How to Teach the Elements and Principles of Art
Teaching the principles and elements of design with Artstor (Part 1)
Jackson Pollock; Autumn Rhythm (Number thirty); 1950.Prototype © The Metropolitan Museum of Art; © 2009 Pollock-Krasner Foundation / Artists Rights Order (ARS), New York
One of the nearly daunting challenges I faced teaching in a loftier school fine art program was developing a common language to articulate the principles and elements of design. Helping students strop those advice skills made critique easier simply took a lot of fourth dimension upwardly front. When our kinesthesia began to use the same terminology across the curriculum, students developed a comfort level with those terms and began using them more naturally in discussing their own work and the projects of their peers and heroes from the art world.
Long earlier I knew I was going to be building resources for teachers in Artstor, I was gathering images to aid my own students "meet and say" what they noticed in a piece of work of art. My goal was to become them to articulate what principles were in effect and what elements supported those principles. After well-nigh ten years, I had a pretty robust image group to use for each. When I came to Artstor, I was adamant to make ten functional groups of fewer than 24 images that other teachers could use to highlight specific elements or principles. I added favorites that colleagues suggested and included term definitions. Now, with Artstor's alliance with JSTOR, I can also include further reading about teaching Art and Design. These groups can be found in Educational activity Resources under Studio Fine art . My arroyo is simply one of many; since an epitome group can exist copied and and then altered as needed, we thought information technology might serve as a valuable starting signal for studio teachers.
Alexander Calder; Cow; ca. 1926; Museum of Fine Arts, Boston. © 2007 Manor of Alexander Calder / Artists Rights Guild (ARS), New York
Michelangelo Buonarroti; Studies for the Libyan Sibyl; 1508-12. Image © The Metropolitan Museum of Fine art
The Elements of Design
The first group I always used on the get-go day of school is Line in Art and Design . Beginning with the linear work of prehistoric cave artists tends to ground students in the thought that making and enjoying art has long been an essential element of being human. Showing both the whimsical wire sculptures of Alexander Calder and the Tughra of Sultan Sulaiman the Magnificent underscores that line is the almost of the universal of all fine art elements.
Josef Albers, Grayness Instrumentation I f; 1974. Image and original data provided by the Josef and Anni Albers Foundation; © 2008 The Josef and Anni Albers Foundation / Artists Rights Order (ARS), New York.
Leonardo da Vinci; Pall written report for a seated figure; ca. 1475-1480; Musée du Louvre, French republic.
From Line, I moved on to Value in Art and Pattern . Cartoon is one of the first tools that an fine art student uses. Sharing the studies of some of the world'due south greatest renderers when discussing value structure can be an inspiring mode to remind them that, through cartoon, they are speaking a language that their artistic ancestors have used. The piece of work of the legendary teacher of these principles and elements of pattern, Josef Albers, is useful because his Gray Instrumentation series conspicuously illustrates the result of value changes in perception of depth.
Frank Gehry; Guggenheim Museum Bilbao, exterior; 1991-1997; Avenida Abandoibarra, Espana. Ralph Lieberman: Architectural Photography
Richard Serra; Melnikov; 1987. Image and original data provided by the The Museum of Modern Art; moma.org; © 2008 Richard Serra / Artists Rights Social club (ARS), New York
Georges Braque; The Musician'south Table; 1913; Kunstmuseum, Switzerland. © 2009 Artists Rights Lodge (ARS), New York / ADAGP, Paris
As students began to differentiate between Shape, Form, and Book in Art and Blueprint , the compelling issues of positive and negative space naturally emerged. We simplify this idea here and aggrandize on information technology later when we accost the Principles of Design. Over the years, I accept institute experiencing the iii-dimensional piece of work of Louise Nevelson, such as City-Sunscape , helps students better articulate their agreement of spatial ambiguity that is also found in the layering of shapes that László Moholy-Nagy or Kazimir Malevich employed in their two-dimensional work. Teaching shape, grade, and volume in one unit also invites students to explore architecture and sculpture.
Meret Oppenheim; Object; 1936. Paradigm and original information provided by the The Museum of Modern Art; moma.org; © 2008 Artists Rights Society (ARS), New York / Pro Litteris, Zurich
Gustav Klimt; Adele Bloch-Bauer I; 1907; Neue Galerie, New York. Image and original data provided by Erich Lessing Culture and Fine Arts Archives/Fine art Resources, N.Y.; artres.com
Texture in Art and Design is especially fun to teach with the Artstor Digital Library because of the zoom feature. The unsaid or visual texture of Ingres' Napoleon on His Imperial Throne juxtaposes nicely with the impasto of Vincent Van Gogh's The Starry Night. Students respond with the best possible facial expressions when exploring Object (fur covered cup) past Meret Oppenheim. I have often done this unit of measurement using Artstor live rather than Powerpoint download merely for the flexibility that the prototype viewer provides.
Marking Rothko; Untitled; 1959; Kate Rothko Prizel. © 2005 Kate Rothko Prizel & Christopher Rothko / Artists Rights Gild (ARS)
Vincent van Gogh; Self-portrait with a Straw Hat (verso: The Tater Peeler); ca. 1887. Image © The Metropolitan Museum of Art
The final lesson on the elements is usually the most daunting for students. Color in Art and Blueprint merited a detailed essay covering the vocabulary terms associated with color. Also, links to a couple of Khan Academy videos on colour were included along with the JSTOR essays we have chosen for all these groups. A work of art that has ofttimes helped my students empathise the properties of color is Green and Orange Flag by Jasper Johns. In addition, several diagrams in the Artstor Digital Library take helped me teach color to my emerging artists. Having admission to so many of these supports some differentiated learning. Diagrams published by Duane Preble and Farber Birren unlock the spectacular works that explore color past Gene Davis and Thomas Downing.
Establishing a clear agreement of the elements with students becomes the scaffolding for the core principles of art and pattern. Practicing artists render to these elements again and again for affirmation, problem-solving, and inspiration. In part two of this post, I will share ane arroyo to applying those principles to the elements with immature artists.
In my adjacent post, we'll wait at the principles of design .
— Dana Howard, Senior G-12 Human relationship Manager
Source: https://www.artstor.org/2017/02/24/teaching-the-principles-and-elements-of-design-with-artstor-part-1/
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