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.
2. 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.

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 "Whal's your favorite activity after school?" "Where do vou
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 the opportunities to put it in
their work can engage them a lot in the process of art creation.
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The following are some things to consider when planning your lesson.

Examples Sample Goals and Activities

Relate the lesson or Lesson Q and A Start with a (Landscape painting and
technique to their own question that arouses their composition) Who
experiences, interest, and curiosity. Inquire and probe. among you have lived in the
prior knowledge. Ask them what they already provinces?
know. What can you see? Can you
describe the life
in your grandma's barrio?

*Note that children have Use relevant videos, icons, (Printmaking: rubbing,
limited experiences so it is or topics. stencils, or texture
best if you relate abstract Find a story/cartoon prints) Show a short video
concepts to something that character/toy that is similar clip from the
is tangible or they have or relevant to the featured movie Jurassic Park or a
experienced. artist. The material or cartoon version
icon to be used should be featuring a dinosaur
relatable and experienced footprint fossil.
firsthand by the student. It
should be concrete and (Create a human figure
easy to grasp so children using clay sculpture,
can understand. found objects, and recycled
materials) Show
a video clip of the creation of
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 Show-and-tell Let them talk (Painting animals) Who has
opportunity to choose and about themselves. This is a a pet? What is
express themselves. good practice for your favorite animal? Can
communication, listening, you tell us why it
Try to find at least one and encouraging respect. is your favorite?.
aspect of activity where they Who has a (happy/sad)
can choose and exercise memorable
freedom, even if it is a experience with an animal?
teacher- directed activity.
Acknowledge their Exercise choice (Drawing Philippine houses)
experiences and thoughts. Give students an Let them choose the
opportunity to choose and reference photos to be
develop their own style. copied.
Examples are choosing Examples:
colors to use or adding/ nighttime/daytime, colored
remove an element, thinking or
of a theme. monochrome, with
background or none. It
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 can also be a place where
they have been,
or a house of their
grandparents, etc.

Freestyle activities (Printmaking) Produce

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

Explore multiple intelligence Song and Dance (Mask making) Play a video
and approaches in Start your lesson with about the
introducing your lesson music and movement. MassKara Festival and ask
students to copy
the dance or the movement

Games (Graphic design and logo

Play a physical game, making) Guess the
guessing game or role-play name of the famous
companies based on
their logo or role-play or
sing their famous
commercial.

Aside from discussing the Storytelling (Arts and crafts in

Art module. lessons from Read a story or poem from a MIMAROPA) Use a map
their English, Math, or book or collaborate with of the Philippines and
Science class can also be other subject teachers to discuss geography
used as springboard to discuss their lesson and places as introduction
relate the art activity to the (English, History, Math, to the culture of
lesson. Science, TLE, etc.), the Mangyan,

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

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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 One Demo Artistic Creative
Approach Approach Process
(Direct Instruction) (Direct Instruction, (Inquiry-based,
Exploratory Exploratory
Learning) Learning)

Description Teacher Teacher Teacher poses a

demonstrates one demonstrates all challenge, then
step at a time, then steps, then students students explore,
students follow each try to envision, and solve.
step. imitate from
memory. In the
process, students
also have
an opportunity to
explore.

Approach Direct Instruction/ Direct Investigative

Modeling Instruction/Modeling Free Exploration
Guided Practice Guided Exploration Visualization
Think-aloud Think-aloud

Psychomotor Skills Perception Mechanism Complex Mechanism

Set Overt Response Complex Overt
Guided Response Response
Adaptation
Origination

Eight Studio Habits Observe, Engage, Observe, Engage, Observe, Engage,

of Mind Express, Reflect, Explore, Express, Explore, Express,
Develop Craft, Envision, Reflect, Envision, Reflect,
Understand Art Develop Craft, Develop Craft,
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 World Understand Art Understand Art
World World

When to Use  For children  For classes that  For students

who need can who are
extensive follow simple engaging and up
support series for the challenge
 Teaching of performance  Upper grade
a complex tasks levels or
procedure or are already students with
(5+ steps) familiar inclination in art
that requires with the skill  For students
caution  For less who were able
(techniques that complicated to show mastery
are irreversible procedures in the previous
such as (2-4 steps), such Skill (e.g., The
watercolor) as students already
 For activities cutting a shape know how to
that have two then paint a landscape
or three parts, pasting or by copying. This
such as mixed- coloring a time, the teacher
media painting background asks them to
 When doing  Using an paint their own
one-on-one equipment landscape with
mentoring such as press for fictional elements
printmaking, that tell a story
electric without copying
tools, or craft from a reference.)
knife
 For more flexible
art
activities that are
reversible and do
not
require accuracy

Advantages  Easy for  Efficient use of  Enhances all

students to time since faster eight studio
understand and demonstration habits
follow  There's a room  Challenges
 All work and for students to be
finish at the exploration and creative
same time reflection  The teacher can
 Develops learn a lot from
skill through the students
repetition

Disadvantages  Works on the  Sometimes  May require

students with students more time,
slowest pace ask to repeat if sometimes more
 More time- they than one session
consuming forget a step or  Some students
 Does not cannot might get
promote make it work frustrated.
exploration and  Prone to student  Teacher must
envisioning mistakes strategically
facilitate learning
by planning
carefully.

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 
Example Activities  8-step origami  Clay modeling  Games and
 Watercolor  Drawing with a challenges
blow painting or pencil (Highest tower)
mixed-media  Cutting and  Collaboration
 Directed. making a projects
drawing collage  Student art
 Directed-  Draw a self- competitions
painting portrait  Quarterly or
 First time to showing year-end final
use paints emotions project
 First time (e.g., Students  Situational
to draw a already questions or
self-portrait know how to limiting materials
(e.g., Teacher draw a (e.g., If you
teaches face. This time, were living in a
different the prehistoric era,
types of lines. teacher and there are
Teacher demonstrates no art materials
demonstrates how different available, how
how to draw facial would you make
each part of the parts change a self-portrait)
face one step emotions. The  Test of
at a time.) student independent
tries to mix and skill (e.g., Think
match of a story, then
on his own to create a comic
create strip showing
facial different facial
expressions.) 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.

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
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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.

UNIT IV
Art Appreciation and Assessment

A. Art Appreciation

Learning Outcomes
1. Practice visual literacy as a way to appreciate art by learning what to see and
how to look at an artwork.
2. Engage in student discussions through analysis, interpretation, and reflection.
3. Value and respect student' ideas, opinion, preferences, and methods through
conversations and giving constructive feedback.

"Art is one of life's richest offerings.

For those who have not the talent to create, there is appreciation."
- Nathaniel West

THINK

In their elementary years, children are being exposed to art for the first time
and this period can make or break their perception about art and themselves. This
is the part where adults had their perception of:
"I'm not an artist."
"I'm not really meant for drawing."
"I really have no talent in this."
Given this, it is really important that children are taught how to appreciate art. We cannot
blame the teachers for giving the same impression because the experiences of these
teachers when they were younger were the same. In this lesson, we hope to empower future
art teachers so that they will be equipped to facilitate art appreciation in classes
Art Appreciation as described by the Commission on Higher Education (CHED) helps
develop student's ability to appreciate, analyze, and critique works of art. Art appreciation
encourages children to observe carefully, think critically, and discuss respectfully (Frey
2020). Art appreciation is not all about aesthetics or appreciating the final product but it
includes the wonders of making mistakes, the children's struggle, and the satisfaction of
making their unique contributions to the world through their art form. In the Commentary
and Development of Elementary School Courses of Study by the Japan Ministry of
Education, art appreciation can bring out the emotions hidden in oneself, reflect on the
feelings and thoughts of the other people, and the context from which the work was from.
Appreciation activities help us understand the beauty within ourselves, the goodness of
others, and the beauty of form and color (Fujie and Mitsumi 2008). In teaching elementary
grades, developing appreciation, respect, and love for their own work is crucial because this
will be the foundation of how they see, analyze, interpret, and judge the work of others.
Here are some of the Art Appreciation practices that can be done inside the elementary

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classroom. Art criticism is part of the Discipline-Based Art Education which involves
careful observation of works of art, comparing and contrasting works to one another, and
consideration of the social and other context in which are produced (Dobbs 1992).
The Feldman Approach begins with the teacher asking students about what they see and
eventually culminate in a comprehensive form of art criticism which can be used in any
order.

Description through Observation

To appreciate art, we must be able to look around and observe our surroundings.
Understanding the elements of art and principles of design will help children see them in
their everyday life. Once they are aware of it, they can spot it easily and use it as
inspiration for their artworks. A student who has developed good observational skills will be
able to give a more detailed or accurate description of what they see. To observe thoroughly
means to actively look for something that otherwise might not be seen, taking time to
identify details from the environment through the five senses: seeing, hearing, feeling,
smelling, and touching. Great artists are great observers. They can see what others cannot
see.
To observe is one of the studio habits of the mind, as identified by Hetland et
al. (2007). It is learning to see things more closely than ordinary "looking" requires.
Observation can be done before actually creating art. But it is also a skill that is practiced
during postproduction and reflection.

Aesthetic Scanning
In order to see what is in a work of art, Broudy and Greer (Dobbs 1992, 77)
developed this method to describe the four properties and qualities of a work of art.
This method includes:
1. Sensory properties are used to identify visual elements that can be perceived
through sensory contact with the work. Examples are lines (horizontal,
diagonal, thick, thin), textures (smooth or rough, shiny or dull), colors (vibrant, warm
or cool), shapes (geometric or organic), values (dark or
light), spaces (positive or negative), etc.
2. Formal properties refer to how the elements are organized. This can be the
principles of design but during this part, students can just say what they see.
Examples are "I see two objects with the same size and mirror image of each
other" (balance) or "I see repeating shapes" (pattern).
3. Technical properties describe the medium that the artist used. This includes
tools and techniques used to create the work. This includes media (crayons,
watercolor, craft paper) and methods (printing, drawing, sketching, coloring, or
folding).
4. Expressive properties describe the first impression or mood the work conveys.
This includes mood language (sad or happy), dynamic language (calm, chaotic,
energetic), or idea language (symbols, values, social concepts, etc.).

Analysis
One way to analyze a work of art is to interpret what the artist is trying to express.
Visual literacy is as crucial as learning reading, writing, and arithmetic, but instead of
reading series of letters and computing numbers, children learn to give meaning to images
and understand their responses. Children who are visually literate understand that
pictures can mean a thousand words, and the meaning can be influenced by many factors:
their own experiences, the author's message, and the given context. Sometimes, elementary
teachers tend to assert their own meaning to an image or an artwork neglecting the fact
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that it can mean differently from the perspective of the child. This can crush their self-
confidence and belief that their opinions are valid. As educators of young minds, teachers
should be sensitive on how they react toward a child's artwork because for the child, it is
not just a mere object or a school requirement but a representation of their worldview and
culmination of experiences.

Visual Communication and Visual Literacy

The Visual Thinking Strategies is a research-based teaching method used in
preschool and elementary classes for appreciating art. VTS has been used with younger
students in classroom settings and museums to teach critical thinking, visual literacy, and
communication skills. The visual thinking method asks the three questions:

"What's going on in this picture?"

"What do you see that makes you say that?'
"What more can we find?"

Amy Gulden, Director of Visual Thinking Strategies, said that this approach
teaches students how to observe closely, describe what they see in detail and
provide proof for their observations.
Visual literacy is the ability to find meaning in an imagery (Yenawine 1997). In his
article, Thoughts on Visual Literacy, Yenawine (1997) discussed the different levels of visual
literacy, a study conducted by Abigail Housen. In the Stage I of visual literacy, people might
be called "pre-literate and are more of storytelling" (Housen 1992). This is usually
applicable for young students. She explains that children give meaning to what they see
based on their own life experiences, and not through a "framework of aesthetic
associations" like professionals do. In order to teach visual literacy effectively, teachers
should connect art to a story that is relatable, concrete, and familiar. Topics and
explanations should be easy to understand and this canbe done if themes and topics
revolve from their own experiences. Teachers should ask children to observe and think
about what they see. Let them listen to the ideas of their classmates and compare their
responses. Through this practice, children as young as five years old can learn how to
accept and give criticisms and treat other's opinions respectfully.
As students grow older, around 8-12 years old, a more technical approach can
be done to practice visual literacy. Teachers can focus on the application and analysis of
the elements of art and principles of design. Examples of questions are:
"Can you tell me how you used balance in your composition? What
kind of balance?"
"What color harmony did you use? Can you explain what are
analogous colors?"
Aside from the elements of art and principles of design, students can also explain how the
activity is integrated in other disciplines. The teacher can discuss about Science,
Technology, Engineering, Arts, Math (STEAM), Literature, and special events. Students can
think deeper and be critical about how art is a reflection of culture and vice versa. This is
common in public schools which practice Discipline-Based Art Education. Examples of
questions are:
"What concepts and principles did you apply in creating this video
animation?"
"Can you explain how your work is able to depict Philippine myths
and legends?"
"Differentiate the textile traditions from the following countries:
China, India, Japan, Indonesia, and the Philippines."
This kind of discussion can also serve as assessment wherein teachers can
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see how well the students understood the concepts applied in creating artwork.
Interpretation and Reflection when the students are ready, they can collect their work and
begin a pair-share. In this way, everybody can have a chance to talk. After talking about
what is in the picture, students can also share the reasons why it came to be. Art
appreciation through reflection answers the questions "WHY" and "HOW I FEEL" This is the
part where students interpret their own work or other student's work. Asking these
questions can start a discussion about art in children. Some example questions and
statements are:
"Why did you choose that color? How did you feel while mixing it?"
"Because blue is my favorite color. I like how I added a layer of
paint on top of the oil pastel to create a resist technique."
"What message are you trying to communicate?"
"I love my pet and cats are nice."
"What does this remind you?"
"This reminds me of the beach."
If there is not enough time, the teacher can select certain students and take
turns over the course of the semester so all can have their chance to share. Talking
prompts sometimes, the teacher can also ask general questions to the class. Here are
sample questions from TAB by Douglas and Jaquith (2018):
"Who made an amazing discovery today?"
"Who had a struggle today? Did you overcome your problem? If
not, can anyone suggest a strategy for the artist?"
"Who learned something new from a classmate?"
"What else could you have done that you weren't able to do?"
In some cases, when students are struggling to say or find the word that they
need to. Genuinely express themselves, the teacher can help by rephrasing the
students' words in a statement that can be easily understood by the class. Talking
about their work and knowing that they are understood contribute to their feeling of
being a "child artist."

Giving Value and Remarks

In early childhood art education, appreciating children's efforts and validating

their feelings should be given more importance than the output itself. Judging a work is
part of art criticism wherein the teacher or student can give their opinion about how they
feel toward an artwork. It is the duty of the elementary art teacher to create an environment
that is encouraging and conducive for children to express without inhibitions, take risks,
and believe in their work. Teachers and students should practice how to give comments
and criticisms with respect in the art room. This can be done verbally as a class or as a
written remark. It can be through pair- share, small group sharing, or show-and-tell.
Another indirect way of giving remarks is to display their works on the table with a paper
beside it. This is a practice in art classes in elementary school in Japan. Each student will
hold a pen while roaming around the room, visiting artworks table per table and leaving
remarks on the paper. It is up to them to put their names or leave it anonymous. This can
have its advantages and disadvantages so it has to be monitored and explained by the
teacher. Doing this exercise lets students express themselves freely without being shy. The
teacher has to explain how to give comments and suggestions while still maintaining
respect. Below are some of the following guidelines that you can follow.

Always start with a positive statement.

It is inevitable that sometimes we are presented with a work that does not fit our
taste. We end up speechless and our nonverbal expressions give it away, thus, hurting the
child's feelings. Warning: Do not overdo it. Also remember to state the child's name in the
beginning to make it more personal. Start with simple lines such as:
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"Wow! Nice work, Marie!"
"Ryan, that's good! Oh I like the colors!"
"Good job, Eric! I can see you put a lot of details."
If you cannot find anything nice to say, you can describe the work by stating a fact or
an obvious observation. Children want the teacher's attention and they feel accomplished if
you have something to say about their work. If you are having a hard time to find the right
words, describe the artwork by stating what you see. Use neutral words to describe size,
quantity, and shade, such as many Clouds, big trees, small pond, a lot of hearts, bright
sky, etc. Avoid words that have negative connotation, such as ugly, messy, and dirty.
Describing how they used the elements of art and principles of design also count a lot.
When you find yourself in this situation, look for just one aspect of the work to comment
on. Example:
"Good, Carla! I see you used red, blue, and yellow for the sea. May
I know why you chose these colors?"
"Wow, lanne! You put a lot of clouds there. Is that a dog? Oh, I see
it's a cow. So many cows! There's a grass too!"
"I can see you used balance and contrast in your composition. Very
good, Ryan!"
When giving remarks on report cards or works, you can say,
"Mark was able to draw circles and triangles. He can draw a square
but needs some practice in making the lines the same length as
possible. He can paint using a paintbrush but needs practice on
how to stroke gently."
Comment on the effort given by the child. A child's effort in the process of
creating should always be taken into account when giving remarks or judging an
artwork. Take note of the focus, time, and dedication given by the child by praising
them. Ask about their struggles and how they overcame it. Children will continue to
do better if their efforts and behavior are recognized. Some example remarks are:
"Wow, Serina, you really drew a lot of lines here! I can see so many
patterns!"
"You really took your time doing this. I can see your hard work!"
"Mark, did you put that together by yourself? Good job! Was it
difficult? It must be hard doing this all by yourself."
"Great work, Erin! You really collected and selected each seashell
for this artwork. Where did you get them? You collected them one
by one at the beach? That must've taken some time to collect but it
really paid off. Your work looks beautiful."
When in doubt, ask first then listen. When you see a work that is questionable or makes
you raise your eyebrow, you can ask the student politely. If it is vague and confusing, it
would be ideal to confirm your assumptions first. Students' thinking and understanding
become evident when teachers listen closely to them talking about their
work (Douglas and Jaquith 2018). Children at a young age are still struggling to draw
exactly as they see it in their minds. They are still learning how to control the pencil and
explore how to draw things as they are. Children's works always have room for surprises
and misinterpretations so when in doubt, ask first. Sometimes it also helps to ask their
classmates, parents, or other teachers. This gives the teacher a context and understanding
on how the artwork came about. There is no harm in asking, and children's responses are
often surprising and funny. Turn negative comments and critiques as suggestions that are
optional.
Children can be very sensitive when it comes to their work. This is the stage in Erik
Erikson's theory wherein they develop will, purpose, and competence. As teachers,
it is our duty to empower them with our words of encouragement. But children
cannot grow without improving their weaknesses and this should be dealt with tact
and caution. One way to do this is to rephrase comments in a more constructive

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way. Instead of using adjectives, state facts. Use positive statements. Here are
some examples:
Bad: "Your coloring is so messy! It's like a work of a 2-year-old!
I told you, don't color outside the lines!"
Better: "Mark, I think your colors are going outside the lines. Can
you try coloring within the shape? Try holding the crayon
near the tip. Can we do it again? Teacher will show you how."
The teacher can say this with a calm voice. Make sure to praise the student
if he or she does it better than the last time. It won't be perfect overnight. There is
no early age to teach children how to make a constructive criticism. This is a good
practice of creating sentences and saying them with respect to the receiver. Art is
one of the subjects where there is no right or wrong so no opinion is superior to the
other

B. Authentic Art Assessment

Learning Outcomes
1. Understand the importance of and, how to implement diagnostic, formative,
and summative types of assessment.
2. Identify the different sources of assessment information in an art class.
3. Create and use rubrics for performance-based assessments.

THINK

Art assessment can vary among schools, programs, and grade levels of students.
Assessment is a systematic and continuous process of gathering qualitative and
quantitative data, designed to inquire, demonstrate, and improve student learning
(Mentkowski 1999). Ideally, younger students in the primary level are seldom graded
numerically especially in progressive schools. Assessment in children, especially in
Kindergarten to Grade 1 should be focused on evaluating attitude, discipline, effort, and
interest they give in the process of creating art. Art teachers can provide authentic
assessment, or "real evidence of real learning" by using assessment methods that reflect the
relationship between learning objectives and evaluation strategies (Hume 2008). This
means collecting pieces of evidence from students: from planning, creation, and reflection.
The current data-driven educational world revolves around documentation, not taking into
account that art teachers see hundreds of students each week, making assessment not the
real issue but the management of documentation in the busy art program (Douglas and
Jaquith 2018). The following are types of assessment done in a typical elementary school
program:

Diagnostic assessment - This is done in the beginning of a class or a school

year to determine students' readiness for the set learning objectives. This helps teachers
gauge the level of skills and knowledge the students have so they can adjust the lesson
accordingly. Diagnostic assessment also identifies students who need extra support such
as children with special needs. This is very important in teaching art to children because it
helps the teacher become aware of the actual conditions, interests, and motivations of the
students in class that in turn, he or she can use to maximize learning and teach efficiently.
This can avoid frustration and disappointment, especially if the prepared lesson was not fit
to the actual realities, interests, and needs of the class.

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 Formative assessment - This is done to understand the children's learning
achievements and to confirm and review the content of the lesson immediately. Formative
assessment includes checking prior knowledge of learners so that interventions can be
done right away while the lesson is in progress. During the demonstration, the teacher can
ask student volunteers to repeat and explain the process to check understanding. The
teacher can roam around, observe, test for understanding, and give immediate feedback
while students are working on their artwork.

Summative assessment - This is performed at the end of the lesson or chapter

in order to check students' level of achievement of the learning objectives. This can be the
assessment of the final work for the day, or a final piece for the art exhibition to be
displayed at the end of the semester showcasing the application of the concepts and skills
involved from the previous lessons. Sources of Assessment Information The following types
or sources of assessment information are based on Teaching for Artistic Behavior or TAB by
Douglas and Jaquith (2018) and the Art Teacher's Survival Guide by Hume (2008):

Observations
Authentic assessment in art starts from the student's way of thinking toward his or
her work. Art teachers should take into consideration their observations of the child's
attitude, discipline, engagement, and creative process. Evidences can be teacher's
checklists, notes, videos, and photos. Conversations Young students especially those in
kindergarten and primary grades are still learning how to communicate their thoughts into
pictures or words. Sometimes looking at their work is not enough to understand what they
are trying to say so it is important for the art teacher to ask questions and listen closely to
students' responses. Children should be encouraged to explain why and how they came up
with the idea or choice. Conversations can be done on a one-on-one, peer, table groups, or
whole class discussions in a structured or informal way.

Artworks
Viewing student works can be done by the art teacher before or after school.
Evaluating works of art takes time, especially if the teacher has to take note of the use of
media, techniques, and applied concepts. Authentic assessment in art means using the
actual work as basis for evaluation, and not written multiple- choice exams which are easy
to grade and record. Individual plates and projects - Students' individual works are usually
called plates. Projects are more commonly referred to as plates that would take longer
than one session to make. Projects can be individual, pair, or group.

Portfolio building - A portfolio is basically a curated compilation of plates

and projects. In a classroom setup, a student portfolio is the best and most efficient way to
organize and track student progress. It contains students' works from the beginning of the
year up to the final plate. Portfolios can be done in different formats.

Live demonstrations - Live demonstrations or on-the-spot events are very

interactive and also impressive as you can see the creative process and skill of the student.
This needs planning because it has to be spontaneous with minimal interruptions. It is a
great way to show talent real-time that engages a lot of people than just looking at an
artwork that is already finished. Some examples are on-the-spot still life drawing events,
landscape painting sessions, etc.

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 Art exhibition - It is an event where all students gather their works for display in a
curated way in a school or gallery. It can be composed of all their works for the year, or can
be selected or best works only. It can be a real exhibition or it can also be online through
various platforms. Please refer to the next chapter for reference.

Community-based art (art as a social function) - This is an art project that

involves people outside the school. This includes families, friends, and in
partnership of a beneficiary or institution.

Written Works
These are the artist statements, self-reflection, sketches, planning, and
other forms of self-evaluation. This can also be written tests that measure student
knowledge about art theories or art history. It can be in a form of journals,
sketchbooks, artist statements, and rubrics.
Performance-Based Assessment

Performance
based assessments allow teachers to measure student's attitude
and use of higher-order thinking skills such as creating original compositions and
solving problems with perseverance which can be done through self-assessment,
peer-assessment; or teacher-assessment.
Using Rubrics
Teachers use scoring guides or rubrics to assess students' works. Depending
on the teacher and set objectives, rubrics contain the criteria needed to assess
a certain work or a performance task. Rubrics are the most common go-to art
assessment for busy teachers because they are easy to design, quick to administer,
and provide immediate, quantifiable data to satisfy administrators (Douglas and
Jaquith 2018).

A.) General Rubric

This can be used by teachers and students in different tasks. It contains nonspecific
criteria so it can be used to assess most artworks. A general rubric in art contains at least
three domains: cognitive, affective, and psychomotor. This example shows a rubric with
evenly distributed point system on different domains. In Kindergarten to Grade 2, it is
recommended to give more points to attitude and self-expression since young children are
still developing their knowledge and skills.

Sample Generic Rubric for Elementary Art Class

Criteria Exceeds Meets Satisfactory Needs
Expectations Expectations Improvement
Attitude Characterizes
positive, behavior,
4 3 2 1
engagement and
discipline
Workmanship
Demonstration of
4 3 2 1
mastery of skills and
techniques
Design Application of 4 3 2 1
concepts 2 and theories
(Elements and
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Principles)
Creativity and Self-
Expression Planning
and coming up with 4 3 2 1
original concept, story,
and ideas
TOTAL

B.) Holistic Rubric - This rubric only contains one criterion used to measure an
overall level of achievement of a learning objective. It is simpler and easier to
use because there's only one grade.

Sample Holistic Rubric for Elementary Art Class

Master Artist (10 pts.) Proficient Artist Developing Artist Beginning Artist
(8 pts.) (6 pts.) (3 pts.)

Characterizes positive Characterizes Generally Needs more

behavior, engagement, and positive behavior, compliant during motivation
discipline all throughout engagement, and class behavior,
the class discipline during engagement,
most of the class Demonstrates during class
Demonstrates mastery of average level of
skills and Demonstrates skills and Demonstrates
techniques proficiency of techniques with a beginner level of
skills and little guidance skills and
techniques from the teacher techniques even
with maximum
guidance from the
teacher

Applies concepts and Applies concepts Applies concepts Needs review to

theories aesthetically in a and theories in a and theories with develop more
skillful manner satisfactory guidance from the understanding of
manner teacher concepts and
Plans spontaneously and theories
able to come up with Can plan and Can plan and
original concept, story, come up with an come Needs prescribed
and ideas original concept, up with his or her. examples to copy
stories, and ideas An lien concept as reference
when given with a little
enough time, prompt from the
samples and teacher
inspirations

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C. Task-Specific Rubric - This is used when the technicality, execution, and product are
important. These are usually used for students in upper elementary grades or scoring
for art competitions.

Sample Task-specific Rubric for Printmaking in Grade 5 Third Quarter

Content Standards Demonstrates understanding of new printmaking techniques
with the use of lines and texture through stories
and myths

Performance Standards Creates a variety of prints using lines (thick, thin, jagged,
ribbed, fluted, woven) to produce visual texture

Criteria Exceeds Meets Satisfactory Needs

Expectations Expectations Improvement
Attitude

 Practices safety in
using carving tools 4 3 2 1
 Maintains cleanliness
in the workspace while
using ink
Workmanship

 Cuts defined lines of

the image using sharp
cutting tools on the
rubber or wood
 Skillfully creates 4 3 2 1
different types of lines
(thick, thin, straight
curved, jagged,
straight) lines on the
linoleum

Design

 Uses different colors of

ink in printing the
4 3 2 1
master plate
 Utilizes contrast in a
carved or textured
area in an artwork
Creativity and Self-
Expression

Chooses a Philippine
mythological creature
 Explains choice of 4 3 2 1
subject, colors,
themes,
and elements in an
artist
statement
TOTAL

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D. Analytical Rubric - This is a more detailed breakdown of each criterion. It explicitly
contains the description for each point. This can also be used for formative assessment
so teachers can actively monitor student progress.

Sample Analytical Rubric for Painting in Grade 3 Second Quarter

Content Demonstrates understanding of lines, textures, shapes, balance of
Standards size, and contrast of texture through drawing

Performance Creates an artwork of people in the province/region on-the-spot

Standards sketching of plants, trees, building, and geometric line designs

Applies knowledge of planes in a landscape (foreground, middle

ground, and background)

Elements Color (tint, shades, neutral colors), shapes in drawing animals,

texture using variety of lines

Principles Harmony - Using lines, colors, and shapes that complement each
other to express a mood of a painting

Criteria 4 3 2 1

Art Integration Explains how Identifies the Identifies the Unable to

Appreciates the artists are able mood of the colors and lines identify the
Filipino artists to show their painting by used in the mood and
who painted style and mood labeling the following correctly label
landscapes in by identifying colors and lines painting: colors used in
their own the colors, used in the Hidalgo, the paintings
particular style harmonies, and following Amorsolo,
and can identify kinds of lines painting: Salvosa
what makes each used in one of Hidalgo,
artist unique in the following Amorsolo,
his or her use of paintings: Salvosa
colors to create Hidalgo,
harmony Amorsolo,
Salvosa

Attitude Can work for Can work for Tend to set Disturbs the
Values ones work the whole the whole distracted from class through
by engaging in session session time to time attention
the task with continuously continuously seeking or
focus and without with minimal Rushes to distracting
motivation distractions distractions finish the task behavior
satisfactorily
Perseveres and Engage in the Did not finish
demonstrates task with the task
positive attitude minimal properly
even when frustration
making
mistakes

Drawing Uses basic Use basic Uses basic Draws a barely

Still life or shapes to draw shapes to draw shapes to draw recognizable
landscape a higly a recognizable a silhouette of animal
- Uses basic recognizable silhouette of an an animal
shapes to silhouette of an animal Unable to create
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 draw an animal Create one kind texture using
animal Creates two of texture using lines or
- Creates visual Creates two kinds of visual lines and brushstroke
texture using kinds of texture using brushstroke application
lines detailed texture lines and application
using lines and brushstroke
brushstroke application
application

Painting Demonstrates Demonstrate Demonstrate Uses random

Still life or brushstroke brushstroke brushstroke strokes without
landscape control with control within control within considering
- Demonstrates clean defined boundaries
brushstroke lines 0.5-inch 1-inch
control and accuracy. accuracy. Unfinished
completes the Paints all areas Paints most of Leaves three or painting
painting and does not the area with four unpainted
- Mixes colors to leave empty one or two areas Uses paint hues
create tints spaces small as is from the
and shades unpainted Creates a tint palette or bottle
Creates two spaces or shade by
levels of tints mixing a hue to
and shades by Creates a tint white or black
mixing a hue to or shade by
white or black mixing a hue to
white or black

Elements and Shows harmony Selects colors Select random Selects random
Design by using colors that colors colors for any
- Displays that complement object
harmony in an complement each other Chooses the
artwork using each other to right colors for
complementar create a mood Chooses the each element
y colors right colors for
- Shows depth Chooses the each element Draws elements Draws elements
by placing right color for using any of in a flat or
elements in each element Draws elements the following: linear
the in the Foreground, positioning
foreground, Draws foreground, middle ground,
middle ground, overlapping middle ground or background
and elements in the and
background foreground, background
middle ground
and
background
with proper
placement

Creativity and Create a Create a Copies a Copies a

Self-Expression composition composition composition composition
- Create own using original using elements similar to the from a reference
composition elements drawn copied from a reference unsatisfactorily
and chooses a from reference
theme imagination State the Identifies some
- Showcases Explains the elements or of the elements
artistic style Explains the overall theme of principles used or principles
through overall theme of his or her work to describe present in the
choice of his or her work by stating the mood and work
colors, lines, by detailing the elements or theme
shapes, and choice of the principles to

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 application of elements and describe mood
brushstrokes principles to and theme
to show mood showcase mood
and theme
TOTAL

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