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and darks as they create pattern or emphasis in a work which he may be creating.  The young learner can be helped to identify, in his own creative efforts, deep space or flat space and thereby make choices between them in accordance with his needs and aims.  He can learn that colors recede or procede [[proceed]], that they are light or dark, that variety of sizes and shapes create interest, visually.  His sensitivity in the use of line as an expressive and well as a n expressive as well as a descriptive element can be developed.  

Color, space, form, value, line, etc. are the means by which a structure can be achieved.  And, to repeat, structure is determined by the aim of the artist (in this case the young learner).  Let us assume, for example, that he wishes to express, as his aim in a work he will produce, the animated activity which takes place on a playground  By proper and insightful guidance he can be helped to understand that bold color contrast can create a sense of activity.  (But he  chooses the colors).  Similarly, like effects of action or motion can be obtained by oppositionally placed lines, or other elements.  Simply stated, the structure of this work by this young learner grows out of his purpose, which is that of expressing the activity on a playground.  In some other instance he may wish to express another idea or theme, say one of quiet.  In this case the demands of the nature of quietness will determine the kind of structure appropriate to it.   Structure then, briefly stated, is involved with the bringing together, the giving of order, the relating and unifying of the esthetic elements of color, form, space value and line into a visual whole which expresses the unique aim, idea or intent of the individual artist.  

In addition, it must be understood that the ordering and relating of the elements involves as well the play of the imagination, of intuition, even emotion and feeling.  These qualities are indispensable in any creative endeavor.  Without them a work may be devoid of warmth and human richness.  Moreover, intuition and feeling as part of the creative art act can lead to a extension of the human experience, to the discovery of newer realms of expression, to fresh norms and ideas of art.  By drawing upon the storehouse of the imagination intuitive and felt responses, the individual creator establishes a new dimension of the self.  His reactions to experience, things, people become more dynamic, more understanding.  Such reactions can head to a more valid assessment of his own meaningfulness as seen in the light of the experiences, things and people.  This, too, is a form of structure; life structure, if you will, but deriving from the process of art-structure.  In this view, the two structures are reciprocally inter-woven; life, or experience,