Methodical bases of formation of color perception of children of preschool and younger school age

2016 ◽  
Vol 10 (2) ◽  
pp. 86-93
Author(s):  
Юлия Березина ◽  
Yuliya Berezina ◽  
Олена Князева ◽  
Olena Knyazeva
Keyword(s):  
Teaching And Learning ◽  
Fine Arts ◽  
Color Perception ◽  
School Age ◽  
Professional Skill ◽  
Art Works ◽  
Color System ◽  
Perception Process ◽  
The Creation ◽  
Children’S Views

The article is devoted to the topical problem of formation of color perception of children of preschool and younger school age in artistic and creative activities. The perception of color is defined by the authors as the process of understanding color, which basic laws are integrity, understanding, apperception, selectivity and constancy. Analysis of the age stages of formation of color perception led to the conclusion that the stages are associated with the environment in which a child grows: experience of color perception in reality, in works of fine art and experience of the own artistic and creative activities, expert help of the teacher. Therefore, the formation of color perception skills of children of preschool and younger school age needs systematic work in the dynamics of preschool children development of colour standards through the expansion of the primary school children’s views about the color and perfection of color skills to the cognition of color as a tool of the artist, which is able to express feelings, emotions and relation. The authors developed methodological recommendations for the formation of color vision in children of preschool and younger school age: the active position of a teacher, the creation of an atmosphere of co-creation, experimentation; demonstration of techniques for working with color; the organization of perception process of art works, including the analysis of a color system in art and nature; the creation of a special aesthetic environment of a group class. The results of the study can be used in the process of teaching and learning fine arts in the design of individual routes of teachers self-education and personality developing educational technologies in system of improvement of teachers professional skill.

scholarly journals ABSTRAKSI FIGUR PUNOKAWANDENGAN TEKNIK STENLING (Menggabungkan Teknik StencilDan Teknik Marbling)

2018 ◽  
Vol 10 (1) ◽  
Author(s):  
Much. Sofwan Zarkasi ◽  
S., Sukirno
Keyword(s):  
Fine Arts ◽  
Two Dimensional ◽  
Graphic Arts ◽  
Graphic Art ◽  
Art Works ◽  
The Creation ◽  
Dimensional Printing ◽  
The Prestige

<p align="center"><strong><em>ABSTRACT</em></strong></p><p><em>Creation of Mono PrintGraphic Art Work with Abstraction of Punokawan Figure Use STENLING Technique (Combining Stencil Technique and Marbling Technique), based on opportunities related to creativity and experimentation in graphic arts that have two-dimensional printing art character. One of them is creating mono print graphic artwork with the process of combining stencil techniques and marbling techniques. The purpose of this creation is to open opportunities as wide as possible regarding creativity in graphic art works that have been seen as having occupied the position of the second art in fine arts after painting. The method applied in the creation of this work is the method of experimentation which is the incorporation of stencil techniques and marbling techniques. The creation of monoprint graphic artwork by combining these two techniques produces monoprint graphic artwork with visuals in the form of Punokawan figure characters abstraction. It is hoped that the results of the creation of this work can be one of the innovations in graphic art both in technical and form forms so that it can elevate the prestige of the graphic artwork itself.</em></p><p><strong><em>Keywords: monoprint, combined stencil &amp; marbling</em></strong></p>

scholarly journals Fotografi Surealisme Visualisasi Estetis Citra Fantasi Imajinasi

2019 ◽  
Vol 15 (1) ◽  
pp. 1-12
Author(s):  
Soeprapto Soedjono
Keyword(s):  
Visual Culture ◽  
Visual Art ◽  
Fine Arts ◽  
Visual Appearance ◽  
The Real ◽  
Visual Elements ◽  
Works Of Art ◽  
Art Works ◽  
The Creation ◽  
Real Forms

ABSTRAKSebagaimana yang terjadi pada ranah seni sastra dan seni rupa, pengaruh surealisme sebagai moda artistik penciptaan karya seni, ternyata juga memengaruhi perkembangan bentuk dan genre baru di ranah fotografi. Sebagai bagian dari upaya-upaya penciptaan karya kreatif fotografis, beberapa fotografer menggunakan berbagai aspek dalam domain fotografi untuk juga bisa menampilkan karya-karya yang bernuansa surréal dan terkesan bersifat surealistis dengan berbagai teknik-teknik penciptaan visualnya. Prinsip-prinsip surealisme yang berkaitan dengan upaya memadukan elemen visual yang nyata dan yang bersifat tidak nyata (virtual, dream-like, fantasy) dalam karya-karya fotografi merekamenghasilkan sebuah fenomena ‘keraguan’ dalam menyikapi karya fotografinya. Hal ini terjadi karena yang selama ini karya fotografi diyakini sebagai medium penghasil karya seni visual yang nyata/realis dan merupakan satu bentuk representasi realitas yang faktual telah menjadi ‘ragu’ terhadap hasil karya fotografi surrealistic yang diciptakannya.Visualisasi bentuk-bentuk yang riil tertampilkan bertentangan dengan kelayakan konvensi logika visual alamiah realisme media fotografi yang ada. Namun, secara artistik tentunya kehadiran fotografi surealistik ini bisa dijadikan sebagai salah satu upaya alternatif penampilan visual karya seni fotografi yang ekspresif. Dalam arti bahwa ranah fotografi juga memiliki moda ungkapan ekspresif estetik yang juga memiliki kemungkinan untuk mengekplorasi aspek-aspek dunia mimpi bawah sadar, fantasi, yang bernuansa simbolisme visual dalam kancah pengembangan budaya visual yang bernilai ‘nyata - tidak nyata’. Surrealism Photography: Aesthetic Visualization of the Imagination Fantasy Imagery. As appeared in the sphere of literary and fine arts, the influence of surrealism as an artistic mode for the creation of works of art, apparently it also influences the development of new forms and genres in the sphere of photography. As part of the efforts to create photographic creative works, some photographers use various aspects in the photographic domain to also be able to present works which are surreal in nature and seem surrealistic in their various visual creation techniques. The principles of surrealism are associated with the attempts to combine visual elements which are real and not real (virtual, dream-like, fantasy) in photography works produce a phenomenon of ‘doubt’ in addressing the photographic work. This happens because all this time photography is believed to be a medium that produces visual art works that are real or realistic and is a form of factual reality representation which has become ‘doubtful’ of the surrealistic photographic works that it creates. The visualization of the real forms that appear is contrary to the feasibility of the natural visual logic conventions of the realism of the existing photographic media. However, artistically, the presence of this surrealistic photography can be used as an alternative attempt for the visual appearance of expressive photographic artworks. In the sphere of photography, it makes sense that it has an aesthetic expressive mode of expression which also has a possibility to explore the aspects of the subconscious self, fantasy, having the nuance of visual symbolical in the domain of developing visual culture which could be valued as ‘real-not real’.

scholarly journals Digital Images in Teaching and Learning at York University: Are the Libraries Meeting the Needs of Faculty Members in Fine Arts?

2012 ◽  
Vol 7 (2) ◽  
pp. 20 ◽  
Author(s):  
Mary Kandiuk ◽  
Aaron Lupton
Keyword(s):  
North America ◽  
Teaching And Learning ◽  
Electronic Mail ◽  
Digital Images ◽  
Fine Arts ◽  
Image Databases ◽  
Faculty Members ◽  
Full Time ◽  
Training And Support

Objective – This study assessed the needs for digital image delivery to faculty members in Fine Arts at York University in order to ensure that future decisions regarding the provision of digital images offered through commercial vendors and licensed by the Libraries meet the needs of teaching faculty. Methods – The study was comprised of four parts. A Web survey was distributed to 62 full-time faculty members in the Faculty of Fine Arts in February of 2011. A total of 25 responses were received. Follow-up interviews were conducted with nine faculty members. Usage statistics were examined for licensed library image databases. A request was posted on the electronic mail lists of the Art Libraries Society of North America (ARLIS-L) and the Art Libraries Society of North America Canada Chapter (CARLIS-L) in April 2011 requesting feedback regarding the use of licensed image databases. There were 25 responses received. Results – Licensed image databases receive low use and pose pedagogical and technological challenges for the majority of the faculty members in Fine Arts that we surveyed. Relevant content is the overriding priority, followed by expediency and convenience, which take precedence over copyright and cleared permissions, resulting in a heavy reliance on Google Images Search. Conclusions – The needs of faculty members in Fine Arts who use digital images in their teaching at York University are not being met. The greatest shortcomings of licensed image databases provided by the Libraries are the content and technical challenges, which impede the ability of faculty to fully exploit them. Issues that need to be resolved include the lack of contemporary and Canadian content, training and support, and organizational responsibility for the provision of digital images and support for the use of digital images.

Media and the Moving Image

2013 ◽  
pp. 177-190
Author(s):  
Paul Chilsen
Keyword(s):  
Media Literacy ◽  
Teaching And Learning ◽  
Authentic Learning ◽  
The Internet ◽  
Moving Image ◽  
Creation Process ◽  
Screen Media ◽  
Program Manager ◽  
The Future ◽  
The Creation

We are immersed in a culture of spoken media, written media, and – like it or not – screen media. Just as writing and speaking skills are keys to functioning in society, we must consider that the future increasingly demands proficiency in “mediating” as well. Doing anything less leaves this powerful medium in the hands of a relative few. By offering instruction in what screen media is, how it is created, how it relates to other literacies, how the internet is changing it, and how this all informs everyday teaching and learning, the Rosebud Institute seeks to make screen media literacy more broadly understood and accessible. This chapter follows a program developed by the Rosebud Institute and looks at how – using simple, accessible technology – people can become more screen media literate by creating digital films and ePortfolios themselves. Developed along with Rosebud’s program manager, Christine Wells, the creation process enables deeper, more authentic learning, allowing us all to communicate more effectively, to self assess more reflectively, and to thrive in a screen-based world.

Making It for the Screen

2015 ◽  
pp. 249-264
Author(s):  
Paul Chilsen
Keyword(s):  
Digital Media ◽  
Media Literacy ◽  
Teaching And Learning ◽  
Authentic Learning ◽  
The Internet ◽  
Creation Process ◽  
Screen Media ◽  
The World ◽  
The Creation ◽  
Digital Media Literacy

We are immersed in a culture of spoken media, written media, and now irrevocably, digital screen media. Just as writing and speaking skills are keys to functioning in society, we must consider that the world increasingly demands proficiency in “mediating” as well. Doing anything less leaves this powerful medium in the hands of a relative few. By offering instruction in what digital screen media is, how it is effectively created, how the Internet continues to alter communication, and how this all informs everyday teaching and learning, digital media literacy can become more broadly understood and accessible. This chapter follows a program developed by the Rosebud Institute and looks at how—using simple, accessible technology—people can become more digital media literate by creating screen products themselves. The creation process also enables deeper, more authentic learning, allowing us all to communicate more effectively, to self-assess more reflectively, and to thrive in a screen-based world.

Visual Plan Construct Language (VPCL)

2015 ◽  
pp. 326-343 ◽  
Author(s):  
Alireza Ebrahimi
Keyword(s):  
Problem Solving ◽  
Teaching And Learning ◽  
Observation Phase ◽  
Working Space ◽  
Observation Plan ◽  
The Creation ◽  
Teaching Learning ◽  
Learning Programming ◽  
Teaching And Learning Programming ◽  
The Web

Teaching and learning programming can be enhanced by the incorporation of visualization. A system and method that the author created, known as Visual Plan Construct Language (VPCL), incorporates programming visualization for teaching, learning programming, and problem solving. VPCL contains a Plan Library that is accessible through the Web. A user can create and establish a working space and environment on the system to examine VPCL plan library and develop one's own plan library. VPCL consists of three phases: Plan Observation, Plan Integration, and Plan Creation. The observation phase rehearses how a program is broken down into smaller components with their integration relationship. The integration phase concentrates on how two plans are related to each other in building a program. The methods of integration are known as appended, interleaved, branched, and embedded. The creation phase concentrates on how a new plan is built using the existing plans from the plan library.

The Creation of a Rubric for the Evaluation of Language Teaching and Learning Videogames

2019 ◽  
pp. 313-341
Author(s):  
Douglas A. Agar ◽  
Philip J. Chappell
Keyword(s):  
Language Development ◽  
Foreign Language ◽  
Teaching And Learning ◽  
Best Practice ◽  
Language Education ◽  
Ease Of Use ◽  
Foreign Languages ◽  
Language Pedagogy ◽  
Sociocultural Model ◽  
The Creation

This chapter reports on the creation and evaluation of the Language Education Videogame Evaluation Rubric (LEVER) which, it is hoped, will be of benefit to those involved in the teaching and learning of foreign languages. Based upon a sociocultural model of language development, this research is unique in the manner in which it draws on up-to-date best practice in the domains of both language pedagogy and videogame design. This chapter will then report on the application of the LEVER to two titles which have been created to teach a foreign language, in order to both to test the games for quality and the rubric itself for rigour and ease-of-use.

Beautiful Fragrances

Art Scents ◽  
2020 ◽  
pp. 209-228
Author(s):  
Larry Shiner
Keyword(s):  
Fine Arts ◽  
Fine Art ◽  
Complex Structures ◽  
Art And Design ◽  
Design Practices ◽  
The Creation ◽  
Over Time

Chapter 11 considers the claim that the best perfumes should be classified as part of the fine arts. The chapter argues that from the perspective of contemporary aesthetic definitions of fine art, perfumes have all it takes to be fine art since they have complex structures that develop over time that can be used to represent ideas and express emotions. Yet the second half of the chapter argues that from the perspective of contemporary contextual and historical definitions of art, perfumes are more like design art than fine art. The contextual case against fine art status is based on a model of art and design practices that involves roles, intentions, media, norms, and institutions. If we compare the creation of a commercial perfume designed by a perfumer with a “perfume” commissioned by an artist for an installation, commercial perfume looks like a design art. Chapter 11 ends in an impasse.

Digital Storytelling

2017 ◽  
Vol 13 (1) ◽  
pp. 72-82 ◽  
Author(s):  
Taralynn Hartsell
Keyword(s):  
Teaching And Learning ◽  
Digital Storytelling ◽  
Use Of Technology ◽  
Digital Stories ◽  
The Creation

Digital storytelling has many implications in teaching and learning. As a way to communicate ideas, experiences, beliefs, and topics to an audience through the use of technology and multimedia, digital stories help storytellers acquire many different skills and literacies. The most important aspect is that the storyteller learns to create stories using their personal voice and interpretation to be shared with a larger community. Self-expression is encouraged and confidence can be developed through the creation of digital stories. This paper examines digital storytelling from an instructional and learning perspective. Areas such as the implications of digital storytelling in education, the process of planning and developing stories, and a discussion of various tools to create digital stories are included. Digital storytelling can provide storytellers with an avenue for conveying ideas and information that are personal in nature or more informational.

Sign in / Sign up

Export Citation Format

Share Document