STUDIO -based LEARNING (SbL)
The Studios-based Learning is a learner-centered artistic/designing strategy for Studio courses in Fine Arts, Interior Design and Allied Fields. It is focused on the studio, the art mentor by educating artist-learner’s perception through time-honored traditions of technique, conversational learning (mentoring/tutoring/criticism) set in contemporary innovative strategies for performance-based artistic production and assessment. It includes sharpening knowledge critically through art and design by objective level processing reference for facts, embodied meanings or metaphor and the relationships of objects, places, processes and events as representation, concept, affective expression and communication signification as knowledge-manifest of humanity deeply set in art/design projects.
SbL is a learner-centered learning strategy that allows artist/designer-learners to learn to learn, train skills and acquire knowledge based on their learning styles for every particular studio activity and problem. It provides the artist/design-learners to put into form their information and mental processing for representation content and psychomotor technical know-how for artistic or style rendering and presentation. Artist-learners are allowed the freedom for experimentation, exploration, discovery and synthesis without intervention from art mentors except when problem areas have been detected and identified. Here, art mentors facilitate learning through solution options and alternatives.
Our Model for Studio-based Learning includes the following parts:
A. THE INTRODUCTION
This is the “kick-off” event. It is a studio orientation provided by the Mentor for a studio course offering. It will cover introducing a Course Description and Syllabus. It will benchmark that The Studio is the Arts/Design foremost instrument for learning. That The Studio is a learning space and very crucial to the understanding and needs for learning studio courses. The Art Mentor will present the problem idea and how, by possible ways, the problem may be solved therein. It involves a short talk about nature of the problem that will be encountered (a mimicry or an act of visualization involving images in the mind’s eye or an inter-active), doing visual presentation or examples, board explanation, how to educate perception and expected project outcome. This is where time honored-tradition techniques may be incorporated as tools for “seeing” and “doing.”
B. LEARNING CONTRACTS (LC)
Mentors, in general, set dates for submission of art/design projects created by Artist/Design-Learners. For this reason, and by application, artist/design-learners are obligated to submit their art/design projects on time for assessment and score marking. Experience dictate that this is a one-way “agreement.” It is based on the authority and artistic/design license of mentors to predict learners’ aptitude, in general, to be done and meet deadlines for submission. Furthermore, it is also a common knowledge that some learners trying to beat a deadline submit their works far from or a little less than their usual performance levels. Perhaps we should always recall the dictum that “we don’t teach them drawing but how to draw!”
A Learning Contract provides artist-learners to determine submission of art projects according to their potentials and aptitudes. It sets the minds that two parties are in agreement, a meeting of the minds, of something that is to be done and submitted. A Learning Contract should, however, be reasonable and should not put aside nor be too far-off with the mentors calculated time frame for each art project. A LC, in effect, allows a negotiated exact date of submission agreeable to both Art Mentor and Artist-learner. Since a contract must be treated with honor, a learner’s failure to comply with what has been indicated in the contract summarily allows the mentor to pass on a score mark without further consideration except for very reasonable situations or events. The Learning Contract may take a written or verbal agreement provided it is transparent and known to each artist-learner.
C. MENTORING (Mentor-Mentee)
Mentoring is a time-honored tutorial teaching strategy practice for knowledge transference to take place in The Studio. It is a Learning Conversation intervention approach for the purpose of engaging learners on what to do for particular problematic areas. This is conducted individually by Mentors while artist/design-learners are in progress in art project production. It is very subjective and is based on learners’ production performance, knowledge and processing levels. Technique inputs, relational spatial unity, elemental harmony, rendering options, verifiability of concept, expression & communication are identified & discussed, in conversation, for the learners to consider in continuing application rendering and work sign meaningfulness.
Mentoring does not involve value-judgment of work. It is a teaching style specific to a particular learner and problem. Since studio learning involves quite a number of learners with variable skills, cognitive aptitude and learning styles the possibility to lateralized a studio class is not possible. Hence, mentoring takes an active, positive and effective role as a teaching strategy for art.
Criticism is another time-honored practice for putting together one’s thoughts about a work of art. It is identifying and descriptive, analyzing, interpreting and value-judgment for project merits, shortcomings and failures. This is generally done during progress or after a work has been submitted for assessment. It is in assessing that one is led to critiquing.
Critiquing is value-judgment. It provides the arena and basis for score marks. It intends to determine whether the work is a success, functioning and meaningful. It allows verification of its elemental fundamentals, sign and meaning.
E. STUDIO MEETINGS
Studio-based Learning requires compulsory studio meetings. This meetings follow Learning Contract agreement set for number of meetings for each project. A meeting set to introduce a new lesson and art production project is not a negotiated meeting but a required compulsory meeting set by the Art Mentor. It is upon the determination of the Art Mentor that an Artist-learner may be freed from this compulsory meetings. This situation applies particularly when the latter is done with the lesson requirements and when the project was submitted earlier than that stipulated in the Learning Contract.
F. PORTFOLIO AND ASSESSMENT LEVEL
A portfolio is a collection of work that represents artist/design-learners’ progress. Therefore, it is important that a final portfolio assessment represent this progress, not simply the best of artist-learners’ work. To effectively achieve this, criteria can be set for evaluating a portfolio in relation to the prescribed learning outcomes.
Since Mentors may prescribe portfolio not in all studio courses s/he handles it becomes imperative for the Department to require one at program end or before graduation. Art/design projects in the portfolio should reflect a summary of several, if not all, studio courses artist/design-learners took for the program. The contents of the Art/design Portfolio shall not be limited and presentation shall be conducted during the oral defense of art or design thesis. This will allow mentors present for a particular day and schedule to look into, ask questions and listen to answers from artist/design-learners.
The suggested Portfolio Assessment Tool include categories of artist/design-learners performance subjected to numerical levels of performance. These categories are indicators of solicited areas of knowledge, skills and perspective.
Information, mental process and psychomotor skills are domain of knowledge in Marzano’s “New Taxonomy.” These domains are basic to artist-learners learning capacity. They can be pinpointed in art projects in such terms as: theme, signification, syntheses of concepts and ideas; to include visualization; and general use hand or equipment dexterity objectively evaluated without crossing over to techniques despite relatedness. Techniques to indicate handling of ideas in/or rendering and application of medium. Craft implies its adherence to art quality and morality. Design as to the elemental foundation and principles of harmony and unity of projects. Overall level as an integration of all the above.
The numeric levels of performance are benchmark in bold figures as predetermined set to assess these categories at a particular level. It predetermines performance levels according to expectations at particular year levels and subjected to collective mentors assessment for observable verification.
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