<H4>An introductory note:</H4><b/><P>In an effort to help promote the development of effective visual literacy skills, a wide range of approaches and concepts need to be attended to in addition to those that are being addressed in the following lesson. Some facets of that discussion can be found in the online article I wrote entitled, <i>"Visual Literacy: Renaissance for the 21st Century?"</i>, available at <a href="http://www.intercreate.org/artmag/pages/insite20.htm">art-themagazine.com</a><P>

In addition, Dr. Jason Ohler''s article,<i> "Art Becomes the 4th ''R''"</i>, which I quoted from fairly extensively, is an excellent resource for understanding the wider implications of what is meant by the development of visual literacy skills in terms of the impact that multi-media is having in today''s world. His article may be viewed by <a href="http://uashome.alaska.edu/~jfjbo/fourthr/4thR.html/4thR.fs1.html">clicking here.</a><P> <HR> <H3><b><i>Lesson</i></b></H3>

<b> Lesson Objective:</b><br>

To develop an understanding of how the elements of art and the principles of design are used in the effective creation of visual composition.<P>

<img src=http://www.walkerart.org/walker_images/e_images/05/wac_4112e.jpg><br/> Artist: Chris Ofili<br/> Title: Third Eye Vision<br/> Date: 1999

<b>Education Level: High School</b><br/> <i>(adaptable for Middle School implementation)</i>

<b> Activity: </b><br>

Students will compile an art collection using Art Collector to demonstrate how the various elements of art and principles of design were utilized in a variety of different artworks resulting in very different compositional effects. </br>

<i> Elements of Art:</i> <OL> <L1> line<br/> <L1> color<br/> <L1> form<br/> <L1> shape<br/> <L1> texture<br/> <L1> value </OL>

<i>Principles of Design:</i> <OL> <L1> balance<br/> <L1> contrast<br/> <L1> proportion<br/> <L1> pattern / repetition<br/> <L1> rhythm / movement<br/> <L1> emphasis<br/> <L1> unity<br/> <L1> variety </OL>

<b><H4>ELEMENTS AND PRINCIPLES OF ART DEFINED</H4></b><br/> <HR> <i><b>ELEMENTS OF ART:The basic components used by the artist when producing works of art </b></i><br/><br/>

<img src=http://www.walkerart.org/walker_images/e_images/03/wac_2212e.jpg> Artist:   Ellsworth Kelly<br/>   Title:   Red, Yellow, Blue III<br/>   Date:   1966<br/> <br/> <b>Color:</b> The colors we see are light waves absorbed or reflected by everything around us. In nature, a rainbow is white light that is broken apart by the moisture in the air. <br/>

<i><b>Pigments:</b></i><br/> Pigments give color to paint. In the past, pigments were powders made by grinding up minerals, plants and animal parts. The most expensive pigments used to be gold, vermilion (a red pigment made from sulfur and mercury) and ultramarine (a blue pigment made from a stone called lapis lazuli). Modern pigments are made from chemicals which come in brighter colors, resist fading, and are less expensive. Pigments are mixed with a "binding agent" such as egg, oil, animal fat, water or synthetic resin to make a paintable liquid that dries.<br/> <i><b>Local (Natural) Color:</b></i><br/> Local color means realistic color—color as it appears in nature (green grass, blue sky, brown horses, etc.) <br/> <i><b>Arbitrary Color:</b></i><br/> Color selected by the artist for its expressive qualities<br/> <i><b>Digitized Color:</b></i><br/> Color that has been relayed on photosensitive pixels that exist within electronic sensors.<br/>

<b>Form: </b><br/>Forms are three-dimensional—they have height, width and thickness (depth). Shapes are flat, forms are not. Examples of forms include pyramids, spheres, cubes, cylinders and cones.<br/><br/> <b>Line: </b><br/>Defines the edges of shapes and forms. Lines can be categorized into different types: broken, zigzag, straight, curved, diagonal, outline, wavy, parallel, horizontal, vertical, etc.<br/><br/><br/> <b>Shape: </b><br/>When lines meet, shapes are formed. Shapes are flat. Some shapes are geometric, such as squares, circles, triangles, rectangles, and ovals. Other shapes are organic or free-form.<br/><br/> <b>Space: </b><br/>Space is an empty place or surface in or around a work of art. Space can be two-dimensional, three-dimensional, negative and/or positive.<br/><br/> <b>Texture: </b><br/>Texture is the way something feels when you touch it (real texture). Artists also create the illusion of texture in artworks such as paintings, drawings and prints (visual texture). Different effects can be created to imitate a variety of textured surfaces such as wet, slippery, soft, shiny, hard, smooth, silky, rough, metallic, feathery, etc.<br/><br/> <b>Value: </b><br/>Value is the lightness or darkness of a color. You can get different values of a color by mixing its shades and tints (color + black = shade / color + white = tint). <HR> <img src=http://www.artsmia.org/mia/e_images/21//mia_21848e.jpg><br/> Artist:   Edgar Brandt <br/>  Title:   Firescreen<br/>   Date:   c.1923<br/><br/>

<i><b>PRINCIPLES OF DESIGN: Certain qualities inherent in the choice and arrangement of elements of art in the production of a work of art </b></i><br/>

<b>Balance: </b><br/>Balance is one of the principles of art which describes how artists create visual weight. Artists think about how to make their works balanced by using elements such as line, shape and color. There are several ways to balance an artwork: <br/>

Symmetrical (formal) balance means that what occurs on both sides of an imaginary line are the same in terms of their weight. <br/>

Asymmetrical (informal) balance means that what has been placed on each side of an imaginary line that divides the composition are different . Usually this places a greater emphasis on one side of the composition or the other.<br/>

Radial balance means lines or shapes grow from a center point. <br/>

<b>Contrast: </b><br/>Contrast creates excitement and interest in artworks. Two things that are very different have a lot of contrast. In terms of hue, White and black have the greatest contrast. Complementary colors also have high contrast. Artists use high contrast to make something show up or they may choose low contrast for a softer look (less distinguishable). Contrast may also apply to other elements used in the composition as well.<br/><br/> <b>Proportion: </b><br/>Proportion describes the size, location or amount of one thing compared to another in the composition. Things that are said to be in proportion to each other reflect how they are normally perceived in our experience. This that appear to be disproportional to each other appear odd or distorted in some way, as they are in conflict to how they would normally be percieved.<br/><br/> <b>Pattern / Repetition: </b><br/>Artists create pattern by repeating a line, shape or color over and over again in a composition. <br/><br/> <b>Rhythm / Movement:</b><br/> Visual rhythm makes you think of the rhythms you hear in music or dance. Artists create visual rhythm by repeating art elements and creating patterns causing movement in a composition. The rhythm / movement that an artist creates may appear to be calm or chaotic, lively or slow, depending on how various elements have been organized in the composition.<br/> <i>Movement: </i> How the eye is ‘guided’ across the surface of the artwork<br/>

<b>Emphasis: </b><br/>Artists use emphasis to make certain parts of their artwork stand out and grab your attention. The center of interest or focal point is the place the artist draws your eye to. <br/>

Focal Point: A focal point (or center of interest) is the part of an artwork you look at first. Artists focus attention on the focal point by using various art elements and principles to bring the viewer''s eye to that part of the composition. <br/>

<b>Unity: </b><br/>Unity is the feeling that everything in the work of art works together and looks like it fits as if all of the aspects of the work make up a whole. Nothing in a unified composition appears to be either redundant or lacking in visual significance.<br/><br/> <b>Variety: </b><br/>Variety occurs when an artist creates something in the composition that looks different from the rest of the artwork and therefore stands out. In this way an artist may make you look at a certain part of the artwork differently and thereby make the artwork more interesting.

<img src=http://www.walkerart.org/walker_images/e_images/07/wac_6059e.jpg><br/> Artist:  Lawrence Weiner<br/>  Title:   Bits & Pieces Put Together to Present a Semblance of a Whole<br/>   Date:   1991<br/><br/>

<b>The following are the conditions for the creation of a successful collection for this project:</b><P>

1) Students will select 3 different works of art that convey a wide range of subject and emotional response.<br/>

2) Students will identify how each of the elements of art are utilized in the composition through the ways in which the principles of design are being used to organize the elements in the portrayal of the subject.<br/>

3) Students will utilize the zoom feature in Art Collector as a way to illustrate the particular aspect of the artwork that is being discussed.<br/>

4) All of the writing incorporated in the collection should demonstrate a comprehensive understanding of the terminology that is being addressed.<br/>

5) The descriptions of all of the works being examined should also convey a sense of the mood and meaning that the student feels the artist is attempting to convey through the utilization of the elements and principles of art that are being employed.

6) Collections should be a minumum of 6 screens (pages), with the original work being displayed on one page and at least one detail or zoom screen of the work being used on following screens (pages). As many zooms as necessary should be utilized to best convey the points being made.

7) An option that might be used by the student in the creation of the collection, would be to include additional works by the same or other artists in order to compare and contrast effects that were evident between the works due to the use of the elements and principles that were employed.<br/>

8) Correct grammar usage and spelling will be a consideration in the assessment of the work being completed.<br/>

9) Students will need to publish their collections using the ''publish'' feature that is located to the far right of the menu bar at the top of the editor page. Teachers should record the assigned URL for grading purposes.

<img src=http://www.walkerart.org/walker_images/e_images/03/wac_2358e.jpg><br/> Artist:  Sol LeWitt<br/>   Title:   Four Geometric Figures in a Room<br/>   Date:   1984<br/><br/>

The following is a suggested assessment scale based on the level of skill evidenced in the completion of the assignment given the mandated criteria that was to be addressed. <br/>

<i><b>Level 4 represents the highest level of that achievement with each subsequent number representing a somewhat lower standard of achievement.</b></i> <HR> <UL> <b>LEVEL 4</b><br/>

<L1>* Selection of artwork exemplars for collection represented an outstanding range of work, covering a wide expanse of both subject matter as well as emotional response.<br/> <L1>* Very comprehensive identification of how the elements of art in the selected works were utilized through the application of the principles of design that were employed in the definition of the compositional space.<br/> <L1>* Excellent use of the zoom feature in Art Collector to best illustrate the concepts being discussed in each of the works of art selected.<br/> <L1>* A highly developed level of sensitivity was evidenced in the writing regarding the emotional character of the work being described.<br/> <L1>* Written descriptions were of exceptional quality in both content and structure.<br/> <HR> <b>LEVEL 3</b><br/>

<L1>* Selection of exemplars of artwork showed a good range of subject matter and emotional response.<br/> <L1>* A proficient understanding of the employment of the elements of art in the compositions as they were utilized in the application of the principles of design. was clearly evident.<br/> <L1>* A good use of the zoom tool was demonstrated in illustrating the various concepts being examined. <br/> <L1>* A good degree of sensitivity to the treatment of the subject matter depicted in the artwork was explored in the writing.<br/> <L1>* The descriptions were well written in terms of both their content and structure.<br/> <HR> <b>LEVEL 2</b><br/>

* Selection of exemplars showed an emerging understanding of the range of subject and emotional response in the artwork that was chosen which was needed for the purpose of this collection.<br/>* Some understanding shown in how the elements of art were being utilized through the application of the principles of design.<br/> * The zoom tool was successfully employed most of the time in illustrating the concepts being discussed.<br/> * Some sensitivity to the treatment of the subject matter was evident in the writing.<br/> * The written descriptions were adequately written for the most part in terms of their content and structure. <br/> <HR> <b>LEVEL 1</b><br/>

* Exemplars selected did not show much consideration for either the range of subject and / or the emotional response being conveyed in the work. <br/> * Little understanding was displayed in how the elements of art and the principles of design were incorporated in the works selected. <br/> * The zoom tool was used without sufficient regard for the concepts being illustrated.<br/> * Insufficient sensitivity was displayed in the writing regarding the treatment of the subject matter. <br/>* Uneven level of writing left more to be desired in the content and / or structure of the descriptions.<br/> </UL>

<b>Exemplar Analysis of Visual Composition #2:</b><br/><br/> Although the subject of this work is figurative, the forms that have been sculpted to show the bust, appear to be almost <i>geometric</i> and <i>mechanical</i> in appearance. The <i>lines </i>indicating the stylized hair are <i> stiff, vertical</i> and carved <i>parallel to each other</i>. <P><br/>That <i>vertical quality</i> is also evident in the <i>exaggerated straightness and length<i> of the nose</i> as well as the<i> cylindrical shape </i> of the neck and head.</i><P><br/> The simplification of the forms further helps to emphasize the <i>symmetrical balance</i> that also seems to define the work, displaying almost a sense of <i>peace and contentment</i> in the face of the subject.

<b>There is some contrast exhibited in the almost mechanistic quality of the work when it comes to the eyes and mouth, where the lines appear softer and more human as a result of the <i>curves</i> that occur in these areas.

<img src=http://zoom.artsconnected.org/fif=/mia/fpx/26/mia_26868b.fpx&obj=iip,1.0&wid=320&hei=240&rgn=0.23684222,0.4375,0.52631580,0.12500000&lng=en_US&cvt=jpeg>

<img src=http://www.artsmia.org/mia/e_images/16//mia_16516e.jpg><br/> Artist:   George Grant Elmslie<br/>   Title:   Pair of windows<br/>   Date:   1922<br/><br/>

<b>The following tips might be helpful in having the students create more effective collections:</b><P> <OL> 1) Use italicized words when referring to specific elements and principles in order to keep clear which terms are being addressed.<P> 2) Do not try to incorporate <i>every</i> element and principle that exists in each composition. Attend to the concepts that appear to be the ones that are the most emphasized. This will also be helpful in demonstrating an understanding of the make up of the composition being analyzed.<P> 3) When composing the text for the zoom / close-up screens, use bold text to delineate this text from the text being used in the main screens.<P> 4) Read the information that is available on the different works of art being selected that is available by clicking on the "More Info" button that is below each image. Some of the descriptions might be useful in determining how the elements, principles and emotional components of a particular subject are being addressed. The majority of responses by the students should depend on their own observational skills, but additional information might certainly be helpful in focusing the responses.<P> 5) Explore the various animations / definitions that are available in the Artists Toolkit that may also be found in the Art Gallery. The information presented there might also be helpful in having the students develop a more informed understanding of the use of the elements of art and the principles of design. <a href="http://www.artsconnected.org/art/">Click here to return to the Art Gallery page.</a><P> 6) Additional examples of how the principles of art may be described in relation to the compositions that they are use in may be viewed <a href="http://www.artsconnected.org/pub/KevanNitzberg5708.cfm"> by clicking here.</a><P> 7) Exploration of how students might address / interpret some of the emotional aspects of a work of art, may be seen<a href="http://www.artsconnected.org/pub/KevanNitzberg6964.cfm"> by clicking here.</a><P> 8) Examination of different ways to express how the element of line might be categorized and its effect in a composition might be elaborated upon <a href=" http://www.artsconnected.org/pub/KevanNitzberg14615.cfm"> by clicking here.</a><P> 9) Using the Art Sampler program in the Art Gallery will allow students to explore all of the digitized works from the Mpls. Institute of Art and the Walker Art Center as an additional way to view as broad a selection of works as possible from which to select the ones that they wish to include in the collection.<a href="http://www.artsconnected.org/art/">Click here to return to the Art Gallery page where Art Sampler is located.</a><P> 10)To review the process for making an Art Collection in ArtsConnected, <a href="http://www.artsconnected.org/pub/KevanNitzberg3693.cfm"> click here. </a><P> 11) A wide assortment of other programs are also available for looking for artworks to incorporate in the collections from the Art Gallery, in addition to the keyword search feature that exists there as well.

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