SCIENTIFIC CULTURE, Vol. 9, No.

1, (2023), pp 95-103

PREVAILING LEARNING STYLES ACCORDING TO THE (VARK) MODEL

AMONG ART EDUCATION STUDENTS AND ITS RELATIONSHIP TO ART
CRITICISM

Omar Ali Hammadi

omar.ali1105a@cofarts.uobaghdad.edu.iq

Prof. Dr. Saleh Ahmed Mahidi Al-Fahdawi

saleh.ahmed@cofarts.uobaghdad.edu.iq
Faculty of Fine Arts - Department of Art Education

Abstract : Based on what previous studies and research have proven of the importance of
taking into account students' learning patterns according to the (VARK) model, and this is
reflected positively in their learning process and their acquisition of information and
experiences in a better way, and the process of analyzing and criticizing artworks is based on
what the student acquires from previous information and experiences in the field of Art and
Artistic Criticism, the current research came to study the possibility of a relationship of mutual
influence between learning styles according to the (VARK) model and the ability to read and
criticize artworks among students, so the research aimed at the following:
1. Detecting the prevailing learning styles according to the (VARK) model among art education
students.
2.Exploring the relationship between prevailing learning styles according to the (VARK)
model and art criticism among art education students.
The research community consisted of fourth-grade students in the Department of Art
Education, College of Fine Arts, University of Baghdad, whose number is (145) male and
female students in a random manner to represent the basic research sample, the researcher
adopted the descriptive approach in the relationship study method to determine the research
steps and procedures, and to collect data from the research community, the researcher adapted
the (VARK) test for learning styles prepared by (Fleming & Bonwell, 2002), in line with the
nature of the Iraqi environment and the topic of the current research to find out the students'
preferred learning styles, the researcher also built an test for art criticism to find out the level
of students' ability to analyze and criticize works of art. To reach the results, the researcher
used the arithmetic mean and standard deviation to detect the prevailing learning patterns
according to the (VARK) model for art education students, and the researcher used Pearson
correlation coefficient to reveal the relationship between the prevailing learning patterns
according to the (VARK) model for art education students and art criticism.
Among the most important findings of the researcher is the dominance of the visual style
among the students of the research sample, and the reading / writing style obtaining the highest
correlation value with artistic criticism, while the auditory style obtained the lowest correlation
value. The researcher suggested conducting a study based on the results of the current research.

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Research problem: Learning styles models, including the (VARK) model, are based on the
idea of individualizing education and taking into account individual differences among learners
in the process of teaching and learning. So learners differ in their way of thinking, their
personalities, their level of intelligence, and the sensory mediator they prefer in receiving
information, and each of them has its own way of dealing with educational environmental
stimuli, and this difference is reflected in the level of response to those stimuli, the acquisition
of educational experiences and the retention of information, so that why learners differ in the
same class. They also divided into groups or individuals with different preferred learning styles.
Several models and classifications of learning styles appeared, including the (VARK) model,
which classifies learners according to the sensory medium they prefer in receiving and
perceiving information into: visual, auditory, reading/writing. Many studies have found that
taking into account students' learning styles when designing the educational process and
choosing teaching methods and teaching aids helps them acquire information and skills better.
On the other hand, the process of analyzing and criticizing artworks is a mental and cognitive
skill that is necessary for the art education student to help him in performing his teaching tasks
in the future, and building his artistic and aesthetic culture in general through his ability to
analyze and criticize artworks and reveal weaknesses, strengths and beauty in them. The
knowledge aspect and the previous experience of the evaluated student form the basis for this
process, as the student relies on his experience and knowledge and uses his artistic and aesthetic
culture in reading and criticizing works of art. Based on the above importance of learning styles
according to the (VARK) model, and the importance of the skill of artistic criticism among
students, the problem of the current research was summarized by the following two questions:
1- What are the prevailing learning styles, according to the (VARK) model, among art
education students?
2- Is there a relationship between learning styles according to the (VARK) model for students
of art education and art criticism?

Research importance:
1- The importance of the current research is reflected in the importance of learning styles
because of their direct impact on the success of the teaching and learning process and achieving
its desired goals. Knowledge of learning styles is an entry point to take into account individual
differences among students in their reception and processing of information.
2- The current research is based on studying the relationship between learning styles and art
criticism, as this relationship was not examined in previous studies (to the knowledge of the
researcher).

3- The current research contributes to revealing the prevailing learning patterns among
students, which provides a clear vision for those in charge of the education process to design
the curriculum and choose educational techniques, means and methods that are compatible with
students' learning patterns, which leads to better learning.
Research objective: The current research aims to (discover the prevalent learning styles
according to the (VARK) model among students of art education, and its relationship to art
criticism).

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Terms Definition
1- Learning styles: Defined by (Shawahin 2014) as: “The individual method or approach that
the student prefers to perform the educational task, and although a person receives information
through his different senses, he prefers a certain sense over the other senses” (Shawahin, 2014,
p. 22)
2- The (VARK) model: it was defined by (Fleming & Mills 1992) as: “the learning style that
has been modified by classifying learners into four modes of different patterns based on the
different senses (visual, auditory, reading / writing, kinesthetic) and the model is named after
the first letters of the senses" (Fleming & Mills, 1992, P137).
The procedural definition of learning styles according to the (VARK) model: It is what the
student prefers from the perceptual sensory media in receiving and processing information, and
it is procedurally represented by the total score that the student obtains through his answer to
the learning styles test items.
Artistic criticism: (Zaraqet, 2019) defined it as: “considering and studying artistic production
carefully, deliberately, contemplating and perpetuating consideration, distinguishing it,
clarifying its characteristics and crystallizing them, and judging it in a reasoned judgment that
the recipient accepts, as convincing knowledge, and this knowledge requires that it be based
on scientific and objective foundations (Zaraket, 2019, p. 13)
The procedural definition of art criticism: It is the student's mental ability and his previous
experiences in reading fine art works, objective reading according to sequential steps, and this
is represented procedurally through his answer to the paragraphs of the art criticism test.

Theoretical framework
First: The VARK model: The VARK model stands for the visual, auditory, reading/writing,
and kinetic preferences of the learners. These preferences constitute different methods of how
to receive stimuli, organize them, and process information and experiences, which are referred
to as “preferred learning modes” in the model. (Reynaldo, 2021, P4), in which learners are
classified in the VARK model according to the sensory medium they prefer in learning into: a
visual learner, through pictures, films, and diagrams, an auditory learner, through recordings,
discussions, and lectures, and a written reading learner through making summaries, reading
books and taking notes and a kinesthetic learner through practice, experimentation, and
stereoscopic models (Sintia & Samsudin, 2019, P2).
(The VARK model is characterized by objectivity in determining learning patterns, as it reflects
the student's preferred sensory-perceptual medium in processing information, and this is based
on physiological or biological bases on the one hand, and its adoption of genetic factors on the
other hand. (Al-Zayyat, 2004, p. 548).

The four learning styles of the VARK model

1- The visual learning style: It is symbolized by the letter V, which represents the word Visual.
One of the priorities of those with a visual style is to see what they want to learn in front of
them, and one of the most important characteristics of the visual style is that they have a high
ability to remember shapes, drawings, and images rather than what they hear, and they have a
wide imagination that they use to visualize things and form image structures for them in their
minds, and they are attracted to visual displays, activities, and wall posters, and they are

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characterized by organization and arrangement, and they care about appearances, colors and
their details. They remember shapes and forget names. (Mohsen, 2016, pp. 50-52)
2- The aural learning style: It is symbolized by the letter A, which represents the word Aural.
The aural learner acquires new information through the sound, so we see that the owner of this
style has the ability to notice differences in tones, their degrees, level, rhythm, and the extent
of their harmony and harmony (Al-Maghrabi, 2018, p. 171). They have a preference for
learning by listening to the spoken word, sounds or music, they have the ability to perform a
new task after hearing it from an expert, they prefer to receive spoken instructions directly or
over the phone, and they can remember all the lyrics of the songs they hear) (Jayakumar, 2017,
P5729 ).
3- The reading/writing learning style: It is symbolized by the letter R and represents the word
Write/Read. The owners of this style prefer learning by reading and writing, meaning that they
understand ideas and experiences better when they read or write them. This means that they
prefer written materials, so they tend to learn through books, dictionaries and papers work and
write educational experiences and what teachers says (Mohsen, 2016, p. 57). (Among the
activities preferred by owners of this style of learning: making lists, summarizing topics,
reading books, taking notes, and written assignments in general. (Dmitrichenkova, 2020, P41)
4- Kinesthetic learning style: It is symbolized by the letter K, which represents the word
Kinesthetic. The owners of this style prefer physical experiences, and their situation says let's
try and know how do we feel? They prefer to learn through experience and by experience, they
discover things and do not prefer written instructions, and they have the ability to use their
bodies or parts of them to accomplish work or solve a problem, and they use movement to
express their interests and motivation, and they remember things by walking, so they often tend
to walk when studying, and move their legs or what is in their hands when studying,
involuntarily. (Mohsen, 2016, pp. 55-56).

Second: Art Criticism: Art criticism is considered one of the important and influential
elements in artistic culture, through its discussion of arts in their various genres, types, and
classifications. It describes, analyzes, interprets, and evaluates works of art, and sheds light on
the symbols and signs they contain, the apparent and implicit meanings they refer to, the
intentions of the artist and the thought he presents, in order to simplify, clarify, and bring them
closer to the recipient. (In addition, it refers to analyzing the artistic achievement and
researching what it contains of objective, expressive and emotional values, and what this
achievement added to the artistic heritage, and researching the characteristics that made us
sympathize with it, all with the aim of making the artistic and aesthetic experience a success
(Balasim, 2010, p. 122). The critical experience of the critic meets the sensory experience of
the artist in which the mind, sense, and artistic production fuse, including artistic and aesthetic,
material and moral values, in which awareness and imagination rise within a creative, aesthetic
framework that expresses and explains those values within the scope of critical practice (Nidal,
2020, p. 169), (So we find the recipient contemplating the artwork and translating its forms and
symbols through its relationships, as the line represents direction, movement and rhythm, and
color with its surroundings creates harmony or contrast, and there are relationships between
form, space, lines, shapes, colors, directions, rhythm, etc., all of which translate the artistic
formal achievement aesthetically and this is the task of the critic (Ikhlas, 2020, p. 348) The

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researchers identified two types of criteria that critics adopt in the process of criticizing
artworks, namely:
1. General criteria: They can be applied to any work of art and are based on the existence of
composition elements and their foundations in the work of art.
2. Special criteria: suitable for judging a specific work of art and not suitable for others,
because each work of art has a characteristic emanating for itself. (Balasim, 2010, p. 124).
A number of critics and researchers interested in art criticism have put in place specific steps
that are organized within a knowledge structure known as the critical model. There were many
models of art criticism, especially in the field of art education, due to the multiplicity of its
authors and their different views on the mechanisms of the process of art criticism, but despite
this multiplicity of models of art criticism, they (mostly agreed that the process of art criticism
must go through four main steps that represent the justifications on which the critic bases his
judgment, which is, as summarized by Feldman, Description, analysis, interpretation,
judgment, and the critic builds on these steps what he will say or judge about the artwork, and
whoever carries out the art criticism process, whether professional or non-professional, art
education teacher or student, can follow these steps to make the critical process more objective
accuracy and effectiveness) (Al-Thaqafi, 2021, pp. 363-737), and these steps are:
1- Description: The things that we can describe are the basic data of the artwork - the name of
the artist - the name of the work - the date - the material - the area - the place - as well as the
main shapes and colors, without analyzing or judging the artwork (Al-Thaqafi, 2021, p. 377 ).
2- Analysis: It is the revealing of the structures of things and phenomena, as this revealing
begins with the simplest forms of fragmentation, the revealing of the constituent parts of the
structures whose awareness is achieved, or the dismantling of the cohesive structures closed on
themselves into their constituent parts” (Najm, 2001, p. 5). In this step, the artwork is analyzed
into its structural elements, the search for their meanings, how they are employed, and the
relationships they establish with each other. These elements include lines, colors, texture,
shape, space, direction, and other elements (Nassif, 2001, p. 8-21).
3- Interpretation: It is the process by which the comprehensive and general meaning of the
artwork to which the critic was exposed is found in the description and analysis phases, by
perceiving the visual perceptions and the relationships between the elements. Based on the
collected visual facts and information from the artwork (Al-Khafaji, 2020, p. 188)
4- Judgment: It is giving a moral rank or material value to the work of art compared to other
works similar to it or of the same direction and style, and it includes positive and negative
aspects of different contents, social, moral, expressive, political. Judgment clarifies the most
important concepts in the artistic work and guides the criterion of acceptance and preference
for the critic, and the critics defend the values and ethics of society by clarifying what the
artistic work aims at, and they guide people to reject works that contain values that contradict
the values and ethics of society (Al-Qazzaz, 2001, pp. 100-101).
The process of teaching students the skills of artistic analysis and criticism has become one of
the necessities of study in the faculties of fine arts, especially the departments of art education,
as a necessary skill for the student that contributes to raising the level of his abilities in artistic
appreciation and artistic criticism, and accompanies him in his practical journey after
graduation, as he will become a teacher of art education and art criticism is considered one of
the pillars of cognitive art education (Yasir& Muhammad, 2021, p. 124),(As the organizational

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trend in art education sought to build a scientific curriculum consisting of four axes: art history,
aesthetics, art criticism, and artistic production, which are overlapping and complementary
axes, there can be no art criticism without the presence of artistic production, and there can be
no Artistic criticism without knowledge of the history of art and aesthetics (Al-Fahdawi&
Elham, 2013, p. 66), (If we look at the process of art criticism as a basic pillar of art education,
we find that is is achieved its goals by providing learners with the skills of analyzing and
criticizing artwork according to modern critical approaches and systematic steps) (Ikhlas, 2020,
p. 342).

Research Methodology: The researcher adopted the descriptive approach in the manner of
studying the relationship, as it is commensurate with the nature of the research and the
achievement of its objectives.
The research community and its sample: The total research community consisted of fourth-
grade students in the Department of Art Education, College of Fine Arts, University of
Baghdad, for the academic year (2022-2023), and they numbered (145) male and female
students. The researcher randomly selected (130) male and female students from the
community. with (65) male and (65) female students distributed over eight academic groups to
represent the basic research sample.

Research tools:
First: Learning Styles Test: After the researcher reviewed the literature and studies that dealt
with the topic of learning styles, as well as a group of local, Arab and international tests, the
researcher adopted the (VARK) test for learning styles prepared by (Fleming & Bonwell,
2002), and the researcher prepared a modified version of the test in line with the nature of the
Iraqi environment and the subject of the study consists of (16) questions of the type of multiple
choice. Each question is followed by four alternatives, each of which refers to a specific type
of learning pattern according to the (VARK) model (visual, aural, reading / writing,
kinesthetic). The student is asked Choose one alternative according to the style he prefers in
dealing with the situations.
Validity of the test: To verify the validity of the test, it was presented to a group of arbitrators
specialized in the field of measurement, evaluation, teaching methods, and art education, to
express their opinions on the validity of its paragraphs, and it was agreed upon at a rate of
(87%) according to the coefficient of the Cooper agreement, and this percentage is considered
good ( As the percentage of agreement is acceptable if it is more than (70%) (Cooper, 1974,
p26), and (Appendix 2) shows the type of pattern indicated by each of the four alternatives for
each question in the questionnaire.
Test stability: For the purpose of determining the stability of the test, it was applied to a group
of (50) students, and the researcher used the split half method to find the Pearson correlation
coefficient. As in Table one:

Pearson correlation
Pattern
coefficient
Visual 0.78

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Aural 0.84
Write/read 0.82
Kinesthetic 0.86
Table (1) shows that all correlation values are good and indicate the stability of the test, as (the
correlation ratio is acceptable if it reaches more than (0.70)) (Al-Khafaji and Abdullah, 2015,
p. 104).

Second: The Art Criticism Test: The test, in its initial form, consisted of (21) multiple-choice
objective items. Four alternatives were set for each paragraph, from which the student chooses
the correct alternative. The paragraphs are corrected by giving one point to the correct answer
and zero to the neglected and wrong answer.
Validity of the test: To verify the validity of the test, it was presented in its initial form to a
group of arbitrators specialized in the field of art education, measurement and evaluation,
plastic arts, and art criticism, and the percentage of agreement on its paragraphs was 82%
according to the coefficient of the Cooper agreement. So the final form, consists of (20)
paragraphs.
Reliability: For the purpose of determining the stability of the test, the researcher applied it in
its modified form to a group of students whose members were (50) male and female students.
After dividing the students’ scores into two groups, upper and lower (X and Y), the researcher
used (Pearson correlation coefficient) to find out the extent of the correlation of the paragraphs
in the two groups, and the correlation ratio reached (0.87), and this ratio is good and a function
of stability, then the researcher used (Spearman correlation coefficient) to calculate the overall
stability of the test, and its percentage was (0.93).

Presentation and interpretation of results

In order to answer the first question, what are the prevailing learning styles according to the
(VARK) model for art education students, the researcher calculated the arithmetic means,
standard deviations, and arranged the styles’ degrees, and Table (2) explains that.
Pattern SMA standard deviation Order
Visual 4.97 2.086 1
Aural 3.09 1.679 4
Write/read 3.96 1.635 3
Kinesthetic 4.72 2.061 2
Table (2) shows that the arithmetic averages ranged between (3.09 - 4.97), where the visual
style got the highest arithmetic mean, and this indicates that the visual style is the dominant
style among art education students in the College of Fine Arts, University of Baghdad, as
shown in Table (2). Students vary in their preferred learning styles.
To answer the second question, is there a relationship between the prevailing learning styles
according to the (VARK) model for art education students, and art criticism? The researcher
used Pearson's correlation coefficient to detect the relationship between each learning style
according to the (VARK) model and art criticism, and arranged the styles according to the
levels of correlation values, and Table (3) illustrates this.

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Pattern Pearson correlation Order

coefficient
Visual 0.80% 2
Aural 0.68% 4
Write/read 0.86% 1
Kinesthetic 0.77% 3
Table (3) shows that the correlation coefficients ranged between (0.86-0.68), and this indicates
that there is a good positive correlation between learning styles (visual, reading / writing, and
kinesthetic) and art criticism, and the existence of a weak correlation between the auditory style
and art criticism, The highest correlation value is for the reading and writing style.
We conclude from this that the reading/writing style is the most appropriate style for learning
the skills of art criticism, followed by the visual and kinesthetic style, and the auditory style is
the least suitable for learning these skills.

Recommendations: Teachers need to know students' preferred learning styles and take them
into account when choosing teaching methods, means of presenting information and
educational activities, and encouraging students to acquire and develop different styles of
learning in order to benefit from different means of presenting information, and this is what
was indicated by (Sabiston & Ambrose, 2020, P1506). in their studies.
Suggestions: Based on the results of the research, the researcher suggests building an
educational program according to the (VARK) model to develop students' abilities in artistic
criticism.

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