Darbo tikslas — teorinių prielaidų pagrindu sukurti grafinio dizaino mokymo kaip dailinio ugdymo proceso dalies modelį popamokinėje veikloje. Darbą sudaro įvadas, kuriame suformuluotas jo tikslas, apibūdinti uždaviniai, pagrįstas temos aktualumas, trys teorinės darbo dalys, susijusios su temos tikslu bei empirinio tyrimo dalis, kurioje pateikta praktinio grafinio dizaino mokymo modelio raiškos duomenų analizė. Darbas pabaigtas keturiomis teorinę ir empirinę jo dalį apibendrinančiomis išvadomis, literatūros sąrašu, santrauka anglų kalba (summary) ir priedais. Siekiant darbo tikslo, suformuluoti keturi tyrimo uždaviniai, kurių kiekvienas aptariamas atskiroje darbo dalyje. Pirmasis uždavinys: apibūdinti meninio ugdymo ypatumus popamokinėje veikloje. Siekiant šio ir antrojo uždavinio — atskleisti vizualinės ir semantinės grafinio dizaino kalbos ugdomąjį potencialą — išanalizuoti švietimo įstatymų dokumentai, mokslinė, pedagoginė literatūra. Kitam uždaviniui, teorinio grafinio dizaino mokymo modelio sudarymui, panaudotos mokslininkų rekomendacijos meninio ugdymo veiklą paremti ne santykiu su jau esamu meno kūriniu, o pedagoginiu poveikiu kūrybinio proceso metu. Taip pat rekomenduojama grafinio dizaino modelio praktinei raiškai naudoti aktyvaus mokymosi metodus: mokymąsi per patirtį, reflektyvų ugdymą, o taip pat skirti nuolatinį dėmesį pedagogo kompetencijų ugdymui. Siekiant ketvirto uždavinio — ištirti grafinio dizaino mokymo modelio, sudarytą teorinio tyrimo pagrindu, raišką... [toliau žr. visą tekstą] / The purpose of this thesis was to create a research based theoretical model for the graphic design training as a part of the art education process in the after-school activities. The thesis consists of introduction where the purpose of the thesis is formulated, the methods of the research are determined, the relevance of the subject is reasoned, three theoretical parts directly connected with the purpose of the thesis ant the part of empiric research consisting of the analysis of the practical data of graphic design training model implementation. The thesis is concluded with the four findings that summarises the theoretical and empirical parts, the list of literature resources and the annexes. In order to achieve the above mentioned purpose, four goals were formulated and each of them separately discussed. The first goal was to describe the art training distinctive features in the after-school activities. This goal as well as the second ¬– to reveal visual and semantic potential of the graphic design – was achieved through analysis of the legislation and scientific literature resources. The subsequent goal was to create a theoretical graphic design training model and it was achieved using scientific recommendations to base art training not on the relation to the already existing art work but on the pedagogical influence during the creation process. For the realization of the model active training methods, reflective practise are recommended to be applied and pedagogical... [to full text]

I sought to find out whether this was a tension between artistic and commercial in the career of visual artists, and if so, how this tension was managed. In attempting to uncover information which could address the research question I undertook in-depth career history interviews with artists which covered their time at art school through to their current practice. The career history method was deliberately chosen in order to address the research question at a tangent as both the literature, and my own personal experience of the field of contemporary visual art, had suggested that the topic of artistic and commercial was a sensitive one. By framing the interviews around the experiences the artists had through the time period of their training and career, I was able to approach the research questions indirectly from the perspective of the artists. Through analysis of the interview transcripts the framework of Bourdieu's capitals arose as one that would capably explain the activities which the artists were undertaken and I used this as a framing device for the empirical chapters in the thesis. In exploring ideas of cultural, social and economic capitals in relation to how artists describe the activities they undertake during their career it became apparent that the broad structures of cultural capital needed further refinement in their application to the careers of visual artists. In the thesis I chose to elaborate further on the concept of artistic capital which has, until now, been unexplored by scholars. I have developed an understanding of artistic capital as a subcategory of cultural capital with particular application to the field of contemporary visual art – with the potential for wider application beyond the thesis. The three capitals of artistic, social and economic proved a capable structure for understanding whether there was a tension between artistic and commercial and how artists managed this. Through this research I have found that artists come to believe, during their early career and training through art school, that there is a tension between artistic and commercial as this is perpetuated by institutions and art world participants through their exclusion or dismissal of commercial aspects of the visual art field. Through their careers they come to realise that this tension is less prevalent than they thought and that they are able to manage these two aspects of artistic and commercial more effectively. However, artists continue to be faced with instances where this tension is imposed upon them by other art world players who perpetuate the belief that there is an inherent, unresolvable tension between artistic and commercial. These individuals attempt to shield artists from this perceived tension later in their careers when artists are already adept at managing the competing priorities of artistic and commercial without the two creating tension.