1. Lines, Direction, and Movement (p. 85)
Art>Elements of Art>Line>Line Quality>Position
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In The Biglin Brothers Racing (Fig. 4.6, p. 85), Thomas Eakins utilizes a combination of horizontal and diagonal lines to structure his painting and suggest the rowers' dynamic movement. Click the link above and position lines to approximate the positions and angles of major directional lines in The Biglin Brothers Racing. How would adjusting their placement change the sense of movement in this painting?

2. Lines, Direction, and Movement (p. 85)
Art>Elements ofArt>Line>Line Quality>Position
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Find a work with prominent directional lines in the textbook. Identify the figure number and page number. Click the link above and position lines to approximate the compositional lines of the image. What does doing so tell you about the decisions that the artist made about lines?

3. Line Quality (p. 82)
Art>Elements ofArt>Line>Line Quality>Media
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Keith Haring used thickly brushed painted lines to create his expressive paintings (Fig. 4.2, p. 82). Click the link above to explore how decisions about media affect line quality. Then, select a work from Chapter 6: Drawing that demonstrates the impact of decisions about media and line quality. Comment on how the artist has used elements in the exercise, such as choice of medium and application.

4. Contour (p. 83)
Art>Elements of Art>Line>Defining Mass>Contour
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Jennifer Pastor drew contour lines to skillfully show movement and define essential details in her Flow Chart for "The Perfect Ride" Animation (Fig. 4.4, p. 83). Click the link above to see examples of how contour lines can be used to simplify and clarify shapes. How has Pastor create contour lines that suggest three-dimensional forms?

5. Implying Light: Modeling Mass in Two Dimensions (pp. 91-93)
Art>Elements of Art>Line>Defining Mass>Shade
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Click on the link above to investigate the ways in which hatching and cross-hatching can create the illusion of three-dimensionality, and can be used expressively. Then, examine Filippino Lippi's Figure Studies: Standing Nude and Seated Man Reading (Fig. 6.7, p. 156). How did Lippi use hatching and cross-hatching to define his forms, and how did these choices impact the forms and mood of his figures?

6. Linear Perspective (pp. 108-110)
Art>Elements of Art>Line>Linear Perspective>Introduction
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Click the above link to learn about the different types of linear perspective. How do one-point, two-point, and three-point perspective differ, and what sorts of space do they create? Find a work of art in Living With Art that establishes space using linear perspective, such as Ed Ruscha's Standard Station (Fig. 8.20, p. 204). Is it constructed with one-point, two-point, or three-point perspective?

1. Defining Shape (p. 87-89)
Art>Elements of Art>Shape>Defining Shape>Creating
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Shapes can be defined within a work of art by contour line, but also by color, value, or other shapes. Click on the link above to explore different ways of defining shape and positive/negative space. Then carefully examine Emmi Whitehorse's painting Chanter (Fig. 4.13, p. 88). Picking individual shapes, note what techniques she used to define them.

2. Implied Shapes (p. 89-90)
Art>Elements of Art>Shape>Defining Shape>Closure
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Raphael used implied shapes as an important compositional element in his The Madonna of the Meadow (Fig. 4.16, p. 90). To explore the way in which a viewer can be prompted to complete implied shapes through the principle of closure, click on the link above and change the shapes from closed contours to implied shapes and back. At what point does your mind fill in the missing lines?

3. Figure/Ground (p. 89)
Art>Elements of Art>Shape>Figure/Ground>Defining
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Another defining principle of shape in a two-dimensional work involves our tendency to see compositions in terms of figure and ground, as shown in the exercise reached by this link. Find a work of art in the book with a strong sense of figure and ground, or one in which this relationship is ambiguous. How does this work use positive and negative shapes to create this relationship?

4. Figure/Ground (p. 89)
Art>Elements of Art>Shape>Figure/Ground>Space
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Artists aware of figure/ground relationships can create complex relationships between figure and ground. Take a look at Henri Matisse's Memory of Oceania (Fig. 5.1, p. 122), for instance. In addition to its complex color relationships and play between shapes, this collage's figure and ground relationships create expressive qualities. Click on the link above and experiment with arranging the shapes to make a composition, keeping positive and negative space in mind to explore their expressive possibilities.

1. Actual Texture (p. 103-104)
Art>Elements of Art>Texture>Actual Texture>Tactile
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How do tactile qualities influence our understanding of art and art media? Click on the link above to simulate some basic tactile qualities with different materials. Then, search through chapters 11 and 12, and locate a piece of sculpture or craft on the basis of its medium. What are some tactile qualities of that medium, and how has the work's creator utilized them?

2. Actual Texture (p. 103-104)
Art>Elements of Art>Texture>Actual Texture>Physical
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Works like Mona Hatoum's Prayer Mat (Fig. 4.36, p. 103) and Constantin Brancusi's Bird in Space (Fig. 4.37, p. 104) use actual, physical texture as an important aspect of their sculptural meaning. Zoom in on the examples of physical texture in the above link, noting how visual texture changes radically with scale. What do you imagine your reaction to touching these objects would be?

3. Visual Texture (p. 104-105)
Art>Elements of Art>Texture>Visual Texture>Introduction
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Raoul Dufy's Regatta at Cowes (Fig. 4.38, p. 104) demonstrates the use of visual texture to simulate actual textural effects. Click on the link above to see samples of visual texture produced by lines, points, and shapes. Describe the sorts of visual textures evoked by lines, points, and shapes in Regatta at Cowes. How did Dufy use these forms of visual texture to create his painting?

4. Pattern (p. 105)
Art>Elements of Art>Texture>Pattern
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Click on the link above and other links in this section to explore patterns that are formed by repeated designs. First look at Samuel Fosso's photograph The Chief: He Who Sold African to the Colonists (Fig. 4.39, p. 105), then find other examples of patterns in the works illustrated in Living With Art. How does pattern affect our perception of a work of art and its visual impact?

1. Color Theory (p.92-95)
Art>Elements of Art>Color>Function of Light>Principles
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For an explanation of the way that light produces color through refraction and reflection, click on the above link. Experiment with how combinations of absorbed or reflected colors create colors, comparing them with the spectrum and color wheel (Figs. 4.23-24, p. 94). How do these principles apply to additive and subtractive color?

2. Color Theory (p.92-95)
Art>Elements of Art>Color>Function of Light>Additive
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Compare the color wheel (Fig. 4.24, p. 94) to the interactive palette in the link above, observing the ways in which primary colors combine to create secondary (and tertiary) colors. Then, click on other interactive exercises to explore other methods of mixing colors (Subtractive 2, and Additive 1&2). What is the primary difference between subtractive and additive color? How does this affect the ways colors are formed?

3. Color Properties: Hue (p. 96)
Art>Elements of Art>Color>Properties of Color>Hue
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Hue is a fundamental property of color, defined by its position on the color wheel. To see the differences in the way in which hue is created with subtractive and additive primaries (as shown in Fig. 4.27, p. 96), click on the above link.

4. Color Properties: Hue, Value, and Intensity (p. 96)
Art>Elements of Art>Color>Properties of Color>HVI
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To further your understanding of the relationships between Hue, Value, and Intensity, experiment with the exercise in the link above. The HVI system is often used to designate color on a computer. How is the effect of adjusting Value different than that of adjusting Intensity?

5. Color Harmonies (p. 97)
Art>Elements of Art>Color>Properties of Color>Schemes
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The link above offers the same abstract composition to demonstrate how the differences between color schemes based on color harmonies. Search through Living With Art for works that exhibit monochromatic, complementary, analogous, and triadic color harmonies, noting each work's figure and page numbers. Analyze how each artist uses these color schemes in the examples you've chosen.

6. Emotional Effects of Color (p. 100-101)
Art>Elements of Art>Color>
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As seen in works like Whistler's Nocturne in Blue and Gold (Old Battersea Bridge) and Munch's The Scream (Figs. 4.34 & 4.35, p. 101) artists sometimes use warm and cool colors for their associative, emotional effects. To explore some of the psychological basis for our emotional reactions to colors, click on the link above. Then, look through Living With Art, looking for an image that affects you because of its color and noting its figure and page number. Analyze your reaction - what colors and color combinations contributed to it?