I believe you are pretty proud of your teaching style. It seems to me
that you have done a great job. My questions are:
1)Based on my understanding, "aesthetics" means "beauty." Do you
believe a work of art must contain aesthetic qualities?
2) If a student presents his work of art in a narrative way (for a
studio class, for instance)without visible evidence, how do you react?
(actually it happened in my class)
> I thought I would jump in here. I teach the elements and principles
>design to my students. Why? Because they "beg" for help....and the
>and principles are the basics that get them to think, write, and make
>aesthetic decisions. All of my advance students have to write thesis
>statements on what their intent is...so I start with elements and
>in my beginning course so that they have a VOCABULARY, both visual and
>literal, to work with. (And quite frankly, I use every day
>to teach the elements and principles, and compare those images and
>compositions to the 'masters', and guess what? the same elements and
>I love to hear my freshmen critique each others' work using such
>harmony, rhythm, variety, not to mention movement. Their work improves,
>feel like they have ownership of their work, and I stress that,
>difference between a monkey with a paintbrush, and an artist, is that
>artist has the ability to make aesthetic decisions.
>Do I stop with elements and principles? hell no....we blab on and on,
>the realms of value, perspective proportion etc etc etc. And you know
>They end up supporting each other while they work with ideas and
>suggestions. AND that is when I am most proud of them.
>Did I learn this way? Nope. In college I was given paint and told to
>Frustrated, and slightly out of control, I never quite knew why it was
>'good' but knew it was. Once I learned the 'rules' (and believe me,
>using the word advisedly), I knew how to grow, and break a few as well.
>I guess the long and short of this is this. Students in highschool
>us for help in expressing themselves, and finding out who they are.
>Whatever I can give them to facilitate this journey is what I do as
>teacher. The elements and principles are early guideposts for them.
>> 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
>> > Keep in mind that the words, (as you try to verbally communicate
>> > non-verbal phenomenon) have little direct relationship to the
>> > tactile ......perceptual, explanation required for an effective
>> > 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
>> > 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.
>> > 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
>> > are in elementary or middle school.
>> > If the students are in high school, you may choose to elaborate
>> list to
>> > include under color, the concepts of hue, value and intensity (or
>> > name, tone and saturation(purity)...or any other method of
>> explaining the
>> > aspects of color). You may also choose to explaine that light is
>> > 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
>> > 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
>> > 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,
>> > reflected color (with its three aspects), texture, shape, form,
>> space, light
>> > (with its color, brightness, contrast and intensity), time and
>> > motion. These are also the elements which one usually confronts in
>> > traditional college curriculum, yet, they will probably create more
>> > then they solve if they are all included as part of the learning in
>> > early grades.
>> > Perhaps the primary lesson for any discussion of the elements of
>> > involves their interconnected roles in the organization of form.
>> > know.......lines and colors and value and textures can all serve to
>> > shapes or varied lines can be compressed to create the illusion of
>> > 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
>> > and then include those principles which can be demonstrated as you
>> look at
>> > formal structure in those work. Here, you will discover that the
>> > have a way of doubling up on you, or like animals headed off to the
>> > their concepts can be best be communicated and understood if you
>> look for
>> > opposites and teach them as if they are antagonistic couples. For
>> > to understand unity one must understand the lack of it. To
>> > emphasis, one must grasp the concept of support or subordinate.
>> > makes little sense unless we understand stability Contrast, variety
>> > elaboration are most effective if we have a foundational
>> understanding of
>> > unity, harmony and simplicity. Balance requires an appreciation of
>> > lacking balance. Rhythm and repetition are of little help unless we
>> > understand singularity and the lack of syncopation. Proportion and
>> > have little to offer until we understand the disturbing effects of
>> > and non-sequential relationships in space. Economy of effort is
>> > understood against an appreciation of the ornate and some
>> of the
>> > "overworked."
>> > I have probably missed something here but this should get you
>> > 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
>> > visual, tactile world of art) has a long tradition spanning the
>> history of
>> > our craft. Master, trying to explain formal relationships to
>> > master trying to make some sense out of the work of another
>> > struggle goes on. Now, with conceptual or "idea art" and
>> > 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
>> > 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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