Given the importance of creativity in design education, understanding individual differences will help to teach students in accordance of their aptitude and promote the cultivation of creativity. This study investigates the effect of gender on the creativity scores and artefact perception of first-year design students, and explores the…

This article explores the integration of the art studio framework developed by Harvard University's Project Zero into science education and investigates its influence on the academic achievements of third-grade students. This study involved a cohort of 140 third-grade students from a primary school in Iran, 70 of whom were students assigned to an…

Studio Thinking 3 is a new edition of a now-classic text, a research-based account of teaching and learning in high school studio arts classes. It poses a framework that identifies eight habits of mind taught in visual arts and four studio structures by which they are taught. This expanded, full-color edition includes new material about how the…

Although attempts are currently being made to understand the connections and differences between art and design education (Zwirn & Zande, 2015), there is little reflection on a key problematic that binds them together: the relationship between form and function. In this article, authors Tyson Lewis and James Thurman briefly share a three-part…

Based on the learning outcomes, values, skills/proficiency and job safety for grades 6, 7 and 8 from the 2017 Visual Arts Course Curriculum (MEB, 2017), outcomes related to three-dimensional work have been associated with care, love, responsibility and inquiry and activities "My Money", "Abstract Sculpture" and "Talking…

The term "knolling" was first used in 1987 by Andrew Kromelow, then a janitor at Frank Gehry's Santa Monica studio (Heathcote, n.d.). At the time, Gehry, an architect, was designing furniture for Knoll. While cleaning the studio, Kromelow would arrange displaced tools at 90° angles to create an organized surface. Perhaps done out of…

As an art specialist intern at a museum-based preschool, the author facilitated an art studio session every afternoon for 5-year-old students. She naively envisioned children creating artworks that followed her lesson plans and instructions. However, as she embarked on this journey and began teaching these sessions, she witnessed two startling…

Purpose of this study is to identify the contribution of the educational use of mail art to Visual Arts Course. This study has been designed to attain an idea from the activity samples, in order for a more effective and eager teaching of the course. This is a descriptive study based on case study model. The study group consists of 4th-grade…

Twenty-two individuals are drawing, painting, collaging, sculpting with cardboard, and building with wooden blocks. Some are working collaboratively, and others work alone. Dialogue with the teacher and social interaction between learners catalyze the learning experience. The core curriculum goal, expressing ideas through self-directed art…

As the original antidote to social alienation (and its tragic repercussions), community art through its large-scale, public, and collaborative nature has the potential to rebuild a sense of community from the inside out. This concentric notion of community art is addressed at both the individual and classroom level, exploring the origins of…

This resource describes how one art classroom used "everyday labor" as a topic to connect artmaking to community workplaces. The work of Theaster Gates, Faith Ringgold, Jacob Lawrence, Jeremy Deller, and Adrian Piper are suggested to stimulate class dialogue about work, labor, and jobs. The author invited members of their farming…

Museums are the most effective settings for life-wide learning used in arts education. The aim of this study is to determine the effect of use of museums for educational purposes on a Studio Art-painting-course. In this study designed according to case studies technique, one of the qualitative research methods, a semi-structured interview form was…

What happens when a teaching method designed around learning new technologies is applied to artmaking for teens in an art museum? How do technology and traditional artmaking techniques connect in the studio? What role does mentorship play? What happens to participants after they leave the program? These questions are central to this case study,…

In this article, the author describes a choice-based art unit she designed for her 7th-grade students, discussing how choice impacted student motivation and how this relates to playful exploration, meaning making, and sharing. With the implementation of a personally meaningful found-object unit, students' motivation increased because of the…

In an effort to facilitate an environment that values learner-centered artmaking with student-driven outcomes, the author decided to implement a unit that she researched using qualitative methods. In the unit, "Painting Without Paintbrushes," 1st-graders crafted and used nontraditional tools as paint applicators. During the unit,…