This article aims to understand the place of the tempera technique in art history, which is thought to be encountered for the first time by art education undergraduate students, and to determine the effects on the participants after the application. The study consists of the findings and results of the first and second research questions in the master thesis “Tempera technique and its use in the course of painting courses on undergraduate level.” In this study the “case study” pattern was used, and is one of the qualitative research approaches. The participants of the research are eight students studying in Bursa Uludag University, Faculty of Education, Department of Fine Arts Education in the 2018-2019 academic year. The data collection tools of literature review and two interview forms interview were used. The findings obtained were evaluated by thematic analysis technique. According to the findings obtained in the research, it was observed that the participants did not have prior knowledge about the tempera technique before oral presentation and application. It was concluded that there were differences in the levels of interest and knowledge after the teaching process, and that there were positive changes in their opinions regarding the technique.
This document discusses issues in art education and teacher training in Turkey. It notes that arts education in K-12 schools receives limited time and resources. It also finds that arts teachers are not well-trained to distinguish between primary and secondary education needs. Additionally, high school students neglect arts courses due to a focus on science and math in university entrance exams. As a result, arts high schools struggle to attract students, and creativity-focused education is limited in Turkey.
This document provides an overview of different types of paintings found in India. It begins by describing traditional Indian paintings such as Pattachitra, Bengal school of painting, Kangra school of painting, Madhubani painting, Mysore painting, Rajput painting, Mughal painting, Tanjore painting, and Warli painting. It then discusses mural painting, Samikshavad painting, and the benefits of introducing paintings in CLIL classrooms. The document also includes sections on painting styles through history, sources and indicators that paintings provide about historical, political, social, scientific, and technological developments. It concludes with descriptions of paintings related to Indian festivals and fairs.
This document discusses issues in art education and teacher training in Turkey. It provides background on the history of art education in Turkey since the founding of the republic. Currently, art is taught for a limited number of hours in primary and secondary schools. There are also some fine arts high schools but they struggle to attract students due to parental preferences for more popular career fields. The training of art teachers could also be improved, such as ensuring art education programs adequately prepare teachers. Overall, more emphasis needs to be placed on art education in Turkey to help develop students' creativity and innovation.
This document contains a collection of lesson plans focused on teaching mathematics through art. The plans were developed by teachers from seven partner schools. The plans cover topics like sculptors, geometric art, using trigonometry to calculate the slope of the Leaning Tower of Pisa, depicting Cycladic figurines, and analyzing the sculptures of Greek artist Opy Zouni. The lessons aim to help students understand different historical and cultural contexts, develop aesthetic judgment, and use creative expression to critically examine works of art from a mathematical perspective.
Paradigm shift local pots and earth pigments as supports, grounds and media f...Alexander Decker
This document discusses the paradigm shift in the Nsukka Art School in Nigeria towards using local materials like clay, earth pigments, and local pots in painting. It notes that the school emphasized exploring the local environment as a source of ideas, forms, and materials. This led artists to begin using clay pots as painting supports and clay/earth pigments as grounds or media for painting. The document examines how this represented a conceptual shift away from conventional painting materials, driven by a spirit of experimentation. It suggests this approach made art production highly innovative while also being cheaper than traditional materials. Examples of works using these local materials will be discussed to demonstrate their usage.
The document discusses Discipline-Based Art Education (DBAE), an educational program developed in the 1980s that promotes art education across four disciplines: art production, art criticism, art history, and aesthetics. The goal of DBAE is to develop students' understanding and appreciation of art by providing knowledge of art theories and contexts as well as opportunities to create and critique art. It aims to make art education more standardized and academic.
Merging Traditional "Uli" Painting Techniques/Symbols and Computer Graphicsikennaaghanya
For many in the South Eastern part of Nigeria, Digital Art is rapidly becoming the preferred medium to produce poster designs and digital paintings. With a mouse, appropriate software and hardware, monitor, a scanner and a laser printer, one can control a project from start to finish. Traditional “Uli” Body Painting techniques/symbols at the same time, are visual media, which the writer describes as static media (i.e. it can only show snapshots), but it can be enhanced by stylistic elements of a metalanguage to produce the visual impression of dynamics. The viewer's imagination is asked to interpret these symbols and to change the meaning of objects actually shown. “Uli” is an expression of the Ibo people’s capacity for creative body design, which is firmly rooted in their myths and their experience of life in the past, present and future. At its best, it is an expression of their synthetic present, the epic of their search for a new order in the contemporary world. Unfortunately, the “Uli” Traditional Body Painting technique is gradually fading away, as well as the use of the Uli symbols. The emphasis of this paper is to identify the advantages in merging the use of Digital Arts and “Uli” Traditional Body Painting techniques/symbols in producing social awareness themed painting/poster designs and sculptural pieces in Nigeria, with particular reference to the Ibo people of the South Eastern Region of Nigeria. This way, the poster/painting will not just serve as a communicative medium but also as a work of Art (in terms of its aesthetic qualities) and the Uli symbols can as well be preserved.
The document summarizes the Contemporary Art Triennial for School Students Eksperimenta! (E!), an international art education project for students aged 14-19. The first E! will take place in Tallinn, Estonia in 2011. E! aims to integrate contemporary art and art education to develop critical thinking skills through activities like exhibitions, workshops, and an international teacher network. It details plans for the 2011 triennial's events and participating countries, as well as the goals and activities of the ongoing Eksperimenta! network.
This document discusses issues in art education and teacher training in Turkey. It notes that arts education in K-12 schools receives limited time and resources. It also finds that arts teachers are not well-trained to distinguish between primary and secondary education needs. Additionally, high school students neglect arts courses due to a focus on science and math in university entrance exams. As a result, arts high schools struggle to attract students, and creativity-focused education is limited in Turkey.
This document provides an overview of different types of paintings found in India. It begins by describing traditional Indian paintings such as Pattachitra, Bengal school of painting, Kangra school of painting, Madhubani painting, Mysore painting, Rajput painting, Mughal painting, Tanjore painting, and Warli painting. It then discusses mural painting, Samikshavad painting, and the benefits of introducing paintings in CLIL classrooms. The document also includes sections on painting styles through history, sources and indicators that paintings provide about historical, political, social, scientific, and technological developments. It concludes with descriptions of paintings related to Indian festivals and fairs.
This document discusses issues in art education and teacher training in Turkey. It provides background on the history of art education in Turkey since the founding of the republic. Currently, art is taught for a limited number of hours in primary and secondary schools. There are also some fine arts high schools but they struggle to attract students due to parental preferences for more popular career fields. The training of art teachers could also be improved, such as ensuring art education programs adequately prepare teachers. Overall, more emphasis needs to be placed on art education in Turkey to help develop students' creativity and innovation.
This document contains a collection of lesson plans focused on teaching mathematics through art. The plans were developed by teachers from seven partner schools. The plans cover topics like sculptors, geometric art, using trigonometry to calculate the slope of the Leaning Tower of Pisa, depicting Cycladic figurines, and analyzing the sculptures of Greek artist Opy Zouni. The lessons aim to help students understand different historical and cultural contexts, develop aesthetic judgment, and use creative expression to critically examine works of art from a mathematical perspective.
Paradigm shift local pots and earth pigments as supports, grounds and media f...Alexander Decker
This document discusses the paradigm shift in the Nsukka Art School in Nigeria towards using local materials like clay, earth pigments, and local pots in painting. It notes that the school emphasized exploring the local environment as a source of ideas, forms, and materials. This led artists to begin using clay pots as painting supports and clay/earth pigments as grounds or media for painting. The document examines how this represented a conceptual shift away from conventional painting materials, driven by a spirit of experimentation. It suggests this approach made art production highly innovative while also being cheaper than traditional materials. Examples of works using these local materials will be discussed to demonstrate their usage.
The document discusses Discipline-Based Art Education (DBAE), an educational program developed in the 1980s that promotes art education across four disciplines: art production, art criticism, art history, and aesthetics. The goal of DBAE is to develop students' understanding and appreciation of art by providing knowledge of art theories and contexts as well as opportunities to create and critique art. It aims to make art education more standardized and academic.
Merging Traditional "Uli" Painting Techniques/Symbols and Computer Graphicsikennaaghanya
For many in the South Eastern part of Nigeria, Digital Art is rapidly becoming the preferred medium to produce poster designs and digital paintings. With a mouse, appropriate software and hardware, monitor, a scanner and a laser printer, one can control a project from start to finish. Traditional “Uli” Body Painting techniques/symbols at the same time, are visual media, which the writer describes as static media (i.e. it can only show snapshots), but it can be enhanced by stylistic elements of a metalanguage to produce the visual impression of dynamics. The viewer's imagination is asked to interpret these symbols and to change the meaning of objects actually shown. “Uli” is an expression of the Ibo people’s capacity for creative body design, which is firmly rooted in their myths and their experience of life in the past, present and future. At its best, it is an expression of their synthetic present, the epic of their search for a new order in the contemporary world. Unfortunately, the “Uli” Traditional Body Painting technique is gradually fading away, as well as the use of the Uli symbols. The emphasis of this paper is to identify the advantages in merging the use of Digital Arts and “Uli” Traditional Body Painting techniques/symbols in producing social awareness themed painting/poster designs and sculptural pieces in Nigeria, with particular reference to the Ibo people of the South Eastern Region of Nigeria. This way, the poster/painting will not just serve as a communicative medium but also as a work of Art (in terms of its aesthetic qualities) and the Uli symbols can as well be preserved.
The document summarizes the Contemporary Art Triennial for School Students Eksperimenta! (E!), an international art education project for students aged 14-19. The first E! will take place in Tallinn, Estonia in 2011. E! aims to integrate contemporary art and art education to develop critical thinking skills through activities like exhibitions, workshops, and an international teacher network. It details plans for the 2011 triennial's events and participating countries, as well as the goals and activities of the ongoing Eksperimenta! network.
The document outlines the suggested curriculum for art courses at ordinary and higher secondary school levels in Ireland. It recommends a broadly based program including observational studies, imaginative composition, design, craftwork, and the history and appreciation of art. For the leaving certificate exam, students would complete projects in imaginative composition or still life, design, craftwork, life sketching, and a written exam on the history and appreciation of art. The exam aims to test students' general knowledge and visual analysis skills rather than detailed memorization.
Painting under glass technique and plastic dimensionsAlexander Decker
This document summarizes a research study about the painting technique of Abu Subhi Tinawi, a Syrian folk artist known for his paintings under glass. It discusses Tinawi's spontaneous and folk-inspired approach, using readily available natural materials. While his works may lack technical skills by academic standards, they capture folk stories and characters through their symbolic visual narratives and spontaneous compositions. The document also describes Tinawi's glass painting process, which involved preparing pigments from natural sources, drawing designs on glass with ink, then painting transparent colors from the back to create a hidden layer under the glass.
This document outlines the course objectives and requirements for a Contemporary Philippine Arts class, which aims to expose students to a broad range of contemporary art styles and practices from the Philippines through assignments, projects, and discussions that will help students appreciate art and potentially pursue art-related careers. Students will complete individual and group assignments analyzing contemporary Philippine artworks both in-person and online.
This document outlines a lesson plan on Medieval art periods including Byzantine, Romanesque, and Gothic styles. The objectives are for students to understand elements and processes of these artistic periods and recognize iconic artists' influences. Activities include discussing characteristics of artworks from each period, creating art projects applying relevant techniques, and mounting an exhibit showcasing works inspired by the periods. Groups will present on paintings, sculptures, or architecture comparing elements across Byzantine, Romanesque and Gothic styles. The lesson aims to demonstrate influences of Western classical art traditions on modern forms and Philippine art.
The passage provides background on Indian painting traditions, noting that the Vishnudharmottara Purana from the 5th century discusses principles of image making and painting techniques. It states that medieval paintings came to be known as miniatures due to their smaller size, meant for handheld viewing rather than wall decoration. Many paintings were illustrations in manuscripts, translating poetic verses with handwritten text above the pictorial composition.
Pbj Painting | Historical Paintings By Jeffrey Sapppbjpainting
PBJ Painting USA can offer a new coat of paint to your roofs in order to improve exposure. By changing the color of your commercial or professional developing to a lighter color, you will be able to generate more light with fewer furnishings, as the paint will offer an indicative surface for the light to bounce off of. Improved exposure means safer workers and a more attractive company.
The document provides an overview of design in Turkey, including:
- Painting in Turkey was traditionally limited but gained momentum in the late 19th century with influences from Western art.
- Various art movements like impressionism influenced Turkish painters during different periods.
- Street art gained popularity in Turkey in the 1990s alongside the rise of hip hop culture.
- Graphic design evolved from traditional Islamic influences to being shaped by modernization and westernization efforts.
- Other design fields like industrial design and motion graphics developed in Turkey from the mid-20th century onward under international influences.
Art appreciation is a general introduction to visual arts that is designed to create a deeper appreciation of the creative processes involved. It reviews two and three-dimensional art forms, methods, and media, examines visual elements and principles of design, and briefly surveys art styles from prehistoric to 20th century. The course is oriented towards students without formal study in these disciplines and serves as a beginning level class to familiarize students with different types of art and how to intelligently discuss art.
This document outlines a lesson plan for a Contemporary Philippine Arts class. The lesson focuses on defining contemporary art, differentiating it from traditional arts, and examining major contemporary artworks from the Philippines and their symbolism and importance. During the class, the teacher will present examples of contemporary and traditional art, lead discussions on their characteristics and significance, and have students analyze specific artworks in groups. To evaluate learning, students will create posters explaining the symbolism of an assigned contemporary artwork and present their analyses to the class. The goal is for students to recognize how contemporary art reflects modern societal issues and cultures.
Integrating Information and Communication Technologies in teaching Poetry an...Georgia Pantidou
This document discusses integrating information and communication technologies (ICT) into teaching poetry and art in secondary education. It proposes using multimedia like sound, images, and video to engage students' interest in new ways of perceiving and understanding poetry. ICT allows combining poetry, literature, music, and painting into lessons that are more pleasant and open new interpretations. Students' creative skills are enhanced as they make their own multimedia presentations, videos, or digital art combining music, images, and text. The goal is to facilitate students' intimacy with poetry and enhance their aesthetic experience and engagement with the arts.
This document outlines a lesson plan on ancient art periods including Prehistoric Art, Egyptian Art, Greek Art, and Roman Art.
The objectives are for students to analyze art elements and principles from different periods, identify characteristics of each period's art, and compare artworks across periods.
The lesson contains procedures for introducing each period through videos, images and discussions. Activities include classifying artworks, analyzing primary sources, and comparing paintings, sculptures and architectures between periods. Formative assessment involves analyzing students' descriptions of prehistoric art artifacts. The lesson aims to find practical applications of ancient art concepts in daily life.
This document outlines a lesson plan on Medieval art for Grade 9 students. It includes objectives, content, learning resources, procedures, and reflections. The procedures involve reviewing previous lessons on art elements, discussing Byzantine, Romanesque, and Gothic art styles through videos and images, creating artworks demonstrating these styles, and mounting an art exhibit. Formative assessments evaluate the students' understanding of each period's characteristics and influential artists. The goal is for students to understand the traditions and influences of Western classical art.
This document provides a research proposal for creating a public sculpture at Sekolah Menengah Kangkar Pulai in Johor, Malaysia. The proposal discusses the background of visual arts education in Malaysian schools and identifies a gap in experience with public sculpture. The objectives are to create a public sculpture to provide visual art experiences for students and examine their appreciation. A case study research design will be used involving literature review, interviews, and on-site study. Analysis methods are not described. The proposal identifies creating public sculpture as a way to enhance the school environment and student art appreciation.
This document provides information on a lecture series and postgraduate programme on Islamic art offered by IESA UK in partnership with Leighton House Museum.
The lecture series consists of three semesters covering the aesthetics and display of Islamic art, the collecting of Islamic art in the West, and contemporary art and markets in the MENA region. The postgraduate programme leads to a diploma or master's degree and includes workshops, seminars and museum visits to develop understanding of collecting, displaying and communicating Islamic art. Coursework includes essays and a final dissertation or professional project. The faculty features experts in Islamic art, curators and art world professionals.
The document discusses key concepts of form in art including medium, which is the material or substance used, and technique, which is the methods used to manipulate the medium. It provides examples of different mediums used by various artist types such as sculptors, painters, and musicians. The objectives are to understand how an artist's choice of medium and technique convey meaning and how contemporary artists explore new combinations. Classification of art is also described based on medium, including pictorial, auditory, narrative, dramatic, and musical arts. Examples are given of artworks created using diverse mediums and techniques from Philippine artists.
This document outlines a semester plan for a course on teaching art, crafts, and calligraphy. The course is divided into 5 units covering: 1) an introduction to art education, 2) the history and culture of art, 3) the elements and principles of design, 4) crafts, and 5) assessing student learning and preparing exhibitions. Each unit contains 3-4 weeks of lesson topics, such as exploring ancient Indus Valley art, calligraphy styles, drawing techniques, and integrating art across other subjects. The document also provides a detailed list of online resources for teaching art and researching different topics covered in the course.
1) The document proposes several lessons that integrate the arts (drama, dance, visual arts, music) to teach students about the French Revolution.
2) One lesson involves having students act out a scene from A Tale of Two Cities to learn about historical context and develop script writing skills.
3) Another uses dance to help students analyze conflicts during the French Revolution and interpret them through performance.
4) Additional lessons explore the social classes of the time through a "living tableau" acting exercise and how artists depicted the period through visual analysis of paintings.
Clic unit the italian renaissance paintingTrova Troupe
This document outlines a 6-session art history course on the Italian Renaissance taught in English. The course aims to teach students about Renaissance art in Italy, famous artists, and painting techniques. Key topics covered include Renaissance architecture, sculpture and painting; types of paintings by theme and technique; Italian painting in the 15th and 16th centuries; and artists like Leonardo da Vinci, Michelangelo, and Raphael. Students will analyze works, complete comprehension activities, give presentations, and develop their English language skills through discussions and descriptions of art. Sessions incorporate videos, images and websites to engage students in analyzing major Renaissance artworks.
Art And Design Appreciation In ArchitectureDereck Downing
This document discusses art and architectural appreciation in education. It describes how site visits and case studies help students understand design principles and appreciate various art forms, including architecture. The methodology section explains the seven pillars of art appreciation: subject matter, form, function, era/movement, composition, style/character, and color/texture. A case study of a 300-350 year old wada in Nagpur is presented, where students appreciated how it maintained dignity through modern and ancient design features like wooden structures, jali work, and interior elements. The conclusion states that such experiences improve students' visualization, observation, and creative skills in art and architecture appreciation.
In second or foreign language learning, attitudinal factors were one of the key factors that determine language success and achievement. In Indonesia, foreign language (English) has been taught since elementary school, however research showed most Indonesian language learners in English showed unsatisfactorily result. This research aimed at disclosing the students’ attitudinal factors in learning foreign language by exploring their first experience in learning foreign language. This qualitative study employed exploratory case study design to interview students’ attitudinal factors by exploring the students past experience at first time learning foreign language. These students were from different education unit background when they were in elementary school. This study applied thematic analysis to interpret and analyze the data. The findings showed in case of attitudinal factors were categorized into three components that were cognitive, affective, and behavior. In case of cognitive and affective components, those who had good experiences felt happy in their first experience in foreign language and the vice versa. However, both were having similar learning behavior when they serve as an English teacher, they adopted particular learning behavior that was able to make students enjoy the foreign language learning.
In current assessment practice, self-ratings and questionnaires are a dominant tool used to measure the skills called social and emotional skills or non-cognitive skills, although the tools are affected by various biases. In this regard, the anchoring vignette approach was introduced against the biases, correcting individuals’ self-rated responses based on their rating of hypothetical individuals in the scenario. Drawing from students’ self-rated social and emotional skills in mathematics, this paper presented the study which examined the effect of anchoring vignette approach on reliability and correlation by comparing self-rated and vignette-corrected scales. Research participants were Mongolian students in ninth grade (N=308). The participants were administered in two scales: self-ratings for math perseverance and cooperative learning in math, followed by a vignette set. The vignette-corrected scale showed higher reliability than the self-rating scale for both math perseverance and cooperative learning in math. Besides, the vignette-corrected scales for gender and region showed a stronger and more significant correlation than the self-rating scales, suggesting that there might be gender- and region-related differences in the way the students act in math class. In summary, these findings suggest that the anchoring vignette approach has the potential to measure social and emotional or non-cognitive aspects of mathematics in a more reliable way. Future studies could further investigate the reliability and validity of the anchoring vignette approach by including more cultural groups and designing the vignettes while considering various math contents and vignette gender.
More Related Content
Similar to Technical experience with tempera paintings in a bachelor degree course in Turkey
The document outlines the suggested curriculum for art courses at ordinary and higher secondary school levels in Ireland. It recommends a broadly based program including observational studies, imaginative composition, design, craftwork, and the history and appreciation of art. For the leaving certificate exam, students would complete projects in imaginative composition or still life, design, craftwork, life sketching, and a written exam on the history and appreciation of art. The exam aims to test students' general knowledge and visual analysis skills rather than detailed memorization.
Painting under glass technique and plastic dimensionsAlexander Decker
This document summarizes a research study about the painting technique of Abu Subhi Tinawi, a Syrian folk artist known for his paintings under glass. It discusses Tinawi's spontaneous and folk-inspired approach, using readily available natural materials. While his works may lack technical skills by academic standards, they capture folk stories and characters through their symbolic visual narratives and spontaneous compositions. The document also describes Tinawi's glass painting process, which involved preparing pigments from natural sources, drawing designs on glass with ink, then painting transparent colors from the back to create a hidden layer under the glass.
This document outlines the course objectives and requirements for a Contemporary Philippine Arts class, which aims to expose students to a broad range of contemporary art styles and practices from the Philippines through assignments, projects, and discussions that will help students appreciate art and potentially pursue art-related careers. Students will complete individual and group assignments analyzing contemporary Philippine artworks both in-person and online.
This document outlines a lesson plan on Medieval art periods including Byzantine, Romanesque, and Gothic styles. The objectives are for students to understand elements and processes of these artistic periods and recognize iconic artists' influences. Activities include discussing characteristics of artworks from each period, creating art projects applying relevant techniques, and mounting an exhibit showcasing works inspired by the periods. Groups will present on paintings, sculptures, or architecture comparing elements across Byzantine, Romanesque and Gothic styles. The lesson aims to demonstrate influences of Western classical art traditions on modern forms and Philippine art.
The passage provides background on Indian painting traditions, noting that the Vishnudharmottara Purana from the 5th century discusses principles of image making and painting techniques. It states that medieval paintings came to be known as miniatures due to their smaller size, meant for handheld viewing rather than wall decoration. Many paintings were illustrations in manuscripts, translating poetic verses with handwritten text above the pictorial composition.
Pbj Painting | Historical Paintings By Jeffrey Sapppbjpainting
PBJ Painting USA can offer a new coat of paint to your roofs in order to improve exposure. By changing the color of your commercial or professional developing to a lighter color, you will be able to generate more light with fewer furnishings, as the paint will offer an indicative surface for the light to bounce off of. Improved exposure means safer workers and a more attractive company.
The document provides an overview of design in Turkey, including:
- Painting in Turkey was traditionally limited but gained momentum in the late 19th century with influences from Western art.
- Various art movements like impressionism influenced Turkish painters during different periods.
- Street art gained popularity in Turkey in the 1990s alongside the rise of hip hop culture.
- Graphic design evolved from traditional Islamic influences to being shaped by modernization and westernization efforts.
- Other design fields like industrial design and motion graphics developed in Turkey from the mid-20th century onward under international influences.
Art appreciation is a general introduction to visual arts that is designed to create a deeper appreciation of the creative processes involved. It reviews two and three-dimensional art forms, methods, and media, examines visual elements and principles of design, and briefly surveys art styles from prehistoric to 20th century. The course is oriented towards students without formal study in these disciplines and serves as a beginning level class to familiarize students with different types of art and how to intelligently discuss art.
This document outlines a lesson plan for a Contemporary Philippine Arts class. The lesson focuses on defining contemporary art, differentiating it from traditional arts, and examining major contemporary artworks from the Philippines and their symbolism and importance. During the class, the teacher will present examples of contemporary and traditional art, lead discussions on their characteristics and significance, and have students analyze specific artworks in groups. To evaluate learning, students will create posters explaining the symbolism of an assigned contemporary artwork and present their analyses to the class. The goal is for students to recognize how contemporary art reflects modern societal issues and cultures.
Integrating Information and Communication Technologies in teaching Poetry an...Georgia Pantidou
This document discusses integrating information and communication technologies (ICT) into teaching poetry and art in secondary education. It proposes using multimedia like sound, images, and video to engage students' interest in new ways of perceiving and understanding poetry. ICT allows combining poetry, literature, music, and painting into lessons that are more pleasant and open new interpretations. Students' creative skills are enhanced as they make their own multimedia presentations, videos, or digital art combining music, images, and text. The goal is to facilitate students' intimacy with poetry and enhance their aesthetic experience and engagement with the arts.
This document outlines a lesson plan on ancient art periods including Prehistoric Art, Egyptian Art, Greek Art, and Roman Art.
The objectives are for students to analyze art elements and principles from different periods, identify characteristics of each period's art, and compare artworks across periods.
The lesson contains procedures for introducing each period through videos, images and discussions. Activities include classifying artworks, analyzing primary sources, and comparing paintings, sculptures and architectures between periods. Formative assessment involves analyzing students' descriptions of prehistoric art artifacts. The lesson aims to find practical applications of ancient art concepts in daily life.
This document outlines a lesson plan on Medieval art for Grade 9 students. It includes objectives, content, learning resources, procedures, and reflections. The procedures involve reviewing previous lessons on art elements, discussing Byzantine, Romanesque, and Gothic art styles through videos and images, creating artworks demonstrating these styles, and mounting an art exhibit. Formative assessments evaluate the students' understanding of each period's characteristics and influential artists. The goal is for students to understand the traditions and influences of Western classical art.
This document provides a research proposal for creating a public sculpture at Sekolah Menengah Kangkar Pulai in Johor, Malaysia. The proposal discusses the background of visual arts education in Malaysian schools and identifies a gap in experience with public sculpture. The objectives are to create a public sculpture to provide visual art experiences for students and examine their appreciation. A case study research design will be used involving literature review, interviews, and on-site study. Analysis methods are not described. The proposal identifies creating public sculpture as a way to enhance the school environment and student art appreciation.
This document provides information on a lecture series and postgraduate programme on Islamic art offered by IESA UK in partnership with Leighton House Museum.
The lecture series consists of three semesters covering the aesthetics and display of Islamic art, the collecting of Islamic art in the West, and contemporary art and markets in the MENA region. The postgraduate programme leads to a diploma or master's degree and includes workshops, seminars and museum visits to develop understanding of collecting, displaying and communicating Islamic art. Coursework includes essays and a final dissertation or professional project. The faculty features experts in Islamic art, curators and art world professionals.
The document discusses key concepts of form in art including medium, which is the material or substance used, and technique, which is the methods used to manipulate the medium. It provides examples of different mediums used by various artist types such as sculptors, painters, and musicians. The objectives are to understand how an artist's choice of medium and technique convey meaning and how contemporary artists explore new combinations. Classification of art is also described based on medium, including pictorial, auditory, narrative, dramatic, and musical arts. Examples are given of artworks created using diverse mediums and techniques from Philippine artists.
This document outlines a semester plan for a course on teaching art, crafts, and calligraphy. The course is divided into 5 units covering: 1) an introduction to art education, 2) the history and culture of art, 3) the elements and principles of design, 4) crafts, and 5) assessing student learning and preparing exhibitions. Each unit contains 3-4 weeks of lesson topics, such as exploring ancient Indus Valley art, calligraphy styles, drawing techniques, and integrating art across other subjects. The document also provides a detailed list of online resources for teaching art and researching different topics covered in the course.
1) The document proposes several lessons that integrate the arts (drama, dance, visual arts, music) to teach students about the French Revolution.
2) One lesson involves having students act out a scene from A Tale of Two Cities to learn about historical context and develop script writing skills.
3) Another uses dance to help students analyze conflicts during the French Revolution and interpret them through performance.
4) Additional lessons explore the social classes of the time through a "living tableau" acting exercise and how artists depicted the period through visual analysis of paintings.
Clic unit the italian renaissance paintingTrova Troupe
This document outlines a 6-session art history course on the Italian Renaissance taught in English. The course aims to teach students about Renaissance art in Italy, famous artists, and painting techniques. Key topics covered include Renaissance architecture, sculpture and painting; types of paintings by theme and technique; Italian painting in the 15th and 16th centuries; and artists like Leonardo da Vinci, Michelangelo, and Raphael. Students will analyze works, complete comprehension activities, give presentations, and develop their English language skills through discussions and descriptions of art. Sessions incorporate videos, images and websites to engage students in analyzing major Renaissance artworks.
Art And Design Appreciation In ArchitectureDereck Downing
This document discusses art and architectural appreciation in education. It describes how site visits and case studies help students understand design principles and appreciate various art forms, including architecture. The methodology section explains the seven pillars of art appreciation: subject matter, form, function, era/movement, composition, style/character, and color/texture. A case study of a 300-350 year old wada in Nagpur is presented, where students appreciated how it maintained dignity through modern and ancient design features like wooden structures, jali work, and interior elements. The conclusion states that such experiences improve students' visualization, observation, and creative skills in art and architecture appreciation.
Similar to Technical experience with tempera paintings in a bachelor degree course in Turkey (20)
In second or foreign language learning, attitudinal factors were one of the key factors that determine language success and achievement. In Indonesia, foreign language (English) has been taught since elementary school, however research showed most Indonesian language learners in English showed unsatisfactorily result. This research aimed at disclosing the students’ attitudinal factors in learning foreign language by exploring their first experience in learning foreign language. This qualitative study employed exploratory case study design to interview students’ attitudinal factors by exploring the students past experience at first time learning foreign language. These students were from different education unit background when they were in elementary school. This study applied thematic analysis to interpret and analyze the data. The findings showed in case of attitudinal factors were categorized into three components that were cognitive, affective, and behavior. In case of cognitive and affective components, those who had good experiences felt happy in their first experience in foreign language and the vice versa. However, both were having similar learning behavior when they serve as an English teacher, they adopted particular learning behavior that was able to make students enjoy the foreign language learning.
In current assessment practice, self-ratings and questionnaires are a dominant tool used to measure the skills called social and emotional skills or non-cognitive skills, although the tools are affected by various biases. In this regard, the anchoring vignette approach was introduced against the biases, correcting individuals’ self-rated responses based on their rating of hypothetical individuals in the scenario. Drawing from students’ self-rated social and emotional skills in mathematics, this paper presented the study which examined the effect of anchoring vignette approach on reliability and correlation by comparing self-rated and vignette-corrected scales. Research participants were Mongolian students in ninth grade (N=308). The participants were administered in two scales: self-ratings for math perseverance and cooperative learning in math, followed by a vignette set. The vignette-corrected scale showed higher reliability than the self-rating scale for both math perseverance and cooperative learning in math. Besides, the vignette-corrected scales for gender and region showed a stronger and more significant correlation than the self-rating scales, suggesting that there might be gender- and region-related differences in the way the students act in math class. In summary, these findings suggest that the anchoring vignette approach has the potential to measure social and emotional or non-cognitive aspects of mathematics in a more reliable way. Future studies could further investigate the reliability and validity of the anchoring vignette approach by including more cultural groups and designing the vignettes while considering various math contents and vignette gender.
This document describes the development of a non-test instrument (questionnaire) to evaluate the use of webtoons as an educational medium among students. The researchers used the ADDIE model to develop the instrument. They administered an online questionnaire to 55 respondents and analyzed the data using SPSS. The results found the instrument to be valid, with an agreement percentage of 82.75%, and reliable, with a Cronbach's alpha score of 0.942. Thus, the developed non-test instrument for evaluating webtoons as an educational tool was proven to be valid and reliable.
Achievement motivation evolved fast in the educational field. In this development, the trichotomous and the 2X2 models received myriad attention from the educational specialist. However, there is a debate about which is better between the two models. This study aimed to intercede this debate and argue that the study's duration should be accounted for in the validation. Approach goals should dominate new students' achievement goals, and old students' achievement goals will show the balance of approach and avoidance goals. For these reasons, this study gathers the data from 350 new students and 203 old students. Confirmatory factor analysis reveals that the trichotomous is the best model for new student segments. While for the old student segment, the 2X2 model shows its efficacy. Therefore, for the new students' segment, achievement goals consist of mastery-approach, performance-approach, and performance-avoidance goals. For the old students, besides those three-goal orientations, mastery-avoidance goals are also included. As expected, the independent sample t-test shows that new students have higher mastery-approach and performance-approach goals than old students have. Self-efficacy is more influential in the new than old student segments, as shown by simple linear regression. This study is still stuck to a single cross-sectional design. Further research can utilize longitudinal research with segmental-based analysis and pay attention to gender, major, social class, or other potential moderation variables.
This study examined the relationship between religiosity, religious coping, and psychological distress among 467 Muslim university students in Malaysia. The students completed questionnaires assessing religiosity, religious coping styles, and symptoms of depression, anxiety, and stress. The results showed relatively high levels of depression, anxiety, and stress among the students. Negative religious coping was significantly associated with greater anxiety and depressive symptoms, while positive religious coping showed a small association with fewer depressive symptoms. The findings suggest that religious coping strategies influence the mental health of these students, and negative religious coping in particular may exacerbate psychological distress.
Knowledge of the Islam at every student is supported by many factors, one of which is the Arabic language compentence. This research aimed to evaluate and find Arabic language learning construction in strengthening al-Islam at higher education. The desire to find the construction is because there is no visible connection between Arabic language learning and al-Islam learning so that clarity of learning objectives, learning materials, learning implementation, and evaluation systems of Arabic language learning at higher education is needed. In line with this purpose, this study used a qualitative method with a phenomenological approach. The sources of data were facts, Arabic language lecturers, al-Islam lecturers, and students purposively. Data were analyzed by using critical realism. The results of the study proved that the reconstruction of learning objectives, materials, implementation, and evaluation systems is needed to realize Arabic language learning that can strengthen al-Islam at higer education.
1. The study aimed to determine junior high school students' emotional intelligence, especially in managing emotions, recognizing emotions, and motivating themselves.
2. A questionnaire and interviews were used to collect data from 102 students. The results found that 61.8% of students were good at recognizing emotions, 53.9% were good at managing emotions, and 60.8% were good at motivating themselves.
3. Students need opportunities to develop direct experiences and thoughts during learning activities to improve their emotional intelligence.
This research aimed to reveal the views of secondary school students on ideal teacher qualifications. For this purpose, research was carried out in a phenomenological pattern, which is one of the qualitative research methods. The study was carried out with 76 students who were studying in a secondary school in the 2017-2018 academic year. The data were obtained with the repertory grid technique and interview technique. As a result of the analysis of the data, it was seen that the qualifications of the teachers considered ideal by the participants were among the general competencies of the teaching profession. According to the results of this research, ideally, teachers are expected to provide good and fun lessons, not discriminate among students, be friendly and calm in communications with students, and ensure discipline and democracy in the classroom environment.
Web Pedagogical Content Knowledge (WPACK) is an important competence for pre-service teachers in the educational technology course. However, novice pre-service teachers require the preparation stage to integrate the Web into instruction. The purpose of the study was to develop and to investigate the new instructional model for pre-service teachers in integrating the Web. The Preparation, Isolation, Transformation, Action, Reflection, and Revision (PINTARR) and two other models were implemented in three physics education technology groups with seventy-four participants. The instrument test was constructed to assess the pre-service teachers’ competencies, namely Student analysis, Curriculum organization, Instructional strategy selection, Evaluation, Technological knowledge, and Physics knowledge. The result of MANOVA showed pre-service teachers in PINTARR group outperformed overall the pre-service teachers’ competencies rather than the Multimedia and Web Design Learning group. The results indicated that the Preparation and the Isolation stage were the most important for novice pre-service teachers in improving the competencies.
This study surveyed the views of natural science (NS) teachers on the challenges affecting upper primary learners’ performance in NS at three combined schools in Namibia's Omusati Region. Seven NS teachers were interviewed. The key findings were:
1) Teachers reported that the major challenges were lack of teaching resources, the use of English as the medium of instruction for some learners who don't speak it well, and lack of guidance from subject advisory teachers.
2) Other challenges identified included learner absenteeism, overcrowded classrooms, an unfavorable teaching environment, and lack of laboratories.
3) The study recommended that the government provide schools with more resources, build laboratories, improve classroom infrastructure,
The purpose of this study was to examine the influence of the sorogan method in history learning to improve students' historical understanding and historical awareness. The research method used a quasi-experimental nonequivalent control group design, and the sampling technique used a cluster sampling with a sample size of 96 students. Collecting data through observation, interviews, and tests of historical understanding and awareness. Meanwhile, data analysis to determine the effect and differences of the sorogan method to increase understanding and historical awareness using the independent sample t-test and N-gain score test. The results showed that there were a significant influence and difference between the two groups, namely the experimental and control classes based on the results of the independent sample t-test, the hypothesis H0 was rejected with a significance value of 0.000<0.05, further strengthened by the results of the N-gain score test which was included in the criteria low and medium. This means that there is an influence and increase from the implementation of the sorogan method on historical understanding and awareness and getting a positive response from teachers and students, because the sorogan method is student-centered, and the teacher acts as tutorship/mentorship.
The study aimed to investigate the influence of total quality management and school governance on school management effectiveness, whether school governance as an antecedent of total quality management and school management effectiveness. The object of research is the vocational high school with the Regional Public Service Agency status (school-based enterprise) in Indonesia. The research is a quantitative research with survey method. The sample of 533 people who are school principals, teachers, and students. It was selected by proportional stratified random sampling. The data analysis using structural equation modeling (SEM). The research finding is the total quality management has a significant influence on school management effectiveness. The mediation analysis indicates that school governance as the antecedent of total quality management and school management effectiveness. The improvement of effectiveness school-based enterprises should consider implementing total quality management and it will be increasingly by school governance application. The modeling that correlates total quality management and school governance to improved vocational school management effectiveness, especially at vocational school with Regional Public Service Agency status (school-based enterprise).
This study aimed to determine the professional identity concept based on professionalism requirement in Malaysia’s new preschool curriculum. Three professional identities identified through works of literature such as professional qualifications, experience and professional development were verified based on the constructed hypothesis to validate the concept of professional identity. The analysis findings showed a significant difference between professional qualifications. The same analysis, however, demonstrated that there was no significant difference on the preschool curriculum knowledge with regards to experience, but there was a significant indication of interaction between professional qualifications and experience on preschool curriculum knowledge. Meanwhile, for the one-way ANOVA test, there was a significant difference in the preschool curriculum knowledge based on professional development. The findings of this study confirmed that professional knowledge and professional development respectively hold a direct impact on the preschool curriculum, while experience acts as a support for professional qualifications.
This study aimed to evaluate the learning styles among healthcare students and to study the relationship with their academic achievement. This cross-sectional study was conducted among 137 healthcare students from six different courses. Data was collected using a self-administered questionnaire and developed based on the original visual, aural/auditory, read/write, and kinesthetic (VARK) assessment. The questionnaire was divided into two sections: the demographic status and the learning style perspective. A total of 119 respondents (86.8%) has chosen unimodal as their learning styles, while the rest of the 18 respondents (13.2%) choose multimodal as their preferred learning method. Among the unimodal learning styles, visual (32%) and reading (26%) were most preferred among respondents. The auditory and kinesthetic methods of learning were less and accounted for 10% to 20%. Notably, in multimodal learning styles preferences, 4% of students prefer a combination learning style of visual and kinesthetic methods. There was no significant relationship between learning styles and academic achievement using Pearson’s Chi-square test (p>0.05). Hence, both were independent of one another. Hence, some of the dominant learning styles needed to be considered based on their future profession.
Character education is also important given to autistic children. This phenomenological research aims to reveal the teacher's experience in teaching character education for autistic children. The participants in this research were 10 teachers from three exceptional schools consisting of public and private exceptional schools. In-depth interview method as a data collection technique. Data analysis using semantic reduction is carried out by the stages of identifying important statements from the results of the interview, determining the theme of the discussion, and describing the significance of the whole the teacher's experience. The results found that character learning for autistic children through three models, namely explanatory, practice, and intensive mentoring. The explanatory model is used to practice the ability of autistic children in terms of building children's concentration and focus. The practice model is used to train autistic children soft skills in terms of strengthening the understanding of the material and its reasoning ability. While the intensive mentoring model for training soft skills autistic children related to the ability of interpersonal relationships and confidence. Therefore, the inclusion of teacher competencies must at a minimum include pedagogical, personal, and social abilities to teach character education for autistic children.
Employability is an important factor that can determine the quality of prospective graduates, especially in vocational high schools. Therefore, vocational high schools, as one of the educational institutions that prepare workforce resources, need to pay attention to factors that can increase their students' employability. This study aims to empirically examine the role of self-efficacy and the peer interaction on student employability. The subjects of this study were 132 students at Vocational High School Muhammadiyah Prambanan. The data were collected through an employability scale, a self-efficacy scale, and a peer interaction scale. The data were then analyzed with multiple linear regression techniques. The results showed that: 1) Simultaneously, there was a very significant role that self-efficacy and peer interaction have on employability with p=0.000 (p<0.01); 2) Partially, there was also a very significant role that self-efficacy has on employability with p=0.000 (p<0.01); 3) Peer interaction also had a partially significant role on employability with p=0.001 (p<0.01). Both self-efficacy and peer interaction simultaneously contributed 40.8% to employability, but self-efficacy had a more dominant role (26.7%) than peer interactions (14.1%).
The study was to examine the implementation of child-friendly school (CFS) in a public elementary school. This study employed a single case study method, as Public Elementary School ofRagunan 01 is the unit of research analysis. The school has been declared as a child-friendly school since 2015. The quantitative data generated, however, were only used to see the percentage of the characteristics of CFS model. Thus, the data were gathered through observation, questionnaires and interviews to obtain more comprehensive empirical data. The questionnaire was distributed to all teachers and 15 class coordinators of students’ parents to obtain data about the implementation of CFS. Interviews were conducted with several important multi-stakeholders identified. The results showed that thirteen characteristics of the CFS had been implemented well with a percentage value above 95%. It indicates that this school has been able to realize the CFS model following its principles. Besides, the school has met the requirement of the six essential components of CFS adapted according to Indonesian educational contexts. It indicates that the implementation of CFS is in accordance with the concept of UNICEF but with some differences.
Guided by the lens of Bourdieu, this study examined the relationship of the students' economic capital (parents' monthly income and students' weekly allowance) and cultural capital (parents' highest educational attainment and students' community involvement) to their college readiness. The study utilized a descriptive-correlational design, and data were collected from 6,626 K-12 graduates enrolled in one state-university in Cagayan Valley Region, Philippines. The results reveal that the respondents have parents who have income below the Philippine poverty threshold level and have obtained a secondary level of education. They, too, are college-unready, implying that the competencies they obtained from their basic education need further enhancement. Moreover, economic and cultural capital becomes significant resources that are valuable in explaining the college readiness of Filipino Senior High School (SHS) graduates. Those who come from families with higher economic and cultural capital tend to have higher college readiness. Remarkably, the low economic and cultural capital of the students possibly explains their lack of college readiness. As they have less economic and cultural capital, they tend to have fewer competencies to capacitate them in hurdling tertiary education. Hence, these disadvantaged students generally struggle to achieve more and to be successful in life.
The research has been carried out at the Islamic junior high school of East Lampung to determine the effectiveness of the Connecting, Organizing, Reflecting, and Extending (CORE) learning model on students’ creative thinking skills on sound waves topic. The research method used was a quasi-experimental design with Non-Equivalent Control Group Design. Data on creative thinking skill were collected using essay test instrument. This research was conducted on the eighth-grade students of an Islamic senior high school in East Lampung with a sample of 60 students taken by using purposive sampling technique. Based on the Effect Size test, the effectiveness value of the CORE model on students’ creative thinking skills are 0.48 which is in the medium category. These results prove that the CORE learning model is effective in enhancing students’ creative thinking skills on sound wave material. This study also provides a storyboard on how to apply an effective CORE model to improve students’ creative thinking abilities.
The condition of all countries in the world is devastated by the presence of a corona virus epidemic known as Corona Virus Diseases-19 (COVID-19). The efforts of the Indonesian government to break the chain of distribution of COVID-19 in the midst of society is to impose a policy of keeping distance, avoiding publicity, frequent hand washing and wearing masks. This also has an impact on the field of education where learning from home is also known as work from home (WFH). Learning is done with an online learning system that at least applies distance, physical social protection. Blended learning is one that is done using the Edmodo application, which can be done online at home. The purpose of this study is to find out how effective the use of the blended-learning learning model with Edmodo applications is to students of Informatics Engineering Education during the COVID-19 pandemic. This research is a quasi-experimental design with a pre-test and post-test control group. The results of this study indicate that the use of Edmodo's blended-learning learning model in Information Technology Education students during the COVID-19 pandemic period is effective and can be used as a virtual learning solution.
More from International Journal of Evaluation and Research in Education (IJERE) (20)
Executive Directors Chat Leveraging AI for Diversity, Equity, and InclusionTechSoup
Let’s explore the intersection of technology and equity in the final session of our DEI series. Discover how AI tools, like ChatGPT, can be used to support and enhance your nonprofit's DEI initiatives. Participants will gain insights into practical AI applications and get tips for leveraging technology to advance their DEI goals.
This presentation includes basic of PCOS their pathology and treatment and also Ayurveda correlation of PCOS and Ayurvedic line of treatment mentioned in classics.
বাংলাদেশের অর্থনৈতিক সমীক্ষা ২০২৪ [Bangladesh Economic Review 2024 Bangla.pdf] কম্পিউটার , ট্যাব ও স্মার্ট ফোন ভার্সন সহ সম্পূর্ণ বাংলা ই-বুক বা pdf বই " সুচিপত্র ...বুকমার্ক মেনু 🔖 ও হাইপার লিংক মেনু 📝👆 যুক্ত ..
আমাদের সবার জন্য খুব খুব গুরুত্বপূর্ণ একটি বই ..বিসিএস, ব্যাংক, ইউনিভার্সিটি ভর্তি ও যে কোন প্রতিযোগিতা মূলক পরীক্ষার জন্য এর খুব ইম্পরট্যান্ট একটি বিষয় ...তাছাড়া বাংলাদেশের সাম্প্রতিক যে কোন ডাটা বা তথ্য এই বইতে পাবেন ...
তাই একজন নাগরিক হিসাবে এই তথ্য গুলো আপনার জানা প্রয়োজন ...।
বিসিএস ও ব্যাংক এর লিখিত পরীক্ষা ...+এছাড়া মাধ্যমিক ও উচ্চমাধ্যমিকের স্টুডেন্টদের জন্য অনেক কাজে আসবে ...
A review of the growth of the Israel Genealogy Research Association Database Collection for the last 12 months. Our collection is now passed the 3 million mark and still growing. See which archives have contributed the most. See the different types of records we have, and which years have had records added. You can also see what we have for the future.
Main Java[All of the Base Concepts}.docxadhitya5119
This is part 1 of my Java Learning Journey. This Contains Custom methods, classes, constructors, packages, multithreading , try- catch block, finally block and more.
it describes the bony anatomy including the femoral head , acetabulum, labrum . also discusses the capsule , ligaments . muscle that act on the hip joint and the range of motion are outlined. factors affecting hip joint stability and weight transmission through the joint are summarized.
How to Add Chatter in the odoo 17 ERP ModuleCeline George
In Odoo, the chatter is like a chat tool that helps you work together on records. You can leave notes and track things, making it easier to talk with your team and partners. Inside chatter, all communication history, activity, and changes will be displayed.
How to Build a Module in Odoo 17 Using the Scaffold MethodCeline George
Odoo provides an option for creating a module by using a single line command. By using this command the user can make a whole structure of a module. It is very easy for a beginner to make a module. There is no need to make each file manually. This slide will show how to create a module using the scaffold method.
How to Manage Your Lost Opportunities in Odoo 17 CRMCeline George
Odoo 17 CRM allows us to track why we lose sales opportunities with "Lost Reasons." This helps analyze our sales process and identify areas for improvement. Here's how to configure lost reasons in Odoo 17 CRM
How to Fix the Import Error in the Odoo 17Celine George
An import error occurs when a program fails to import a module or library, disrupting its execution. In languages like Python, this issue arises when the specified module cannot be found or accessed, hindering the program's functionality. Resolving import errors is crucial for maintaining smooth software operation and uninterrupted development processes.
How to Setup Warehouse & Location in Odoo 17 InventoryCeline George
In this slide, we'll explore how to set up warehouses and locations in Odoo 17 Inventory. This will help us manage our stock effectively, track inventory levels, and streamline warehouse operations.
How to Setup Warehouse & Location in Odoo 17 Inventory
Technical experience with tempera paintings in a bachelor degree course in Turkey
1. International Journal of Evaluation and Research in Education (IJERE)
Vol. 10, No. 1, March 2021, pp. 245~254
ISSN: 2252-8822, DOI: 10.11591/ijere.v10i1.20667 245
Journal homepage: http://ijere.iaescore.com
Technical experience with tempera paintings in a bachelor
degree course in Turkey
Gonca Erim1
, Ismail Tetikci2
, Remziye Ersoy3
1,2
Department of Visual Arts Education, Bursa Uludag University, Turkey
3
Fine Arts Education Master Degree, Bursa Uludag University, Turkey
Article Info ABSTRACT
Article history:
Received Apr 14, 2020
Revised Dec 29, 2020
Accepted Jan 26, 2021
This article aims to understand the place of the tempera technique in art
history, which is thought to be encountered for the first time by art education
undergraduate students, and to determine the effects on the participants after
the application. The study consists of the findings and results of the first and
second research questions in the master thesis “Tempera technique and its
use in the course of painting courses on undergraduate level.” In this study
the “case study” pattern was used, and is one of the qualitative research
approaches. The participants of the research are eight students studying in
Bursa Uludag University, Faculty of Education, Department of Fine Arts
Education in the 2018-2019 academic year. The data collection tools of
literature review and two interview forms interview were used. The findings
obtained were evaluated by thematic analysis technique. According to the
findings obtained in the research, it was observed that the participants did not
have prior knowledge about the tempera technique before oral presentation
and application. It was concluded that there were differences in the levels of
interest and knowledge after the teaching process, and that there were
positive changes in their opinions regarding the technique.
Keywords:
Art education
Medieval art
Painting panels
Painting practices
Tempera
This is an open access article under the CC BY-SA license.
Corresponding Author:
Gonca Erim
Department of Visual Arts Education
Faculity of Education
Bursa Uludağ University
Görükle Campus, 16059, Bursa, Turkey
Email: goncae@uludag.edu.tr
1. INTRODUCTION
In its simplest sense, art is a means of expressing people's feelings and thoughts, and a form of
communication. According to Hodge [1] throughout history, art has been used for many different purposes
such as "religious depiction, propaganda, memorial, social criticism, interpretation of reality, description of
beauty, storytelling." The definition of art has changed according to periods or socio-cultural structure of
societies. Throughout the existence of mankind, it has always existed, albeit sometimes in a primitive form,
and throughout history societies have always had art in some form.
Painting art, which is among the plastic arts, is a branch of art that has a wide variety in terms of
techniques used. Tempera is one of the oldest painting techniques. The word tempera is often used for "paint
using water, pigment, egg yolk (rarely white of the egg)" [2, 3] and pictures made with this paint. Today,
besides these basic materials, vinegar, alcohol and other materials such as casein are also used.
Paintings produced with tempera painting technique are quite durable. The first known examples of
the paintings made with this technique were found in the Fayum Portraits in Egypt, which were made in the
2. ISSN: 2252-8822
Int J Eval & Res Educ, Vol. 10, No. 1, March 2021: 245 - 254
246
first and fourth centuries [4-9]. With the rise of Christianity in the Middle Ages, murals, altar boards, and
icon paintings were needed. Frescoes were made for wall decoration, but altar panel paintings were also
needed. Tempera was thought to suit this need and became an important tool for painters, especially in the
middle ages [7, 10, 11].
Historically, art education started with practices in the atelier. In these practices, artists worked in a
master apprentice relationship [1, 12]. According to this approach, it is necessary to first learn to draw.
Michelangelo said that "A young painter spent one year alone for drawing, then he learned six years to grind
colors, prepare panels and use gold leaf, during that time he continued drawing and had six more years to
master the tempera pictures" [12].
In the Venice School in Medieval Italy the tempera technique was taught [13]. In the Siena School,
artists frequently used the tempera technique in their works [14]. Giotto, who was one of the important
representatives of the school, and other artists produced works with tempera painting technique [15]. Another
important school is the Novgorod School, known for tempera and murals between the thirteenth and sixteenth
centuries in Russia. Artists leaving this school guided the artisans that came after them and helped form the
of Russian Art Scene by influencing the Greek Theophanes attached to the Byzantine art traditions [16].
Similar approaches in practices were used in Northern Europe, Asia and Africa [12]. Tempera was one of the
most used techniques in the Renaissance period. Famous Renaissance painters such as: Gentile da Fabriano,
Fra Angelico, Paolo Uccello, Masaccio, Fra Flippo Lippi, Domenico Veneziano, Piero Della Francesca,
Andrea Del Castagno, Jean Fouquet, Carlo Crivelli, Giovanni Bellini, Andrea Mantegna and artists like
Raffaello Sanzio applied the tempera painting technique in their works.
In the middle of the nineteenth century, the interest in tempera technique was reintroduced in
Europe and has become increasingly popular with its increasing use by various artists today. After the
nineteenth century, artists who worked with the tempera technique include: William Blake, T. Charles Sims,
J. Edward Southall, Christiana J. Herringham, Ben Shahn, Peter Hurd, Andrew Wyeth, Robert W. Milliken,
George Tooker, Altoon Sultan, Doug Safranek and Andrew Grassie. Tempera continued to be taught as a
painting technique in fine arts and design schools established in various European countries and cities.
Tempera was also used by some artists in Turkey in the twentieth century. For example Zafer
Gençaydın often uses contrasting colors and is known for his abstract paintings; He uses the tempera
technique in some of his works because he uses fast brush drives and it "fits his nature" [17]. According to
Türkyılmaz [18], Ergin İnan, who learned tempera technique at the Academy of Fine Arts Munich, is another
artist who also uses the tempera technique in his works.
In recent years, various studies have been conducted by academic and independent researcherson the
tempera painting technique, especially in Europe. There are many studies examining the place of tempera
painting technique in contemporary art. For instance, researchers [19-30] examined in detail, how various
19th-century painters used tempera as an artistic expression. Jones [31] explored the contributions of Christiana
Herringham on the "revival" of tempera painting in early 20th century England in a historical and cultural
context.
Kinseher [32] examined the place of tempera painting methods and techniques in art education in
the twentieth century in her article "Tempera Teaching at the Beginning of the 20th Century". She also
mentioned the technical differences of teaching in some countries and schools in his article. According to
research carried out in Turkey, the tempera technique and examples of it’s use in art works have been found.
In Yörükoğlu's [33] master thesis, the icons in the Edirne Bulgarian Church were examined from various
aspects (subject, composition, color, content). In this thesis, the tempera technique that is used in icons is
briefly mentioned. Beyoğlu [34] gave information about the understanding of art in the Medieval and Early
Renaissance Period and examined examples of works made with the tempera technique in this period. Ateş
[17] mentioned in his article that Zafer Gençaydın used the tempera technique in his works because it was
suitable for his style of work.
In Beyhan’s [35] article, he studied the application processes of paintings made with tempera and oil
in Western art from the Early Renaissance Period to the first half of the nineteenth century. He also examined
the use of the tempera technique in America after the twentieth century. Cebrailoğlu [36] in his master thesis,
examined the history of some techniques applied in the art education process and the tools and equipment
used. In this thesis, it was concluded that the use of various painting techniques and materials in art education
has positive effects on both art education and the artistic development of individuals. When the studies of the
subject are examined, it has been observed that studies in which the definition of tempera technique and
examples of works were given in particular. However, there has been quite a limited number of studies on the
rediscovery or use of technique after the nineteenth century. In addition, research has not been found on the
use of tempera technique in undergraduate level painting courses or its applied teaching.
Today, re-interest in the tempera technique is increasing. The place of the technique in the history of
art is introduced by teaching oral and practical lessons in various schools in America and many other
3. Int J Eval & Res Educ ISSN: 2252-8822
Technical experience with tempera paintings in a bachelor degree course in Turkey (Gonca Erim)
247
countries [7, 24, 29, 32]. In Turkish universities, only a few Departments of Art Education teach the tempera
technique to students and in many of these universities, the technique is not taught sufficiently. In this study,
the problem of the research is to examine how students who had no prior knowledge of tempera technique
used this technique as a form of artistic expression, after they had learned it. The aim is to make findings
about the tempera technique obtained as a result of theoretical explanation and practice.
2. RESEARCH METHOD
In this part of the study, explanations about the design of the research, working group, data
collection tools and data analysis are included.
2.1. Research pattern
In this study the "case study" pattern, which is one of the qualitative research methods, was used.
Merriam [37] defined the case study pattern as "an example, intense, holistic definition and analysis of a
phenomenon or social unit" [38]. This research design, which started to be used in educational researches
after 1980, enables a detailed and descriptive analysis of one aspect of the subject being researched [39]. In
addition, this research pattern can be used "to define and see the details that make up a situation, to develop
possible explanations about a situation and to evaluate a situation" [40].
In this paper there are several research questions, they are:
a. What is the pre-knowledge level of the students who take painting course about tempera technique?
b. For the students who take the Painting course, regarding the tempera technique;
1) How do they explain their experience after the oral presentation process?
2) How do they explain their experience after the implementation process? Ersoy [41] constitutes the
problematic state of the research. In order to collect the data and literature review, I Semi-structured
interview and II. Transcripts of the semi-structured interview were used.
2.2. Working group
Qualitative research generally focuses in depth on a purposefully selected small sample and a single
situation [42]. Yıldırım and Şimşek [43], as the case studies are an in-depth and detailed research method,
mentions that the number of participants should be reduced. Thus, the questions focused on the study so it
can be better illuminated. Based on this knowledge, the working group criterion sampling strategies were
determined by the criterion sample type. The purpose ofcriterion sampling is to review and examine
"situations that meet criteria of predefined importance" [43]. The participants of the research are eight
students studying in Bursa Uludağ University, Faculty of Education, Department of Art Education in the
2018-2019 academic year. Participants of the study were selected on a voluntary basis and the participants
were given code names by the researcher.
2.3. Data analysis
In the process of analyzing the research data, "thematic analysis" was used. According to Patton [42],
the inductive analysis approach involves "the discovery of patterns, themes and categories in the data”.
According to Glesne [44], the researcher in thematic analysis focuses on analytical techniques to search for
themes and patterns within the data. In this analysis method, it is desired to show the relationship between
coding and what the researcher is researching. After the data is coded the same encoded data is read and that
code is used to find out what it is in essence. This research was carried out in I and II. semi-structured
interview forms that constitute the main data source of the study.
According to Patton [42], interviews, which area data collection technique through verbal
communication, and is a basic qualitative data source. In this study, semi-structured interviews, which are
thought to contribute more to the research by giving more answers to the research questions, are the main
data source. For this research; two semi-structured interview forms were prepared and were examined by
experts in the university and the questions were finalized after some arrangements were made.
2.4. Limitation of the study
In this study, during the 2018-2019 academic year, a group of eight participants who took the
Painting Course at the undergraduate level at Bursa Uludağ University, Department of Fine Arts Education in
Bursa, where given one theoretical lesson and five lessons of practice; within a six-week activity period. with
the data collection tools used in the study, it is limited to the thematic analysis of the obtained data.
4. ISSN: 2252-8822
Int J Eval & Res Educ, Vol. 10, No. 1, March 2021: 245 - 254
248
3. RESULTS AND DISCUSSION
In this section, the findings regarding the problem status of the study are given. As a result of the
thematic analysis, the themes of "Preliminary Knowledge About Technique", "Formation After Oral
Presentation" and "Formation After Artistic Practice" were obtained.
"Preliminary Knowledge about Technical" theme consists of "History", "Technical Knowledge" and
"Artwork and Artist Knowledge" categories. In this theme, the participants; "Preliminary Knowledge about
Technical" data about tempera technique and artists whose artwork was made with this technique are explained.
"Formation After Oral Presentation" theme consists of "History", "Artwork and Artist Knowledge"
and "Awareness Formation" categories. During the theoretical explanation process, it was planned to give
general knowledge about tempera technique, resource research was made anda presentation was prepared for
this purpose. The presention at gave definitions of tempera examples from different sources. Itsuse in the
early ages, middle ages, Renaissance and after the 19th century was examined under four titles along with
examples of artists and artworks. In this theme after the theoretical explanations, the participants; the changes
in the tempera technique, "Artwork and Artist Knowledge" and the thoughts on the technique are explained.
"Formation After Artistic Practice" theme consists of "Surface Preparation", "Paint Preparation",
"Paint Consistency", "Change of Thought" and "Awareness Formation" categories. This theme, which is after
the implementation, involves the preparation of the wooden board and tempera paint which explains the
technical changes tothe participants.
3.1. Preliminary knowledge about technical
"Technical Knowledge" category, participants' preliminary knowledge and opinions about the
tempera technique are included. The data obtained in this category seek answers to the first research question.
This category consists of "Misconception", "Lack of Knowledge" and "Incorrect Knowledge" codes.
When the data obtained was examined, it was observed that the participants had a misconception.
Gülçin said in relation to tempera: "I remember that it is used in frescoes" (1. semi-structured interview
[SSI]). Zuhal also confused the preparation of tempera paint with the fresco technique; "I heard that the
tempera technique is a technique made using wet plaster and paint materials." she said (1. SSI).
When the data obtained under the code of "Lack of knowledge" are examined, it is striking that the
majority of the participants did not have any prior knowledge of the technique. The findings are as follows:
Betül knows that only eggs are used "I have no knowledge, except that a material such as egg and egg whites
are used." She stated: (1. SSI). Ezgi; "I think it is made with egg whites." (1. SSI). This is incorrect. When the
data are examined, it is noteworthy that the vast majority of the participants do not have prior knowledge
about the technique. The findings are as follows: Ezgi; "The paint is applied dry." (1. SSI). Göksu "I heard
that it is a paint that takes a long time to dry. However, I do not have clear knowledge" (1. SSI).
Other participants said, "I don't know the tempera technique." (1. SSI) used the expressions.
"History knowledge" category examines the participants' preliminary knowledge about the history
of tempera technique, artists and works of art. With the data obtained in this category, it was used to answer
the first research question. The category consists of the "lack of knowledge" and "Incorrect knowledge" codes.
"Lack of knowledge": Hatice, who gave opinions about the use of tempera technique in the
historical process said "I know that it is the technique used in works made in the Medieval and Renaissance
periods." (1. SSI) said. Other participants stated that they did not have knowledge about the history of the
technique.
In the data obtained under the code "Incorrect knowledge"; Betül; "I do not know the artist working
with tempera. I don't remember if the works were shown in the course." (1. SSI), Hatice "Obviously, I have
no clear knowledge" (1. SSI). Ezgi, Göksu, Gülçin, Ufuk and Zuhal answered "I don't know" (1. SSI). When
the data obtained was examined; it was seen that not all participants had prior artwork and artist knowledge
with tempera technique.
The "Preliminary Knowledge about Technique" theme is important in terms of having an idea about
the participants' tempera technique. When the data obtained was examined; it was seen that not all
participants had prior artwork and artist knowledge with tempera technique.
3.2. Formation after oral presentation
The "History" category consists of "Continuity of Technique" and "Permanence of Works" codes.
The opinions of the participants whose "Continuity of the Technique" code is reached are as follows: Rana,
"Well-known artists used this technique.But there are artists using it today." (2. SSI). Zuhal; "In fact, many
famous artists have used it andthis technique has been used since ancient times" (2. SSI). Ezgi "continues to
be used since the early ages" (2. SSI). Betül; "I learned that it has been used since the first centuries after
AD" (2. SSI). Ufuk "like a tradition that has been going on for thousands of years." (2. SSI). Göksu; -used
similar expressions that it was used for many years as "Oil painting is a widely used paint and painting
5. Int J Eval & Res Educ ISSN: 2252-8822
Technical experience with tempera paintings in a bachelor degree course in Turkey (Gonca Erim)
249
technique before tempera is used" (2. SSI). Gülçin; "In other words, in the paintings of some caves in the
first centuries, this technique was used and still used in the twenty-first century. Even in the nineteenth
century, related associations are being established. People are starting to use this technique again. Today,
there are many artists who use this technique..." (2. SSI). Seven of the respondents stated that the technique
has been used and continues to be used throughout history with short answers. One participant explained in
detail what he learned about the history of the technique.
As a result of the findings obtained, the code of "Permanence of the Works" has been reached.
Gülçin; "The tempera technique was used in the early ages with Fayum Portraits. The paintings on the walls
of the cave are also included in this technique. These examples are still existing. In fact, this is very
important" (2.SSI). Ufuk's views on this issue; "When we look at permanence, there are many works that
have survived thousands of years ago. We can see them in museums. Thanks to these visual sources, we can
be in the history of art." (2.SSI). Other participants used similar expressions and expressed their opinion that
the technique was permanent for many years.
The "Artwork and Artist Knowledge" category obtained as a result of the findings of the interview
after the lecture consists of the codes "Use in the 1-5th Centuries", "Use in the Middle Ages", "Use in the
Renaissance" and "Post-18th Century Use."
For "Use in 1-5th centuries"all participants stated the following about the technique in the second
interview: Betül; "The examples that caught my attention were the Fayum Portraits in Egypt. These portraits
were made in ancient times, in the 0 AD–200 AD. I found out where tempera was used especially in the
works. For example, I heard about the Fayum portraits before. But I did not know with whichtechnique these
portraits were made." (2. SSI). Zuhal; "There were Fayum Portraits, which are thought to belong to the
Roman Period, made in the third century AD. They were made with the tempera technique. They caught my
attention." (2. SSI). Gülçin; "Tempera technique was used in the First Century, in the Fayum Portraits in the
1st century. This technique is also included in the paintings made on some cave walls in India..." (2. SSI).
When the expressions of the participants are examined; it was observed that the most remarkable works
together with examples of use in the early ages were the Fayum Portraits.
When the data was examined, it was observed that all participants stated that the tempera was the
most widely used painting technique in the Middle Ages with different expressions. The findings are as
follows; Ezgi; "During the Middle Ages, most artists used this technique. For example, Cimabue used this
technique. His work called 'Santa Trinita Madonna' remained in my mind. Then he used this technique a lot
with gold leaf in Giotto." (2. SSI). Göksu; "Since it was the most used painting technique before oil painting,
in fact, most artists used this technique in the middle ages. I can use Giotto as an example of this." (2. SSI).
Gülçin said that "In the middle ages, most artists worked with the tempera technique... But the Lorenzetti
Brothers remained in my mind about the artists using the technique." (2. SSI). Hatice; "...has been used by
various artists from the early ages to the middle ages and from the middle ages until today. For example, the
Lorenzetti Brothers used this technique in the middle ages." (2. SSI). Betül; stated that "...Piero Della
Francesca's Duke and Duchess of Urbino" (2. SSI). Rana; "I know that is the most used technique in the
middle ages. Fra Angelico is on my mind about it." (2. YYG. 2). Ufuk; "I know the historical development of
the tempera technique in the first place. I learned how intensive and how much it was used in the middle ages
between the 13th and 15th centuries. Apart from that, there are icons and figures of Jesus Christ..." (2. SSI).
All of the participants stated that the tempera was the most used technique in the middle ages and they gave
examples from different artists and works.
"Use in the Renaissance" code has been reached as a result of showing the artists and works of the
Renaissance period in the expressions used by the participants in general. The findings are as follows.
Gülçin; "There are so many names. There are so many works. For example, Boticelli's Birth of Venus, and
then Mantegna's "Lamentation of Christ" was made with the tempera technique" (2.SSI). Zuhal "Boticelli
has works by Mantegna with this technique." (2. SSI). Ezgi; "The fact that Mantegna's Lamentation of Christ
was made with this technique attracted my attention." (2. SSI). Göksu; "I remember that the Birth of Venus
was made using tempera." (2. SSI) they said. Hatice and Rana mentioned the Botticelli's Birth of Venus
painting with similar expressions with other participants. Ufuk gave a different example; "For example,
Ucello has a very well-known work. The Battle of San Romano at the Uffizzi Gallery. That work was also
made with tempera." (2. SSI).
"Use After the 18th Century": During the interview, different participants were asked to name the
use of the technique after the 18th century; they gave examples such as Ben Shahn, Andrew Wyeth, George
Tooker, Picasso, Reginald Marsh, Otto Dix, and Peter Hurd.
Betül "There are a lot of artists and works. Andrew Wyeth's work with very realistic portraits. Also,
the Chess Game with colorful tiles on the floor attracted my attention." (2. SSI) said. Ezgi; "Picasso was
working using tempera. Then Reginald Marsh used Otto Dix or similar tempera." (2. SSI). Göksu used the
expressions, "For example, Otto Dix used this technique in his works" (2. SSI). Gülçin: "There was Otto Dix.
6. ISSN: 2252-8822
Int J Eval & Res Educ, Vol. 10, No. 1, March 2021: 245 - 254
250
Even Picasso did a few had to work. There was even one portrait work that we saw in the narrative. The
technique was used a lot by the artist’. So a lot actually used the artist." (2. SSI). Hatice "20th Century,
important artists such as Otto Dix and Andrea Wyeth used this technique. An important artist such as Andrea
Wyeth used the tempera technique..." (2. SSI). Ufuk: "Remaining in my mind, Andrea Wyeth has a figurative
work sitting in the green flat grasses (Christina's World) ... and Peter Hurd's tempera artwork." (2. SSI).
Zuhal said, "The works and colors used by Ben Shahn are very impressive." (2. SSI).
"Awareness Formation" category; data was obtained as a result of the interview findings after the
narration with the participants of the research. It consists of "Lack of Technical Knowledge", "Interest in
Technique Change" and "Formation of Learning Request".
Findings obtained in the "Lack of Technical Knowledge" code are as follows; Gülçin: "…The
tempera technique is not mentioned in our lessons on art history. It is not explained too much, but she
mentioned many artists. I was very surprised by the fact that it was Picasso used this technique. So many
artists used this technique. I noticed this and I was interested in it." Göksu stated their lack of knowledge in
the past "For example, I knew Otto Dix, one of the 20th century artists. But I did not know that he used the
tempera technique. I noticed this." (2. SSI). Hatice used different examples, "For example, I had heard about
Fayum Portraits before. But I did not know that tempera technique was used in those works. There are also
Botticelli's paintings. For example, I did not know that they were tempera. I realized that I did not have
enough Knowledge." (2. SSI). Ezgi said "Obviously how I learned. I knew it was only done on the wall but
now I understand the tempera technique." (2. SSI). Zuhal said, "For example, we know Mantegna as an
artist. We see his works. But I never thought he used the tempera technique in his works. I thought he did the
painting of the Birth of Venus in Botticelli with oil painting, but I did not see it." (2. SSI). When the data
obtained in the research were examined, the participants stated that they had previously seen the works made
with the tempera technique but they had not known what painting technique was used.
When the data obtained was examined, the participants stated that there was a change in their
interest in the tempera technique. Betül said: "For example, I knew and liked Andrea Mantegna's
Lamentation of Christ. But I did not know that it was made with this technique." (2. SSI). Ezgi said, "…So I
started to think whether it is still used today. In fact, it was not only used in the past... We have seen this with
many examples of works and artists" (2.SSI).
Hatice said, "Obviously there was a change in my interest. I saw the tempera technique in many
pictures I never noticed before. I thought all of them were oil paintings. After theoretical explanation, I saw
that most of the paintings we know and have usedtempera. So I can say that my interest in the technique has
increased." (2. SSI). Ufuk's spoke about his change in interest; "When you look at old paintings, you have an
idea about how works can be produced or how they can be applied. On the other hand, you can apply them
as a modernized art. This is interesting." Zuhal said, "...I mean, I was a little biased because I had never
heard of tempera. I thought it would be an unnecessary application. Nobody has taught me about it until this
day. I was thinking that if nothing had been done before today, nothing would have happened. Later; I
learned that many famous artists used this technique before and there are still many artists who use it. Why
shouldn't we use it? In other words, both my prejudice was changed and it allowed me to see it from a
different perspective." (2. SSI).
The theme of "Formation after oral presentation" after the lecture the participants is important to
determine their knowledge levels of the tempera technique. Such as the most remarkable works of the
Renaissance era, Boticelli "The Birth of Venus", Mantegna "Lament of the Dead Jesus", Ucello "War of San
Romano". Many artists made the use of the technique after the 18th century and attracted the attention of the
participants, artists such as: Ben Shahn, Andrew Wyeth "Christina's World", George Tooker’s "Chess
Game", Picasso, Reginald Marsh, Otto Dix, and Peter Hurd attracted the attention of the participants.
3.3. Formation after artistic practice
To the "Surface preparation" category the findings obtained after the application were reached as a
result of this category. It consists of "Painting surfaces" and "Gesso preparation and Application to the panel"
codes. "Painting surfaces" When the data obtained from the research is examined, the participants expressed
their opinion as to the application of tempera on different surfaces. Ezgi spoke on this subject; "Actually, I
understand that the technique can be applied on many materials. For example, it can be applied on the wall
or on the canvas. We applied it to the wooden panel. We worked and understood well…" (2. SSI). Betül; "We
used wooden panels. But we can use this technique by applying gesso on plywood" (2. SSI). "They were
preparing the painting surfaces by sticking the wood side by side. We also used wooden panels. It was ready.
But they can also be used on canvas or other surfaces" (2. SSI) stated that different painting surfaces such as
wooden panels can be used.
The preparation of the painting surface Ezgi; "There are many stages of wood preparation. We first
notched the panels of wood to absorb the glue. Then we melted the bead glue and applied it to the panels. We
7. Int J Eval & Res Educ ISSN: 2252-8822
Technical experience with tempera paintings in a bachelor degree course in Turkey (Gonca Erim)
251
waited for the glue on the panel to dry for around three hours. Then we heated the glue on the container
again. We glued it to the panel one day and we waited for it to dry for one day. As it dried, we folded it
again. After the panel has dried, we sanded it. We had a more beautiful, hard surface on the canvas at last..."
(2. SSI).
Gülçin and Ufuk explained the process with similar expressions as Ezgi. Rana explained about this
process in more detail; "First of all, we apply the glue that we prepare with natural materials on the wooden
panels. There is a type of fabric on it like linen. We lay this fabric on the panel. We then dipped the glued
water on the wooden panel. Then we add chalk powder to the glue water until it is in a certain consistency.
This will not be a very dense consistency; we need to pay attention to it. We need to apply six layers in this
way. After applying each layer, we have towait for it to dry. But it dries very quickly. I had a lot of fun and
was curious. Then to smooth the rough parts awaywe sanded" (2. SSI). Also on the preparation of Rana
gesso; "In addition, the gesso we have prepared for this panel is a very durable material… I have tried to
work it once. I thought Gesso surfacewas broken but it was solid. I guess it would have dissipated if we used
something other than chalk powder." (2. SSI).
"Paint Preparation" category was reachedas a resultofthe findings obtained after the application with
the participants. It consists of "material knowledge" and "paint consistency" codes.
"The Material Knowledge" the statements of the participants about the tempera picture materials are
as follows. Rana; "It is easy to prepare the paint. I prepared it in the same way as gouache acrylic is
prepared. I put the pigments of allcolors on the palette. I drop the binder mixture with the egg yolk on them
and create the paint. In other words, I created the colors separately, and at the same time. It was so easy" (2.
SSI). Ezgi; "First of all, the paints in the colors we want are prepared with pigments, alcohol, eggs and a
little water. It can be made using only egg yolk or using whole eggs. It is usually made on wood." (2. SSI).
Betül, Göksu, and Gülçin mentioned the use of eggs, water and vinegar in sentences similar to Ezgi. Unlike
other participants, Göksu also stated that the paint dries quickly. Ufuk, for the preparation of paint, said, "You
use egg whites or yolks. By mixing vinegar or wine and water into it, you get the paint by mixing the
powdered paint or pigment with the egg mixture." (2. SSI). He also mentioned the use of alcohol or vinegar in
Zuhal.
"The paint consistency" code. Based on their experience, Betül said, "While learning this technique,
we prepared each material by ourselves. But it is necessary to prepare the consistency of the paint well.
Because if we put the egg, vinegaror water a little more or less, the consistency of the paint may change. It is
necessary to prepare it carefully." Göksu said: "I think we have to be very careful. Because it will not be a
dark, wateryand concealing paint. It may take several attempts to get the correct balance." (2. SSI) used the
expression. Similar to Göksu, Zuhal said, "So the liquid we prepared with that egg should not be used much.
For example; When using watercolor, a lot of water is used. But the tempera is different. Because the paint
gets thinner, than the base. Pigment should be used equally. Because it gives better results." (2. SSI).
Participants' common views on the amount of material used was that it can affect the consistency of the paint
and draw attention.
"Change of Thought" category, in the code on "Surface Preparation" the findings of the participants
regarding the changes in their thoughts regarding the preparation of the painting surface are included from
the data obtained after the application. Betül; "It was a good experience to start something from the
beginning as we did every stage byourselves and by trying it ourselves first" (2. SSI). Göksu said; "This
preparation phase was beautiful. It was very fun and I really enjoyed it. So, one feels like one really does
something." (2. SSI). Gülçin stated that she found it "…fun and interesting" (2. SSI). All three participants
expressed the change in their thoughts on surface preparation. Ezgi: "I understand how to work on wooden
panels now." (2. SSI). Hatice: "I had looked at the internet a little before I told you about the application. But
there were always things about paint preparation. Even if the wood surface was used, there was no
preparation. So it was surprising and enjoyable to prepare our painting panel. What I did not know before
surprised me when I learned later." (2. SSI). Rana said that they enjoyed the experience: "I can say that the
preparation of the wooden panel was fun for me. I enjoyed doing it. SoI will prepare five more." (2. SSI).
Ufuk: "It was enjoyable that part. I liked it. It was sandpaper, it was lining, it was gesso... It is also
remarkable that it is wood because it is a natural material." He also talked about the effectiveness of using
natural materials. "It would not be nice if we bought and made the materials. Because at that time, I would
think that if I make a mistake, I would buy a new one… I was very busy preparing my painting surface. I had
to do something good. Therefore, I think it is very niceto do it step by step. If you do it with effort, the results
will be better." (2. SSI). He talked about the difficulties and beauties of the wood painting surface.
Under the code on the technique, the data obtained from the participants after the application related
to changes in thought about tempera technique are included. Betül: "I was skeptical at firstabout how it
would be because I had no knowledge of the technique. I was excited. I was a little timid. I believed I could
do it. But then, as I learned the technical knowledge, I believed that I could do as I saw the examples made. It
8. ISSN: 2252-8822
Int J Eval & Res Educ, Vol. 10, No. 1, March 2021: 245 - 254
252
was a good work. It was fun to learn a new technique and try it for the first time." (2.SSI). Ezgi said: "...Most
importantly, I got to know the paint. My interest in the technique has increased. In the future, I started to
think that I can create a texture on my canvases by applying the tempera paint a little drier. I can paint on it
again." (2. SSI). Göksu said: "I was always wondering when I heard the name of the technique, but I did not
have any idea about it". After doing it, I want to do more things with tempera I have a desire to work by
mixing them with oil and watercolor." (2. SSI).
Rana, Zuhal and Hatice stated that their interest in technique has increased and more willingness to
practice has occurred. Unlike other participants Ufuk said; "I had a curiosity at first, but I learned that it is a
very different application. It is applied completely with brush strokes; it needs to be more careful. It requires
a little more effort than oil and acrylic paint. You may not get bright, luminous color. But when you look at
the works that remain until today; maybe a more permanent, long-lasting picture. When we consider these
changes, it is actually a workable painting technique." (2. SSI).
"Awareness formation" category, the code "About art history" after the application, the findings of
the participants regarding the awareness formation about art history are included. Hatice; "There were many
changes in my thoughts about the technique. As a result of the application, my interest increased. Because I
changed my view of the old works. I saw that there was a lot more labor in theworks than I thought... We are
lazy because we buy our paints and canvases. Therefore, there was an interest in painters working in
tempera in art history. Now, when you tell us about this, there is an awareness. I am looking at the work of
Andrea Wyeth with more respect because I learned the tempera technique" (2. SSI). Zuhal: "For example,
after learning the technique, when I looked at the works of important artists in the history of art, I thought
that they were made with oil painting. I did not know that it was made with the tempera technique. I know the
technique now and I know how trouble some it is, I wonder how they could have worked in such detail.
Actually, it increased my awareness in the sense." (2. SSI).
Göksu: "I thought about how it was hard-drying paint before painting with the tempera technique. I
thought how long ago the artists had done their work. After applying the technique, my thoughts changed
completely. I started to think about how the artists in the history of art have done such detailed work. I
wanted to improve myself about the technique after practicing. I was more fascinated by the artists working
in tempera in the history of art. I think it is enjoyable even if that production is challenging." (2. SSI) stated
that their awareness about artists working with tempera technique in art history has increased in detail. Rana:
"I knew the artists, but I had no idea how they applied it that way." (2. SSI). Betül; "When I saw the examples
after theoretical explanation and application, I learned that very detailed works could actually be done."
(2. SSI) stated briefly the awareness of art history. The findings of the participants with the application code
are created to raise awareness about the application after the activity.
Ezgi: "...I thought it was applied only on the wall. But I understood that it could be applied on
different materials. I think it can be used nowadays. When I look at the studies, I saw that some painters
worked with bristle brushes one by one. When I did it myself, I learned how they work better” (2. SSI).
Göksu: "...I thought it was drying too hard, but it was drying very quickly. And I thought it was made only
with egg white. I was interested in doing everything very carefully. Because we, students, usually take the
ready canvas and start painting. We don't know the preliminary preparation. I saw that the preparation and
application of the paint was different from our studies with tempera" (2.SSI). Hatice, Betül and Rana also
stated that, with similar expressions, other participants have increased their awareness of the practice.
Participants stated that they learned that tempera paintings were made on wooden panels in the early ages,
but that different painting surfaces can be used today. In addition, the participants stated that there were many
changes in their thoughts and they had requests for more applications because they had wrong or incomplete
knowledge about tempera technique.
4. CONCLUSION
Findings obtained; Bursa Uludağ University, Department of Painting and Art Education, Painting
Course students learn that the tempera painting technique benefits them in various ways. For this reason,
tempera technique can be used theoretically and practically in painting courses in the Department of Painting
and Art Education. Thus, students will be able to use tempera technique as an artistic expression form, increase
their awareness and gain professional benefits through experiences about works produced with this technique in
the history of art.
REFERENCES
[1] Hodge, S., 50 Art Ideas: You Really Need to Know. Quercus, 2013.
[2] Kınay, C., Sanat tarihi. Ankara: Publications of the Ministry of Culture and Tourism, 1993.
9. Int J Eval & Res Educ ISSN: 2252-8822
Technical experience with tempera paintings in a bachelor degree course in Turkey (Gonca Erim)
253
[3] Keser, N., Sanat sözlüğü (2nd edition). Ankara: Utopya publishing, 2009.
[4] Bezmen, P. C., “Turk tasvir sanatında Osmanlı'dan günümüze portre ve kimlik sorunsali,” Master Thesis, Işık
University Institute of Social Sciences, İstanbul, 2018.
[5] Ekici, F. D. K., “Fayyum portreleri,” Atatürk University Faculty of Fine Arts Journal, no. 22, pp. 59-68, 2012.
[6] Karaca, G., “An artwork providing dialogue in public sphere: I have been in Beelitz/Beelitz’de bulundum,” Route
Educational and Social Science Journal, vol. 2, no. 1, pp. 312-325, 2015.
[7] Schadler, K., “History of egg tempera painting,” pp. 1-5, 2017. [Online]. Available:
https://www.kooschadler.com/techniques/history-egg-tempera.pdf.
[8] Yonca, K., “Roma mumya portreleri,” Master's Thesis, Selcuk University Institute of Social Sciences, Konya,
2018.
[9] Uysal, A., “Yüzün ötesi portre kurmak üzerine,” Sanat ve Tasarım Dergisi, vol. 1, no. 4, pp. 107-127, 2009.
[10] Anonymous, “Painting in Tempera,” The Crayon, vol. 6, no. 3, pp. 81-84, 1859.
[11] Tomkins, M., “Designs indicating the relative merits of tempera and sgraffito as techniques of mural decoration for
the college of architecture all fine arts,” Master's Thesis, University of Southern California, California, 1939.
[12] Dunketon, J., Foister, S., Gordon, D., and Penny, N., GiottotoDürer: Early Renaissance Painting in the National
Gallery. London: Yale University Press, 1991, pp. 63-75.
[13] Frothingham, A. L., “Notes on Byzantine Art and Culture in Italy and Especially in Rome,” The American Journal
of Archaeology and of the History of the Fine Arts, vol. 10, no. 2, pp. 152-212, 1895.
[14] Eczacibasi, S., Eczacıbaşı sanat sözlüğü (Vol. 3). Istanbul: Yem Publishing, 1997.
[15] Varlık Şentürk, L., Analitik resim cozumlemeleri. Istanbul: Ayrıntı Publications, 2012.
[16] Tansug, S., Resim sanatının tarihi (7th Edition). Istanbul: Remzi Publishing, 2011, pp. 84-85.
[17] Ateş, İ., “Zafer Gencaydin ve sanatı uzerinebirinceleme,” Sanat Dergisi, vol. 0, no. 14, pp. 59-64, 2008.
[18] Türkyılmaz, H. O., “Çağdaş Türk resminde gelenek sorunsali,” Master Thesis, Hacettepe University Institute of
Social Sciences, Ankara, 2013.
[19] Muller, B. F., “Otto Dix and His Oil-Tempera Technique,” The Bulletin of the Cleveland Museum of Art, vol. 74,
no. 8, pp. 332-355, 1987.
[20] Berry, R. V. S., “The Tempera Painting of Walter Beck,” The American Magazine of Art, vol. 16, no. 5, pp. 237-245, 1925.
[21] Baker, A., Common Medieval Pigments, the Cochineal. The Cochinel-University of Texas, America, 2004.
[22] Katz, M. R., “William Holman Hunt and the Pre-Raphaelite Technique,” Paper presented at the Historical
Paintings Techniques, Materials and studio Practice. Netherlands, June 1995.
[23] Rothe, A., “Andrea Mantegna's Adoration of the Magi,” in A. Wallert, E. Hermens, and M. Peek, Eds. Historical
paintings Techniques Materials and Studio Practice: Preprints of a symposium, University of Leiden. Netherlands: The
Getty Conservation Instıtute, 1995, pp. 111-177.
[24] Spooner, H., “A Work in Tempera by Margaret Gere,” Burlington Magazine, vol. 146, no. 1211, pp.112-113, 2004.
[25] Stooner, J. H., “Andrew Wyeth,” Proceedings of the American Philosophical Society, 2011, vol. 155, no. 1, pp. 121-128.
[26] Colbourne, J. F., “A Critical Survey of the Materials and Techniques of Charles Henry Sims RA (1873-1928) With
Special Reference to Egg Tempera Media and Works of Art on Paper,” Doctoral Thesis, North Umbria University,
England, 2011.
[27] Fitz Gerald, C. Women, “Craft, And the Object: Birmingham 1880-1930,” Doctoral Thesis, Warwick University,
Coventry, 2016.
[28] Beisiegel, S., “'I explored every means of painting back then, notably every tempera': Hermann Prell’s research on
tempera,” P. Dietemann, W. Neugebauer, E. Ortner, R. Poggendorf, E. Reinkowski-Hafner and H. Stege (Eds.)
Conference of the Tempera Painting 1800–1950 Experiment and Innovation from the Nazarene Movement to
Abstract Art. Munich: Archetype Publications, 2019, pp. 107-116.
[29] Beltinger, K., “The tempera revival 1800–1950: historical background, methods of investigation and the question of
relevance,” P. Dietemann, W. Neugebauer, E. Ortner, R. Poggendorf, E. Reinkowski-Hafner and H. Stege (Eds.)
Conference of the Tempera Painting 1800–1950 Experiment and Innovation from the Nazarene Movement to
Abstract Art. Munich: Archetype Publications, 2019, pp .13-20.
[30] Baschlin, N. and Zumbühl, S., “Tempera and pastels: the colour effects created in Paul Klee’s later work,” P.
Dietemann, W. Neugebauer, E. Ortner, R. Poggendorf, E. Reinkowski-Hafner and H. Stege (Eds.) Conference of
the Tempera Painting 1800–1950 Experiment and Innovation from the Nazarene Movement to Abstract Art.
Munich: Archetype Publications, 2019, pp. 152-161.
[31] Jones, M., “'If there is nostrugglethere is novictory': Christiana Herringham and the British tempera revival,” P.
Dietemann, W. Neugebauer, E. Ortner, R. Poggendorf, E. Reinkowski-Hafner and H. Stege (Eds.) Conference of
the Tempera Painting 1800–1950 Experiment and Innovation from the Nazarene Movement to Abstract Art.
Munich: Archetype Publications, 2019, pp.117-123.
[32] Kinseher, K., “Colour and form in highest perfection: teaching tempera in the early 20th century,” P. Dietemann,
W. Neugebauer, E. Ortner, R. Poggendorf, E. Reinkowski-Hafner and H. Stege (Eds.) Conference of the Tempera
Painting 1800–1950 Experiment and Innovation from the Nazarene Movement to Abstract Art. Munich: Archetype
Publications, 2019, pp. 33-43.
[33] Yörükoğlu, T., “Batılılaşma Devri Resim Sanatında Edirne Bulgar Kilisesindeki İkonaların Yeri,” Master's Thesis,
Trakya University Institute of Social Sciences, Edirne, 2006.
[34] Beyoğlu, A., “Resimde mekan kullanımına başlangıç örnekleri olarak Ortaçağve Erken Rönesans dönemi
resimleri,” The Journal of Academic Social Science Studies, vol. 52, no. 1, pp. 373-386, 2016.
[35] Beyhan, H. C., “Resimde temel teknikler ve uygulama süreçleri üzerine,” Route Educational and Social Science
Journal, vol. 2, no. 3, pp. 171-193, 2015.
10. ISSN: 2252-8822
Int J Eval & Res Educ, Vol. 10, No. 1, March 2021: 245 - 254
254
[36] Cebrailoğlu, Ö., “Sanat eğitiminde resim tekniklerinin ortak kullanımının ve yaratıcılık üzerindeki etkisi,” Master's
Thesis, SelçukUniversity Institute of Education Sciences, Konya, 2011.
[37] Merriam, S. B., Qualitative research and case study applications in education. San Francisco: Jossey-Bass, 1998,
pp. 21-27.
[38] Turan, I. and Aslan, H., “Ögretmen adaylarının tarihi görselleri analiz duzeyleri,” Turkish History Education
Journal, vol. 4, no. 2, pp. 87-112, 2015.
[39] Metin, M., Kuramdan uygulamaya egitimde bilimsel arastirma yontemleri. Ankara: Pegem Akademi publishing,
2014.
[40] Gall, D. M., Gall, P. J., and Borg, W. R., Educational Research: An Introduction. Boston, MA: Pearson, 2007.
[41] Ersoy, R., “Temperateknigi ve bu teknigin lisans duzeyi resim atolye derslerinde kullanımı,” Master's Thesis, Bursa
Uludag University, Bursa, 2019.
[42] Patton, M. Q., Nitel araştırma ve değerlendirme yöntemleri (3. Translation from print). Ankara: Pegem Akademi
Publishing, 2018.
[43] Yıldırım, A. and H. Şimşek, Sosyal bilimlerde nitelarastirma yontemleri (10th Edition). Ankara: Seckin Publishing,
2016.
[44] Glesne, C., Nitel arastirmaya giriş (3. Translation from print, A. Ersoy and P. Yalçınoğlu Trans.) Ankara: Anı
publishing, 2015.