European International Journal of Pedagogics
84
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TYPE
Original Research
PAGE NO.
84-91
DOI
3
OPEN ACCESS
SUBMITED
09 March 2025
ACCEPTED
05 April 2025
PUBLISHED
08 May 2025
VOLUME
Vol.05 Issue05 2025
COPYRIGHT
© 2025 Original content from this work may be used under the terms
of the creative commons attributes 4.0 License.
Methodology for Teaching
Students to Work on
Naturmort With Oil Paint
in Extracurricular
Classroom Classes
Bozorov Farkhod Toyir ugli
Faculty of Art History of Chirchik State Pedagogical University, Teacher of
the Department of Fine Arts and Design, Uzbekistan
Abstract:
The article analyzes the methodology of
teaching students to draw oil paintings during
extracurricular club activities in pedagogical higher
education. The effectiveness of teaching is studied using
methods such as demonstration exercises, practical
tasks, reflexive analysis, individual approach, and group
collaboration. Methodological and infrastructural
limitations in education are carefully considered, and
the importance of fine arts education in the professional
training of future teacher-artists is substantiated.
Keywords:
Palitra, method, individual, individual, still
life,
composition,
reflection,
demonstration,
combination, visual, spatial.
Introduction:
In our republic, fine arts education is one
of the important means of revealing the creative
potential of students in the modern education system,
developing their aesthetic perception, and forming
creative skills. In particular, extracurricular club
activities provide students with the opportunity to test
their creative abilities, develop a unique style through
an individual approach, and become familiar with
various art techniques. Painting a still life with oil
painting, as one of the important areas of art education,
serves to develop in students not only technical skills,
but also such skills as color harmony, compositional
structure, and the use of visual aids. This process
enhances students' not only creative but also analytical
and problem-solving abilities, as drawing still lifes
requires correct interpretation of object shapes, sizes,
light-shadow relationships, and color palette.
The oil painting technique, with its multifaceted
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possibilities, provides students with creative freedom,
but at the same time, this process requires a complex
and systematic approach. By drawing still lifes,
students not only learn to depict objects realistically
but also gain the opportunity to express their feelings,
worldview, and creative imagination. Extracurricular
club activities create an appropriate environment for
making this process more effective, as these activities,
unlike mandatory classes, are usually based on
students' own interests and motivation. Therefore, the
methodological approaches used in club activities are
crucial for increasing students' creative activity and
strengthening their interest in art. If club activities are
based on a step-by-step methodology, students'
technical skills in painting still lifes with oil paint will
significantly improve. This hypothesis aims to test the
effectiveness of the systematic approach in the
process of drawing still lifes.
The use of creative tasks and an individual approach in
the process of drawing still lifes enhances students'
aesthetic perception and inner motivation. This
hypothesis emphasizes the importance of creative
freedom in developing students' unique style.
Combining theoretical knowledge with practical
exercises in teaching oil paint techniques deepens
students' understanding of composition, color
harmony, and light-shadow relationships. This
hypothesis assesses the effectiveness of the
integration of theoretical and practical education.
Balancing group and individual work in club activities
contributes to the formation of students' unique
creative approaches, as well as the development of
collaborative skills. This hypothesis explores the
balance between social interaction and individual
creativity.
METHODOLOGY
To strengthen the scientific foundations of this
research, national and international literature on fine
arts education, pedagogical methodology, and the
development
of
creative
competencies
was
systematically analyzed. In the process of analysis,
special attention was paid to the pedagogical
possibilities of drawing still lifes using oil painting
techniques, the influence of extracurricular club
activities on the development of students' aesthetic
perception, and the issues of improving the
professional training of future teachers.
In international literature, Vygotsky's sociocultural
theory (1978) emphasizes the importance of social
interaction and mediating tools in the learning process,
justifying the need to balance group cooperation and
individual creativity in club activities. Kolb's model of
experiential learning (1984) demonstrates the
effectiveness of skill formation through practical
exercises, which ensures the pedagogical significance of
methods based on experience and reflection in painting
still lifes with oil paints. Bloom's Taxonomy of Learning
Objectives (1956) provides differentiated criteria for
assessing student development in the cognitive,
affective, and psychomotor domains, which were used
as the main guide in determining learning outcomes.
Gardner's theory of multiple intelligence (1993) reveals
possibilities for the development of visual-spatial
intelligence through visual art, which substantiates the
influence of still life painting on aesthetic and creative
development. Eisner (2002) emphasizes the role of art
education in enhancing students' emotional and
creative potential.
In national literature, Sultonov (2019) discusses the
methodological features of teaching fine arts, especially
the importance of practical classes in the training of
future teacher-artists in the education system of
Uzbekistan. Khudoyberdiyev (2021) analyzes the role of
fine arts education in the development of creative
competencies based on UNESCO standards and
strengthens the methodological foundations of
activities such as drawing still lifes. Muratov (2018)
provides practical recommendations for organizing
creative tasks in teaching fine arts and developing
students' aesthetic perception. Analysis of the literature
revealed a lack of systematic methodological
approaches in teaching oil painting, which emphasizes
the scientific and practical relevance of this research.
The teaching methodology was aimed at developing the
skills of future teachers in painting oil paintings in
extracurricular club activities. The methodology, based
on traditional oil painting techniques, served to improve
students' technical skills, creative approach, and
aesthetic perception. The learning process was based on
Vygotsky's sociocultural theory, Kolb's model of
experiential learning, and Bloom's taxonomy, balancing
students' individual and group activities.
Teaching Methods The following methods were used in
the teaching process, adapted to the specifics of
painting still lifes with oil paints:
Demonstration exercises: Teachers demonstrated in
practice the basic techniques of oil painting (for
example, alla prima, layered painting, impasto) and the
organization of still life composition. This method, based
on Vygotsky's sociocultural theory, ensured learning
through modeling under the guidance of a teacher.
Observing the teacher's actions, the students studied
the harmony of colors, light and shadow relationships,
and the construction of the composition.
Practical tasks: Students completed sketch assignments
on various topics, for example, creating compositions
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based on fruits, vegetables, flowers, or everyday
objects. This method, based on Kolb's experimental
learning model, allowed students to experimentally
master the textural and color properties of oil paints.
The assignments were open in nature to encourage the
students' creative approach.
Reflective analysis: Students discussed their work in a
group and exchanged views on the quality of the
composition,
color
harmony,
and
technical
characteristics. The feedback provided by the teachers
developed students' skills in critical analysis of their
work. This method deepened assimilation through
reflection, based on the levels of analysis and
evaluation of Bloom's taxonomy.
Individual approach: Teachers provided personalized
guidance based on students' creative style, technical
level, and personal interests. For example, some
students focused on color contrast, while others
emphasized texture or light-shadow relationships. This
method, based on Gardner's theory of multiple
intelligence, developed the visual-spatial intelligence
of students individually.
Group collaboration: Students worked in groups on
common still life compositions, which improved their
collaboration skills and the ability to solve creative
problems together. This method, based on Vygotsky's
principles of social interaction, stimulated group
dynamics.
Training materials, The training process was based on
traditional oil painting and the following materials
were used:
•
Oil paints: High-quality oil paints in a variety of
color palette allowed students to test and blend color
combinations.
•
Brush: Brushes of various sizes and shapes (for
round, flat, fine details) were used for applying various
oil paint techniques.
•
Fabric and other surfaces: Students mainly
worked on fabric, in some cases wooden panels or
special paper were used.
•
Molberts: Used to organize the workplace and
correctly arrange the still life.
•
Still life objects: Real objects such as fruits,
vegetables, flowers, dishes, and fabrics were used to
create compositions, allowing students to observe
light, shadow, and texture in real time.
•
Additional materials: Paint scraper (terpentine
or linseed oil), palette, and cleaning agents supported
the learning process.
These methods and materials provided the following
advantages for future teachers:
1.
Strengthening
professional
training
by
improving skills in oil painting techniques.
2.
Developing a creative approach through a deep
understanding of the concepts of aesthetic perception,
color harmony, and composition.
3.
Formation of pedagogical competencies in
organizing the educational process, motivating
students, and assessing creative activity.
Organization of the educational process: Club sessions
were held twice a week, each lasting 80 minutes. Each
session consisted of the following stages:
•
Theoretical introduction (15 minutes): The
teacher gave a short lecture on the technique of oil
painting or still life composition and demonstrated it.
•
Practical
work
(50
minutes):
Students
completed individual or group assignments, the teacher
gave personal advice.
•
Reflective discussion (15 minutes): Work was
discussed in groups, students shared their experiences
and problems.
The educational process was organized flexibly and
interactively to stimulate students' creative activity and
develop their technical skills.
RESULTS
Teaching methods (demonstration classes, practical
assignments, reflexive analysis, individual approach,
group cooperation) used in extracurricular club
activities to teach future teachers to draw still lifes with
oil paints have yielded significant results in the
development of students' technical skills, creative
potential, and aesthetic perception. The educational
process was organized in pedagogical higher
educational institutions of Uzbekistan in the form of two
90-minute sessions twice a week with the participation
of 60 students (2nd and 3rd years, fine arts and drafting,
aged 19-22, 36 women, 24 men). The results were
analyzed based on systematic observations by teachers,
analysis of student still life works, and reflective
discussions.
Practical results of the learning process
Teaching methods have shown high effectiveness in
developing students' technical and creative skills in
painting still lifes with oil paints. Student work
(averaging 5-7 still lifes per student) was evaluated on a
five-point scale using rubrics based on Bloom's
taxonomy (1956), where color harmony, composition
quality, and light-shadow relationships were taken as
the main criteria. The results of the assessment
conducted at the beginning and end of the educational
process showed the following improvements. Dynamics
of students' average grades for still life works (M ± SD)
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Table 1
Indicator
At the beginning of the learning
process (M ± SD)
At the end of the learning
process (M ± SD)
Growth rate
(%)
Color harmony
3.0 ± 0.7
4.5 ± 0.4
50.0
Quality of creative
work
2.9 ± 0.8
4.4 ± 0.5
51.7
Light-shadow
relationships
2.8 ± 0.7
4.3 ± 0.5
53.6
Note: M - average, SD - standard deviation. Grades were calculated on a 5-point scale. The growth rate was
determined based on the difference at the beginning and end of the educational process.
The results of Table 1 show that the teaching methods
significantly improved students' technical skills. At the
end of the educational process, 90% (54 students)
achieved high-quality results in color harmony, 87%
(52 students) presented balanced work as a
composition, and 85% (51 students) accurately
depicted the light-shadow relationship. These
improvements confirm that demonstration exercises
played an important role in helping students master
the basic techniques of oil painting (for example,
layered painting, impasto) and in developing the
creative potential of practical tasks.
Systematic observations by teachers and reflective
discussions among students further revealed the
positive impact of the learning process. During
reflective analysis sessions, 88% (53 students) noted
that they corrected technical errors (for example,
discrepancies in color mixtures, asymmetry of the
composition) and improved the aesthetic quality by
critically evaluating their work. According to the survey
results, 80% (48 people) of students showed increased
creative motivation and activity during the educational
process, which indicates the use of unusual color
combinations and compositional solutions in their still
life works.
Each of the teaching methods made a unique
contribution to the development of students' skills and
creative potential. The practical results of each method
are analyzed below:
Demonstration exercises: Demonstrations by teachers
of oil painting techniques (alla prima, layered painting,
working with texture) ensured the correct application
of technical techniques by 92% (55 students). For
example, students achieved balance in their color mix
and improved their brush movements. This result
aligns with Vygotsky's sociocultural theory (1978),
since modeling through teacher guidance activated
students' cognitive learning.
Practical assignments: Open assignments (drawing still
lifes based on fruits, vegetables, flowers, or everyday
objects) developed the personal creative styles of 85%
(51 students). Students experimented with various
compositional solutions (for example, diagonal
placement, central balance) and color palettes, which
increased their creative freedom.
Reflective analysis: Group discussions formed the skills
of critical evaluation of their work and improvement of
aesthetic quality in 80% of students (48 people). For
example, students corrected errors in the light-shadow
relationship through discussion and improved
compositional balance. This is based on Kolb's model of
experiential learning (1984), as reflection deepened the
analysis of experimental results.
Individual approach: Personal advice from teachers
helped 75% (45 students) correct technical errors and
increase self-confidence. For example, some students
received advice on improving color contrast, while
others received advice on working with texture. This is
consistent with Gardner's multiple intelligence theory
(1993), since the individual approach developed visual-
spatial intelligence.
Group collaboration: Group assignments (general still
life compositions) improved collaborative skills in 70%
(42 students) and the ability to solve creative problems
together. For example, students developed collective
creative solutions by arranging objects and coordinating
the color palette.
Scientific explanations and theoretical foundations
The results of teaching methods are based on a number
of pedagogical and psychological theories. Vygotsky's
sociocultural theory (1978) confirms the role of
demonstrative activities and group collaboration in
activating learning through social interaction. The
teacher's guidance and group dynamics stimulated
students' cognitive and creative processes, which
manifested in the technical and aesthetic achievements
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of the still life. Kolb's model of experiential learning
(1984) emphasizes the importance of practical tasks
and reflective analysis in reinforcing technical skills, as
students master the oil painting technique through
experience and analysis. Gardner's theory of multiple
intelligence (1993) substantiates the importance of an
individual approach in the development of visual-
spatial intelligence, which was important in the
formation of students' personal creative styles.
Bloom's taxonomy (1956) provided differentiated
criteria for evaluation rubrics, enabling objective and
systematic evaluation of results. Eisner's (2002)
opinion that art education serves to increase
emotional and creative potential is confirmed by the
growth of students' creative motivation and aesthetic
perception.
In the national context, Sultonov (2019) emphasizes
the importance of practical classes in teaching fine
arts, which indicates the adequacy of methods in
training future teacher-artists in the education system
of Uzbekistan. Muratov (2018) provides practical
recommendations for the development of aesthetic
perception through creative tasks, which substantiates
the pedagogical significance of still life painting.
Khudoyberdiyev (2021) supports the importance of
creative approaches based on UNESCO standards,
which confirms the compliance of teaching methods
with global educational standards.
These results confirm the pedagogical effectiveness of
teaching oil painting and recommend wider
application of these methods in extracurricular
activities. The success of the educational process
served to enhance not only the technical skills of future
teachers but also their creative and aesthetic potential,
which is of great importance in their future
pedagogical activity.
Analysis of results
Teaching methods (demonstration exercises, practical
tasks, reflexive analysis, individual approach, group
cooperation) were used to develop the skills of future
teachers in painting still lifes with oil paint in
extracurricular club activities. The analysis is based on
the achievements of 60 students (2nd and 3rd year,
fine arts and drafting) in the educational process,
teacher observations, and reflective discussions. The
results were evaluated using rubrics based on Bloom's
taxonomy (1956), which allowed for a systematic
assessment of technical skills (color harmony,
composition quality, light and shadow relationships)
and creative potential. The analysis thoroughly
examines the effectiveness of teaching methods, their
pedagogical impact, and relevance in the educational
context of Uzbekistan. Development of technical skills:
The results of Table 1 (dynamics of grades at the
beginning and end of the educational process) showed
a significant improvement in students' technical skills:
color harmony increased by 50.0%, composition quality
by 51.7%, light and shadow ratio by 53.6%. These
achievements depend on the systematic and integrative
nature of teaching methods. Demonstration sessions
allowed students to master the basic techniques of oil
painting techniques (such as layered painting, alla
prima) through visual and practical modeling, which is
based on Vygotsky's sociocultural theory (1978). The
teacher's guidance activated the cognitive processes of
students, ensuring the correct application of technical
methods by 92% of students (55 people). For example,
students achieved balance in color mixing and improved
brush movements, which was reflected in 90% of the
high quality of color harmony in their still life works.
Practical assignments played an important role in
strengthening the students' technical skills. Open
assignments (drawing still lifes based on fruits,
vegetables, flowers, or everyday objects) allowed
students to experiment with various compositional
solutions and color palettes, which developed the
personal creative styles of 85% of students (51
students). Kolb's experimental learning model (1984)
explains this process: through practical activity,
students studied the textural and color properties of the
oil paint, which led to a balanced composition quality of
87%. 85% of students (51 students) achieved clear
images in light and shadow relationships, which
indicates that practical assignments improved their
skills in observing and depicting real objects.
Growth of creative potential and aesthetic perception
Teaching methods had an important influence on the
development of students' creative potential and
aesthetic perception. Reflexive analysis formed the skills
of critical evaluation of their work in 80% of students (48
people), which deepened their aesthetic understanding.
During group discussions, students corrected errors in
compositional balance, color contrast, and light-shadow
relationships, which align with Bloom's taxonomy's
levels of analysis and evaluation (1956). This influence
of reflective analysis is reinforced by Kolb's model, as
students improved their work by analyzing the
knowledge gained from the experiment. As a result, 82%
of the works received high-quality compositions, which
confirms the growth of students' aesthetic perception.
The individual approach became an important factor in
the development of students' creative potential.
Personal advice from teachers helped to correct
technical errors and increase self-confidence in 75% of
students (45 people). For example, some students were
instructed to improve color contrast, while others were
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instructed to experiment with texture. This result is
based on Gardner's theory of multiple intelligence
(1993), since the individual approach developed
students' visual-spatial intelligence in accordance with
their personal needs. The survey results showed that
80% of students (48 people) used unusual color
combinations and compositional solutions, which
confirms an increase in their creative freedom.
Group collaboration developed the students' creative
potential in a collective context. Group assignments
increased the ability of 70% of students (42) to
collaborate and solve creative problems together. For
example, students developed collective creative
solutions by placing objects and coordinating color
palette in general still life compositions. This aligns
with Vygotsky's sociocultural theory, as social
interaction activates students' creative processes. As a
result, the compositional balance and aesthetic
harmony in group work have significantly improved.
Pedagogical influence and motivation
Teaching methods played an important role in
increasing students' learning motivation and self-
confidence. Observations by teachers confirmed that
88% (53 people) of students actively participated in the
educational process and showed creative activity. In
reflective discussions, students expressed a positive
attitude towards the educational process by discussing
their work, which was reflected in the fact that 90% of
students (54 people) assessed club activities as highly
motivational. This result supports Eisner's (2002) view
that art education enhances emotional and creative
potential, as still life painting evoked aesthetic
pleasure and inner motivation in students.
The individual approach and reflexive analysis
strengthened the students' self-confidence. Personal
consultations with teachers increased the ability of
75% of students (45 people) to critically approach their
work and correct mistakes, which strengthened their
readiness for pedagogical activity. Group collaboration
developed communication and collective work skills in
70% (42 students), which is important for future
teachers in managing group dynamics in the
classroom.
Relevance in the context of education in Uzbekistan:
These results are important from the point of view of
the development of fine arts education in pedagogical
higher educational institutions of Uzbekistan. Sultonov
(2019) emphasizes the role of practical classes in
teaching fine arts in the training of future teacher-
artists, confirming the compatibility of teaching
methods with the local education system. Muratov
(2018) supports practical approaches to the
development of aesthetic perception through creative
tasks, which substantiates the importance of drawing
still lifes in enhancing students' creative competencies.
Khudoyberdiyev (2021) emphasizes the compliance of
creative education based on UNESCO standards with
global standards, indicating that teaching methods can
also be applied in an international context.
The results of the analysis showed the need to eliminate
the lack of systematic methodological approaches in
teaching oil painting in the education system of
Uzbekistan. Demonstration exercises and practical
assignments can be effectively used in local educational
institutions due to the availability of resources (oil paint,
canvas, still life objects). Reflective analysis and group
collaboration stimulate active student participation,
making the learning process interactive and
motivational. The individual approach allows for
personalization of the educational process, taking into
account the different levels of student preparedness.
DISCUSSION
The teaching methods (demonstration sessions,
practical assignments, reflexive analysis, individual
approach, group collaboration) used in teaching future
teachers to draw oil painting still lifes during
extracurricular club activities were partially successful,
but the results clearly showed the infrastructural and
methodological weaknesses of the Uzbekistan
pedagogical education system, as well as serious failures
in teaching such complex techniques as impasto. This
discussion rigorously compares the results with
international and domestic literature, sharply criticizes
the pedagogical effectiveness of the methods, systemic
problems in the education system, and realistically
assesses future opportunities.
The results showed that the teaching methods
increased students' technical skills (color harmony,
composition quality, light and shadow relationships) by
50-53%, which in a superficial form corresponds to
Vygotsky's sociocultural theory (1978). Demonstration
classes ensured that 92% (55 students) mastered the
basic oil painting techniques, but this achievement was
limited to simplified methods (for example, Alla prima
or single-layer painting). Complex techniques such as
impasto were partially used by only 60% of students (36
people), which indicates a superficial organization of the
educational process and insufficient qualifications of
teachers. Although Vygotsky's principle of learning
through social interaction is theoretically important, in
practice, the level of teachers' demonstration of
impasto and the short-term curriculum (two sessions
per week) hindered the full implementation of this
principle.
Practical assignments developed creative styles in 85%
(51 students), which corresponds to Kolb's model of
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experiential learning (1984). However, the open nature
of the tasks and the lack of clear criteria led to a lack of
creative orientation in 15% of students (9), which
clearly shows the shortcomings of teachers in the
pedagogical approach. Reflective analysis improved
critical assessment skills in 80% (48 students), but
group discussions were often general and level-based,
not reaching deep aesthetic analysis. This means that
the higher levels of Bloom's (1956) taxonomy
(synthesis, creativity) were not achieved because
teachers did not employ sufficient strategies to deepen
discussions.
Although the individual approach increased the self-
confidence of 75% of students (45 people), 25% of
students (15 people) did not receive sufficient personal
advice, which is due to the teacher-student ratio (6
teachers per 60 students) and time constraints.
Although Gardner's theory of multiple intelligence
(1993) emphasizes the importance of personalized
learning, the practical application of this approach in
the education system of Uzbekistan has been limited
and ineffective. Group collaboration increased the
collective creative abilities of 70% (42 students), but
the passive participation of 30% of students showed an
imbalance in group dynamics, which confirms that
Vygotsky's principle of social interaction was
implemented only partially.
CONCLUSION
The teaching methods (demonstration classes,
practical assignments, reflexive analysis, individual
approach, group cooperation) used in teaching future
teachers to draw oil paintings during extracurricular
club activities were partially successful in developing
students' technical skills, creative potential, and
aesthetic perception. The results showed an increase
in technical skills by 50-53%, development of creative
styles (85% of students), and an increase in aesthetic
analysis skills (80% of students), which partially
corresponds to the theoretical principles of Vygotsky
(1978), Kolb (1984), and Gardner (1993). However, the
failure to teach complex techniques (only 60% of
students used them), limited resources, and the short-
term structure of the educational process clearly
demonstrated the systemic problems of Uzbekistan's
pedagogical education system.
Demonstration classes and practical assignments
helped students master the basic techniques of oil
painting, but the lack of sufficient experience and high-
quality materials in teaching the techniques posed a
serious obstacle. Reflective analysis and an individual
approach increased aesthetic perception and self-
confidence, but the level of group discussions and the
limited use of personalized learning did not realize the
full potential of these methods. Group collaboration
developed collective creative skills, but the imbalance in
group dynamics (30% of students were passive) reduced
effectiveness. These results are consistent with the
creative education strategies of Sultanov (2019) and
Muratov (2018), but the problems of the education
system of Uzbekistan related to resources and
infrastructure are based on international standards
(UNESCO, 2019; Eisner, 2002) showed a significant lag.
For the development of fine arts teaching in pedagogical
higher educational institutions of Uzbekistan, it is
necessary to increase the effectiveness of these
methods. Short-term curricula and lack of resources
pose a serious threat to the professional training of
future teachers. To increase the effectiveness of
methods in the future, the following strict measures are
recommended:
1.
Expansion of the educational process into long-
term programs (for example, three days a week during
the semester), increasing the possibility of mastering
complex techniques.
2.
Quality resources in educational institutions
require improved material and technical support and
financial support.
3.
Organization of advanced training courses for
teachers, in particular, the introduction of special
trainings on modern oil painting techniques.
4.
Testing digital tools (oil paint simulators),
careful planning to partially alleviate resource
constraints.
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