This study examines the key concepts of elements-and-principles art instruction, as defined in the publications by "Vorkurs" (preliminary course) instructors at the Bauhaus. Elements-and-principles instruction was for decades central to formalist art training, and continues to play a role, albeit limited, today. Preceding accounts of the elements-and-principles have not considered contextual matters worthy of attention, specifically, two other instructional frameworks. One is perceptual drawing that dominated in Western art culture before the inception of the elements-and-principles approach. The second is the instructional model Paul Klee proposed in his well-known but under-examined instructional publication of 1925, "Pedagogical Sketchbook." With regard to the latter, scholars have failed to undertake detailed analysis that would explain Klee's instructional model and, in particular, its central (and idiosyncratic) concept of 'trichotomy'. Trichotomy is a structure rather than a formal element, providing visual equivalents for extra-visual events. The peculiarity of trichotomy and related concepts in "Pedagogical Sketchbook" has kept the publication a faint presence in elements-and-principles instruction and in related scholarly inquiry. With a more precise presentation of Klee's pedagogical focus, this study distinguishes heretofore overlooked dissimilarities between the "Pedagogical Sketchbook" model and elements-and-principles approach, and enables recognition of affinities between Klee's model and current conversations about embodiment pedagogies in visual arts education.