Visual and Performing Arts
Nancy Silva, VAPA Coordinator
BCOE VAPA Programs & Partnerships
CCSESA Arts – Region 2 Lead
Butte County Office of Education
nsilva@bcoe.org
http://www.bcoe.org/divisions/ess/arts_education
Why Arts
for All?
Benefits of Intentional Arts Education
“More
than 65
distinct positive
relationships
between the arts
and academic and
social outcomes are
documented.” — National
Assembly of State Arts Agencies, Critical
Evidence: How the Arts Benefit Student
Achievement, 2006
Why Arts for All?
Boosts Achievement for At Risk Students
Why Arts for All?
Supporting the 4 C’s of the new State Standards
Why Arts for All?
It’s an issue of Equity & Access too…
There is a “growing disparity between
those who are able to take advantage of
the benefits of arts education, and those
who are not.”
—The President’s Committee on the Arts and the Humanities,
Reinvesting in Arts Education, 2011
Why Arts for All?
It’s the Law…
CA Education Code
Requires Arts Education
(Ed Code: 51210 grds 1-6)
(Ed Code: 51220 grds 7-12)
CDE PreK-12
VAPA Standards
Delineate what must be taught
http://www.cde.ca.gov/be/st/ss/vamain.asp
But many schools have cut the
arts since the 2008 Budget
Crisis….
•
They are the building
blocks or ingredients of
art. Every piece of art
includes at least one of
the elements.
•
They can help you create
successful art compositions
1.
2.
3.
4.
5.
6.
7.
LINE
SHAPE
FORM
COLOR
TEXTURE
SPACE
VALUE
A line is a path that a
point takes from one
place to another
through space.
(like a dot going on a walk…)
There are many different kinds of lines.
•
•
•
•
•
•
•
•
•
Long
Short
Fat
Thin
Curvy
Diagonal
Straight
Wavy
Zigzag
Horizontal lines suggest a calmness
when used in a composition. An
example would be a horizon line where
the sky meets the ocean.
Andrew Wyeth - Baleen, 1982
Vertical lines seem to be reaching
toward the sky suggesting growth
and inspiration.
Claude Monet Poplar Series-1891
Lines convey emotion too.
Tension
Excitement
Happiness
Sadness
 Are Connected lines
 Are Geometric or Organic
 Have height and width
 Are flat or 2-dimensional
A form has real or implied height, width
and depth…It is or it looks 3- dimensional.
When shapes become forms
• A triangle becomes a cone
or pyramid
• A square becomes a cube
• A rectangle becomes a box
Jean Arp
Lucien Freud
Is what is perceived when light hits and
reflects off an object.
The Three properties of color are :
• Hues – Thefull spectrum of colors which progress
around the Primary Color Wheel in gradual increments.
• Intensity-strength of a color
• Value (lightness or darkness of a color: Tints (add
white), Shades (add black), Tones (add gray ).
WHEEL
•
•
•
•
•
Primary colors-yellow, red
and blue.(colors that can not
be made by mixing other
colors.
Secondary colors- purple,
green and orange (colors
mixed from a combination of
any two primary colors)
Intermediate Colors are the
colors between a secondary
and primary color
Complimentary colors
(colors found on the opposite
on the color wheel.)
Analogous Colors that are
close neighbors on the color
wheel
Cool
Colors
Warm
Colors
• Knowing the
placement of colors
on the color wheel
will help you decide
which colors to add
to your painting or
drawing and how to
mix colors.
• Your choice of color
schemes can make a
big difference in the
success of your
project.
• The illusion of space is created through
light, shadow, size, overlapping, and / or
perspective.
There are two types of
space: positive and negative
space.
Positive space refers to the
actual subject matter in a
work of art.
Negative space refers to the
space around and between
the subject matter.
It is necessary to consider both positive and
negative space when creating a composition.
THEY ARE BOTH IMPORTANT!
• M. C. Escher was able to create drawings where there
was no distinction between positive and negative
space.
Here is an example.
TEXTURE
The surface quality or "feel" of an object, its smoothness,
roughness, softness, etc. Textures may be actual or implied.
There are two types of texture:
Actual Tactile Texture (real texture) is the way the
surface of an object actually feels. Examples of this
include sandpaper, cotton balls, tree bark, etc.
Implied Texture is the way the surface of an object
looks like it feels. The texture may look rough, fizzy,
gritty, but cannot actually be felt. This type of
texture is used by artists when drawing or painting.
Dried Grass
Wood
Water
Brick
Paper
Rocks
Implied
Texture
Cecil
Buller
refers to the lightness or darkness of a color.
It gives objects depth and perception.
The Principles of Art
How we use the Elements of Art
BALANCE
Alexander Calder
The way the elements are arranged to
create a feeling of stability in a work.
Symmetrical Balance
The parts of an image are organized
so that one side mirrors the other.
Leonardo DaVinci
Asymmetrical Balance
When one
side of a
composition
does not
reflect the
design of
the other.
James Whistler
EMPHASIS
The focal point of an image, or
when one area or thing stand out
the most.
Jim Dine
Gustav Klimt
CONTRAST
Salvador Dali
Ansel Adams
A large difference between
two things to create interest
and tension.
RHYTHM
A regular
repetition of
RHYTHM
elements to
RHYTHM
produce
the look
and feel of
RHYTHM
movement.
RHYTHM
RHYTHM
and
MOVEMENT
Marcel
Duchamp
Vincent VanGogh
PATTERN
and Repetition
Gustav Klimt
Repetition of a design.
UNITY
When all the
elements and
principles
work together
to create a
pleasing
image.
Johannes Vermeer
The use of
differences and
change to
increase the
visual interest
of the work.
VAR
T
IE
Marc Chagall
Y
PROPORTIO
N
Gustave
Caillebotte
The
comparative
relationship
of one part to
another with
respect to
size, quantity,
or degree;
SCALE.
BCOE Visual and Performing Arts Resources
http://www.bcoe.org/divisions/ess/arts_education
Visual and Performing Arts
Nancy Silva, VAPA Coordinator
BCOE VAPA Programs & Partnerships
CCSESA Arts – Region 2 Lead
Butte County Office of Education
nsilva@bcoe.org
http://www.bcoe.org/divisions/ess/arts_education