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Briefing on the Summer School of "Digital Development of Chinese Excellent Traditional Culture and Art Curriculum Resources"-Session VI

From August 18th to August 19th, the training has entered the course design practice demonstration stage. In online communication and offline seminars, the content of the courses designed by the students gradually improved. On August 18th, class A was in charge of Yu Hongri and Du Lijiao, class B was instructed by Qin Hua and Qian Xuefeng; on August 19, class A was instructed by Yu Yang, and class B was instructed by Qian Xuefeng.

Direction by Class

Class A on August 18th

Profile of tutors:

Yu Hongri is leader of the teaching and research group of the art (fine arts) discipline in Shanghai Chongming district, and member of the art discipline center group of the district middle school,editor of the new high school art textbook of People's Fine Arts Publishing House, and core author of the Shanghai New Curriculum High School Art Textbook. He is also host of the laboratory of Shanghai Humanities Innovation Project "Painting Photography Teaching Based on the Inheritance of Traditional Culture". He once served as the lecturer of the Ministry of Education's National Quality Resource Course "Middle School Art Curriculum Standards and Teaching Materials Research". He has won the second prize of the first National Micro-class Competition and the second prize of Shanghai Art Teacher Classroom Competition.

Du Lijiao is lecturer at the School of Fine Arts of Nanjing Normal University, Ph.D of Education, Postdoctoral in Fine Arts. She mainly engages in creativity training in children's art education, comparative research of children's art education. She has presided over the Education Science Planning Project of Jiangsu Province, participated in a number of national, provincial and ministerial projects. She has published more than ten papers in core journals and newspapers such as "Education Research" and "China Education News".

Brief of direction:

Through the course cases of "Ludang Tinder" and "Picture-like Photography", Mr. Yu and his classmates shared the main points of the preparation phase of the courseware production and the experience of the courseware production. Mr. Yu pointed out that in the course design process, the selection of materials needs to start from actual life, choose a good foothold, and dig deep into the new ideas of the subject. He enumerated the case of experiencing character modeling from the psychological analysis of movie characters, using theoretical and technical knowledge to conduct in-depth research on traditional stories, integrating interdisciplinary knowledge, and improving students' core quality of art discipline. Mr. Yu pointed out that the art appreciation class should not stay on the surface of appreciation, and must be guided through practical operations to guide students to experience techniques so as to enhance the ability of art appreciation.

 

At the same time, Mr. Yu believed that the idea of making micro-classes can draw inspiration from classic movies and popular videos. Excellent micro-classes cannot be separated from excellent course texts. We can consider and shoot micro-classes based on reality to strengthen students’ art theory, as well as the comprehension on knowledge and techniques.

For the skills of courseware design and micro-class recording, Mr. Yu put forward the following suggestions:

1. Sort out the knowledge points of the course before class, dig deeper based on small points, and complete effective output.
2. Art appreciation should be integrated into technical explanations. And students’ understanding ability should be strengthened through practical exercises.
3. Integrate subject knowledge and interdisciplinary knowledge in order to stimulate new ideas in the curriculum.
4. Describe life phenomena and ask questions, then compare, analyze, and solve puzzles to arouse students' thinking.
5. Design problem situations based on students' reality to enhance the interest.
6. Attach importance to course evaluation and display of student achievements, and design a variety of evaluation methods.
7. In unit courses, pay attention to the relevance between single courses, and pay attention to internal thinking and logic.
8. Micro-class videos should be highlighten in the course. Micro-class videos can enrich the sensory experience of students.

 

Class A on August 19th

Profile of tutors:

Yu Yang is associate professor, master tutorof the School of Media and Art, Nanjing University of Posts and Telecommunications, expert in the University Teachers Network Training Center of the Ministry of Education. The main course "Fall in Love with Advertising---Advertising Art Appreciation" won the "National Excellent Online Open Course". He got the first prize of the First Public Art Micro-class Competition for College Teachers in Jiangsu Province. And he won the first prize of the 2017 and 2019 Jiangsu University Micro-Class Teaching Competition. He is the general designer of the layout of the new art high school textbook by People's Fine Arts Publishing House.

Q&A in class:

Liu Zhongliang (Capital Normal University): Hello teacher! I would like to record a micro-class format with a host. So may you give me some suggestions and guidance on this micro-class format?

Yu Yang: Let me explain from the perspective of micro-classes. Firstly, the camera position is the problem. Single camera position can easily cause visual fatigue of the audience. It is recommended to choose dual camera position. Secondly, when demonstrating, it is necessary to alternately switch and interact with text and pictures, so as to produce rich visual changes. Finally, there must be obvious transition effects or forms between the transitions of the video, so that it will not give people a sudden feeling. Besides, we should consider from perspective of the material of the micro-class. The pictures used must be high-definition and no watermark, otherwise the visual effect will be affected.

Kang Li (Capital Normal University): What are the commonalities of good micro-classes?

Yu Yang: First of all, it is very important to be suitable. Who is the audience? Who is the educated? Secondly, attractive micro-classes have their own unique characters and attributes, and a strong personal touch is the best. Taking the anchor industry as an example, a powerful anchor is that it has its own gameplay, unique shooting method, and its own attraction. Finally, the visual effects of the courseware are clear;the information transmission is accurate and effective;the visual process is unobstructed;and the color relationship is harmonious. So as the micro-classes. But the biggest difference between micro-classes and PPT is the sense of rhythm. Micro-classes require teachers to speak with rhythm and to be connected with the course content. The interspersed interaction of language rhythm and visual images in the video directly affects our mood when watching the video.

Courseware design display from class A students

In response to the pictures of the courseware displayed by each group, Mr. Yu Yang pointed out some problems and put forward suggestions for modification:

1. The font size and line spacing should be uniform and appropriate. Different line spacing will produce different visual effects and affect reading.
2. If you set a hyperlink in the courseware, you can add some hints.
3. The cover should show the subject, and the background should not use blurred pictures, and the clarity of the pictures should be ensured.
4. Some unimportant lines and decorations in the courseware can be deleted appropriately to ensure the overall effect.
5. It is best not to have a large paragraph of text in the courseware, which will give the viewer a psychological burdin.

 

Class B on August 18th

Profile of tutors:

Qin Hua, director of the Fine Arts Education Department of the School of Fine Arts, Nanjing Normal University, PhD., associate professor and master tutor. He has won the first prize of the Basic Skills Show Almighty of the Ministry of Education, and the first prize of the Jiangsu Public Art Micro-Class Competition. He has presided over and participated in a number of projects such as the Humanities and Social Sciences Fund Project of the Ministry of Education and the Excellent Resource Sharing Course. He serves as the executive editor of the book "Chinese Calligraphy" and "Painting" for the teacher's book "Chinese Calligraphy" and "Painting" in the revised version of the curriculum standard of Hunan Fine Arts Publishing House, and the deputy editor of the high school textbook "Chinese Calligraphy and Painting" of the People's Fine Arts Publishing House.

Qian Xuefeng is  special grade teacher in Guhua Middle School in Shanghai, core editorial board member of the booklet of "Art and Life" and "Creative Art Practice" in the high school edition of Shanghai Education Edition, chief editor of "Art and Life (teacher teaching book)", Specially-appointed researcher of the Digital Art Education Research Center of "Chinese Art" Education" Magazin , and reserve candidate for the "Famous Principals and Teachers Training Project" of the Fourth Shanghai General Education System.

Brief of direction:

Mr. Qian Xuefeng shared his experience with everyone using the school-based course "Printmaking" that was developed twice as an example. Mr. Qian believes that micro-classes should highlight the characteristics of the art discipline and conform to the age characteristics and cognitive laws of students. At the same time, the curriculum should pay attention to intuitiveness, subject logic, humanity and developability. Through the "Enjoying Applications Printmaking Course", "Using Applications for Fun Logo Design Course," "Stop-motion Animation", "Using Applications for Fun Booklet Design", "Using Applications for Fun Animation Emoticon Pack", "Exploring the Swirl Pattern of Majiayao Painted Pottery" In 10 cases, Mr. Qian let the students see the charm of the close integration of traditional culture with modern information technology and life. Mr. Qian also put forward some suggestions based on his own school-based curriculum design experience: read more, accumulate more, and learn to search for pictures, typesetting, and use applications flexibly.

Then, Mr. Qian gave a detailed explanation of the key points and main points of each link of the teaching plan. He suggested that each group of students first try to teach in the group. Everyone concentrated on discovering problems, putting forward opinions and revising the teaching plan again.

Regarding the design and production of micro-classes, Mr. Qian said that we should clarify the knowledge points presented in the micro-classes and consider the practicality and interactivity of relevant materials. Mr. Qian demostrated the six video production steps as "Unit Teaching Design"-"PPT Production"-"Script Writing"-"PPT Recording"-"Recording Audio"-"Video Integrated Output". Implementing the production of the micro-classes into the details will greatly help the students in the production of the courseware and micro-classes.

Q&A in class:

Group of Project "Writing Spirit in Form-Chinese Figure Painting": Does our lesson plan lack new ideas? How to innovate in teaching settings?

Qin Hua:

1. The theme and content of the current teaching plan and the textbook of Hunan Fine Arts Publishing House are relatively unified, and it can be appropriately separated from the original textbook content and innovated in teaching themes.
2. If the teaching is based on creation, it is recommended to design teaching strategies combined with "scene painting" activities.
3. If the teaching is mainly about appreciation, the current teaching plan is too traditional. You can consider the costumes, utensils, makeup, and the manners of the characters presented in Chinese figure paintings, which will be more novel and interesting.

Group of Project "Libraries in City": The knowledge points of the course are piled up in a certain class, and the course is not interesting enough. How to connect the knowledge points through some forms?

Qin Hua: 

The traditional teaching method is to first explain the knowledge points through the case, and then carry out the practical operation; so we can consider the content of the garden first, and then introduce the library design. Then combine the specific case to explain the integration of the library and the garden. And decompose the space of the site. In the end, teach how to draw the blueprint of the design drawing. It is recommended to start from the final task and use the reverse teaching design method to decompose the curriculum.

Group of Projet "Research on the Patterns of Miao People's Traditional Clothing": Please Mr. Qin Hua for suggestions on our curriculum framework.

Qin Hua:

1. The problem situation is based on the student's perspective. It is important to consider how students are immersed in the situation.
2. The sub-sections of the course can be further refined, and the teaching objectives and tasks of each lesson need to be more clear.
3. Now the teaching goal of your group is to use a combination of comprehensive goals and specific goals. And the specific goals need to be designed in more depth.

 

Class B on August 19th

Profile of tutors:

Qian Xuefeng is  special grade teacher in Guhua Middle School in Shanghai, core editorial board member of the booklet of "Art and Life" and "Creative Art Practice" in the high school edition of Shanghai Education Edition, chief editor of "Art and Life (teacher teaching book)", Specially-appointed researcher of the Digital Art Education Research Center of "Chinese Art" Education" Magazin , and reserve candidate for the "Famous Principals and Teachers Training Project" of the Fourth Shanghai General Education System.

Q&A in class:

2nd group in Class B: Could you give us some suggestions about our PPT?

Qian Xuefeng: The overall tone of the PPT of Class B Group 2 is still quite harmonious, but the language and text in the PPT should be more popularized. The current knowledge of high school students is not enough to fully understand classical Chinese. If you put all this difficult text, they may not accept it. It should avoid cartoon animation patterns in PPT, which easily affects the overall simple style. Finally, there should be more interactive links in the production of PPT. Strictly speaking, the PPT we are doing now can only be regarded as a presentation. It is best to add interaction when playing. For example, even if the connection problem is small, it can be added. Great interaction like games.

Dong Hui (East China Normal University): If the knowledge of gardening is removed, which part of the lesson will be better arranged in the micro-class? Our teaching design links are not connected enough and the knowledge points are confused. How to solve it?

Qian Xuefeng: As task-based learning, it is necessary to assign to students in the first class what each person needs to do in the garden-style campus design plan. Reduce knowledge points related to gardens, and focus on the overall task assignment in the first class. On the other hand, it is necessary to increase the allocation of inspection tasks such as the project inspection form. Generally speaking, the course is relatively complete, but some knowledge can be condensed and refined. It is necessary to re-distribute the content of the class according to the actual classroom.

Ren Yiming (Nanjing Normal University): How to explain the evolution of the official script in the first lesson?

Qian Xuefeng: You can cleverly add some small links to interact with students, so that students are interested and make the course more vivid.

 

Excellent Teaching Plan Design Display