and significant cultural artefacts. For instance, students can paint scenes from a local masquerade festival, a bustling market, or traditional ceremonies, thereby preserving and communicating cultural narratives that might otherwise be lost. This connects directly to the historical and social relevance of art in Nigeria.
Home and Public Space Beautification: The skills learned in painting from observation can be applied to decorative arts. Students can paint decorative motifs on household items (e.g., calabashes, wooden stools, clay pots), design patterns for fabrics (like 'adire' or 'ankara' inspired designs), or contribute to school or community mural projects. This fosters an understanding of how art can enhance aesthetic environments and contribute to community pride.
Entrepreneurship and Livelihood: Painting skills are marketable in Nigeria's creative economy. Learners can develop their talent to become professional artists, illustrators for books and magazines, sign writers, or graphic designers. They can create artworks (paintings, painted crafts) for sale at local craft fairs, tourist centres, or online platforms, thereby creating income generation opportunities and contributing to the local economy. This integrates vocational and economic aspects of learning.