Lesson 2: Fluid Media (Acrylic & Tempera Painting)

The Drying Curve: How does the rapid drying time of acrylic and tempera change the way an artist must approach blending compared to oil or pastel?
Opacity vs. Transparency: How can we use "glazing" (thin layers) and "scumbling" (dry layers) to create depth without losing the details underneath?
Permanent vs. Re-workable: Why is it important to understand that acrylic is "plastic" (permanent when dry) while tempera can often be lifted or thinned after it sits?

Viscosity: The thickness or "fluidity" of the paint.
Underpainting: A monochromatic or simplified initial layer used to map out values and composition.
Glazing: Applying a thin, transparent layer of paint over a dry layer to modify its color.
Scumbling: A "dry brush" technique where a thin, opaque layer of paint is applied over another color, allowing parts of the bottom layer to show through.
Palette Knife: A tool used for mixing paint and applying thick, textured strokes.
Polymer: The plastic binder in acrylic paint that makes it water-resistant once dry.

VA.CR.HS.3: Refine and complete artistic ideas and work.
VA.PR.HS.5: Develop and refine artistic techniques and work for presentation.
Graduation Standard 1: Create (Produce new artistic work).

Procedural Logic: Following a multi-step painting process (prime ? underpaint ? layer ? detail) mirrors the logical sequencing required in SAT "Writing and Language" tasks.
Comparison/Contrast: Analyzing the behavior of two different fluid mediums requires the same critical thinking used to compare two different arguments in a "Paired Passage" on the SAT.

Description: Students begin with a "Medium Comparison Lab," painting the same object twice—once in tempera and once in acrylic—to note the differences in color shift and dry-time. The final 10 days are dedicated to a "Hard-Edge vs. Painterly" project.
Purpose: To move students beyond "flat" painting. Many beginners paint in a single layer; this unit enforces the "Standard Operating Procedure" of professional painters (building from back to front).
DOK Level 2 (Skill/Concept): Mastering the physical application and "loading" of a brush.
DOK Level 3 (Strategic Thinking): Planning the order of layers to ensure the background doesn't "bleed" into the foreground.

Modern Muralism: Acrylic is the standard for outdoor murals (like those in Meriden or Hartford) because of its lightfastness and weather resistance.
Historical Tempera: Linking to the Renaissance (Egg Tempera) and how ancient techniques were used before oil paint became the standard.
Commercial Illustration: How designers use "Gouache" (professional tempera) for flat, graphic styles in posters and book covers.

"Acrylic is just fancy tempera": Students often treat acrylic like it’s washable. They must learn "Brush Hygiene"—if acrylic dries in a brush, the brush is ruined.
"Paint stays the same color when it dries": Acrylics often "dry dark." Students will learn to account for this "color shift" when mixing values.

Stay-Wet Palettes: Provide damp sponge palettes for students who struggle with the fast drying time of acrylic.
Masking Tape: Offer "Painter's Tape" for students who struggle with fine motor control to help them achieve clean, "Hard-Edge" lines.
Simplified Palettes: Limit some students to a "Zorn Palette" (White, Black, Red, Yellow) to prevent them from becoming overwhelmed by color mixing.

• Technical Lab Sheet: Students must demonstrate: A 5-step gradient blend, a successful glaze, and a scumbled texture.

• Final Project Rubric:

• Opacity: Is the paint applied thickly enough to hide the "tooth" of the canvas/paper?

• Edge Quality: Is there a deliberate use of both sharp and soft edges?

Value Range: Does the painting utilize a full range of values to create 3D form?

Media: Heavy-body acrylics, student-grade tempera, and acrylic "mediums" (gloss or matte).

Tools: Synthetic brushes (flats, rounds, filberts), palette knives, water cups, and "stay-wet" palettes.

Surfaces: Primed canvas boards, heavy-weight gessoed paper, or wooden panels.