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Today the expressive forms and styles of art are characterised largely by the unique individuality of the artists who produce it. While there are a few identifiable trends or "schools" of contemporary art such as "Op","Hard Edge", "Systematic", etc., to each of which a certain number of artists may adhere, this is an age of highly personal and individual types of conceptualization in art. Each separate artist seems to respond differently to experience, thus creating a style unique to himself. He formulates or structures his art according to his own personal artistic aims. This means, therefore, that he must evolve and rely upon his own methods of creating or structuring his visual forma. His approaches to the use of color, for example, are his own; they rarely if ever, follow the approaches of other artists. (The color of structure of Albers is different from that of Guston or of Hofmann). Color, as a structural element in the works of these artistic, is determined by different conceptual aims and it therefore functions differently.

So, when we speak of the structure of color in art today, we must not consider it in the context of a broad or general "academy" or "system" or "theory" of color to be applied to any or all works of art involving color. It should be considered in terms of each individual artists' purpose. Although individually expressed, all art must exist according to structure, a structure; a structure of space, form, color, shapes, value, line, movement, etc.

It must be clearly understood that while these notions and considerations of structure in art are discussed in the light of the adult professional artist, (of Art), they apply equally and similarly to the young artist, pupil or student of art in the class room. Underlying this premise is the obvious truism of art that the creative efforts of all creative workers in the visual arts are concerned with the formulation and structuring of their ideas and experiences, regardless of age. Their problems and concerns are the same, the chief difference being that of training, maturity and even sophistication.   Therefore, we are aware that present-day principles in the teaching of art to young (and to older) people are parallel to this broader concept of structure in art in general.

Just as more artists who are individualistically inclined reject the practice of adhering to the restrictions of systems or theories of art, so it is that the art teacher or educator considers that the impositions of a system or theory of art concepts or procedures upon the young learner is questionable and unwise. This does not mean that he is left to flounder or grope aimlessly. The development of an awareness of the essential nature of color intensity, hue, and chroma are important. He should also be aware of lights