INSTRUCTIONAL PLANNING IN THE VISUAL ARTS
A. INSTRUCTIONAL PLANNING
Importance of Instructional Planning
● Planning - helps manage time and resources and foresee different possibilities; what will work and what will not.
Classroom Management and School Situations
● Among young children, the most popular are painting and clay but most teachers are opt to compromise the activity to make it
more manageable, practical and fast.
Seven (7) Things to Consider in Preparing an Instructional Plan:
1. Know your students
2. Plan for students' safety
3. Select your materials carefully
4. Proper care for the materials
5. Maximize workspace, venue, and water supply
6. Manage time wisely
7. Begin with the end in mind
B. SETTING THE OBJECTIVES
The Continuum of Choice
● Teaching for Artistic Behavior (TAB) - is a choice-based approach wherein students are taught skills and concepts by exploring
different media centers, then are soon free to choose to work on their own concepts, materials, tools and techniques toward
the end of the quarter of school year.
Five (5) Approaches in Teaching Art:
1. Teacher-Centered Approach - the teacher sets the objectives of the activity, materials, techniques, themes,
etc., and follows the curriculum goals intended for that grade level.
2. Learner-Centered Approach - the teacher acts as facilitator and involves a more spontaneous teaching or open-ended activity
that gives more opportunities for student-lead exploration, self-expression, and decision making.
3. Teaching for Artistic Behavior (TAB) - this approach has a three-sentence curriculum: the child is the artist, what do artist do,
and the art room is the art studio.
4. Reggio Emilia - uses a constructivist self-guided curriculum that applies self-directed, hands-on experiences in
relationship-driven environments that focus mainly on early childhood education (Moss, 2019).
5. Rudolf Steiner - also known as Waldorf education, this places the greatest importance on giving children what is appropriate for
their age, with "artistic love and loving art" (Steiner, 1922).
C. CHOOSING ART ACTIVITIES
Four (4) Types of Art Activities Based on Content and Function:
1. Art and Culture-Based Theme - can be done exactly as how the artist does it, or it can be modified to different processes and
output.
2. Integration in Subject and Content Areas - students are challenged to create projects and apply their knowledge and skills to
solve problems.
3. Holiday and Event Theme - these are popular means to concretize events such as making DIY decorations, cards, souvenirs, and
gifts in a fun and enjoyable way.
4. Art as Play - art class can be a break in their highly structured routine where they can enjoy and be themselves.
Four (4) Considerations in Choosing an Art Activity:
1. Abstract and Expressionist Art Activities - these activities require minimal fine motor skills that can still create aesthetically
pleasing outcomes.
2. Impressionist and Expressionist Art Activities - suited for children who have a lot of original ideas, but may lack the fine motor
skills to create a well-rendered representation of what's on their mind.
3. Realistic Reproduction and Technical Art Activities - suited for students who demonstrate mastery of fine motor skills involved in
art production.
4. Creative, Imaginative, and Thought-Provoking Art Activities - it is the integration of all potential art skills. Children who are able
to visualize and render their ideas in a skillful manner.
When planning for an art activity, the teacher should carefully consider the students' placement in these areas in order to create an
ideal flow in an art class.
D. INSTRUCTIONAL FRAMEWORKS
Art Creation in the Art Class
● The role of the teacher is to provide materials, tools, and techniques that the child can use to create his or her work. Through
lessons and discussions, the teacher gives students the foundations in art history, art production, art analysis, and integration in
other disciplines.
Four (4) Conceptual Framework of Visual Arts:
1. Artist - the one who creates the artwork that connects him/her to the audience and the world.
2. Artwork - the object that is used by the artist to share his/her intentions and ideas.
3. Audience - are the people who view and respond to the artwork and the artist.
4. World - is the place and time where the artist, audience, and artwork exist.
The Artistic Process - defined by the National Core Art Standards, are the physical and cognitive actions by which arts making and
learning are realized. These processes describe and organize the relationship between art and the student.
The Eight Studio Habits of Mind - enumerates the practices that artists incorporated in their art creation processes which then can
be implemented in the art classrooms (Hetland, Hogan, Jaquith, Winner 2018). It also provides a structure on how to create learning
objectives and plan art activities for the class.
The Eight (8) Studio Habits of Mind:
1. Observe - learning to perceive visual context, looking closely and noticing things that otherwise might not be seen.
2. Stretch & Explore - playing, trying new things, exploring, making mistakes and learning from them.
3. Reflect - learning to judge one's own work, working process, and the works of others.
4. Understand Art Worlds - learning about what artists make, understanding the artists interaction in groups.
5. Express - conveys and interprets personal meaning in the works of others.
6. Envision - learning to picture mentally what cannot be directly observed and imagining new artworks.
7. Engage & Persist - embracing problems of relevance and finding personally meaningful projects and sticking to them.
8. Develop Craft - learning and taking care of tools, materials, works, and artistic conventions.
Bloom's Taxonomy of Educational Objectives - it is used to setting your learning objectives for an art activity, one tool that teachers
commonly use.
Three (3) Domains in Planning a Holistic Approach:
1. Cognitive (knowledge) - is connected to thinking process
2. Affective (attitude) - includes attitude and feelings
3. Psychomotor (skill) - related to motor skills and function
Psychomotor Domain - targets the development of physical movement and is measured in terms of precision, speed, accuracy,
procedures, or techniques in execution (Simpson 1972).
Three (3) Popular Psychomotor Domains:
1. Simpson (1972) 2. Dave (1970) 3. Harrow (1972)
Perception (observing sensory cues from Imitation (observing and copying a Reflex movements (instinctive
the environment) performance) automatic reactions)
Set (mental, physical, and emotional Manipulation (performing a skill with Basic fundamental movement (simple
readiness to respond) guided instruction) movements)
Guided response (first trial with guided Precision (exactness and accuracy of Perceptual (adjusted movement based
exploration) performing a skill from memory) on environmental cues)
Mechanism (habitual responses retrieved Articulation (two or more skills Physical activities (movements
from memory) combined, sequenced and performed requiring strength, endurance, agility,
consistently) and vigor)
Complex Overt Response (series of Naturalization (automatic performance
responses and procedures that are done with little physical or mental effort)
proficiently from memory)
Adaptation (ability to modify responses to
cater specific situations)
Origination (generate new responses,
movements)
Dave's (1970) set of psychomotor skills are focused only on the technique, which is more applicable in involving naturalization of a
skill.
Simpson's (1972) hierarchy of psychomotor skills is way more on the "artistic process" which connects more to the creativity aspect
since it involves adaptation and origination as the highest level.
Six (6) Components of an Activity Plan for Visual Art
1. Objectives (content standard, performance standard, learning competencies)
2. Content (learning resources)
3. Preparation (student materials, logistics, class management)
4. Procedure (pre-activity, lesson proper, guided practice, independent practice, post-activity)
5. Art Appreciation (self-expression, appreciation, conclusion)
6. Assessment
