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ABSTRACT
The current research, a unique exploration of the products of art education students in the subject of the plastic
graduation project drawing (painting) (comparative study), is presented in four chapters. The first chapter delves into
the methodological framework, focusing on the research problem: what are the distinct and shared elements in the
products of art education students at the universities of Kufa and Babylon in the subject of the plastic graduation
project (drawing)? The significance of this research lies in its illumination of the techniques employed and their role in
developing the subject of the painting graduation project, as well as in achieving the highest level of similarity in
drawing between the two universities.
The primary aim of this research is to identify the products of art education students in the subject of the plastic
graduation project (drawing). The research parameters were set for the period between the years 2015 and 2016, and
the terms were defined accordingly.
The second chapter included the theoretical framework that contained two topics (products in art education and
artistic formation in the plastic project (drawing), at the same time, the third chapter contained the research
procedures (which consisted of a research community of (77) students A student for both universities, and the
Research Article
ART EDUCATION STUDENTS’ PRODUCTIONS IN THE GRADUATION
PROJECT SUBJECT: DRAWING (PAINTING): (COMPARATIVE STUDY)
Submission Date:
Aug 05, 2024,
Accepted Date:
Aug 10, 2024,
Published Date:
Aug 15, 2024
Crossref doi:
https://doi.org/10.37547/ajsshr/Volume04Issue08-09
Durgham Saad Falih Al-Awadi
Technical Institute, Najaf, Iraq
Hadir Abdul-Ilah Al-Sayyab
Technical Institute, Najaf, Iraq
Journal
Website:
https://theusajournals.
com/index.php/ajsshr
Copyright:
Original
content from this work
may be used under the
terms of the creative
commons
attributes
4.0 licence.
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researcher chose the research sample randomly, and then conducted the process of apparent validity and stability of
performance and then applied the performance to the students' works).
The fourth chapter contained the research results, which indicate statistically significant differences in favor of the
products of the students of art education at the University of Kufa in the graduation project of plastic arts (drawing).
In addition, the researcher reached several conclusions, the most important of which are:
Students' awareness of aesthetic relationships and highlighting their aesthetic and functional role within the artistic
work of both universities, and the adoption of art education at the University of Babylon by creating the work in three
stages, which are the stage (planning, watercolors, and oil colors), while at the University of Kufa it depends on two
stages (planning, and oil work), the use of the students of the University of Kufa The content was diverse, it was social,
political, economic, religious. In contrast, most works at the University of Babylon are social and economic.
The researcher recommended identifying the difference between colleges in creating or forming the artwork to
modify and build the concepts and skills followed in implementing the plastic drawing project.
KEYWORDS
Products, Project, Artistic Drawing, and Painting.
INTRODUCTION
The problem of the study
In its modern concept, education seeks to prepare new
people with talent and creative and innovative abilities,
constantly advances them, and cares for human
growth in all aspects to achieve the highest degree of
empowerment in creative innovation. Education is also
concerned with forming an integrated personality in
the individual mentally, physically, emotionally,
socially, morally, and spiritually. This helps to refine the
learner's personality and educate him about life
matters. Therefore, educational materials are among
the basic foundations for developing the learner.
Among these educational materials that are taught in
art education, which is considered one of the critical
activities in developing students' creative abilities and
artistic taste, renewed aesthetic relationships, and
artistic expressions with all the human and social
feelings they carry, which generates enrichment in
their skills and artistic productions, in a manner that
suits their abilities, capabilities, and interests, so that
the learner acquires artistic qualities that are rooted in
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his personality To grow with him and develop with his
continuous practice of art until he becomes a
connoisseur and critic of what he sees of different
artistic products, as art is a creative production of man
where he forms materials to express his thought or
translates his feelings into images and forms that he
embodies in his works, which constitutes his works a
reflection of the environment to which the artist
belongs. From this standpoint, the following question
arises:
What are the points of difference and agreement in the
products of art education students at the Universities
of Kufa and Babylon in the graduation project of
drawing (painting)?
Research objective: The current research aims to
identify the products of art education students at the
Universities of Kufa and Babylon for the graduation
project of drawing (painting).
Research hypothesis:
There are no statistically significant differences at the
level of (5%) between the products of art education
students at the University of Kufa and the products of
art education students at the University of Babylon in
the subject of the graduation project of formation
(drawing) in terms of formal composition (elements,
aesthetic relationships, and content).
The importance of the research and the need for it:
1- Providing the art education library with the
experiences of the universities of Kufa and Babylon in
the graduation project material and understanding the
level of changes occurring in the products of the art
education students.
2- Reviewing the trends used and the method of
employing techniques and benefiting from them in
developing the graduation project material, painting,
in both universities (Kufa and Babylon)
3- Reviewing the intellectual, social, and cultural
convergence in the drawings of the universities of Kufa
and Babylon.
Research limits:
Objective limits: A comparative study between art
education students' products in the graduation
project, drawing (painting) for the universities of Kufa
and Babylon.
Spatial limits: Iraq (Babylon, Kufa), Temporal limits:
(2015-2016)
Definition of Terms
1- Products
• Linguistically: Product: The fruit of something and its
return. Product of a factory: What it manufactures
(Masoud, 1992, p. 771)
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• Technically: Arafat (Al
-Saud) defined it as "a positive
behavior that a student is expected to acquire as a
result of his or her interaction with a situation and its
impact on elements" (Al-Saud, 2010, p. 157)
Arafat (Musa): "Everything that the learner acquires of
knowledge, skills, attitudes, and values as a result of his
or her passage through a specific educational
experience and his or her study of a specific
curriculum" (Musa, 2014, p. 10)
• Procedurally: It is the desired behavior that the
learner displays during the implementation of the
drawing project after acquiring experiences, skills,
knowledge, attitudes, and values.
2- Education:
• Linguistically: Education in Al
-Raed Dictionary: to
educate, to educate, to refine, to educate, to educate
until he understands. (Masoud, 1992, p. 205)
• Technically: (Mahdi) defines it as "the process of
preparing human individuals in a specific society at a
specific time and place so that they acquire the skills,
values, attitudes and different behavioral patterns that
make them good citizens in their society, equal to the
group they live with." (Mahdi, 2002, p. 6)
(Al-Khawaldeh) defines it as "an education and training
process that takes place in an institution or school
dedicated to education and learning. Or as an art with
principles for carrying out the education and training
process" (Al-Khawaldeh, 2010, p. 71)
• Procedu
rally: Education is the process of preparing
and training the individual for life in an integrated
manner and raising awareness of social, cultural,
political, economic, and religious matters by providing
him with the values, knowledge, skills, and different
attitudes that make the individual a good citizen in
society.
3- Art: Linguistically: Art - the art of something: its
decoration:
methods,
good
speech.:
creativity/expansion and manipulation. /.Artist: owner
of one of the arts / creative in his art Art is a science:
i.e., doing it well, the arts of poetry, music, manual and
free. (Maalouf, 1429 AH, p. 596)
• Technically: Art (Hassan) is defined as "the
expression that takes a medium through which the
artist expresses his aesthetic emotions, whether for
what he sees in nature or sees in imagination with the
eye of thought, in order to convey it to others"
(Hassan, B.T., p. 38)
• Procedurally: The researcher adopts the definition of
(Hassan) by what is consistent with the conduct of his
research
4- Art Education:
• Technically: (Al
-Saud) defines art education as
"changing the learner's behavior through training
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learners on what benefits them from skills and habits
and providing them with information and concepts and
acquiring tendencies and directions through practicing
art and exploiting the materials of the environment to
produce artistic works" (Al-Saud, 2010, p. 41)
• Procedurally: It is a development of The learner's
taste
socially,
morally,
spiritually,
culturally,
behaviorally, religiously, and creatively, and provides
him with an aesthetic sense, strengthening the ability
to observe and contemplate, enriching the ability to
imagine, training him on what benefits him from habits
and skills, and providing him with valuable concepts
and information that restrict him in his practical and
scientific life.
5- The project:
• Linguistically: The project in the intermediate
dictionary: legislate something, follow its approach,
enact laws, a path of doctrine, and the Almighty's
saying (To each of you, We have prescribed his law and
a method). (Masoud, 1992, p. 470)
• Technically: The project is defined by (Huteau) as a
plan that a person adopts to achieve specific goals and
purposes by anticipating them and providing the
necessary means to reach them (Huteau, 1993, p. 7-3).
• Procedurally: The teacher adopts a plan that the
students work to implement according to specifics to
achieve the desired educational outcomes after
determining the period and providing the necessary
means and capabilities to achieve the desired goal of
the graduation project for art education students.
Theoretical Framework
Section One
Outcomes in Art Education:
Outcomes are positive behaviors that a student is
expected to acquire due to going through various
experiences and skills and interacting with a situation
and its impact on elements, i.e., the outcome is the
intended purpose, benefit, or usefulness that the
learner seeks to achieve. In contrast, the outcome in
education is known as "a phrase or sentence that
defines a desired behavior that society hopes will
appear in the learner as a result of going through
learning experiences" (Al-Saud, 2010, p. 157), i.e.,
education works to develop the learner in all aspects to
prepare a good citizen in society and which achieves a
benefit for society as a result of the experiences and
practices that he went through in the educational
process and obtaining desired results. Therefore, the
goals of the educational results are considered long-
term. In contrast, the goals of the educational results
are short-term, describing specific educational outputs
as a result, such as teaching the student how to use
colors, and through the educational process, which is
the goal and system in achieving educational goals by
preparing content that is consistent with the
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objectives to facilitate the educational process and
deliver it to the central axis, which is the learner. (Al-
Bayati ,2026, pp. 30-29)
The educational outcomes in any country are derived
from the philosophy of society, and each society works
to transfer its philosophy and vision to the young
generation, generation after generation, through
different channels, including artistic education. We
notice the difference in opinions about the content of
artistic education outcomes, and the reason is
"sometimes due to the confusion between social,
political, aesthetic and moral outcomes." (Al-Saud,
2010, pp. 157-158)
The areas of educational outcomes are:
• The cognitive domain: This domain includes the
learning objectives and outcomes related to
remembering information, cognitive mental abilities,
and skills, such as knowledge, understanding and
comprehension, application, analysis, synthesis, and
evaluation.
• The emotional domain: This domain includes the
emotional learning outcomes that the learner seeks to
acquire, such as tendencies, trends, values, aspects of
appreciation,
reception,
response,
evaluation,
organization, and discrimination.
• The skill domain (motor): This domain includes
learning outcomes that indicate the performance of
the skill, and the learning outcomes in this domain are
not limited to the performance of the skill aspect only
but often include components of the emotional
domain and the cognitive domain, but the
characteristic or character of skill performance
prevails, such as perception, preparation, directed
response, mechanism, complex response, adaptation,
creativity. (Al-Hila, 2009, pp. 92-101) Teaching the
learner the cognitive, emotional and skill domains
helps him acquire more ability and skill in producing
and dealing with artistic work, so art education aims to
achieve a set of general and specific outcomes in the
primary and secondary education stage, as the
outcomes of art education are the focus of expression
through drawing, photography, design, formation,
assembly, construction and so on, as art education
works to acquire the basic skills to perceive the
elements, works and artistic products and distinguish
between them and sense the greatness of the Creator
represented in the manifestations of the universe, its
shapes and colors, and to recognize the characteristics
of world art, and to acquire basic artistic skills and their
skills in Solving the problems they face in daily life and
working to express them in their artistic works and
respecting and appreciating their opinions and artistic
works and developing their feelings towards their
country, people and artistic heritage and taking pride
in it. (Al-Saud, 2010, pp. 166-167)
General objectives of art education:
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1- Developing the emotional or sentimental aspect.
2- Training the senses for unlimited use.
3- Training on integrating into work and dealing with
and respecting work.
4- Venting emotions, self-affirmation, and feeling
confident.
5- Social cohesion and filling free time fruitfully and
beneficially.
6- Training on the use of tools and materials. (Abu
Shaira, 2006, pp. 89-94)
Some divisions work to improve and develop students'
products in all fields and are a starting point in
developing students' abilities in the drawing stages, as
shown in the following division... (Abu Shaira, 2006, pp.
174-179):
First grade:
•
Distinguishes between types of lines and
names the colors surrounding him in the local
environment.
•
Expresses realistic and imaginary shapes and
subjects in a manner that suits his abilities.
•
Develops positive values and habits.
Second grade: Classifies lines, their movement, and
directions in nature, understands colors and their
relationship to nature, draws shapes and colors them
in a manner that suits his abilities and appreciates the
beauty of nature and the surrounding environment.
Third grade: The student's artistic expression becomes
more liberated as they use lines in free drawings and
color to express various shapes and subjects with
complete freedom. They also start understanding the
concept of point and texture in artwork, further
expanding their artistic horizons.
Fourth grade: The student's unique style and
preferences become more pronounced as they use
lines and colors to create various textures, draw free
expressions inspired by nature and imagination, and
realize color gradation. It's crucial to pay attention to
the student and allow them to learn about the nature
of the material, its goals, field of study, and activities,
and choose what is consistent with their inclinations
and readiness without imposing a specific drawing
style on them. Respecting their opinions and
aspirations is crucial in revealing their abilities, skills,
and desires and increasing their motivation.
The artistic composition in the plastic drawing project
(painting):
The foundations of the composition of the drawing
project (for the painting) depend on the following
stages:
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First - Determining the direction or artistic school to
which the artist or student belongs, the schools of
plastic art are called currents or trends or artistic
methods followed by the artist or the artist's style.
Each artist has his tendencies and direction for a
specific artistic school, so when the painter is creative
in emdiving serious situations, relying in his art on
aesthetic and ideal principles, balance, stability,
organization and focus on engineering aspects and all
characteristics of perfection, beauty, purity, wisdom
and strength of mental perception with the solidity of
the composition, "he belongs to the classical school,
and among the most famous artists of this school
(Leonardo da Vinci) and his works is the painting (La
Gioconda or what is called the Mona Lisa), (Abdul
Hamid, 2005, p. 321). As shown in Figure (1), against this
artistic direction appeared the romantic direction and
called for liberation from the old classical molds that
viewed art as a process of imitation Of nature. At the
same time, romanticism is creating nature based on
creative imagination and emotion. It gave importance
to the heart over the mind and moved away from the
traditional classical school and ideal aesthetics. Among
the most famous romantic artists is (Eugene
Delacroix), and among his works is the painting
(Liberty Leading the People), (Goli, 2011, pp. 24-28), as
shown in Figure (2). This trend paved the way for the
emergence of the realistic trend based on realistically
depicting personal motives. The goal of the realistic
artist is to depict human reality in a real image and
express the relationships arising in real life between
people, society, and nature. It was distinguished by its
critical nature, describing their lives and environment,
and its paintings were free of subjective arbitrariness
(Goli, 2011, pp. 36-37). Among the most famous artists
of this trend is (Jean-Francois Millet), and he embodied
reality in his works, such as the painting (Harvesters of
Ears), as shown in Figure (3). This trend helped the
impressionist trend emerge, as the artists were initially
realists. In their depiction of beach scenes, they were
interested in recording the effect of light reflections on
the water. They preferred to use bright colors,
meaning that the impressionist artist is "an innovative
artist with an unusual artistic vision and a fleeting
impression in a fleeting moment. He is momentary in
depicting natural scenes." (Serola, 1982, pp. 7-8). The
view of things and life was that they were in a state of
movement and continuous change. (Claude Monet) is
considered the pioneer of impressionism, and among
his works is (Water Blossoms) as in Figure (4).
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These artistic trends paved the way for the emergence
of artistic trends that are against the rules and realistic
approaches, such as the symbolic, fauvist, cubist, and
expressionist trends. The symbolic artist is committed
to imagination, spiritual climate, mysticism, and
liberated individual freedom. And distinguishing things
through color and coding the situation of the drawn
case as in the works of the British artist (Dante
Rossetti) painting (Beatrice), shown in Figure (5). As
for the artist of the fauvist trend, he relied on changing
or distorting the familiar form and departing from
precise traditions. This trend is based on exaggerating
the use of color and formative simplicity to get rid of
everything complex and maintain the straightforward
structure and highlight the form, i.e., they ultimately
rejected the principle of shading or coloring to show
their forms but instead used the colored line without
defining the form precisely, as they ignored the
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perspective and tended towards absolute flattening.
Thus, it calls for spontaneity in expressing reality and
the artist’s reliance on inspiration and innate sense in
performance and psychological expression (Goli, 2011,
pp. 69-73). Among the artists of the Fauvist trend is
(Henri Matisse), and among his works is the Red Room,
as shown in Figure (6).
The brutal experience was the direct inspiration for
the expressionist artist, who states that (human
actions are an expression), (Hassan, B.T., p. 84). The
idea behind this trend was that art should not be
restricted to recording visual impressions but should
express emotional experiences and spiritual values.
Therefore, expressionism was a vivid depiction of inner
emotions and the flow of emotion. Among the most
influential artists of the expressionist style is (Van
Gogh, from his work (Crows over the Field) as in Figure
(7). The artist's style did not stop at these trends;
instead, the trends helped form different trends, such
as the cubist trend, which relied on the geometric line
for every shape. Its artists used straight lines and
curved lines, so the shapes were either cylindrical or
spherical, and the square and flat geometric shapes
appeared in the spaces surrounding the subject
(Bounis, 1990, p. 161). Cubism went through three
analytical stages, where the artist resorted to the
disembodiment of the div and analyzed it into cubes,
whether human or natural silent shapes. Most of the
colors were limited to the use of brown and gray
colors, then came the stage of composition, the
collage, a collection of clippings, newspapers, etc.
Picasso painted many paintings, and among his most
famous works are (Guernica). Figure (8) (Al-Sarraf,
2009, p. 170). The artist of the abstract trend aims to
express the pure form devoid of tangible details and
does not involve any connection to anything realistic.
Abstract art is divided into two main sections; the first
is abstract expressionism in Europe, which relies on
musical drawing, interested in pure music that carries
expressive symbols and leaves an emotional impact on
the person, as well as the form and color to express the
inner feeling or inner necessity. "That is, (Kandinsky)
was able to break the barriers between music and
photography, and the viewer is comfortable seeing it
as in Figure (9), as for the second style, it is geometric
abstraction, which depends on vertical and horizontal
lines. Mondrian established a new theory of colors and
lines, and his theory played an important role in
modern architecture. His most important work is the
composition (red, yellow, blue), as in Figure (10),
(Heath, 1988, p. 5).
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After that, many trends appeared, including Dadaism,
and this absurd movement was a revolution against
aesthetic values and a rebellion against everything
beautiful. It aimed to express its position towards
political reality and inherited traditional values in
various fields. This movement paved the way for post-
modern art, such as the surrealist and futurist trends.
The surrealist trend used natural forms in an illogical
formulation for the conscious mind (Al-Kofhi, 2006, p.
239). The surrealists followed two methods in
performance. The first depends on realistic
embodiment similar to the image represented by the
artist (Salvador Dali). Its artworks combined reality and
imagination, as in Figure (11). As for the second style,
the flat cubist style has two dimensions, i.e., far from
reality and close to abstraction, as in the works of the
(Miro brothers) The Blue Star, as in Figure (12). We see
that this trend is not related to the futurist trend, as the
futurists believe that everything is in a state of rapid
flow and transformation, and the things that move it
multiply endlessly. This position calls for modernity or
renewal, as it is an existence. It is not fixed or stable but
is subject to continuous or growing movement. The
artist tried to express it through movement and light,
as all things move, run, and change quickly, as in the
work of the artist (Carlo Carra), as shown in Figure (13)
(Al-Ghoul, 2011, pp. 112-122).
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After World War II, trends diversified, and the artist
broke out of the rules and traditions to have a unique
style of expression. The artist also broke through the
trends and artistic schools since the thirties of the
twentieth century with new creative techniques that
were
unprecedented,
such
as
(Abstract
Expressionism), which was described as "mechanical"
to avoid surveillance and rationality and was described
as spotty, referring to the dots and spots that appear
on the painting. After the style of abstract
expressionism, works of art emerged that did not have
a specific function, such as: (Conceptual Art), which
stems from notable intellectual trends that attempt to
integrate art with life as it fights artistic traditions and
attempts to liberate itself from social and cultural
restrictions and get rid of the problem of imitation.
Conceptual art experiments reached drawing on the
ground, drawing with fire, div art, and folk art as
actions in unique spaces that took the form of new art.
(Amhaz, 1996, p. 483)
As well as the emergence of (visual art) and
(superrealism), as the visual is based on the visual
deception that the sense of sight is exposed to. It
depends on illusion, so artists depend on the effect
that the artworks leave in the viewer's eye, as for
Suprematism, it was called (hyper-realism), and they
tried to record the finest details that convey reality,
and the primary goal of Suprematism is a new study of
reality by changing our visual perception towards the
source of images and discovering the total reliance on
photographs, as shown in Figure (15). (Goli, 2011, pp.
205-215)
Second: The stage of forming the subject of the
artwork or painting, in general, depends on the
economic, psychological, and social conditions,
religious factors, political, cultural, and historical
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factors, or folklore, which are factors that have an
impact on art in producing artworks that achieve
material and aesthetic benefit and are a reflection of
the environment to which the artist belongs. Third:
Determinants of artistic products: The artwork consists
of the elements that form the creative composition of
the painting, and the artist and student must be well
aware of them to help him in the stage of planning a
painting and making his work accessible. Among these
elements are shape and background. The shape is the
main subject in forming the work, while the
background or background is what helps the shape to
be clear and visible (Al-Hadi, 2009, p. 50). The second
element is color; visual artists use the word color to
refer to the pigment materials used to produce
coloring. Natural scientists mean by the color "the
colored rays resulting from the analysis of the solar
spectrum light, i.e., the physiological effect resulting
from the retina of the eye, whether it is the result of
the colored pigment material or colored light. Colors
are divided into the primary colors, which are red, blue,
and yellow. The secondary colors are derived from the
primary colors, such as violet, green, and orange, and
the neutral colors, black and white, in addition to the
specific properties of the color, which are the name
and value intended for the light or dark color, and the
third property is intensity, this property distinguishes
strength, fatness, or saturation (Ghaith, 2008, pp. 27-
28). The point is considered one of the elements that
have great importance according to its location in front
of the viewer and according to its size. It is the bare
stage for the launch of the line element, and what is
meant by the line or lines is a group of points
connected. The line is an essential element in building
any work of art so that no art can be devoid of the line
element. The lines may be straight, winding, curved,
Intersecting, connected, vertical, horizontal, diagonal,
thick or thin, sharp or undefined. These lines are the
structural framework of the image, separating the
areas of blocks, colors, or degrees. (Abu Dabsa, 2012,
pp. 61-63) Among the elements of artistic composition
are space and texture. The surrounding space is the
vast extension of spatial boundaries and can always be
filled with units, blocks, and bodies. As for texture, it is
an expression that indicates the surface properties of
materials, and we recognize them through sight and
confirm the existence of this property through texture.
(Abu Dabsa, 2012, p. 78)
Fourth: The foundations of the aesthetic relationships
of the elements of the painting are:
- Dominance, which means the control of one of the
elements of the artwork over the rest of its elements
in shape, color, or idea - Unity, including unity of form,
unity of style, unity of idea, or unity of purpose -
Diversification - Convergence, meaning that the
elements of the design are close to each other -
Interference - Overlay, which means installing an
element above an element or an element in front of an
element - Rhythm "is a type of distribution between
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the negative and the positive in filling spaces. The
rhythm may be in the form of repeating blocks or
spaces that are units that may be completely identical
or completely different or close or distant." (Al-
Husseini, 2002, p. 14) - Balance is the state in which
opposing forces are equal;- Proportion: "It means
coordinating the elements, lines, spaces, and existing
shapes;- Contrast: It is the opposite in the meaning of
shapes. For example, the negative is the opposite of
the positive, and evil is the opposite of good. Contrast
is in relationships, not in shapes. Contrast is creating
relationships (Contrasting). What is meant by contrast
is to combine the two extremes, so with light, there is
darkness, and we may not perceive one unless we are
aware of its opposite. (Al-Hadi, 2009, p. 139) -
Repetition is the repetition of similar units in occupying
specific spaces and for specific purposes, and perhaps
repetition is in similarity, number, type, masses, color,
and light. - Symmetry: It is one of the elements that
consist of regular, simple, and parallel shapes, and they
are seen as if they belong to each other (Abu Dabsa,
2012, pp. 89-95)
Fifth: Perspective in drawing: Any artwork without
perspective destroys the painting, no matter how
much the artist cares about the details. Therefore,
perspective is a method used by painters to add to
their drawings the illusion of depth and a third
dimension to the painting (Al-Kofhi, 2006, pp. 67-68)
The researcher believes that the students' products
result from education's refining of the learner's
personality from all aspects, cognitive, emotional, and
skill, which has helped the learner be creative. For
every learner or artist, his own style in highlighting his
creativity, as well as the environment in which the
artist lives, impacts his style in producing his artistic
works.
Previous Studies
Study (Al-Atab): (The effect of using the modeling
method on students' productions in the subject of
planning for students of the Department of Art
Education - College of Fine Arts - University of
Baghdad) submitted by (Abdul Jabbar Khazal Hassan
Al-Atab) to the Council of the College of Fine Arts /
University of Baghdad as part of the requirements for
obtaining a master's degree in art education / in 1991 /
The thesis was divided into four chapters. The first
chapter dealt with the methodological framework of
the research, including the research problem, its
importance, and the research objective (to reveal the
use of the modeling method on students' productions
in planning for students of the Department of Art
Education).
The second chapter includes three topics
The first topic is teaching methods (modeling), the
second
represents
art
education
students'
productions, and the third is planning and colors. The
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third chapter included the research procedures, where
the research sample consisted of two groups of first-
year students - Art Education Department- who were
randomly selected. The first experimental group
represented (14) male and female students who
applied the modeling method, and the second control
group consisted of (14) male and female students who
studied the usual way. Their results were evaluated
using a unique form designed for this purpose and
through statistical comparisons, extending their
validity and using the second test (t-test) to analyze the
data. It is clear from the comparison that the following
result was reached: There are statistically significant
differences at the level of (0.05, 0) between the
averages of the two groups (experimental and control)
in favor of the experimental group that used the
modeling method.
Among the most important conclusions that could be
reached (reproach):
1-The modeling method in planning still life appeared to
be superior or successful in learning, so educational
booklets on similar topics and applications in teaching
arts can be designed.
2-The student's practice of self-education using the
educational booklet and evaluating his own
achievement had an effect on retaining information
Theory and acquiring practical skills, so the planning
subject can be taught in still life.
Suggestions (reproach) Conduct similar studies in the
subjects of teaching arts in the Department of Art
Education and specialized departments in the College
of Fine Arts, such as perspective, makeup, art
elements, decoration, and calligraphy... to know the
extent of the effectiveness of the modeling method in
these subjects.
The difference between the study (reproach) and the
current research topic (products of art education
students in the subject of the graduation project for
plastic arts (drawing)) is clear in terms of the problem,
goal, pomegranate and spatial boundaries, and the
axes of the theoretical framework that included two
topics in addition to the results and conclusions. The
researcher (reproach) focused on the modeling
teaching method to know the extent of the
effectiveness of these materials.
Chapter Three
Procedural Framework
1. Research Community:
The research community includes the outputs of
fourth-year students / Department of Art Education / at
the Universities of (Kufa and Babylon), for the
academic year (2015-2016) who study the subject of the
formation project (drawing) prescribed within the
curriculum of the two departments, and their number
is: (77) male and female students at the University of
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Kufa, and (54) male and female students at the
University of Babylon, as shown in the following table:
Table (1) shows the distribution of the original research community of students
University
Number of students
Total
Male
Female
Babylon
16
38
54
Kufa
15
62
77
Total
31
100
131
1. Research sample:
The research sample was chosen randomly, consisting
of (28) works from the original community, which
consists of (131) works for fourth-year students,
according to the percentage used in scientific research,
to be (16) works for the University of Kufa and (12)
works for the University of Babylon, representing a
percentage of (20%) of the original community in terms
of males and females. It was found that there is no
difference between males and females for the
Universities of Kufa and Babylon at the calculated (t-
test) score (151.) As shown in the following table (2-3):
Table No. (2)
Test Table (3)
)
T-Test)(The Difference Between Males And Females
Grou
ps
Nu
mb
ers
SMA
Standar
d
Deviatio
n
Calcula
ted T-
Score
Degree
Of
Freedo
m
T-
Score
Trust
Male
s
7
15.5714
2.43975
.151
26
2.056
.881
Fema
les
21
15.4286
2.08738
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1.
METHODOLOGY
The researcher used the descriptive analytical method:
the comparative study method because it is consistent
with the nature of the current study.
2. Research Tool: The researcher implemented or
(designed) the research tool, which consisted of an
evaluation form (the works of art education students
in the subject of the formation project (drawing)) and
included a set of paragraphs based on the theoretical
framework in its design. Then he presented it to a
group of experts to express their opinions and find the
validity of its paragraphs.
A- Performance Validity: The apparent validity of the
tool was approved by presenting it to a committee of
experts, numbering (3) experts (*), after the experts
modified the tool and each expert expressed his
observations. The observations were recorded in the
performance and the experts' agreement rate was
(94%). This rate is considered one of the ideal rates in
A- Measurement. In light of the amendments made by
the experts, the researcher modified the initial
evaluation form, and thus the researcher relies on (the
tool in its final form) in the evaluation of the work.
B- Tool stability: The researcher calculated the stability
of the tool questionnaire by
handing over the work of the randomly selected
sample to a specialist analyst (*) to evaluate those
works. After two weeks, the researcher chose (5)
works that were evaluated the first time and presented
them to the specialist analyst to evaluate those works.
After that, the correlation coefficient was calculated
between the first evaluation degree and the second
evaluation degree using the equation:
Correlation coefficient (Pearson), the correlation
coefficient reached (956.0), which is a high stability
rate. Then, the researcher made a comparison
between (the expert) (**) and (the researcher) using
the correlation coefficient equation (Pearson) to
evaluate the students’ work. The number of works was
(28) works, so the correlation coefficient reached
University
Society
Number Of Selected Works
Kufa
77
Males
3
16
Females
13
Babylon
54
Males
4
12
Females
5
Total
131
28
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(921.0), which is a high stability rate. As shown in Table
(4) (the following):
Table No. (4): Reliability coefficient (correlation) for the stability of the tool
C. Application of the tool: The researcher applied his
research tool to evaluate the students' productions in
the subject of the plastic project (drawing) for the
universities of Kufa and Babylon and to calculate the
students' grades, using the equation (test-t) in order to
find the difference between the works of the
universities of Kufa and Babylon and the amount of the
calculated (t-test) is (3.240) which is more than its
tabular value.
Statistical methods
A- Correlation coefficient (Pearson) was used to
calculate stability
• R: Pearson correlation coefficient value.
• X: Values
of the first variable.
• Y: Values
of the second variable.
Business
Calendar
Number
of
works
Selected assessment grades
for the same students
Stability factor
Pre-(S)
5
85
0,956
Post-(S)
5
87
Business
Calendar
Number of
works
stability coefficient
Researcher
28
921
,
0
Expert
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• N: Number of values
of one of the variables (x or y)
B- Law (t-test)
• S1 = arithmetic mean of the first group
• S2 = arithmetic mean of the second group.
• V21 = variance of the first group.
• V22 = variance of the second group.
• N1 = number of individuals in the first group.
• N2 = number of individual
s in the second group. (Al-Khafaji, 2015, pp. 147-150)
Chapter Four
RESULTS AND CONCLUSION
RESULTS
For the purpose of verifying the validity of the research
hypothesis, it became clear:
When comparing the two groups using (t-test), it was
found that the calculated t-value is (3.240) which is
greater than its value in the table at the significance
level (0.05), which means rejecting the null hypothesis,
which states:
There are no statistically significant differences at the
level (5 0.0) between the outcomes of art education
students at the University of Kufa and the outcomes of
art education students at the University of Babylon in
the subject of the graduation project, drawing
(painting)
Which indicates the existence of statistically significant
differences in favor of the outcomes of art education
students at the University of Kufa in the subject of the
graduation project, drawing (painting), and Table No.
(5) shows the details.
Table (5): (T-Test) (The Difference Between The Babylon And Kufa Groups)
Groups
Number
SMA
Standard
Deviation
Calculated
T-Score
T-
Score
Degree
Of
Freedom
Trust
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Kufa
16
16.4375
1.93111
3.240
2.056
26
,
0
003
CONCLUSIONS
1-Students use realistic lines in most of the works, and
the line shows its aesthetic power in the works of art
education students at the University of Kufa and in the
relationships of the composition of the artwork.
2- The works of art education students at the
Universities of Kufa and Babylon included diversity
between shape and color to produce the artwork's
structure in an integrated manner, as well as the use of
texture by both universities in a good way.
3- The students of the University of Kufa used diverse
content, including social, political, economic, and
religious, while at the University of Babylon, most of
the works are social and economic. This indicates the
impact of the environment on students' characteristics
and psychological needs, desires, and tendencies.
4- The possibility and ability of art education students
at the University of Kufa to perceive the available space
and exploit it harmoniously in distributing its
components; on the contrary, at the University of
Babylon, most of the works show a kind of harmonious
exploitation of space in distributing its components.
5- Art education students at the University of Kufa
relied on planning the topic or project using (data
show) (computer data display device), which made the
work accurate and detailed in the process of building
or forming the artwork, while at the University of
Babylon the students relied on traditional planning (i.e.
each student relied on himself in planning and
according to the student's capabilities and skills),
which made the work of Babylon students less
beautiful in creating or forming the artwork than the
University of Kufa. 6- Art education at the University of
Babylon depends on creating artwork according to the
terms of the project curriculum in three stages, which
are (planning, watercolors, and oil colors), which gives
students the ability to produce and mix colors lively
before starting the oil work. In contrast, at the
University of Kufa, according to the terms of the
project curriculum, drawing depends on two stages
(planning and oil work). Here, the method of mixing
colors appears lively and interacts with the artwork, as
it is preferable to use the watercolor stage, which
makes it easier for the student to deal with oil colors
during the implementation of the drawing art project.
7 7 Students' awareness of aesthetic relationships and
highlighting their aesthetic and functional role within
the artwork, which is well-known at the University of
Kufa from the University of Babylon, means that
students have experience and skill in dealing with the
formal
composition
(elements
and
aesthetic
relationships) of the artwork.
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Recommendations
:
1- The necessity of holding exhibitions in the centers
and colleges of art education and fine arts to highlight
the aesthetics of this art and the extent of its
reflections on modern art and the reality and
environment to which the student belongs.
2- The necessity of issuing magazines and
participations between colleges, owing to the
methods, focusing on the sensory, aesthetic, cultural,
and cognitive aspects among skills students and
developing their artistic taste.
3- Identifying the differences between colleges to
modify and build the concepts and skills followed in
implementing the drawing plastic project.
4- Providing the requirements of artistic work, which
helps students innovate new creative methods.
5- Reviewing other countries' products, which helps
develop and improve students' skills.
Suggestions
:
The researcher proposes conducting the following
study:
A comparative study between the products of art
education students at the Universities of Baghdad and
Kufa, as well as the University of Babylon and Baghdad.
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