Art Element of Line

Posted: March 27th, 2020

Art Element of Line

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Art Element of Line

Generally, the area of education has consistently predicated its activities and respective obligations on a podium of rationally and scientifically founded knowledge. While the integration of subjects such as psychology have been significant in the design of educational practices appropriate for students, it is still imperative to consider other areas that can be integrated within the conventional form of education in order to establish a platform that appeals to a wide range of students, especially children in respect to their intellectual capabilities (Atkinson, 2012). Undeniably, art is significantly influential when it enables students to engage in the communication of learning in the event that they are incapable of expressing it via writing. Through the application of various components within the respective field such as the elements of design within the field of education, instructors and teachers have been capable of developing practices that enable creative and academic expression among students (Sandell, Burton, & Beudert, n. d.). In this particular instance, the focus is inclined towards the implementation of the art element of line in educational practices.

Over the years, education has always integrated scientific components within its design in an effort to establish uniformity and stability in respect to the aims, goals, and objectives of the respective field. For instance, what scores or level of knowledge does an instructor want to achieve for his or her students by the end of a period such as a semester or a term? Such questions illustrate the extent to which education relies on rigidity rather than flexibility in order to avert complications and conceptualize the specifics out of subsistence as identified by the continued establishment of one-size-fits-all curriculums for children in respect to their grades or levels in nearly all educational institutions (Pitri, 2003). Despite the relevance of stability within the learning environment, it is evident that every child or student within a particular educational or learning setting is different from the other. As such, the implementation of the respective measures solely categorizes or limits the acquisition of knowledge or information across all students (Hickman & Eglington, 2013). 

Nonetheless, encouraging the incorporation of the arts in educational practices may actually appeal to the strengths of every student by allowing creative expression in the form of pictures or symbols. In this respect, learning approaches implemented by teachers may incorporate elements of design, specifically the element of line in order to allow this form of expression (Ott & Hurwitz, 2014). Foremost, the use of line may be beneficial in the realization of cognitive advantages by students within a formal learning environment. It is notable that the visual arts create room for the derivation of skills such as imagination and originality, which are significant in virtually all fields of study (Wilks, 2003). As such, the application of the line element may be significantly beneficial if applied in different fields. One such illustration comprises the application of the element of line in mastery of symbols within the area of mathematics for students with intellectual capacities such as Attention Deficit Hyperactivity Disorder (ADHD). Since lines are one-dimensional, they can be vertical, horizontal, or straight (Efland, 2012). In this respect, students can be taught on how to draw lines in respect to basic math symbols such as addition or subtraction.

Aside from facilitating the mastery of symbols in fields such as mathematics, the element of line may also be applied in the representation of the things that they have learnt within a respective class. Indeed, the integration of the respective element may facilitate the integration and retention of information by presenting it in a pictorial or image form (McArdle, 2011). As such, instructors may go deeper within the respective study units by allowing students to create representations or images of pertinent artifacts that they have learnt about in different subjects (Thompson, 2015). For example, in the field of science, students may incorporate the element of line, as a compositional lead, in order to construct representations of a flower for better understanding of the organism’s physical components.

References

Atkinson, D. (2012). Art in education: Identity and practice. Dordrecht: Kluwer Academic Publishers.

Efland, A. (2012). Art and cognition: Integrating the visual arts in the curriculum. New York, NY: Teachers College Press.

Hickman, R., & Eglington, K. A. (2013). Visual art in the curriculum. In M. Fleming, J. O’Toole, & L. Bresler (Eds.), The Routledge handbook of the arts and education (pp. 45-56). New York, NY: Routledge.

McArdle, F. (2011). The visual arts: Ways of seeing. In S. Wright (Ed.), Children, meaning-making, and the arts (pp.30-56). Frenchs Forest, N. S. W.: Pearson Australia.

Ott, R. W., & Hurwitz, A. (2014). Art in education: An international perspective. University Park: Pennsylvania State University Press.

Pitri, E. (2003). Conceptual problem solving during artistic representation. Art Education, 56(4), 19-23.

Sandell, R. (n. d.). What excellent visual arts teaching looks like: Balanced, interdisciplinary, and meaningful. Reston, VA: National Art Education Association.

Schroeder-Yu, G. (2008). Documentation: Ideas and applications from the Reggio Emilia approach. Teaching Artist Journal, 6(2), 126-134.

Thompson, C. M. (2015). The visual arts and early childhood learning. Reston, VA: National Art Education Association.

Wilks, S. (2003). The visual arts as a thinking tool. Australian Art Education, 26(2), 27-33.