COLOR matrix

I

Subjective

II

Symbolic

III

Additive

IV

Subtract

V

Color Schemes

VI

Local / Reflected  

VII

Albers

VIII

Depth Cues

IX

Comp

X

Media

Identity show
your
stripes
IIA IIIA chuck
close

VA

VIA

VIIA

VIIIA

IXA

XA
Protest - Persuasion IB IIB IIIB IVB 


prop
poster

VIB

VIIB

VIIIB

IXB

XB
Technology IC IIC IIIC IVC

VC

VIC

VIIC

VIIIC

IXC

XC
Collaboration IID mixing
light
IVD

VD

VID

VIID

VIIID

IXD
process
color
Other Voices IE cultural violation IIIE IVE

VE

VIE 

VIIE

VIIIE

IXE

XE
Art for Hire IF IIF IIIF IVF

VF

VIF

VIIF

VIIIF

IXF

XF
Fantasy IG IIG IIIG IVG

VG

VIG

VIIG

VIIIG

IXG

XG
The Natural World IH IIH IIIH IVH

VH
color
percept

VIIH

VIIIH

IXH 

XH
Spirit Worlds I.I II.I III.I IV.I

V.I

VI.I

VII.I

VIII.I

IX.I

X.I
Mining for Ideas  IJ IIJ IIIJ IVJ

smart
dumb art

VIJ

VIIJ

VIIIJ

IXJ

XJ

(projects still to be added)

 

studio fundamentals

The yellow horizontal band across the top of the matrix features studio fundamentals covering aspects of Color Theory in a developmental sequence of ten "Units" (I through X). Eventually, when the matrix is completed, you will be able to click on Unit titles and you will find the goals of the Unit along with an extended discusssion and other resources.

concepts

The blue vertical column running along the left side of the matrix refers to a series of key concepts and thematic categories for exploring the purposes and meanings of works of art. Click on a concept button and you will find a statement of the general theme, an expanded discussion of the theme, and a statement of how the theme relates to the world of art. In addition,"inquiry questions" and projects related to the concept can be found.

integrating studio fundamentals with concepts

The goal in each Unit is to integrate "the fundamentals" (e.g., materials, processes, elements, and principles) with the "content rich" themes found in the concept column. Individual project titles in the matrix are linked to full project descriptions. Where appropriate, each project includes two objectives--a "studio fundamental" objective and a "conceptual" objective. The method behind the madness is for the student to not only become proficient in the vocabulary of color and studio art, but to gain experience right from the beginning in dealing with those ideas and broad-based themes that can serve as "content drivers" in a variety of art-making practices.


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