UNIT III

Instructional Strategies in Teaching Visual Arts

A. Strategies for Engagement and Getting Inspiration

Learning Outcomes
1. Identify the things to consider in creating engaging activities. , Analyze how some activities
engage children and elicit intrinsic motivation. 3. Choose an engaging "hook" or activity to
introduce your lesson.
"We have got to work on keeping these children, engaged with the world."
- Temple Grandin
THINK
One of the struggles that art teachers encounter in school is that some students are
not motivated enough to participate. Some students do not exert effort and do not finish
within the deadline resulting in an incomplete output. Some hurry for the sake of completing
the task resulting in a rushed work.
Children engage more in their art creation process if they love and believe in what
they do. As an elementary art teacher, it is important to be sensitive with your students'
thoughts and feelings. The goal of art for young students is for self-expression. If children
realize that their artwork can be a tool to showcase some of their ideas, they will more likely
to enjoy and give more heart in creating their work. And where do they get these ideas?
These can come from their personal experiences or feelings they encounter from their
environment.
Maisie proudly presents her work about herself. She paints the letter M which is the first
letter of her name. Children take pride of their work and tend to engage more if the topic is about
them or their interests.

When introducing a lesson, an artist, technique, or concept, it is important to use

different approaches and relate how these are relevant in their daily lives. Also, keep in mind
that the artists or culture that you are featuring also got their inspiration based on their own
thoughts and experiences so they will have more understanding of WHY should they also put
some heart into their own creation. A "hook" is the introductory part of the lesson where
you will try to get the attention of the students. The art teacher should set the mood of the
class to get the students ready. The goal of the teacher in this part of the lesson is to engage
the students and bring out their personality and creativity. This is better than making
students work hard for grades or for other external rewards. As art teachers, we should try
our best to elicit intrinsic motivation. When children are engaged, it makes teaching art a lot
easier because students enjoy working for themselves:

Lesson on drawing the human figure. The teacher introduces the lesson by asking the students what activity they
miss doing outside (this activity was done via online in 2020). Some students were shy and needed some
prompting so the teacher has to ask engaging questions, such as "What's your favorite activity after school?"
"Where do you usually play outside?" and "What objects can we see in that place?"
In this case, Kidlat said he missed riding his bicycle in the park in UP. Letting students talk about their own
experiences, stories, and giving them opportunities to put it in their work can engage them a lot in the process of
art creation. Photo by Teacher Precious
The following are some things to consider when planning your lesson.
Examples Sample Goals and Activities
Relate the lesson or Q and A Start with a question (Landscape painting and
technique to their own that arouses their curiosity. composition) Who among
experiences, interests, and Inquire and probe. Ask them you have lived in the
prior knowledge. what they already know. provinces? What can you
see? Can you describe the
life in your grandma's
barrio?
Note that children have Use relevant videos, icons, or (Printmaking: rubbing,
limited experiences so it is topics. stencils, or texture prints)
best if you relate abstract Find a story/cartoon Show a short video clip from
concepts to something that character/toy that is similar the movie Jurassic Park or a
is tangible or they have or relevant to the featured cartoon version featuring a
experienced artist. The material or icon to dinosaur footprint fossil.
be used should be relatable (Create a human figure using
and experienced firsthand by clay sculpture, found objects,
the student. It should be and recycled materials) Show
concrete and easy to grasp a video clip of the creation of
so children can understand. Olaf (snowman from the
movie Frozen) and discuss
how the girls formed spheres
to make the body and found
objects such as twigs to
make the arms, etc. This may
be cliche but children can
relate and engage more with
their work. You can proceed
afterward with the actual
video on clay sculpture.
Give students an opportunity Show-and-tell Let them talk
to choose and express about themselves.
themselves. This is a good practice for
communication, listening,
Try to find at least one and encouraging respect.
aspect of the activity where
Exercise choice
they can choose and exercise
freedom, even if it is a Give students an opportunity
teacher-directed activity. to choose and develop their
Acknowledge their own style.
experiences and thoughts. Examples are choosing colors
to use or adding/ remove an
element, thinking of a
theme.

(Printmaking) Produce
Freestyle activities Ask the original design to silkscreen
students what is the first printing to convey a message
thing that comes to their or statement. Example:
 mind about a certain topic or What comes to your mind
issue. Let them when you think about
doodle/sketch it from their natural disasters in the
imagination without Philippines? How can you
judgement. help? Think of an object or a
symbol that you can relate it
with.

Explore multiple Song and Dance (Mask making) Play a video

intelligences and approaches Start your lesson with music about the MassKara Festival
in introducing your lesson. and movement. and ask students to copy the
dance or the movement.
Games (Graphic design and logo
Play a physical game, making) Guess the name of
guessing game or role-play. the famous companies based
on their logo or role-play or
sing their famous
commercial.
Aside from discussing the Art Storytelling (Arts and crafts in
module, lessons from their Read a story or poem from a MIMAROPA) Use a map of
English, Math, or Science book or collaborate with the Philippines and discuss
class can also be used as other subject teachers to geography and places as
springboard to relate the art discuss their lesson (English, introduction to the culture of
activity to the lesson. History, Math, Science, TLE, the Mangyan.
etc.).

B. Instructional Strategies in Teaching Visual Arts

Learning Outcomes
1. Distinguish between a directed-drawing approach versus the artistic-creative approach.
2. Describe the characteristics of different instructional strategies in art.
3. Apply direct instruction, exploratory learning, and inquiry-based approach in creating a
lesson plan.
"Learn the rules like a pro, so you can break them like an artist."
- Pablo Picasso
THINK
When teaching a technique for the first time, most art teachers, especially in a large class
tend to do a direct instruction through a demonstration. Direct instructions give clear and
precise steps to equip the students with the concept and technique that they can follow.
Time in an art class is limited and there won't always be enough time to do an inquiry-based
approach or exploratory learning, unless you are teaching in a workshop or at home. Direct
instruction and modeling allow teachers to relay information, teach principles, demonstrate
technique, provide feedback, and guide students directly based on their needs. If a teacher
is introducing a material or technique for the first time, the teacher explains how to use it,
how it works, how artists do it, and reasons why it is used. Direct instruction also allows
teachers to quickly and clearly explain the safety precautions, cleanup process, and expected
behaviors. These activities are excellent methods to develop mastery of a specific skill
through explicit instruction and modeling of behavior. Students can also practice
independently, however direct instruction limits the use of exploration and creativity that is
why, in teaching art to children, the teacher has to strategize when to use direct instruction,
which is usually done only at the beginning of the lesson. Once the students are familiar with
the materials and techniques, then they can start exploring, envisioning, and creating a work
through inquiry-based or cooperative learning approach.

Here are some teaching strategies that are commonly used in an art class.
Step-by-Step Approach One Demo Approach Artistic Creative
(Direct Instruction) (Direct Instruction, Process (Inquiry-
Exploratory Learning) based, Exploratory
Learning)
Description Teacher demonstrates Teacher demonstrates Teacher poses a
one step at a time, then all steps, then students challenge, then
students follow each try to imitate from students explore,
step. memory. In the envision, and solve.
process, students also
have an opportunity to
explore.
Illustration
Approach Direct Instruction/ Investigative Free
Modeling Guided Exploration
Practice Think-aloud Visualization
Direct
Instruction/Modeling
Guided Exploration
Think-aloud
Psychomotor Perception Set Guided Mechanism Complex Mechanism
Skills Response Overt Response Complex Overt
Response
Adaptation
Origination
Eight Studio Observe, Engage, Observe, Engage, Observe, Engage,
Habits of Mind Express, Reflect, Explore, Express, Explore, Express,
Develop Craft, Envision, Reflect, Envision, Reflect,
Understand Art World Develop Craft, Develop Craft,
Understand Art World Understand Art
World
When to Use  For children who  For classes that  For students
need extensive can' follow simple who are
support series of engaging and
 Teaching a complex performance tasks up for the
procedure (5+ or are already challenge
steps) that requires familiar with the  Upper grade
caution (techniques skill levels or
that are irreversible  For less students with
such as watercolor) complicated inclination in
 For activities that procedures (2-4 art
have two or three steps), such as  For students
parts, such as cutting a shape who were able
mixed-media then pasting or to show
painting coloring a mastery in the
 When doing one- background previous skill
on-one mentoring  Using an (e.g., The
equipment such students
as press for already know
printmaking, how to paint a
electric tools, or landscape by
craft knife copying. This
 For more flexible time, the
art activities that teacher asks
are reversible and them to paint
do not require their own
accuracy landscape
with fictional
elements that
tell a story
without
copying from a
reference.)

Advantages  Easy for students to  Efficient use of  Enhances all

understand and time since faster eight studio
follow demonstration habits
 All work and finish  There's a room for  Challenges
at the same time exploration and students to be
 Develops skill reflection creative
through repetition  The teacher
can learn a lot
from the
students
Disadvantages  Works on the  Sometimes  May require
 students with students ask to more time,
slowest pace repeat if they sometimes
 More time- forget a step or more than one
consuming cannot make it session
 Does not promote work  Some students
exploration and  Prone to student might get
envisioning mistakes frustrated.
 Teacher must
strategically
facilitate
learning by
planning
carefully.
Example  step origami  Clay modeling  Games and
Activities  Watercolor blow  Drawing with a challenges
painting or mixed- pencil (Highest
media  Cutting and tower)
 Directed-drawing making a collage  Collaboration
 Directed-painting  Draw a self- projects
 First time to use portrait showing  Student art
paints emotions (e.g., competitions
 First time to draw a Students already  Quarterly or
self-portrait (e.g., know how to year-end final
Teacher teaches draw a face. This project
different types of time, the teacher  Situational
lines. Teacher demonstrates questions or
demonstrates how how different limiting
to draw each part facial parts materials (e.g.,
of the face one step change emotions. If you were
at a time.) The student tries living in a
to mix and match prehistoric
on his own to era, and there
create facial are no art
expressions.) materials
available, how
would you
make a self-
portrait)
 Test of
independent
skill (e.g.,
Think of a
story, then
create a comic
strip showing
different facial
expressions.)

Step-by-Step Approach
 In this approach, the teacher demonstrates how to draw a face one step at a time.
Each student is expected to do as per teacher's instruction and the teacher can only move
on to the next step once students say that they are done.

One Demo Approach

In this approach, the teacher demonstrates how to make a human clay figure stand
on its own. The student uses a visual guide to try to do it independently. The teacher
provides guidance if needed. This is also okay if the process is reversible, that it allows the
student to correct himself or herself without much consequences, such as molding with clay
or drawing with a pencil and eraser.

(Example of directed drawing)

Clay activity on how to make a human figure featuring a story about your favorite childhood game
(jump rope). Photo taken by Teacher 'Precious from the Art Ed class for teachers in Nara University of
Education.
(image)

Painting on black paper, using blow paint drip technique for the jellyfish tentacles and string-pulling
technique for the sting ray, lobster pincer, and tail of the whale. This is an example of a final project,
combining all the painting techniques taught in the class.

Artistic Creative Process

This process involves more input from the artist and requires envisioning (imagining
the final artwork and picturing how to do it).
This enables the artist to apply the concepts and techniques learned from the
previous lessons. The artist can also have an input on what his or her artwork wants to
express to the world. In a typical art class, students can learn concepts and skills from direct
instruction as well before conducting a creative artistic approach. It is basically a
combination of different approaches wherein the end goal is for the artist to practice the
Eight Studio Habits of Mind (Hetland et al. 2015). Take note that all the mentioned strategies
can be used in one lesson, depending on the complexity of the activity, student's skill, and
set objectives.
C. The Creative Process: Developing Creativity
Learning Outcomes
1. Distinguish between the creative process and artistic process.
2. Model ways on how to promote creativity in the classroom.
3. Devise an outline of a lesson plan that promotes student's creativity.

"Creativity involves breaking out of expected patterns in order to look at things in a

different way."
- Edward de Bono

THINK
Origination: Creativity and Ideation
Creativity is using one's imagination to combiné two ideas to make a new one.
Original means something that is new and has not been done before. Creativity in children
does not emerge from a vacuum, rather, art skills and competence develop from the
nurturing environment that provides opportunity for them to learn about art in different
ways (Dobbs 1992).

Left: Exercises on practicing creativity: Doodle Basics: Drawing From Numbers. Online art workshop by Teacher
Precious. Right: Sample doodle by Grace with her own ideas for numbers 6 and 8. Source:
[Link]

Found object doodle art. In this art activity, students are encouraged to choose any object found at home, then
incorporate it in a doodle. Left: Pencil and cap as sword and shield (by Zoe). Center: Using pen as a body for the
jet plane (by Melanie). Right: Using pencil shavings for hair (by Lareign). Teachers can assign a theme based on
the lesson and let students choose any found object and turn it into something else. This exercise fosters
creativity by letting students think outside the box and come up with original ideas. Keep in mind that teachers
should also encourage students to persevere and respect each other's ideas. When a student gets ridiculed or
judged because of his or her original idea, this might affect his or her confidence, and thus inhibiting his or her
creativity. It is the job of the art teacher to ensure that the art class is conducive to creativity by fostering respect
and welcoming emerging ideas. Photos by Teacher Precious (online art class 2020)

Creativity is a human resource. It is one aspect in the industry that can be difficult to get
replaced by artificial intelligence. Creativity can be spontaneous and original and will depend
from generation, culture, and people. It is constantly needed in this fast-changing world. It is
unlimited but can be rare and scarce because more original ideas are made every second.
Right now, creative people can be of the highest demand in the future because creativity is
the skill of the best problem solvers. It makes one resourceful in finding alternative and
innovative ways to achieve goals and get past obstacles. It is important that at an early age,
we encourage the development of child's creativity and imagination, and art is one of the
best ways to nurture it. The end goal of an art class is always to try to come up with
something new and original.

The Creative Process vs. Artistic Process

In most cases, creativity is best practiced when solving problems. In a tight situation,
people are often forced to think outside the box. Being resourceful is one way to be creative.
Most famous showcase of creativity is when there is a need to find novel solutions to novel
problems. The creative and artistic processes may be distinct from each other in a way that
creative process does not always result to artistic creation, and productive work in the arts
does not necessarily involve creativity in terms of developing original ideas (Botella, Zenasni,
Lubart 2018). The creative process as defined by Lubart (2001) is a succession of thoughts
and actions that leads to original appropriate productions. The key word is original concept
and ideas, something that the student was able to come up on his or her own. Artistic
process is mainly production of art such as painting by copying from a photograph, weaving
by following a pattern, or creating thousand paper cranes which involves craftsmanship and
skills, but does not involve creating new ideas. It is important for teachers to distinguish
between the two process, and aim for "artistic creative process" instead (Botella et al. 2018).
There are several models of the creative process but the widely used and first model was
from Wallas' Art of Thought (1926).
Stages of Creative Process Based on Wallas Applications in the Art Class
(1926), Botella (2018), and Salder- Smith
(2015)
Stages Description Simplified Stages Sample Tasks
Preparation  Discovering Probing  Showing video
problems and clips of other
directing artists
attention to  Outdoor trips,
something of museum tours,
interest nature trips,
 Can be science
dependent on a experiments,
specific content watching
or idea educational
movies
 Life experiences,
anomalies,
milestones,
random
happenings, etc.
Incubation/  Subconscious,  Let time pass.
Intimation involuntary  Do other tasks,
thinking; letting and do not think
the mind rest about it too
and soak in the much.
idea while being  Play games,
distracted to storytelling, and
other things other activities
that are not
directly
connected to
what they are
working on.

Insight/ Illumination  The"Aha!" This is an

moment where instantaneous event
the idea moves that happens on its
to the conscious own
thinking; an
instant "flash"
that cannot be
forced
Verification/  Choosing the Planning Select materials and
Evaluation idea; this is techniques that will
where the work best.
divergent and Consult with peers
convergent and teachers for
thinking comes feasibility and
into play; trying validation of idea.
out what works
Specific plan on how
and what does
to complete the
not; and figuring
artistic process
out if the idea is
valid or not
Synthesis/ Creation  Putting the idea Production  Creating the
into a concrete artwork
artistic output  Art production

Banaue Rice Terraces (2017) by Jeremy, 10, acrylic on canvas. The small paper on the table were his initial studies.
Instead of drawing the typical landscape, he thought of the rice terraces as rainbow-colored with houses on top.
He chose to paint the rice terraces because he used to live in Ifugao, Mountain Province. Adaptations were made
by tilting the canvas so that he can reach the areas for sketching while on a wheelchair.

How to Promote Creativity in the Classroom

One way to practice creativity is to force yourself to think outside the box. Most
teachers think that creativity cannot be taught directly, rather some people are just born
with the talent, or grow up in an environment conducive to nurturing it. In a space where
original ideas are tolerated and encouraged, children are most likely to develop creativity as
they grow. Inhibition in children is due mostly to over restriction, children not being allowed
to express their ideas freely or without judgement, such as a restricted teacher-centered
setup wherein children imitate rather than create (CCSESA 2008). Creativity entails freedom
to think. Teachers should encourage this in the early grades so students won't be afraid to
express themselves through art.

Studies on the different styles of illustrating a tree for a mural painting. A student tries to incorporate different
patterns and see which works and which does not for his overall design.

Strategies for Ideation: Adaptation

Ideation is generating new ideas. Creativity is quite a challenge to "teach" in the art
room because the teacher cannot directly teach how to be creative, but can only provide
opportunities to develop it. Start by imitating a "portion" from a previous work then
combine those "portions" to create one whole original piece. Adaptation lets a student
modify or alter a small aspect of the work, adding own input one idea at a time. In Austin
Kleon's book Steal Like An Artist (2015), he mentioned that one should not just steal the
style, rather steal the thinking behind the style. The teacher should welcome and encourage
questions, thoughts, insights, and curiosity in children so they develop a habit of "free
thinking" and not just rely on the teacher on what to do next. Students can use a
sketchbook, idea bank, or a journal where they put their random and even craziest ideas.

Self-portrait (2017) by Ella, 11, acrylic and yarn on canvas. Using items other than what the teacher suggested is a
good practice for creativity: In this case, when Ella had an activity in Math wherein they use yarns to create rays
and lines in geometry class, she had an idea to apply it in her portraits as well.
How to Look for Inspirations
Creative artists are great observers. They see what other people do not see that is
why they are able to do what other people never thought of doing. Teach students to
observe and always keep an open eye. Some examples are, upcycling materials as craft
items, noticing the different styles of artists, and using objects that are not likely used in
normal situations. Parents also play an important role in. reinforcing and extending their
childcare's art education by taking their children to art museums, galleries, and art centers,
acquiring and encouraging them to learn about art (Dobbs 1992)

How Limitation Fosters Creativity

One way to be creative is to "think outside the box," but the problem with other art
classes is that teachers do not provide a "box." In other words, when students are always
given the ideal materials, tools, and methods, there would be no more room to be
resourceful, solve problems, and creativity. Third world countries like the Philippines has a
lot of boundaries but being creative knows no boundaries, in fact, creativity can be more
evident when there's limitation of resources. Teachers have their unique ways of being
resourceful because they lack something and they are forced to think of innovative ways to
solve their problems.

Color wheel challenge (2020) using found objects at home as a practice on resourcefulness and creativity. This
exercise gave students a review on the colors in the color wheel, and actually composing and arranging them in
such a way that shows gradient colors. This was done online during the ECQ where people cannot go out and art
supply shops are not open.

D. Contextualization, Adaptation, and Classroom Management

Learning Outcomes
1. Modify activities based on the available resources and themes relevant to the student.
2. Identify adaptive tools and activities for inclusion.
3. Analyze strategies that can be helpful in managing the art room.
"Instead of adapting to change, why not change to be adaptive?"
- Fred Emery
THINK
Contextualization
Resourcefulness and self-expression are some of the skills that can be developed
through art practice and creation, especially in elementary students. However, we tend to
limit ourselves based on what we see in the museums and books such as oil paintings of the
masters on canvas. Contextualizing the art materials based on what is needed and available
is part of the creative art process. We can see how the indigenous people in the different
parts of the country use materials that are readily available and relevant to them such as
using natural dyes to color textile, and wood to make sculptures. The same can be applied
in our classroom. Even if we want to exactly follow the curriculum and competencies, the
reality is that art materials are not easily accessible, especially if the school does not have
the budget. In most cases, the teacher is discouraged to continue and enjoy the art lesson
because not all students have the required materials, or might require a lot of monetary
sacrifice. But what is good about art is that it can be flexible, arbitrary, and spontaneous.
Modifying the activities to make it relevant and more accessible to the students is preferable
than strictly following the mandated lesson if students cannot procure materials. Teachers
can make the lesson more relevant to the students if they use everyday themes or materials
that they can relate to. The more concrete and familiar the topic, the more children can
understand the concept of the lesson. The following are some examples.

Diwata doll using found objects such as twigs and dried leaves. These were made during the quarantine period
2020 wherein teachers and students use art materials available to them at home. Artwork by Bert Young

A student paints on a rock which is readily available in their community instead of a canvas. Artwork by Pearl

Tissue paper roll art. Top left: Cardboard mobile and lanterns. Top right: Tissue roll puppet with dancing feet by
Jian. Lower left: Pen holder. For this activity, students are able to create something new by using everyday
materials. These activities can be integrated in different subjects and relevant topics, such as role-playing
(puppets) and making symbols (lanterns).

Adapting Tools and Activities

As teachers, we have to ensure the active participation of ALL students, with or
without special needs. Some of them need more support than others whether it is physical,
mental, behavioral, or socio-emotional. Some students who are challenged with verbal
communication and expression such as children with autism can use art as a tool to express
their thoughts, interests, wishes, and feelings. As art teachers, we have to keep our hearts
and minds open to do the extra effort and time to find ways to make art accessible and
enjoyable to ALL our students.

Adaptive tools for drawing or writing:

• Tissue roll for stiff or weak grips:
• Weighted pencils using metal hex nuts for stability and body awareness (proprioception)
• Triangular sponge for small hands and better grip
• Paper clip with rubber bands to practice tripod grip
• Plastic or toy ball for a larger grip
• Pen with lace attached to the wrist to secure the pencil back to the center of the thumb
and index finger.
Video demo: [Link]
Planning the activities can be done by consulting and collaborating with the
student's adviser or Special Education teacher. Art has no definite right or wrong answers or
methods and that makes inclusion of children of all abilities easier. Adaptations can be made
after careful observation of the students' needs or reading their Individualized Education
Plan (IEP). At the beginning of the academic year, the teacher can give easy tasks that aim to
observe students' basic skills in art, such as gripping writing tools, using scissors, and ability
to follow instructions independently.

Some adaptations in teaching painting for students with motor challenges (cerebral palsy): Right: Using a water
container half full with inverted cap, so even if it accidentally trips, the contents won't spill. Lower right: Using a
sponge instead of a brush makes it easier for students with a stiff grip. It enables them to hold the tool and apply
paint on paper more gently to avoid damaging the paper. Below: To get more stability, some students prefer
working on the floor where they can use their legs to support their arms and make their grip more stable. Note
that some students prefer standing up since it gives them more stability. All students' needs are different so it is
important to analyze and adapt to their strengths and capabilities.

Differentiation and Modification

Art teachers are not only creative in coming up with art lessons, but in
differentiating their activities as well. Tasks and expectations can be modified into Level 1,
Level 2, and Level 3 according to difficulty. The differentiated approach to teaching is usually
practiced in mixed-level classes and inclusive classes where there are students with special
needs. Example is the following lesson on watercolor beach painting. Level 1 (top) uses oil
pastels to outline and create a barrier between the colors. This requires less control and
prevents the wet paint from smudging and going outside the lines. The Level 2 (bottom) uses
only a pencil for outline. This requires more control in order to make precise lines. Other
adaptations include taping the paper on a board so it won't move and warp. Using visual
cards is also helpful in reminding students about the techniques used in watercolor painting.
The second photo shows three levels of drawing profiles. Level 1 is very simple, circular
shape for the head, followed by Level 2 which has more curves, and Level 3 which is an
anime-like illustration.

Photo by Teacher Precious: [Link]

In teaching how to draw the human figure, it is better to start with concrete shapes
first before drawing abstract forms. For the Level 1, stencils are used where students trace
the cutout shape. In Level 2, students can copy the cutout shapes side-by-side as they draw.
They can change the movement by changing the shapes. This also helps them visualize the
proper size and proportion. Level 3 can draw independently and from memory with minimal
guidance from the teacher. In: this way, all students can comply with the competency of
drawing the human figure but using different approaches and support.
Other Helpful Strategies in Managing the Classroom
Time Management
 Art production can be very time-consuming. It takes time to set up and to clean up.
Sometimes when you are in "the zone" or when they are engaged, your kids even lose track
of time. So, it is important that you choose an activity that can be realistically done in the
given amount of time. Break down long processes into several sessions so that students
won't rush. It is important to announce the allotted time at the beginning of the class and
give reminders every 15 minutes and the last 15 minutes, 10 minutes, and 5 minutes.
If you notice that a student is working slower than the rest, it is best to point out
what parts are taking so long. For example, a student takes a long time to perfect the
drawing of the shape of the face. You can: (1) tell him that it is okay for it to be not perfect,
(2) help him find a way to make it perfect, ex: using a compass or tracing a plate, (3) if it is
really taking so long you can do it for him but only on that specific part. As the teacher, you
have to identify students who are stuck or engrossed in a process and address it as soon as
possible. Let them realize that perfection is not the goal but completion with satisfactory
outcome.
Managing Student Expectations through
Visual Schedule Cards Visual cards help students keep track of the process. Students
tend to get more engaged when they know what they are supposed to do next and when
they know how much more do they need to do. Put a schedule vertically and process
horizontally. When they get lost, just point to remind them on what activity they sheuld do.

Visual schedule boards are presented before starting the lesson. This helps students, especially children with
autism to know what to expect, when it will end, and to track their progress. This helps students be aware of time
whether or not it is time to move to the next step. Expectations such as finishing and cleaning up their workspace
can also be included. Source: [Link] [Link]

Setting up the Teacher's Demo Area and Student Workspace

Position yourself in a space where you can see all students and all students can see
you. Seating arrangement and classroom layout are also important because these dictate
how students interact and share materials.
• Demo table - A teacher needs a demo, table to put his or her materials. It is usually a long
table where one side is for demo and the other side is for the materials.
• Work area/student seating arrangement - Students should have ample workspace. Ideally,
a long table that is waterproof should be used. Individual tables and chairs are also okay but
can be sometimes hard to go around and guide individually. It is better to work on the floor
if you are painting especially. when sharing materials. In the classroom, the tables and chairs
should be placed in such a way that the teacher can move to the back of the room to the
demo table with ease.
• Stations (optional) to make your art room more manageable - You can layout the room
with the designated areas: wash area, drying area, materials area, work area, and art display
area.
Demo table and document camera setup for teaching watercolor. In teaching a big class, art demonstrations can
be done by presenting a prerecorded video or doing it live using a webcam/ phone connected to a computer
where it can be projected on screen. This can be used in teaching very large groups (up to 100 students) and all
can see the details while working on their work in their seats at the same time. In this photo, Teacher Precious
uses an Elmo document camera connected to a laptop. Other alternatives include using a smartphone as
webcam. Another option is using a long huge mirror attached on an angle to the ceiling so that the work table is
reflected and can be seen by the students. Photo taken during an Art workshop for teachers 2018, Yuchenco
Museum.

Preparing for Fast Finishers

 Some students are fast finishers. Either they rush their work or they are simply
efficient and, good at what they do. To prevent students from disturbing other students,
prepare some coloring pages or activities that the fast finishers can do. They have to know
this beforehand so that they won't get upset if they realize that they still have work to do.
Other tasks can be helping out the teacher sort art materials, cut tape, clean up workspaces,
wash brushes, etc. Keeping their hands and minds busy can lessen your stress in managing
their behavior.

Postproduction and Cleaning up

Cleaning is crucial. Students need to learn how to clean their own space and
recognize shared responsibility of cleaning common spaces. Showing respect to materials is
a skill they can apply for the rest of their lives. It is important that these are ingrained in
them during their early years.