9-12
4-5
Project requires three or more days- 40-50 minute sessions.
Color theory basics of blending paint in a base color with tints (add white), tones (add grey) and shades (add black) to create a harmonious monochromatic color study composition showing atmospheric perspective, portraiture or three dimensional effects through use of color.
2019 Arts Framework : High School
F.V.Cr.01 Generate and conceptualize artistic ideas and work. Create artistic ideas that reflect characteristics of different artistic movements from different cultures
F.V.Co.10 Synthesize and relate knowledge and personal experiences to make art. Describe what has influenced changes in one’s own artistic style and preferences in visual art.
F.V.P.04 Select, analyze and interpret artistic work for presentation. Justify choices for curating and presenting artwork for a specific exhibit or event. (e.g., Students complete a proposal for a juried show within the community.)
2019 Arts Framework : Elementary
Refine and complete artistic work. Respond to an artistic challenge and draft possible resolutions. (3 4.V.Cr.03)
Develop and refine artistic techniques and work for presentation. Refine a specific technique to produce a desired effect (e.g., creating realistic shading). (3-4.V.P.05)
Perceive and analyze artistic work. Analyze how aesthetic elements (e.g., color, form, line, shape, texture) are used to demonstrate intent. (3-4.V.R.07)
Apply criteria to evaluate artistic work. Develop criteria for evaluating how skillfully or expressively an artist uses the basic elements of art (e.g., color, line, shape). (3-4.V.R.09)
How do we use color to create a mood in our artwork? Where does our power lie in challenging times to still create art? What techniques can we use to create a harmonious composition?
*Students will be able to: Mix a monochromatic color palette of tints, tones and shades from a base color to use in their composition.
*Students will be able to: Create a monochromatic portrait (HS) / landscape (ELEM) using different hues of their chosen color and a grid format as a guide for compositions (can base grid on a personal photo or found image).
*Students will be able to: (SWRL)·
* DISCUSS using the critique format P.A.T.S. (HS→Praise, Ask, Tell and Suggest ELEM→ Gallery Walk)
* WRITE 2 sentences using tiered vocabulary from their discussions
* READ the goal and direction for the lesson
* LISTEN to teacher instruction and ask questions for clarification.
Before lesson activity:
THE HOOK: Introduce CCTS featured artist; Bryan Beyung MONOCHROMATIC LESSON PLAN
During lesson activity:
THE LESSON: Monochromatic Landscapes (ELEM) & Portraits (HS)
Teacher shows example of steps in project: GRID, COLOR SCALE, PAINT
1. Choose (or create) reference image
2. Make a square grid on image and larger square grid on painting surface
3. Draw each shape as you see it as it crosses the grid line.
Ask yourself where in proportion does it intersect in each square.
4. Choose one color for the mood desired in the artwork
5. Blend your monochromatic scale- showing tints, shades and tones.
You could even # your hues to create a paint by number!
6. Use color scale to paint to color block large sections
For Landscape: atmospheric perspective is the illusion of distance and established with tints in the distance and more saturated shades in the foreground.
For Portraiture: tints are used for highlights (or where the light hits the face) and shades are used for lowlights (the shadows under something that protrudes)
Teacher demonstrates how to make a grid on an image in order to draw it larger in preparation for project painting.
Teacher demonstrates how to blend a monochromatic color scale.
Students begin working their way through the steps of the project. Students will have a printed list of these steps to reference.
Steps for monochromatic painting- see above.
Find or create a reference picture/photo that has personal meaning and begin sketching artwork. Students can grid their reference picture in order to replicate it on a larger scale- similar to what mural artists do.
Students move on to the larger paper, using the grid method (optional).
Students choose one color and begin the process of blending their tints, tones and shades to create a monochromatic color palette.
Using a pallette or a paper plate students mix base color with white to create a tint. Mix base color with black to create a shade. Mix black and white into grey. Mix grey into base color for tones.
Students use their colors to block in their painting-5 color minimum high school- 4 color minimum elementary.
Students use their color palette to paint their composition.
After lesson activity:
Presenting Finished Artwork and having a class critique or gallery walk looking at classmates artwork.
Present artworks in class and have age appropriate critique.
TIER 1 |
TIER 2 |
TIER 3 |
| ONE COLOR in different HUES | MONOCHROMATIC | |
| COLOR | HUE | |
| COLOR + WHITE | TINT | |
| COLOR + BLACK | SHADE | |
| COLOR + GREY | TONE | |
| SUBTLE SHIFT OF COLOR | BLENDING | |
| A LIGHT COLOR NEXT TO A DARK COLOR | CONTRAST | |
| ILLUSION OF DISTANCE | PERSPECTIVE | ATMOSPHERIC PERSPECTIVE |
| USE OF LIGHT AND SHADOW | Implied mass and volume of an object | FORM |
| FILLING LARGE SHAPES WITH CONTRASTING COLORS | COLOR BLOCK | |
| the subtle, underlying hue beneath the surface | UNDERTONES |
To evaluate students’ ability to mix and apply a monochromatic palette, use value to create depth or form, transfer a planned composition, refine painting technique, and explain artistic choices through critique and reflection.
| Criteria | 4 – Exceeds | 3 – Meets | 2 – Approaching | 1 – Beginning |
| Monochromatic Color Mixing | Creates five or more clearly different tints, tones, and shades and uses them intentionally throughout the painting. | Creates at least four distinct values and uses them appropriately in the painting. | Creates some value changes, but colors are limited, inconsistent, or difficult to distinguish. | Uses little or no variation from the base color; tints, tones, and shades are missing or unclear. |
| Value, Depth & Mood | Value changes create a strong sense of depth, form, and mood; color choices are highly intentional. | Value changes clearly create depth or form and support the intended mood. | Some value changes are present, but depth, form, or mood is inconsistent. | Value changes do not create a clear sense of depth, form, or mood. |
| Composition & Image Transfer | Composition is carefully planned; proportions, placement, and use of the grid or other transfer method are highly accurate and effective. | Composition is clear and complete; proportions and placement are generally accurate. | Composition is partly developed; proportions or placement need refinement. | Composition is incomplete or shows little evidence of planning. |
| Craftsmanship & Effort | Paint is applied with strong control and care; work is polished, complete, and shows persistence through challenges. | Paint is applied carefully; work is complete and shows consistent effort. | Application is uneven or unfinished in places; effort is inconsistent. | Work is incomplete, rushed, or shows limited care and effort. |
| Reflection & Gallery Walk | Uses lesson vocabulary accurately and gives thoughtful, specific feedback about color, mood, and technique. | Explains color and mood using appropriate vocabulary and participates appropriately in the gallery walk. | Reflection or participation is brief, vague, or uses limited vocabulary. | Reflection is missing or participation is minimal/off-task. |
| Criteria | 4 – Exceeds | 3 – Meets | 2 – Approaching | 1 – Beginning |
| Monochromatic Palette & Blending | Creates a sophisticated range of tints, tones, and shades with smooth, intentional transitions and subtle color shifts. | Creates at least five distinct values and blends them effectively throughout the painting. | Value range is limited or blending is inconsistent; some areas lack clear separation or control. | Little evidence of a monochromatic value range or controlled blending. |
| Value, Form & Mood | Value structure convincingly creates form, light, depth, and mood; highlights and shadows are highly intentional. | Value structure clearly creates form or atmospheric depth and supports the intended mood. | Some highlights, shadows, or depth are present, but the effect is inconsistent. | Value does not clearly create form, depth, or mood. |
| Composition, Grid & Proportion | Reference transfer is highly accurate; composition, scale, and proportions are carefully planned and visually strong. | Reference transfer and composition are clear; proportions and placement are generally accurate. | Composition is partly developed; grid use, scale, or proportions need refinement. | Composition is incomplete or shows little evidence of planning and transfer. |
| Technique, Revision & Craftsmanship | Demonstrates strong brush control, layering, revision, and attention to detail; work is polished and shows sustained effort. | Technique is controlled and consistent; revisions improve the work and the final piece is complete. | Technique or revision is inconsistent; some areas appear unfinished or underdeveloped. | Work is incomplete, rushed, or shows limited control, revision, or effort. |
| Critique & Reflection | Uses P.A.T.S. thoughtfully, gives specific constructive feedback, and reflects insightfully using precise color vocabulary. | Participates appropriately in critique and explains artistic choices using lesson vocabulary. | Participation or reflection is limited, vague, or uses little content-specific vocabulary. | Critique participation or reflection is missing or off-task. |
Tier 1 instructional supports/MTSS:
SEI strategies:
SEL strategies:
Bryan Beyung is a Montreal-born artist of Chinese-Cambodian heritage. In this CTTS lesson, students study his mural at the Demakes YMCA, 40 Neptune Boulevard, with particular attention to the process from gouache sketch and wall preparation to the use of a grid and subtle shifts in water hues. His work provides a strong model for how careful planning and monochromatic color variation can create depth, harmony, and visual impact at mural scale.
The lesson also uses images of Beyung’s process and earlier work so students can connect small-scale planning, color studies, and revision to the creation of a finished public mural.
Please reflect on the lesson and give feedback when possible.
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https://doi.org/10.1386/vi_8.2.101_2
(2026). Google Search. https://beyondwalls.org
Manco, T., Neelon, C., & Art, L. (2005). Graffiti Brasil.
Neelon, C. (2008). Caleb Neelon’s book of awesome.
Wiggins, G. P., & McTighe, J. (2005). Understanding by design. ASCD.