International Journal of Art & Design Education最新文献

This study investigated visual arts college students’ perceptions of the gender stereotyping of creativity and the influence of this stereotyping on creative self-efficacy. The sample consisted of 1198 Chinese visual arts college students. The results showed that (a) both male and female students identified stereotypically masculine traits as more important to creativity than stereotypically feminine traits are, (b) male students demonstrated higher creative self-efficacy than their female counterparts did, and (c) students’ gender significantly moderated the effect of the gender stereotyping of creativity on creative self-efficacy. Specifically, the gender stereotyping of creativity had a positive effect on male students and a negative effect on female students. These findings revealed that gender stereotypes dominate concepts of creativity in Chinese art education and may hinder female students’ development of creative self-efficacy, resulting in gendered inequality in the visual arts field. The implications of these findings for visual arts education in China are discussed.

In this article, we discuss our struggles and efforts to respond to Asian American and Pacific Islander (AAPI) hate crimes and anti-Asian racism, as well as explore ways to address the issues of anti-Asian racism, violence, myths, and stereotypes in the art classroom. We researched and learned from contemporary Asian American artists, attended anti-racism virtual talks, and examined various anti-racism pedagogical approaches. As an outcome of our research to confront anti-racism, we developed S-R-C strategies to engage students with art-based anti-racism, which include facilitating a sense of belonging (S), resisting anti-Asian racism (R), and coalescing with other minority groups and allies (C). These strategies were developed to fully embrace the equity, diversity, and inclusivity of AAPI sequentially and holistically. This article also reports how we use the S-R-C strategies to guide our pre-service art teachers to confront anti-Asian racism and advocate for anti-racism teaching practices.

Although there has been increasing international emphasis on creativity in education, many creativity training programmes have focused on enhancing students' creative thinking skills with few studies on how these skills can be integrated into the teaching of subject disciplines. As a member of a Community of Practice project that ran from spring 2021 to summer 2022 at my university, I worked with ten university teachers from multiple disciplines to develop and implement instructional strategies to foster students' creative thinking skills. The paper documented the development, implementation and evaluation of creative thinking skills teaching strategies for a higher education course in visual arts. Both the development of the teaching strategies and the measurement of the impact on student learning have undergone vigorous research procedures and made reference to the existing literature. The effectiveness of the activities was assessed using multiple methods including the Torrance Test of Creative Thinking, a self-report inventory, and a focus group interview. The results indicated the new learning activities enhanced students' creative thinking skills. They also showed that creativity can be developed through teaching while revealing that playfulness, freedom and structure, group interactions, and problem-solving activities are beneficial for the development of creative thinking skills. Readers may better understand the different ways in which creative thinking skills instruction materials can be developed and incorporated into teaching of visual arts by making reference to the strategies suggested and the process of development in the paper.

Metaverse is understood with technological terms such as augmented reality, lifelogging, mirrored worlds, and virtual worlds, and using a metaverse platform is considered an emerging form of learning. Yet, its pedagogical features, such as self-learning, collaborative learning, and learning-by-doing, are identical to those of online learning. In this study, we argue that metaverse-based learning refers to a new reality learners create by assuming that the existence of reality is different in the metaverse. We extracted six educational values in epistemological and ontological senses, reviewing the four realities of the metaverse, including virtual reality, augmented reality, mixed reality, and extended reality, which is a way to avoid technological determinists'; approach to education. Based on the values – bottom-up, collaboration, authorship, ownership, interconnectivity, and community, primary school children's (year 5 & 6) groups (n = 20) redesigned 20 assigned school spaces such as classroom teacher office, science room, and music room on their chosen metaverse platforms. Throughout the thematic analysis of design artifacts, activity scenarios, and reflection & presentation, we discovered four themes: collaborative learning with co-ownership and co-authorship; being interconnected with all living and non-living things; co-participants with different roles; and transdisciplinary research-driven learning, which is used to articulate a framework for metaverse-based learning, which is different from online learning.

We investigated the impact of the transition to online architectural design studios in response to the COVID-19 pandemic at the University of New South Wales in Sydney, Australia. The study focussed specifically on student and tutor perceptions of online design studio before the sudden transition to online delivery, and how those perceptions shifted through the initial months of online delivery. We consider the pedagogical context in which the shift to online teaching took place and the evident successes and failures in the early iterations of online studio. We discuss similar and contrasting perceptions in student and tutor groups and observe the changes in these perceptions prior to and after teaching and learning in online studios. The paper concludes with a series of questions directed to the architectural design studio teaching community regarding the apparent inevitability of a future in which both FTF and online-only studios are surpassed with hybrid design studios.

Due to the pandemic conditions, hands-on courses in architectural education were conducted remotely and their presentation had to be reconsidered. Hands-on courses, by their nature, support learning and learner-instructor interaction in the classroom environment. It was necessary to develop innovative solutions to ensure this interaction in virtual classrooms. This study discusses a method we experienced in the 2021–2022 spring semester of the “Principles of Digital Design and Fabrication in Architecture” course given at Gazi University. To combat potential interaction deficits, “problem-based learning (PBL)” and “learning by doing (LBD)” teaching methods were applied. While reflecting on foreseen problems in the curriculum on the students, we determined the distance education process causes different reflections on students in terms of digital modelling and fabrication techniques. All constraints and problem determinations obtained by the students were classified and a way to solve these problems developed with the LBD style. By the end of the course, the students, who were expected to design a small 3D object, first designed the mould then realised their fabrication of the object. In this process, while the foreseen problems and curriculum determined at the beginning overlapped, other problem determinations and their reflections formed an important base for the future curriculum.

Learning takes place in various spaces through human and nonhuman interactions. Considering the urgent need for rethinking how humans relate to nature, in this article we present a MA level course in the context of art, craft and design to discuss how learning with the natural environment approach can impact learning experiences. We introduce walking with nature as a creative method that fosters students’ ability to let the environment actively shape their creative events. The encounter with nature-based materials in their different forms and following the material's flow provides students with a foundation for their creative processes. This study proposes that walking can facilitate the entanglement between the student's knowledge and encountered materials, generating an emotional and dialogical relationship with the natural environment that contributes to a holistic learning experience. We propose that such an experience can help in comprehending the importance of the caring actions we need to take and maintain towards the nonhuman world.

Design guidelines for traditional cultural artefacts play an important role in Culturally Inspired Design (CID) activities and design education. In this paper, a comparative study was performed to assess the impact of present-day design guidelines for traditional Chinese cultural artefacts on novice designers in a CID process. In all, 42 novice designers enrolled in a cultural product design course participated in this study, under two different design conditions: an unaided condition and a guideline-aided condition. Each condition includes three stages: identification stage, translation stage and implementation stage. In the unaided condition, each participant was asked to finish an investigative report on traditional cultural artefacts without any guidance and then carry out a detailed cultural product design. These results were then compared with those of the participants in the guideline-aided condition, who received a design guideline for traditional cultural artefacts. The results were assessed by expert raters against six design metrics: breadth, depth, quantity, variety, novelty and quality. They revealed that the design guideline for traditional cultural artefacts in a CID process promoted the analysis of cultural features and increased the novelty and quality of design outcomes but resulted in decreased variety. We propose that the design guideline for traditional cultural artefacts may be useful as part of the design process and as a pedagogical tool in cultural creative design, but the best moment at which to introduce the design guideline should be further examined.

This article reports about a study developed to understand the effectiveness of instructional strategies to manage sketch inhibition in design students through studio-based pedagogy. Sketch inhibition among students and recent graduates of design programs is a prominent aspect of the prevailing digitization of the design industry and education. While traditional and digital media are ideally complementary tools to facilitate the complex process of designing, studio instructors struggle to effectively integrate both into their students’ conceptions and practices. Primary data sources were ethnographic fieldnotes, semi-structured interviews, and students’ responses to open-ended survey questions. Whiteboards used as an impermanent medium, requests for quantity of sketches, and gentle enforcement of time limits were incorporated into studio practices on the foundation of theoretical grounding. Students understood the purpose and advantages of using hand sketches at strategic moments during the design process. Inhibited students responded to this combination of interventions by relaxing enough to focus on engaging with the relevant design tasks rather than focusing on how best to avoid them. Production of rich records, documenting their projects’ progression, served as supporting evidence that sketching had become a more normal and accepted part of the design process than for previous studio cohorts. The authors suggest more experimentation with these strategies and propose that sketching instructors prioritize and nurture ‘thinking sketches’ over ‘persuasive sketches’ to transfer attention from the representation of design solutions toward the design process and the development of mature design solutions.

This ethnographic case study explored the benefits associated with culturally responsive art learning experience in a Chinese rural town in the process of urbanisation. The case of this study, Fuchong Art Education Programme (FAEP), provided culturally relevant art activities for primary and secondary rural students who cannot access enriched art programmes in schools. Art studio learning, a summer art camp, an art exhibition, neighbourhood sketching, online teaching, student home visits and teacher meetings were documented and examined over an eight-month period of fieldwork. Semi-structured interviews with the participating students, their teachers and parents and the programme coordinator were conducted to elicit the participants’ perspectives on the FAEP experience, the benefits of participation and the challenges involved in implementing a culturally responsive art programme. The emerging themes included artistic, personal, social and external benefits, which were examined in relation to previous research on the intrinsic and instrumental benefits of art learning and a local understanding of the value of community art engagement in the lives of rural people. The implications offer guidance for promoting culturally responsive art learning in rural settings.