INSTRUCTIONAL
FRAMEWORK
LEARNING
OBJECTIVES
A. Analyze the steps in art creation; The artistic
process.
B. Understand how the Eight Studio habits of
mind can be applied in an Art class.
C. Utilize the psychomotor domain development as
guide in organizing and planning art activities.
“ BUT BEAUTIFUL THINGS
REQUIRE EFFORT-AND
DISAPPOINTMENT AND
PERSEVERANCE”
-Vincent Van Gogh
ART CREATION IN
THE ART CLASS
The art teacher plays a crucial role in conducting an art class
whether it is a teacher-directed or learner-directed. Even in a
learner-directed program, the teacher's job is to structure the
art room and create opportunities for the students to maximize
their art experiences.
Creating an environment that is safe, encouraging, and
conducive for creativity is key to keep students motivated
throughout the art-making process.
ART CREATION IN
THE ART CLASS
An art class is not necessarily in a classroom, rather, it is
typically a space where the teacher and the child-artist
(learner) experience art creation and appreciation.
The Conceptual Framework is a known set of four agencies
that is widely used in the field of visual arts. It comprises the
analysis and dynamics between the artist, artwork, world, and
the audience. The artist is the one who creates the artwork
that connects him or her to the audience and the world.
CONCEPTIONAL FRAMEWORK OF
THE FOUR AGENCIES IN THE ART
WORLD
THE ARTISTIC
PROCESS
The artistic processes, as defined by the National Core
Art Standards, ane the physical and cognitive actions by
which arts making and learning are realowd These
processes describe and organize the relationship
between art and the student
THE ARTISTIC PROCESSES AND ANCHOR STANDARDS AS DEFINED BY THE
NATIONAL COALITION ON CORE ART STANDARDS (NCCAS)
Artistic Process Anchor
Conceiving and Standard
developing new • Generate and conceptualize artistic ideas and work.
CREATING
artistic ideas and • Organize and develop artistic Ideas and work
work
Interpreting and • Develop and refine artistic techniques and work for
sharing artistic presentation.
PRESENTING
work • Convey meaning through the presentation of artistic
work.
Understanding and
evaluating how the • Interpret intent and meaning in artistic work.
RESPONDING arts convey • Apply criteria to evaluate artistic work.
meaning
Relating artistic ideas
and work with • Relate artistic ideas and works with societal,
CONNECTING personal meaning cultural, and historical context to deepen
and external context understanding.
DEVELOP CRAFT Observe
Learning to use tools, Learning to perceive Stretch & Explore Reflect Question & Explain:
Talking about students'
materials, and artistic visual context, looking Playing, trying new
work arid working
conventions Studio closely and noticing things. exploring, processes Evaluate: Talking
practice: Taking care of things that otherwise making mistakes. and about what works well,
tools, materials, works, might not be seen learning from them what does not, working
and space process, and the works of
others
8
Studio habits
of Mind
Understand Art Worlds Envision Learning to Engage & Persist
Domain: Leaming about Express Making works Leaming to embrance
picture mentally what
what artists make that convey personal problems of relevance
cannot be directly
Communities: Learning to meaning and
observed and imagining and finding personally
collaborate and interpreting meaning in
understanding that artists new artworks and steps meaningful projects and
the works of others sticking to them
often interact in groups to bring them to life
Eight Studio Habits of mind (Hetlan, Hogan, Jaquith & Winner 2018) applied in lesson planning
STUDIO HABITS SAMPLE OBJECTIVE ACTIVITIES IN THE
CLASSROOM
• Ask children to "zoom in" on an object or use
• Identify the shapes you can
OBSERVE
see from an animal figure. "detective eyes" and look for aspects that are
• Describe the texture of a not obvious.
surface.
• Play games that encourage observation.
• Conduct visualization exercises by asking
• Plan the process of solving a
students to close their eyes and draw or build
problem: example, how to
ENVISION
assemble an 8 ft tower using
the final artwork in their minds
only cardboard boxes. • Show the process of how other artists envisioned
their work.
• Demonstrate ways on how to use tools and
• Create a landscape painting materials.
DEVELOP CRAFT using the different watercolor • Allow students to share new techniques they
techniques. discover
• Practice by repeating skills for mastery..
• Write an artist statement explaining why you chose the • Ask students to connect artworks to their
theme and the relationship among the elements. experiences or interests.
EXPRESS
• Provide a safe space to discuss personal
• Choose your favorite items or themes in creating a collage. meaning, ideas, feelings. and insights.
• When working on a big project, let students
• Choose a project or theme that you are passionate about take a break, slow down, and change focus
ENGAGE AND PERSIST
and work on it until completion. to a different part of the work to reset and
reduce frustration.
• Experiment with materials and figure out ways to work with • Provide opportunity for students to
it. explore the material without set themes
STRETCH AND EXPLORE
• Take risks by trying out different ways to use a material or or expected output before proceeding
tool. with the actual activity.
• Set ample sharing time so students can focus
• Explain how this painting affected your thoughts and
on giving feedback and evaluating each
feelings.
REFLECT other's work.
• Write three words that describe how you felt throughout the
• Provide opportunities on how students can
art creation process.
relate to each other's work.
• List three concepts or techniques that you have learned from
• Collaborate with the Music or PE teacher
UNDERSTAND ARTS contemporary artists.
by making props, costumes, or artworks
COMMUNITY • Observe how other cultures use different methods and apply
for performance projects.
different designs to create pottery.
THE PSYCHOMOTOR DOMAIN
In setting your learning objectives for an art activity, one tool that teachers
commonly used is the Bloom’s Taxonomy of Educational Objectives. This
contains three domains which are important in planning a holistic approach
the cognitive (knowledge). affective (attitude). and psychomotor (skill)
domain.
In creating an activity plan. writing the objectives in the psychomotor domain
should be carefully considered because art mainly requires physical fine
motor skills, such as drawing, painting, sculpting, etc. Understanding these
skills can really be helpful for teachers to determine the levels of technical
skills they should teach and assess. it is important to understand the
hierarchy of the development of psychomotor skills.
A SUMMARY OF THE VERSIONS OF THE PSYCHOMOTOR DOMAIN BY
SIMPSON (1972), DAVE (1970), AND HARROW (1972),
Simpson(1972) Dave(1970) Harrow(1972)
Perception Imitation
Reflex movements
Observing sensory cues from the Observing and copying a
Instinctive automatic reactions
environment performance
Set Manipulation
Basic fundamental movement
Mental, physical, and emotional readiness to 1 Performing a skill with guided
Simple movements
respond instruction
Guided Response Precision Perceptual
First trial with guided exploration Performing a Exactness and accuracy of Adjusted movements based on
skill by copying the teach performing a skill from memory environmental cues
Mechanism Precision
Habitual responses retrieved from Exactness and accuracy of performing a
memory Performing a skill without guide skill from memory
Complex Overt Response Series of Articulation
responses and procedures that are done Two or more skills combined. sequenced
proficiently from memory and performed consistently
Naturalization
Two or more skills sequenced and
Adaptation
performed consistently with ease
Ability to modify responses to cater
specific situations
Automatic performance with little
physical or mental effort
Origination Generate new responses,
movements, or procedures created for
specific situation
This set of skills is arranged from the most
basic to complex and can serve as guide in
planning a daily lesson, quarterly project, or
curriculum. All of these skills can be used in
creating a set of psychomotor objectives
specifically for teaching Art to children and in
choosing verbs to use when creating your
lesson plan.
The following table illustrates the set of
performances based on Simpson's psychomotor
domain and examples of how a student was able
to create her own composition and illustration
inspired by Philippine traditional costumes using
Psychomotor Skill Application in Art Example Activity
Observing the surroundings, recognizing
colors, texture, shapes Examples: Looking Observe the lines and colors used in
Perception
at a circle, looking at the table, and feeling different Philippine traditional costumes
the paper (blind)
Getting ready to do the skill. The first act
is the position before doing the actual
skill. Examples holding a pen not writing,
squeezing the glue bottle, positioning the Sit down on a chair and look at the
Set
fingers properly on the scissor hole, computer, Holding the mouse or stylus.
holding the paper using pincer grasp, and
holding a pencil right before tracing a
circle
Imitating the action of the teacher
Examples are tracing the dotted lines,
Follow step-by-step instructions of the
snipping scissors, cutting scissors, squirting
Guided Response teacher on how to create basic lines and
a drop of glue on paper, copying a one-step
shapes using MS Paint.
skill (drawing a circle). and tracing a circle
or copying a circle (one-step approach).
Doing an action from memory Example: drawing a circle
Create individual lines and shapes using
Mechanism from memory with independence (when the teacher asks
MS Paint independently.
"draw a circle)
Doing a series of skills, demonstrating dexterity. accuracy,
and habituation of a skill, such as bein able to create a Create a figure of a person by combining
Complex Overt Response recognizable face by drawing five circles in correct different lines and shapes based on a
placement and sizes when asked to "Draw a face using reference
only circles"
Modifying what was taught such as adding other elements or
adding a twist. Examples: tracing the face with markers, changing Create a plan on the different elements to
Adaptation the elongation of the eyes, nose, and mouth to form a different be added on the final artwork Choose
character, adding hair, etc. The student may add a little bit of which colors to retain or to change..
details but you can still recognize it from its original source.
Creating one's original concept or interpretation of an idea.
Take note that it is not enough to "Imagine" it. The students Create own composition by choosing the
Origination should be able to translate the original idea into a background, subject, and other design
recognizable concrete form or output through their motor elements based only from imagination.
skills.
