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Create ideas and 2-D and 3-D artworks,

including drawing, painting,

printmaking, fibers, sculpture,

ceramics, and digital media, using

tools safely and appropriately,

independently or collaboratively.

Objectives:

B.CR.1.1. Experiment with ideas, forms, and meaning to create art.

B.CR.1.2.Create an original planned work of art that explores a personally meaningful theme, idea, or concept using symbolism to communicate an idea.

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Students will know:

Definitions of various forms of media

Safety protocol of using various forms of media and tools

How to document their artistic choices through an artist statement

How to critically analyze other artist's work

The process of writing an artist statement

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Students will understand that:

Artists use symbolism to communicate themes, ideas, or concepts.

Artists use various forms of media through the process of experimentation to create art.

Artist statements communicate how chosen media, processes, and techniques convey meaning.

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Students will be able to:

- Experiment with ideas, forms, and meaning to create art (B.CR.1.1).

- Create an original planned work of art that explores a personally meaningful theme, idea, or concept using symbolism to communicate an idea (B.CR.1.1).

- Create an artist statement that communicates the meaning, purpose, and techniques used in personal art (B.CR.1.2).

- Analyze how visual art and design is used to convey meaning (B.RE.1.2).

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Students will show:

• Creativity – as they use symbolism to visually demonstrate meaningful ideas

• Introspection – as they reflect on personally meaningful experiences and ideas in the process of art production

• Confidence – as they learn through experimentation to effectively communicate their ideas visually.

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What are different examples of media in visual arts?

What is the definition of symbolism in Visual Arts?

How is experimentation defined in Visual Art?

What are the 3 points that an artist statement communicates?

What is the definition of mural?

What is an example of digital art?

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- How can artists communicate themes, ideas, or concepts through their works?

- In what ways do artists use various media to convey meaning in art?

- What is the impact of conveying meaning through art using symbolism?

- How does experimentation in art enhance the artistic process?

- In what ways does an artist statement help the artist convey meaning?

-In what ways do artists use symbolism in their art?

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What is your favorite example of symbolism in art? Why?

If you were to convey any message that is important to you through an art project, what would your message be? Why?

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Keith Haring's stylized figures are an example of symbolism in art that conveys a deeper meaning.

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Yayoi Kusama is another example of an artist that uses symbolism to convey deeper meaning. The polka dots represent her struggles with mental health.

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Frida Khalo - Self-portrait on the borderline between Mexico and the United States (1932)

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Frida Khalo - Self-portrait on the borderline between Mexico and the United States (1932)

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Frida Khalo's uses symbolism in her art to express her thoughts and convey her identity through her paintings.

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Learning Target: Analyze how visual art and design is used to convey meaning (B.RE.1.2)

Strategy: See-Think-Wonder

Resources: Examples of work by artists that use symbolism to explore personally meaningful theme idea or concept (Haring, Kusama, Khalo).

Outline of Learning Experience: Students will use the "See, Think, Wonder" Activation Strategy to help them identify how artists use symbolism within art. This will help students understand that symbolism is used in art to create meaning, which is a fundamental understanding before they create their own artwork. Experts model this concept, before they generate their own ideas. "See, think, wonder" is a great tool to help students identify meaning within artwork through inquiry.

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Learning target: Create an original planned work of art that explores a personally meaningful theme, idea, or concept using symbolism to communicate an idea (B.CR.1.1).

Strategy: Mind Mapping

Source: list of various forms of media and vocabulary

Outline of Learning Experience: While mind mapping is commonly used to connect concepts students learned in class, I plan to use it as a tool to help my students plan for their applied art project. In the middle of the concept map, students will identify a theme for their art project. Branching out from the main theme, students will make connections to their theme by adding smaller concepts, brainstorm their form of media, and use art vocabulary to map their project. This will help them brainstorm for their project before completing a more guided planning worksheet.

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Summary

Mind Maps help students create a visual representation of their learning in a non-linear way. Students begin their Mind Map by putting the main idea of the content in the center of the page. Then, they branch out with a combination of words, pictures, and symbols to elaborate on the main idea. Students should use arrows and lines to connect related ideas, as well as a range of colors to make the product more visually appealing.

Procedure

1. Provide students with a blank piece of copy paper and various colored pencils or markers.

2. Instruct students to write and circle the main idea of the content in the center of the page.

3. Next, have students branch out from the center of the page with more ideas that elaborate on the main idea.

Students should use a variety of colors and a combination of words, pictures, and symbols to describe the content.

4. Have students connect related ideas with arrows and lines. They may elaborate on the connections they make with more words, pictures, or symbols.

5. Alternatively, students can use a website like Google Drawings to create a digital Mind Map.

Sperl, A., & TeachThought Staff. (n.d.). Drawing Ideas: The Benefits of Mindmapping for Learning. TeachThought. https://www.teachthought.com/literacy/drawing-ideas-the-benefits-of-mindmapping-for-learning/

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Mind Maps help students create a visual representation of their learning in a non-linear way. Students begin their Mind Map by putting the main idea of the content in the center of the page. Then, they branch out with a combination of words, pictures, and symbols to elaborate on the main idea.

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Learning Target: Create an artist statement that communicates the meaning, purpose, and techniques used in personal art (B.PR.1.2).

Strategy: Hexagonal thinking

Resource: Art Vocabulary

Outline of Learning Experience: in order for students to appropriately write an artist statement, they must become proficient in using art vocabulary and making connections between terms. I will divide art vocabulary terms and assign them to different small groups in the classroom. Students will use these terms to create hexagonal connections, which will encourage them to deeply think about concepts they are already familiar with. I will also include names of artists we learned about in the unit, so that they can make connections to their work as well.

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Sponsored by Teaching Channel and UL Xplorlabs

While hexagonal thinking is not new in the world of business and innovation, it's just making its way into the classroom. It's a method for considering the connections between ideas and finding the nuances in those connections. If you're looking for a fresh framework for discussion and critical thinking, this may be just the thing.

How it Works

When you place an idea on a hexagon, it has six sides where connections could be made to other ideas. When you place many ideas on many hexagons, the discussion about where to connect what will be different every time.

Hexagons for the Vietnam-War era
(click all images for a close-up view)

If you gave the same seven idea cards to seven people, do you think you'd get the same seven webs of interconnected hexagons? Would the people explain the connections in the same way?

Nope.

And really, that's the beauty of hexagonal thinking. It provides a springboard for a totally creative discussion. When you give a small group of students a deck of hexagons and ask them to connect them however they choose, every group will come up with a different web for different reasons. Along the way they'll hopefully question each other and dig deep into the concepts on the cards, arguing about which idea connects more to an important concept and which example deserves one of those precious six sides.

The Step-by-Step

Let's imagine you've got your students in small groups, and each group is staring at a beautiful deck of hexagons.

Now what?

I recommend you kick off this activity for the first time by giving directions something like this:
Once you have your set of hexagons, it's time for your group to begin making connections between them. Your conversations now will be about showing how and why you think the different ideas and options connect. Everyone will see things differently, and that's OK. Just keep talking until you find the connections that stick. As you discuss your ideas, use the text to find supporting evidence for why you think your connections are strong ones. Each hexagon can connect to up to six others. Arrange and rearrange until you feel you have the strongest hexagon web in place that you can. Then begin explaining your connections with connection arrows, writing in why you have created intersections between key hexagons. Everyone in the group will contribute differently, and that's OK. You need to have people listening and moving pieces to create the web, people debating, people asking questions. By the end of your discussion, you should have an interconnected web of concepts along with clearly explained connections. If you're working with paper hexagons, tape or glue them down to another sheet of paper to secure them, or take a photo of your finished web. If you're working digitally, submit your two slides: the finished hexagon web, followed by the slide with your explanations.
There's a lot of room here for students to participate in their own unique ways. For me, part of the point of the activity is for students to see that everyone can take on different roles that matter.

Two Examples

Let's take a look at what this might look like in your classroom. In this case, I'll share digital examples created in Google Slides, since you may well be leading your discussions and small group activities via online channels this year. But paper hexagons are equally wonderful when you can use them.

Example 1: English Language Arts

First let's take a look at a hexagonal thinking discussion for an English class, wrapping up a unit on 1984.

Here's the set-up, with the terms listed in individual (moveable) text boxes.

Now students can discuss the placement of their terms/hexagons. In this case, rather than shifting paper hexagons around, they will go into the Google Slide, then drag and drop their terms across the slide and into the web of hexagons as they decide where to place them.

Now that the students have made their connections as they wish, they need to explain their choices. This can take place in many ways:

Students could record arguments for one or two connections on a tool like Flipgrid,

Students could write down their analysis.

Groups could collaborate to write explanations for several of their connections or present them back to the class.

Take a peek at what the written explanations look like for the web pictured above. In this case, students are sharing five explanations, but you could adjust that to suit your needs. Some connections are always going to be more interesting than others - the ones that generate the most debate, the surprising ones, the ones where three key sections link in one place. Have students write or present about the key connections, rather than about every single one.

Example 2: Science

Now let's take a look at how this might look in a science class. Imagine you're looking back over a unit on global warming, and helping students review the big ideas.

Here's the set-up: For this version, students can move the hexagons as well as the terms, creating any number of different webs. Then they use the connection arrows to point to the intersections they are going to explain in detail.

Student groups discuss the possibilities, dragging the hexagons and terms into place as they go. The final product could look one hundred different ways.

Once they have their web created, they make their explanations.

Creating Your Hexagonal Thinking Decks

You can create decks of hexagons with the terms already inside (let your students help you cut them out!) or print blank hexagon sheets and invite student groups to brainstorm the concepts to put inside before their discussion.

No matter how you create them, you want the hexagon decks to be filled with the key ideas of your recent class work, as well as interesting ties across disciplines and to the modern world. Hexagonal thinking makes it easy to cross disciplines and bring relevant modern connections into the discussion.

Let's say you're creating a hexagon deck for Jason Reynolds' book, Long Way Down. You'll fill it with characters, themes and style elements, but also with figures from the news, current political movements, similar books, and background information about the author.

Now imagine you're creating a deck for a unit covering an artistic period. You can put in key terms and artists, but also important authors and political figures of the period, and artists and movements of today that connect back.

As for making the shapes themselves, there are lots of time-saving options, whether you want to use digital hexagons or paper ones.

Digital Hexagons

Get access to your free copy of the digital hexagonal thinking toolkit featured above right here.

Create your own digital hexagons with PowerPoint or Google Slides by following these instructions:

Paper Hexagons

Use this online hexagon generator, created by Pam Hook.

Print and laminate these free rainbow hexagons, then add concepts with dry erase markers for quick discussions.

Print blank sheets of hexagons (you can easily create these in any size using the shapes tool in PowerPoint) to give out to small groups of students, then ask them to generate key terms, ideas, connections to other disciplines, connections to the modern world, etc. on their hexagons and cut them out. Then have groups switch decks so they are discussing a fresh list of ideas.

Create your own hexagon templates with terms you can change up whenever you want to do a hexagonal thinking discussion. Cut them out while watching New Girl on Netflix, or make the first step of the discussion in class to cut out the hexagons while beginning to discuss how they will connect.

A fun addition to any paper deck is a set of connection arrows. Print a few bubble arrows (again, the PowerPoint shapes tool makes it easy) on paper for students to put in at key intersections. Have students fill them in with their explanation of the connection. Sticky notes will also work well.

Wondering how to grade this?

There are a few ways you could grade hexagonal thinking. You could have everyone write a short reflection at the end about their contributions, and grade that. You could use it as a springboard into a writing assignment, asking students to explain and argue for key connections from the discussion, then grade that. You could have students present about a key connection on Flipgrid. Easy.

But I want to suggest a slightly more complex option too. Recently I interviewed Sarah Fine, co-author of In Search of Deeper Learning. One of her findings, after years of study across American high schools, was that we rarely ask students to truly collaborate in our core subjects, so we don't really create a culture of interdependence among them. They don't get to use their individual gifts to contribute to a final product created by the team, although that is often what real-world projects look like. Instead, we favor what she calls "lockstep learning." Everyone must do the same thing, separately.

So maybe for hexagonal thinking, you grade the final group web. And you ask the kids to share about how their different strengths allowed them to contribute to the final product.

Maybe some kids are super brainstormers, coming up with lots of great terms and ideas for what to put on the hexagons. Maybe one or two students in the group are great at lettering and drawing. They could create beautiful visual representations of the terms and ideas. Maybe some students shine at leading discussion. Maybe some are natural at making spatial and visual connections, and can help move the hexagons around as they listen to the group. Maybe some are excellent listeners, and can be taking notes about the connections based on what they hear from others. Maybe some are good mediators, who can help find common ground and calm down heated debates when discussion gets intense.

If you go this route, I really think it's worth discussing in advance what project teams are like in the workplace, and how people contribute in different ways. Then, at the end, you might let kids write a short paragraph about how they contributed based on their own strengths and skills, and whether they were happy with the way the group dynamics turned out.

Variations and Additions

Individuals or Partners

This would certainly work as an individual assignment or a prompt for partners as well. But with a small group, you'll get more perspectives on where to place what, which can be nice. You might consider giving students the option to work alone, with a partner, or in a group.

Adding Visuals

If you and your students are fans of sketchnotes or one-pagers, you can always add a visual layer to your hexagons. Invite students to illustrate their concepts with representative imagery and add quotations from their texts to bring more meaning for each idea into the conversation.

This is certainly not necessary, but adds dimension to the discussion and the eventual display of the concept web.

Hexagonal One-Pagers for Long Way Down

Gallery Walking

Once your students have completed their webs, you can do a gallery walk to see each other's concept webs and check out the connections their peers have made (this can be done online through a collaborative Google slides presentation), or have each group in turn present briefly back to the class about some of their most interesting connection points. The hexagons that caused the most debate will probably be the most fun to share back, and everyone will get to see how others mixed and matched the same hexagons in unique ways.

When you bring hexagonal thinking into your classroom -whether that's online or in person-you bring a fresh spark of energy to discussion. Your students will see things in new ways as they seek to connect wide-ranging ideas. If you're finding it difficult to get kids talking this year as they transition into new scenarios, you're definitely not alone. Hexagonal thinking just might be the tool you're looking for to help your classes over this transition and back into their critical thinking zones.

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Hexagonal Thinking: A Colorful Tool for Discussion

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If you've been looking for a fresh way to get students thinking outside the box, this may be just what you need.

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This video explores the impact of symbolism in Visual Art. Her work, Target (1992), is in response to artists Robert Rauschenberg and Andy Warhol who painted everyday objects and symbols, and dismissed their meaning. Her work takes these same symbols (such as the American Flag), and portrays deep meaning, through symbolism, pertaining to Native American culture.

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Artist Jaune Quick-to-See Smith Takes on Pop Art | National Gallery of Art

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New York Times art critic Aruna D’Souza discusses Jaune Quick-to-See Smith’s 1992 work Target.

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This is an example of a form of digital media that explores a deeper meaning than pictured. This aligns with a written source where Cao Fei explains the meaning behind "Whose Utopia".

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In this interview with Cao Fei, she dives into the meaning behind her work, "Whose Utopia", that explores "how workers are on the lookout for the opportunity to survive; where they are now versus the kinds of dreams they have; their experiences growing up; their nostalgia or memory of their hometowns, their traditional Chinese families, their life experiences living inland, and how they migrated into urban life; and their hopes and aspirations for the future."

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ART21: Let's talk about hip-hop. It's about suburban survival or a state of survival or state of living. Did you feel that you could implant hip-hop culture, which is basically a black American cultural form that started at the bottom and was later given cultural status, to a totally alien culture, Asian culture? Were you thinking about issues of cultural mobility or something else?

CAO: It goes without saying that our generation has grown up in a fluid and mobile environment where cultures mix and diverge. For example, when I was little I would go out and learn street dance. Later I fell in love with hip-hop music. But I am still a girl who grew up in Guangzhou. Cultural hybridity is deeply rooted in my upbringing and it is reflected in my early theatrical works, including Rabid Dogs (2002). In fact, all my work reflects a diverse assortment of cultural layers. Life itself for my generation is a dynamic and evolving process, and one does not need to organize or sort everything out in an orderly way. So when it comes to shooting hip-hop scenes, I tend to do it naturally. And, when you want to express this kind of hybrid complexity, you rely on the use of interactive plays and applications, appropriation, juxtaposition, and assemblage. It's like the notion of sampling in hip-hop, mixing all kinds of things together. Life itself is a blur; existence is chaotic.

ART21: You have collaborated with musicians in many of your works, including your "Second Life" project and Hip Hop Performance (2006) at Lombard-Freid Projects in New York City. How do you feel about collaborating with musicians?

CAO: I think my relationship with music probably started with the influx of MTV and its accompanying culture. It was around the late 1980s and early '90s when China was first exposed to foreign pop culture. In my teenage years I watched lots of foreign music videos. In music videos, "visuality," montage, music, and image are all blended together into a single process. The influence this left on me was that music and text can certainly enjoy a very close relationship. If I had grown up just reading-focusing on the written word-or of I had been into photography or still images-I would probably be a very different person than I am now. My way of thinking would have been totally different. But the idea of sound and image working together naturally affected the way I choose to express myself. Perhaps music takes the place of something narrative and feeling, or even replaces the role of narration. This is why in my hip-hop projects, or even in the factory scenes of Whose Utopia (2006), or in Second Life, music becomes a very emotional part of the work.

ART21: Tell me about the challenge of transplanting your performances and exhibitions into different localities.

CAO: Guangzhou was the first stop for my Hip Hop project. After, I was invited to present it in other cities and I wanted to see if this form of communication could have a dramatic effect in foreign countries. New York City is already pretty hip-hop, so I picked The Notorious MSG to perform at my opening in New York.

After my first Hip Hop project I started working on COSplayers (2004). Neither cosplay nor hip-hop is native to China; neither one originated here. But when we experience cosplay, or when we use it, you feel that it has become indigenous and original. We translate cosplay into Chinese as "role playing." It comes from a generation of young people influenced by cartoon culture within the framework of Asian culture as a whole. Individuals come to be known for their imitation of one or another cartoon character. Even in real life they put themselves into the cartoon characters' roles, giving up their real identity to act out the characters, so much so that they let the characters replace themselves in their everyday lives and routines. It's a new kind of role reversal, which reflects the younger generation's discontent with their actual roles in real life. The fact that they choose these fictional characters indicates their disillusionment and the gap between the generations. Each has its own world and its own assumptions.

ART21: Whose Utopia (2006) is a very unique work because it first started as a Siemens Corporation commission and then outgrew the range of the original project. You expanded it, first with video, then with study and research. There are many different aspects. It finally ended up becoming a complete system that included its own newspapers. Tell me more about this project.

CAO: In Whose Utopia, there is an avatar-like element, with factory workers role-playing their fantasies. The theme of reality versus dream and fantasy is present throughout my works. And I think that settings or surrounding backgrounds have a profound influence on characters and how they relate to each other. So when I first got the invitation from Siemens Corporation to create a work my first thought was that this might be a good opportunity to shoot inside a factory. But it was very difficult to shoot due to the high levels of security and difficulty getting inside. At the time the topic of the Pearl River Delta as the factory of the world was still out there. I felt I had to get a firm grasp of the whole picture, to go behind the scenes in the factory and discover something about the essence and soul of the place, before plunging into the creative process. Every artist has a different approach to working on a project. What I had in mind was to discover some of the inherent problems. When the work finally came out, some Western viewers reacted by saying how much they hate the idea of the world's factory, the exploitation of multinational capital, and the poor treatment of workers it so often entails. But I don't think Whose Utopia is about this. It's not an exposé, nor is it about political correctness. Rather, it attempts to look at and examine a particular kind of reality from multiple angles-how workers are on the lookout for the opportunity to survive; where they are now versus the kinds of dreams they have; their experiences growing up; their nostalgia or memory of their hometowns, their traditional Chinese families, their life experiences living inland, and how they migrated into urban life; and their hopes and aspirations for the future These are the main issues. Before Whose Utopia I almost never worked on commissions. Now, I think of my commissioned projects as experiments.

ART21: Can you talk about your process for working with Siemens employees?

CAO: We first conceived of a series of questions and did a preliminary study of the assembly lines. Then, we picked some workers based on the results of the questionnaire, choosing those who provided interesting answers on the questionnaire. They all came from different assembly lines. They collaborated with us in group workshops.

ART21: Whose Utopia touches on issues of power and artists' positions and relationships with their collaborators. It's about the balance of speaking on someone's behalf without interfering with one's creative process. In what way do you hold yourself responsible for the feelings and emotions of your subjects?

CAO: I look at it this way: When corporations invite artists to collaborate the project is a cultural endeavor on the part of the corporation. However, what artists do in the art world is not all that important to corporations. What is important is that our commissioned projects enhance the cultural life of the corporation. How do you negotiate your relationship with your subjects in this kind of situation? When I engaged Siemens employees in face-to-face conversation, I didn't feel much of the corporate presence. We went out to eat together, and they invited me to karaoke parties. I used to believe that corporate employees were a disadvantaged, underprivileged group, but I have abandoned this idea. I got to know them and came to understand and appreciate their hopes and dreams. They have a clear understanding of themselves, their status and identity, and where they stand in society. I realized that there is no "power issue" at play.

ART21: All your works share one common trait-they are about how an individual faces or confronts the larger society, a formidable system, be it a global market society or the establishment of a nation-state, and what forms we adopt in order to participate in society.

CAO: In many works I try to find different ways to connect and interact with society. At the same time, I am trying to construct a new model of society, such as in works like RMB City (2008), which was conceived when I was still exploring in Second Life. I had already developed an understanding of how Second Life works, and I was wondering if I could have my own country, my own community, and my own city built purely by myself. So I started to envision what this city might look like. The video for RMB City is essentially and imagining, a draft design of its overall appearance. RMB City represents any contemporary city in China. But it is also an imitation, to mirror the building and development of an urban center in a theatrical manner. I don't think its appearance is even the most important issue. Its design could be much wilder and crazier. It's not a total utopia. It's a utopia in the making. RMB is the abbreviation for the Chinese currency, the renminbi. Renmin means "the people." And the R could almost stand for republic or revolution. In Chinese, the name sounds like "the people's city." So it comes to take on all these associative meanings. I think it also sounds like "remember city," a city of memories, because it is actually documenting what cities look like today.
The interview was conducted in December 2008 at the artist's studio in Beijing, China by Philip Tinari. The interview was translated by Xiaotong Wang and originally published on Art21.org in December 2013.

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Coming Up Hip-Hop and Questioning Utopia - Art21

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ART21: Let's talk about hip-hop. It's about suburban survival or a state of survival or state of living. Did you feel that you could implant hip-hop culture, which is basically a black American cultural form that started at the bottom and was later given cultural status, to a totally alien culture, Asian culture?

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This is a detailed guide on how to write an artist statement. It focuses on guiding students through critical thinking to help produce an artist statement that further enhances the work overall.

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At this point in art education, students will most likely have a basic understanding of art vocabulary, and have had prior exposure to these concepts. But because I want to support the needs of all students, I want to incorporate art vocabulary to support those who may have not had prior education on the topic, or those who may need to reference this vocabulary. Because one of the learning objectives pertains to using art vocabulary to analyze works by various artists, it is important to have these vocabulary terms available for students to reference.

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ABC Vocabulary | National Museum of Women in the Arts

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Abstract Art Abstract art is based on the real world, but the forms may be simplified, exaggerated, or contorted; the colors may be altered; and the space may be flattened or distorted. Abstraction Abstraction is a style of art that emphasizes design and the elements of art.

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This source details different kinds of printmaking. I chose to introduce printmaking in this way, because this is an unfamiliar topic to most students, and it is specifically mentioned in an NC standard (Create original visual arts ideas and 2-D and 3-D artworks, including drawing, painting, printmaking, fibers, sculpture, ceramics, and digital media, using tools safely and appropriately, independently or collaboratively). Students are more familiar with a lot of the other forms of media, so it is helpful to take a deeper dive into printmaking.

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Materials and Techniques - The Metropolitan Museum of Art

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Materials and Techniques is a series exploring art-making techniques illustrated with works from The Met collection.

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Students at this level begin to experiment with various forms of unfamiliar media, so this ART21 video detailes a mixed media/digital work by Sarah Sze, titled "Emotional Time". Exposing students to various forms of unfamiliar media will help them understand how different types of art convey different meanings.

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Art21 is a celebrated global leader in presenting thought-provoking and sophisticated content about contemporary art, and the go-to place to learn first-hand from the artists of our time. A nonprofit organization, Art21’s mission is to inspire a more creative world through the works and words of con…

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Present Visual Artworks

Objective:

B.PR.1.2 Create an artist statement that communicates the meaning, purpose, and techniques used in personal art.

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Abel Jackson is a local artist who used mural art to express a deeper meaning to the public. This mural is located about 5 minutes from the school I teach at in Charlotte, NC. This mural, titled "Self Love" uses symbolism to represent love and spread positivity.

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Analyze visual art works from a variety of styles, cultures,and genres using content-specific vocabulary.

Objective:

B.RE.1.2 Analyze how visual art and design is used to convey meaning.