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	exquisite corpse	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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