Along with the rapid development of Chinese modern design since the 1980s, modern design education has grown in China. Many studies have already been conducted to examine the key aspects of this historical phenomenon, e.g., heroic figures and well-known institutes. This article, however, investigates the anonymous activities of modern design…

The 2020 Revisions to the Colorado Academic Standards in Visual Arts provide an organizational framework acknowledging the importance and the complexities of teaching and learning in the visual arts. This document is written with the following underlying beliefs: (1) The visual arts are an academic and scholarly discipline defined by theoretical…

Recent advances in arts education policy, as outlined in the latest National Core Arts Standards, advocate for bringing digital media into the arts education classroom. The promise of such Science, Technology, Engineering, Arts, and Mathematics (STEAM)-based approaches is that, by coupling Science, Technology, Engineering, and Mathematics (STEM)…

Since Discipline-Based Art Education (DBAE) began to advocate the teaching of art based on art subjects and knowledge rather than creative self-expression, the elements and principles of design have taken a firm place in various art curricula, textbooks, and national and state Visual Arts Standards. This article intends to trace the history of…

Characterizes much of the current postmodernist art design as capricious and self-indulgent. Explicates three fundamental concepts from the modernist school: a notion of order; clarity of form and space; and significant contrast. Criticizes current design for its emphasis on novelty and systematic violation. (MJP)

Focuses on works of art that are serpentine, which means the artist either depicts snakes or use snake-like designs. Explains that the four examples given are to motivate students to search for more examples. Discusses different ways to help students learn about serpentine designs by observing real snakes. (CMK)

Discusses the use of pillows as an art form for children to explore. Addresses ways pillows can be used in art, such as: building things with pillows and using pillows and pillowcases to learn about design, to create portraits and figures, and to serve as a canvas for art. (CMK)

Discusses spirals in nature, man-made objects, and art. Focuses on art that incorporates the spiral, including works by M. C. Escher and Frank Lloyd Wright, an African headdress, and a burial urn. Describes activities to help students make spirals of their own, such as constructing a coil clay pot. (CMK)

Presents an art lesson in which students learn about the artist Piet Mondrian and create their own abstract artworks. Focuses on geometric shapes using horizontal and vertical lines. Includes background information about the artist. (CMK)

A functional approach involving collage, two-dimensional design, three-dimensional construction, and elements of Cubism, is used to teach abstract design in elementary and junior high school art classes. (DS)

Discusses car art and its appeal to boys and girls. Describes the popularity of customizing cars, focusing on this as a future career for students. Includes a list of project ideas that focuses on car art. (CMK)

Presents an art project used with fifth- and sixth-grade students in which they designed a door using clay. Explains that the students used mood to create a door for a specific person. States that this project teaches students how to express mood through their artwork. (CMK)

Surveys some of the problems experienced in design activities in the Craft, Design, and Technology (CDT) examinations. Examines recent developments in the procedural models of design activity and the understanding of how professional designers approach their work. Discusses how these insights could be incorporated into the school curriculum. (KM)

Questions the origin of design history and its relationship to art history. Maintains that design historical knowledge is produced, and it must be acknowledged that there are design histories and not one monolithic body of knowledge. (KM)