CREATIVE PRINCIPLES

Level: Middle School

Grades: Gr. 6-8 | Age: 11-14yrs | Written by: Ruth Hand 
[Ruth is an art educator at Middle School in Emmetsburg, Iowa]

Summary:

This is a series of simple design exercises to further understanding of the Principles of Design and how each can be developed within a structured composition.

Time Frame:: Two to three weeks depending on age level, how often class meets, length of class period, number of designs assigned, etc.

Objectives:

Students will:

 Review the basic Principles of Design (balance, unity, movement, rhythm, pattern, contrast and emphasis).

 Understand each principle more completely.

 Provide "aerobic exercise" for the right side of their brain.

What You Need:

 Video "Principles of Design" Gerald Brommer

 Elements and Principles of Design poster sets (Crystal Video Productions ph: 516-928-4420)

 8 1/2" x 11" white typing paper (cut into 4 1/4" x 5 1/2" rectangles)

 Variety of colored pencil point magic markers

 Classical Music CDs and CD player (optional during class)

  

Dot Line Examples

What You Do:

1. View the video. Students may take notes if desired. Afterwards, review the information discussed by having groups of 2-3 students take one of the seven
principles posters and present it to the class emphasizing two or three important points talked about in the film.
2. Pass out 15-25 small-size sheets of the white typing paper for each series of designs that students will be working on. They can identify their own sheets
by using pencil to mark initials on the back side. Make sure each student has, or can share, at least 4-6 colored pencil point markers for variety. (Large
markers are too clumsy and do not make as neat a design.)
3. Do a quick review of the elements of design (specifically line, color, space). Explain to students that they will be creating a series of designs, first using
dots, then lines, and finally, a combination of both. Each design should illustrate at least three or more of the principles they have discussed. Stress that,
while designs need not necessarily fill the entire paper, they must be complete and well developed as space is an important consideration. Also, all designs
must be totally abstract; no recognizable objects, shapes, letters, numbers, symbols, etc. are allowed.
4. Discuss and establish some basic criteria for each group of designs. The following work well for DOT DESIGNS (define a dot as the beginning of a line,
regardless of its size):
o use only two colors per design (keep it simple).

o dots must be round and colored solid.

o dots within each design should vary in size (change can be sudden or gradual but is important for providing contrast, thereby avoiding
"chicken tracking").
o dots may "follow the leader," touch, overlap, stack on top of each other, run off the edge of the paper, etc.
  

Dot Design Examples

5. Basic criteria for LINE DESIGNS might include the following:

o use only two or three colors per design.

o lines should begin thin, grow in thickness and return to a thin line again...or run off the paper (so they remain lines instead of becoming
shapes).
o lines should vary in length (short, medium, long) and may expand/contract in any form or direction.

o lines may be straight, curved, zigzag, twist; cross over, build on top of or weave under and through each other, etc.
  

Line Design Examples
  

Line Design Examples

6. All of the above criteria apply to DOT/LINE DESIGN combinations. Limit each design to three colors to ensure that the designs do not become more
about color than about design. Make certain students understand that this is a form of brainstorming and there is no "right/wrong." Designs that appear to
be incomplete can always have something added. Encourage them to relax and let their right brain take over. Explain that, often, our best ideas come
when we "space out" or daydream while doodling.
  

Dot/Line Design Examples

7. Tell students to look for new ways that dots and/or lines can be drawn or interact with each other and still remain dots and lines. If they do come up with
something new, for example, dots passing through each other, have a round table discussion to reach consensus that it still meets basic criteria. These
discussions can grow into interesting exchanges as students take positions and offer differing opinions/explanations as to why they believe some designs
may or may not pass muster. Focus on constructive criticism.
8. As designs are completed, they should be laid out on the tables in front of students for continual reference. Midway through each class, allow students to
take a break, not only to rest their right brain, but also so they may walk around and observe the work of others. This provides opportunity for "idea
building," especially for those students who get "stuck in a rut." Stress the fact that if they see another design they really like, they can create a similar
one by changing or adding to it rather than copying.
  

Original design and Expanded ideas created from original

9. When each design series is completed, have students choose what they consider to be their best designs to represent each principle and lay them out in
separate marked areas. Again, have round table discussions as to the merits of various designs. Students should name the principles they see illustrated
and comment on what might be lacking in some designs, for example, no unity or contrast, unbalanced components, etc. Emphasize that the best designs
may show all seven principles.
10. Ask students to point out designs which show:
o unity between all parts of the design.

o formal (symmetrical), informal (asymmetrical) and radial balance.

o areas of movement and rhythm.

o several different kinds of contrast.

o any obvious patterns.

o a focal point or center of interest.

o all seven principles due to outstanding organization of the basic elements within the design.
11. Allow students to select their best designs for putting up in a large display area. Ask for volunteers or choose students to plan the arrangement and put it
all together.

Follow up Activity:

Introduce students to the abstract styles of several different artists including Margo Hoff (Marathon, Street Music ), Piet Mondrian (Composition with Red, Yellow and
Blue), Jackson Pollock (Full Fathom Five, Autumn Rhythm), Mark Tobey (Universal Field), and Henri Matisse (L'escargot, Beasts of the Sea, The Wine Press,
Sorrows of the King). After viewing and discussing examples of each, have them create their own more complicated abstract design composition using geometric as
well as organic lines and shapes and unlimited color choices. Provide a variety of medium, such as charcoal, India ink, colored pencil, oil pastels, tempera paint, and an
assortment of different kinds of paper. Encourage students to use a combination of several of these. Have students write an evaluation of their completed work using
what they learned from studying the Principles of Design.
  

Dot/Line Design Examples

Source:
http://www.kinderart.com/drawing/creative.shtml

Formal Visual Analysis: The Elements & Principles of Composition

Help students build techniques to interpret what they see into written words using art

In any work of art, all of these elements and principles will be present, but some will be more obvious than others. When engaging in formal analysis, students should select the elements they feel are most strongly represented in the
piece they are analyzing.
A good place to start formal analysis is to look at a work of art and take note of how your eye moves around the object. Where does your eye go first, and why were you attracted to that part of the image? What colors, textures, and
shapes appear in the image? What did the artist include in the composition to guide your eye or to direct your gaze to a certain part of the image?
Formal analysis is an important technique for organizing visual information. In other words, it is a strategy used to translate what you see into written words. This strategy can be applied to any work of art, from any period in history,
whether a photograph, sculpture, painting or cultural artifact.

The Elements

The elements of formal analysis are building blocks that can be combined to create a larger structure.

Line is the most basic building block of formal analysis. Line can be used to create more complex shapes or to lead your eye from one area in the composition to another.
Value is the degree of light and dark in a design. It is the contrast between black and white and all the tones in between. Value can be used with color as well as black and white. Contrast is the extreme changes between values.
Shapes are created when lines are combined to form a square, triangle, or circle. Shapes can be organic (irregular shapes found in nature) or geometric (shapes with strong lines and angles such as circles, triangles, and squares).
Forms are three-dimensional shapes with length, width, and depth. Balls, cylinders, boxes and pyramids are forms.
Space is the area between and around objects. Increasing or decreasing the amount of space around an object affects the way we view that object.
Color differentiates and defines lines, shapes, forms, and space. Even black and white images have a huge number of different shades of gray.
Texture is the surface quality that can be seen and felt. Textures can be rough or smooth, soft or hard. Textures are often implied. For instance, a drawing of a rock might appear to have a rough and hard surface, but in reality is as
smooth as the paper on which it is drawn.
The Principles

Notice how the following principles integrate the elements of formal analysis and build on one another. Note: Each principle below refers to the photograph of paddlers at left to illustrate key concepts.
Balance is created in a work of art when textures, colors, forms, or shapes are combined harmoniously. In this image, notice how the photographer achieves a sense of balance by dividing the image into two sections: one half
occupied by trees, and the other half by the water.
Contrast is the use of several elements of design to hold the viewer's attention and to guide the viewer's eye through the artwork. In this image, the texture of the trees contrasts with the texture of the water.
Movement is the way a viewer's eye is directed to move through a composition, often to areas of emphasis. Movement can be directed by lines, contrasting shapes, or colors within the artwork. In this work of art, our eye moves up
through the pattern in the rippling surface of the water to the two paddlers. From there, our eye moves to the contrasting textures and colors of the foliage in the top half of the image.
Emphasis is created in a work of art when the artist contrasts colors, textures, or shapes to direct your viewing towards a particular part of the image. In this image, the colors of the paddlers' jackets contrasts with the muted tones of
the background. Our attention is immediately drawn to the paddlers, even though they are relatively small in scale.
Pattern is the repetition of a shape, form, or texture across a work of art. The light reflecting off of the waves in the water creates a pattern in the bottom half of the image.
Proportion is created when the sizes of elements in a work of art are combined harmoniously. In this image, all of the proportions appear exactly as one would expect; the human figures are much smaller in scale than the natural
world that surrounds them.
Unity is created when the principles of analysis are present in a composition and in harmony. Some images have a complete sense of unity, while some artists deliberately avoid formal unity to create feelings of tension and anxiety. In
this image, the large areas of contrasting textures, patterns and colors create a sense of balance and unity within the composition.
Once students have an understanding of formal analysis, they will be well prepared to put this theory into practice by making their own images based on the elements and principles of design. Whether in photography, sculpture, or
painting, the theory of formal analysis will help students to compose their works of art as professional artists would.

Source:

Jeremy Glatstein 
Original Writer

https://artsedge.kennedy-center.org/educators/how-to/from-theory-to-practice/formal-visual-analysis
Elements of Art

The elements of art are components or parts of a work of art that can be isolated and
defined. They are the building blocks used to create a work of art. 

The list below describes each element of art. Learn about the principles of design here. 

Download a student handout containing a list of the elements of art and their definitions. (PDF, 168KB) 

Line

Shape and form

Space

Color

Texture

Line

A line is an identifiable path created by a point moving in space. It is one-dimensional and

can vary in width, direction, and length. Lines often define the edges of a form. Lines can be
horizontal, vertical, or diagonal, straight or curved, thick or thin. They lead your eye around
the composition and can communicate information through their character and direction.

Download a worksheet that introduces students to the concept of line. (PDF, 398KB)

Horizontal lines suggest a feeling of rest or repose because objects parallel to the earth are at rest. In this landscape, horizontal lines
also help give a sense of space. The lines delineate sections of the landscape, which recede into space. They also imply continuation of
the landscape beyond the picture plane to the left and right. 

A Storm on the Mediterranean Coast, Claude-Joseph Vernet, 1767

 
 

Vertical lines often communicate a sense of height because they are perpendicular to the earth, extending upwards toward the sky. In
this church interior, vertical lines suggest spirituality, rising beyond human reach toward the heavens.

Horizontal and vertical lines used in

combinationcommunicate stability and solidity. Rectilinear
forms with 90-degree angles are structurally stable. This stability
suggests permanence and reliability.

   

Saint Bavo, Haarlem, Pieter Jansz. Saenredam, 1634  

   

Diagonal lines convey a feeling of movement. Objects in a

diagonal position are unstable. Because they are neither vertical
nor horizontal, they are either about to fall or are already in
motion. The angles of the ship and the rocks on the shore
convey a feeling of movement or speed in this stormy harbor
scene.
Cabinet, French, about 1785  

   

The curve of a line can convey energy. Soft, shallow curves

recall the curves of the human body and often have a pleasing,
sensual quality and a softening effect on the composition. The
A Storm on the Mediterranean Coast, Claude-Joseph Vernet, 1767  
edge of the pool in this photograph gently leads the eye to the
sculptures on the horizon. 

Shape and form

Pool, Saint-Cloud, Eugène Atget, 1915–1919  

Shape and form define objects in space. Shapes have two
dimensions–height and width–and are usually defined by lines. Forms
exist in three dimensions, with height, width, and depth. 

Download a worksheet that introduces students to the concept of shape. (PDF, 372KB)

Shape has only height and width. Shape is usually, though not always, defined by line, which can provide its contour. In this image, rectangles and
ovals dominate the composition. They describe the architectural details for an illusionist ceiling fresco. 

  Studies for a Ceiling Decoration, Charles de la Fosse, about 1680

 

Form has depth as well as width and height. Three-dimensional form is the basis of sculpture, furniture, and decorative arts. Three-
dimensional forms can be seen from more than one side, such as this sculpture of a rearing horse. 

  Rearing Horse, Adriaen de Vries, 1610–1615

 

Geometric shapes and forms include mathematical, named shapes such as squares, rectangles, circles, cubes, spheres, and cones.
Geometric shapes and forms are often man-made. However, many natural forms also have geometric shapes. This cabinet is
decorated with designs of geometric shapes. 

    Commode, Jean-François Oeben, about 1760

Organic shapes and forms are typically irregular or asymmetrical. Organic shapes are often found in nature, but man-
made shapes can also imitate organic forms. This wreath uses organic forms to simulate leaves and berries. 

Space   Gold Wreath, Greek, 300–100 B.C.

Real space is three-dimensional. Space in a work of art refers to a feeling of depth or three dimensions. It can also refer to the
artist's use of the area within the picture plane. The area around the primary objects in a work of art is known as negative space, while the space occupied by the primary objects is known as positive
space.

Positive and negative space

The relationship of positive to negative space can greatly affect the impact of a work of art. In this drawing, the man and his shadow occupy the positive
space, while the white space surrounding him is the negative space. The disproportionate amount of negative space accentuates the figure's vulnerability and
isolation.

Three-dimensional space
The perfect illusion of three-dimensional space in a two-dimensional work of art is
something that many artists, such as Pieter Saenredam, labored to achieve. The illusion
of space is achieved through perspective drawing techniques and shading.
He Can No Longer at the Age of 98, Francisco José de
 
Goya y Lucientes, 1819–1823

Color

Light reflected off objects. Color has three main

characteristics: hue (red, green, blue, etc.),value (how light or
dark it is), and intensity (how bright or dull it is). Colors can be described
as warm (red, yellow) or cool (blue, gray), depending on which end
of the color spectrum they fall.

Value describes the brightness of color. Saint Bavo, Haarlem, Pieter Jansz. Saenredam, 1634 Artists use color value to create
 
different moods. Dark colors in a composition suggest a
lack of light, as in a night or interior scene. Dark colors can often convey
a sense of mystery or foreboding.

Light colors often describe a light source or light reflected within the composition. In this painting, the dark colors suggest a night or interior scene.
The artist used light colors to describe the light created by the candle flame. 

 
  Christ Crowned with Thorns, Gerrit van Honthorst, about 1620

 
Intensity describes the purity or strength of a color. Bright colors are undiluted and are often associated with positive energy and heightened
emotions. Dull colors have been diluted by mixing with other colors and create a sedate or serious mood. In this image the artist captured both
the seriousness and the joy of the scene with the dull gray stone interior and the bright red drapery. 

Texture

  The Annunciation, Dieric Bouts, 1450–1455

The surface quality of an object that we sense through touch. All objects have a physical texture. Artists can also convey texture visually in two
dimensions.

In a two-dimensional work of art, texture gives a visual sense of how an object depicted would feel in real life if touched: hard, soft, rough,
smooth, hairy, leathery, sharp, etc. In three-dimensional works, artists use actual texture to add a tactile quality to the work. 

Texture depicted in two-dimensions

Artists use color, line, and shading to imply textures. In this painting, the man's robe is painted to simulate silk. The ability to convincingly portray fabric of
different types was one of the marks of a great painter during the 17th century.

Surface texture
The surface of this writing desk is metallic and hard. The hard surface is functional for
an object that would have been used for writing. The smooth surface of the writing
desk reflects light, adding sparkle to this piece of furniture.

Portrait of Agostino Pallavicini, Anthony van Dyck,

 
1621–1623
The J. Paul Getty Trust 

http://www.getty.edu/education/teachers/building_lessons/formal_analysis.html

Grade-by- Grade Guide to

Building Visual Arts Lessons
Desk, French, 1692–1700  

This guide for building effective visual arts lessons is based on the Getty Museum Education
department's approach to curricula, which is informed by national and California state
content standards and current child development theory. We support classroom experiences
that encourage students in all grades to:
 create art and reflect upon what they have made.
 seek and construct meaning through encounters with art.
 create narratives about artworks.
 understand the historical and cultural contexts of works of art.
 discover the significance and value of art in their lives.

The Grade-by-Grade Guide also provides suggestions for students at different skill levels
based on child development theory. On those pages you'll find ideas for art production,
incorporating language arts into lessons, and assessment.

Building a Visual Arts Lesson

Step 1: Generate Learning Objectives
First generate the learning objectives, or goals, for your lesson. The more specific each
objective is, the better. Each objective should describe a specific skill, map to a specific
activity in the lesson, be measurable, and support one or more state or national standards.
Set only two or three objectives for each lesson to keep students focused and reinforce
skills.
Step 2: Identify Activities to Support Your Goals
Identify an activity or two that will teach the skills and concepts required to meet your
objectives. Use the Grade-by-Grade Guide to find ideas and activities for your students'
grade level.
Examples:
1) Learning Objective: Students identify the elements of art in a painting.

Activity: Students work in pairs to chart different types of lines (thin, thick, smooth, broken,
etc.), colors (warm, cool, primary, secondary, bright, subdued, etc.), and other elements of
art they see in a specific work of art. You can teach this in the same way you might teach
the parts of speech, for example by having students chart nouns or adjectives in a
sentence.
2) Learning Objective: Students research the life and work of an artist and speculate about
his or her artistic intention in a given work.
Activity: Students read information about the artist's history and look at other works of art
by the same artist. They use the information they learn from this research to speculate
about why the artist used certain elements and imagery. For example, student research
about Monet's painting Wheatstacks, Snow Effect, Morning will reveal that the work is part of a series
depicting the same subject at different times of year and day. This information helps
students speculate about the artist's choice of color and line and use of light in this painting.
Step 3: Determine Assessment Criteria
Develop criteria that will help you know whether your students have achieved the learning
objectives. Each assessment criterion should describe the results you expect from a student
who has achieved the objective. The assessment criteria should be easily measurable.
Examples:
1) Learning Objective: Students identify the elements of art in a particular painting.

Assessment: Students can verbally point out and name one example of each of the
elements of art in a single work of art. A rubric will help you to measure student success.
For example: Students who can name one example of all elements of art have excellent
understanding. Students who can find examples of 3–4 of the elements have sufficient
understanding. Students who can only find 1 or 2 examples need more practice!

2) Learning Objective: Students research the life and work of an artist and speculate about
his or her artistic intention in a given work.

Assessment: Students can formulate a theory about why a single element or image is

included in a work of art and support their theory either with information from the artist's
biography, or information found in other works of art by the same artist.
Step 4: Write Lesson Steps
Fill in the details of the lesson steps that will teach the skills. You now know exactly what
your goals (learning objectives) are for the lesson and what kind of outcome you'll be
expecting from your students' work (assessment criteria).
http://www.getty.edu/education/teachers/building_lessons/guide.html

Artistic Criticism – How to Critique Art

Posted on March 1, 2011by Diversified ART

Describe, Analyze, Interpretation, Judgement

A quick reference to help understand, appreciate and analyze art. How to look at and critique art using the four components of artistic criticism.

Describe: Tell what you see (the visual facts).

 What is the name of the artist who created the artwork?
 What kind of artwork is it, what medium is it?
 What is the name of the artwork?
 When was the artwork created?
 Name some other major events in history that occurred at the same time this artwork was created.
 List the literal objects in the painting (trees, people, animals, mountains, rivers, etc.).
 What do you notice first when you look at the work(s)? Why?
 What kinds of colors do you see? How would you describe them?
 What shapes can we see? What kind of edges do the shapes have?
 Are there lines in the work(s)? If so, what kinds of lines are they?
 What sort of textures do you see? How would you describe them?
 What time of day/night is it? How can we tell?
 What is the overall visual effect or mood of the work(s)?
Analyze: Mentally separate the parts or elements, thinking in terms of textures, shapes/forms, light/dark or bright/dull colors, types of lines, and sensory qualities. In this step
consider the most significant art principles that were used in the artwork. Describe how the artist used them to organize the elements.
Suggested questions to help with analysis:
 How has the artist used colors in the work(s)?
 What sort of effect do the colors have on the artwork?
 How has the artist used shapes within the work of art?
 How have lines been used in the work(s)? Has the artist used them as an important or dominant part of the work, or do they play a different roll?
 What role does texture play in the work(s)? Has the artist used the illusion of texture or has the artist used actual texture? How has texture been used within the work(s).
 How has the artist used light in the work(s)? Is there the illusion of a scene with lights and shadows, or does the artist use light and dark values in a more abstracted way?
 How has the overall visual effect or mood of the work(s)? been achieved by the use of elements of art and principles of design.
 How were the artists design tools used to achieve a particular look or focus?
Interpretation:An interpretation seeks to explain the meaning of the work based on what you have learned so far about the artwork, what do you think the artist was trying to
say?
 What was the artist’s statement in this work?
 What do you think it means?
 What does it mean to you?
 How does this relate to you and your life?
 What feelings do you have when looking at this artwork?
 Do you think there are things in the artwork that represent other things/symbols?
 Why do you think that the artist chose to work in this manner and made these kinds of artistic decisions?
 Why did the artist create this artwork?
Judgment:After careful observation, analysis, and interpretation of an artwork, you are ready to make your own judgment. This is your personal evaluation based on the
understandings of the work(s). Here are questions you might consider:
 Why do you think this work has intrinsic value or worth? What is the value you find in the work(s)? (For example, is it a beautiful work of art, does it convey an important
social message, affects the way that I see the world, makes insightful connections, reaffirms a religious belief, etc.)
 Do you think that the work(s) has a benefit for others?
 Do you find that the work communicates an idea, feeling or principle that would have value for others?
 Could the reason you find the work lacking come from a poor use of the elements of art? Explain.
 Is the subject matter unappealing, unimaginative, or repulsive? How?
 What kind of an effect do you think the work could have for others?
 Rather than seeing the work as being very effective or without total value, does the work fall somewhere in-between? Do you think that the work is just o.k.? What do you
base this opinion on? The use of elements of art? Lack of personal expression? The work lacks a major focus? Explore your criticism of the work (s) as much as you would
any positive perceptions. Realize that your own tastes and prejudices may enter into your criticism. Give your positive and negative perceptions.

Reformatted by permission from: “Four Steps to Artistic Criticism” by the  Janice

Mason Art Museum, who also has a nice set of lesson plans based on their
museums exhibits.
https://diversifiedarts.wordpress.com/2011/03/01/artistic-criticism-how-to-critique-art/

“nasa Saudi si itay” jun caingat.

http://s1197.photobucket.com/user/heritageweb/media/01Arts/11Arts/WEB-3024.jpg.html accessed:
july 9, 2016

“fishermen:. Ang kiukok.

https://www.pinterest.com/pin/392868767469165304/: accessed: july 9, 2016

“abstract”. Lynden Garcia. http://www.heritageartcenter.com/2011/01/lynden-garcia_04.html:

accessed july 9, 2016

“couple”. Ross arcilla. http://www.heritageartcenter.com/2011/08/ros-arcilla.html