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Lesson Plans


Re: what teach elements and principles for?

[ Thread ][ Subject ][ Author ][ Date ]
skc (skc203)
Fri, 23 Oct 1998 07:49:33 -0700 (PDT)


Bob,

I hope you don't mind that I ask you some questions:
1)What are the values of teaching elememts and priciples of a design
to students?
2)When one talks about elements and priciples, it seems that they are
the components of abstract expressionism.
Do you think art teachers still need to consider to teach abstract
expressionism, even though the contemporary art world has paid less
attention on that.

Thanks a lot!

Kevin Smith

---Robert Alexander Fromme <rfromme> wrote:
>
> At 01:14 AM 10/22/98 EDT, Kim in Oregon wrote:
>
> >I want to make a poster for the Elements of Art and one for the
Principles of
> >Design. .....(parts deleted)....I give up.....is there a
STANDARD list
> somewhere????
>
> Welcome to the wonderful world of art education, Kim. On this one
you get
> to make up the rules (based upon the ages of your students and the
degree of
> formal discussion you want to try to incorporate into your lessons).
>
> Keep in mind that the words, (as you try to verbally communicate
about
> non-verbal phenomenon) have little direct relationship to the visual,
> tactile ......perceptual, explanation required for an effective
examination
> of creative form in art class. As a result, if the students are
young, a few
> elements chosen by you to fit specific art examples in the course of
study
> will probably serve you more effectively then the full list of
elements and
> principles.
>
> Yes, I know .....about now you are saying.....that isn't much help.
So,
> keeping traditional examples of work from art history in mind, a
list of
> elements which includes point, line, shape, value, color, texture,
form and
> space will work. This short list will keep you quite busy if your
students
> are in elementary or middle school.
>
> If the students are in high school, you may choose to elaborate your
list to
> include under color, the concepts of hue, value and intensity (or
color
> name, tone and saturation(purity)...or any other method of
explaining the
> aspects of color). You may also choose to explaine that light is also
> considered one of the elements and its addition to the mix now
forces us to
> consider the hues (compliments of reflected light) and the
compliments of
> projected light. (Yellow, Red, and Blue of surface color primaries
vs. Red,
> Green and Blue primaries of light ....or if you really want to get
deeper
> into color, try your hand at the CYMK , Blue, Yellow, Red and Black
used in
> printing many computer generated color images. )
>
> If you also want to add to the student's confusion, you can throw in
time
> and physical movement as two additional elements which are
important in the
> creation and appreciation of many recent works.
>
> So, if you want the long list, you can include; point, line, shape,
> reflected color (with its three aspects), texture, shape, form,
space, light
> (with its color, brightness, contrast and intensity), time and
physical
> motion. These are also the elements which one usually confronts in
the
> traditional college curriculum, yet, they will probably create more
problems
> then they solve if they are all included as part of the learning in
the
> early grades.
>
> Perhaps the primary lesson for any discussion of the elements of art
> involves their interconnected roles in the organization of form.
(You
> know.......lines and colors and value and textures can all serve to
create
> shapes or varied lines can be compressed to create the illusion of
texture
> or compressed more to suggest value which can suggest shadows and
forms in
> space (stiippling, hatching, crosshatchiing, etc, etc, etc,)
>
> Now, your choice of principles in the list will also serve you best
if you
> can look at the particular art works that you want to examine in the
class
> and then include those principles which can be demonstrated as you
look at
> formal structure in those work. Here, you will discover that the
principles
> have a way of doubling up on you, or like animals headed off to the
ark,
> their concepts can be best be communicated and understood if you
look for
> opposites and teach them as if they are antagonistic couples. For
example,
> to understand unity one must understand the lack of it. To understand
> emphasis, one must grasp the concept of support or subordinate.
Movement
> makes little sense unless we understand stability Contrast, variety
and
> elaboration are most effective if we have a foundational
understanding of
> unity, harmony and simplicity. Balance requires an appreciation of
tension
> lacking balance. Rhythm and repetition are of little help unless we
> understand singularity and the lack of syncopation. Proportion and
scale
> have little to offer until we understand the disturbing effects of
illogical
> and non-sequential relationships in space. Economy of effort is best
> understood against an appreciation of the ornate and some experience
of the
> "overworked."
>
> I have probably missed something here but this should get you started.
> Perhaps you can look over the list and see what you want to include
in your
> list. You can mention that all of this...(this word game hinting at
the
> visual, tactile world of art) has a long tradition spanning the
history of
> our craft. Master, trying to explain formal relationships to
apprentice,
> master trying to make some sense out of the work of another
master.....the
> struggle goes on. Now, with conceptual or "idea art" and directions
toward
> events, multimedia, technology, and telecommunication, one wonders
what new,
> non-verbal concepts will have to depend of somewhat less then
effective new
> words added to our list of elements and principles of in the visual
arts.
>
> Good luck with this project. Make it serve you and your students
in your
> classroom. You don't need all those concepts hanging on your wall
unless you
> intend to talk about them.
>
> Bob
>
>

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