Rethinking Online Learning and the Need for Hybrid Art Education

Rethinking Online Learning and the Need for Hybrid Art Education

I have personally experienced that online classes can be just as effective as in-person instruction. Even when students were located in different states across the U.S., their focus, dedication, and sincerity made meaningful learning possible. This experience reminded me that what truly determines the quality of a class is not the physical space, but the structure of the lesson and the learner’s commitment.

Because of this, I have come to believe that I should proactively prepare a variety of online course formats alongside the in-person classes I currently teach. In recent years, there have been increasing instances where classes have become difficult to conduct due to weather conditions. Climate-related disruptions are no longer rare exceptions; they are becoming a reality that educators must anticipate and plan for.
In the past, I was not particularly positive about online instruction—especially in the field of art. I believed that art education needed shared physical space, the ability to observe subtle movements, and the energy that comes from working together in the same room. However, over time, I began experimenting with different teaching tools and instructional methods. Through careful planning, reflection, and trial and error, I eventually discovered more effective ways to teach art online. Reaching that point felt like a meaningful personal achievement as an educator.

One of the most surprising strengths of online classes is that they naturally create an environment where concentration is unavoidable. The limited frame of the screen reduces distractions, allowing students to focus more deeply on the teacher’s demonstrations and explanations. In art classes especially, the instructor can draw step by step from beginning to end while clearly explaining each decision. At the same time, students’ work can be monitored throughout the process, making it possible to provide feedback and guidance in real time. Rather than being a one-directional lecture, the class becomes a shared journey.

As a result, I have developed a strong sense of trust in the online teaching process. It is no longer merely a substitute for in-person instruction, but a complete and effective educational format in its own right. On days when the wind is strong and temperatures drop sharply, instead of going out, I often stay home and devote time to developing new course content. These moments have become opportunities not just for preparation, but for clarifying my long-term direction as an educator.

This is why I now clearly see the importance of hybrid art education, which integrates both online and offline learning. Rather than treating them as opposing methods, I believe their strengths should complement one another. In-person classes offer sensory experience and immediacy, while online classes provide structure, focus, and flexibility. When combined, they open up broader possibilities for art education.

The field of art education can no longer rely solely on traditional approaches. It must evolve in response to changes in technology, environment, and students’ lived realities. The in-person teaching experience I have accumulated over the years, together with the online systems I have recently developed, now represent a major professional milestone for me. Moving forward, I plan to continue developing hybrid course content that brings these strengths together, offering students a stable, thoughtful, and deeply engaging art education.

This transition is still ongoing, but one thing is clear: education must continue, and art must find a way forward under any circumstances. Preparing that path in advance is the work I believe I am doing now.