Philippine Women’s University

Jose Abad Santos Memorial School

Taft, Manila

A Collaborative Work:

Non-arts and design Students value Art: A Study

In Partial Fulfillment of the Requirements for Practical Research

By:

Cuaresma, Catlin

Imbuido, La O.

Palmos, Cedric Joshua B.

Pangilinan, Sofia Collette S.

Ponsones, Marianne C.
 CHAPTER I

Problem and its Background

Introduction

Creation of art in the society marks the quality and state of being human in people through

the different ways of delivery of emotions, controversial statements, and opinions on certain events

that happen around the world. Most of the art that the society consumes ever since the beginning

of art’s emergence are seen, which are categorized under visual arts and works classified under

visual arts are not restricted to painting and sculpting; some of the common forms of it include

film, performance art, design, architecture and crafts, et cetera. The researchers, as art students and

aspiring artists, are using their creativity and skills to make visual arts their profession in the future.

Like other art students, they hone their skills in art to make marketable works, with a slight

uncertainty to it being profitable enough to make a living out of it. Though art is defined by

expression, creativity, and subjectivity, it is a part of every artists’ struggle to fit into what will the

society and the art industry will accept as they search for excellency and significant worth in every

artwork. Every company or business that competes to gain response from people uses visual

communication through media and it usually requires artists to produce the right visuals that are

appropriate for their vision and concept and what they are trying to convey to the demographic of

their current or future clients and not all artists are what these companies are looking for. Each

artist has their own style, and they are aware of it not being for every viewer who sees it, especially

when it is someone who does not usually entertain themselves with arts, or someone who simply

do not have a huge interest in art. Thus, the diversity of visual artists in their styles and their field,

depending on the medium they use and where they offer their service will affect the value of their

artworks and their income.

 An individual artist can show their artwork to art critics and they can give full,

comprehensive critiques on it, but it can be put on a different perspective once a non-artist looked

at the artwork. Everyone consumes art without even knowing, yet there are things that occur

around art students’ surroundings that make them feel anxious about the career they want to pursue.

People who do not regularly view art or make art as a form of their escape, entertainment, or living

may have overlooked some artworks, because there are works are different to the form of art that

they were accustomed to or are conditioned to think that there is a limit to what is conventionally

called art. Furthermore, that unfamiliarity might also lead them to think that there are artworks that

may cost low than others and believe the stereotypes about people working in the creative field.

There are non-artists who admire art and consume them with less means to bid to an auction or

pay for a known artwork tries to find artworks that are affordable to them. Hence, there are artists

who have experienced being asked to make art for free or for much less than the value than they

initially planned it to be, as other people see art as an easy thing to make. In the Philippines, art

students like the researchers conducting this study feel stigmatized due to the Filipino society’s

apparent prioritization and appreciation towards the STEM (Science, Technology, Engineering

and Math) industry and hackneyed ideas about the arts and the people working in its industry are

still perpetuated, therefore making art students feel disappointed when they are not supported by

their families on the career they wish to pursue in the future. This has also led other young artists

to divert their attention to the likes of what is more likely to be prioritized and work in those

industries than to continue their dreams of being an artist someday.

On the other hand, there are still non-artists who properly appreciate arts in the way artists

want the society to do. The received idea of artworks being expensive can come from the people

from the upper class of the society who are purchasing or bidding for expensive artworks, and
some do it for their deep love for art or as a way of investment. There are people who are not as

knowledgeable on art as artists do, yet they possibly have the privilege to buy such expensive art.

There are also non-artists who have artist friends whom they support through buying some of their

artworks and credits them as much as possible when they try to share the piece of artwork. They

are now making small steps to prioritize art; but for art students, the society still has a long way to

realize the importance of arts together with the other industries and the fundamentality of its

function for people’s wellbeing.

Background of the Study

Art is the representation of one’s thoughts, feelings, and their views on the world. With

words not being enough, we look for other mediums to fulfill our need to express and

communicate. “-its only function is to be experienced, appraised, and understood (or not).”

(Leonardi, n.d.) It is also always associated with the word beauty which is what makes it so

subjective. Beauty can mean anything that is pleasant to the eye, but it is not. It is more personal

than that. A lot of things can be pretty but does not reach the standard to be called “beautiful”.

That is because it is the measure of how much the art affects you emotionally. In the arts beauty is

the success of the communication between the artist and the viewer (Nieters, n.d.). But it is

uncertain that what the artist is trying to say always gets to its viewers which makes its subjectivity

endless. There is no consensus in art. For years the foremost definition of art has been an argument.

As time progresses, what you can call art becomes questionable. Various artists have their own

distinct way of defining it, but they all agree that it evolved into something more intellectual.

“Suppose it is a work of art? Then certain questions come into play -- what's it about, what does it
mean, why was it made, when was it made and with respect to what social and artistic

conversations does it make a contribution? If you get good answers to those questions, it's art.

Otherwise it turned out just to be a hole in the ground.” (Danto, 1997)

A question that can be asked is how artists think differently from non-artists. Although it

is undetermined if one is born an artist, other researchers have conducted experiments and agreed

to this. Scientist’s studies have found that an artist’s brain is structurally different, their brain scans

show that in areas relating to fine motor movements and visual imagery, they had increased neural

matter (Hogenboom, 2014). Despite agreeing that practice is still crucial, this promotes that an

artist’s talent could be innate. Other studies focused on the contrast between how artists and non-

artists see their surroundings. According to an article by Rujuta Pradhan in 2015, they showed an

artist and a non-artist a picture. They used an eye tracker to see how different they would view it.

It showed that the non-artist focused more on the objects, spending 40 percent of the time looking

at them. While the artist focused entirely on the picture; where the things were positioned, contours

and the shadows, spending only 20 percent of the time looking at the objects. When they were

asked to remember the picture, the artist’s scan patterns would be quite similar with the non-

artist’s, but still managed to state more details. Our eyes do not actually see the objects in front of

us, we see light bouncing off of it and shadows that make us determine what it is. According to

Rujuta, artists master this idea whether by intuition or by practice. When asked to draw an object,

non-artists would draw it how they see it in their head. For example, a boat, they would draw it 2

dimensionally with simple lines. But when you ask an artist to draw one, they would take time

focusing on the whole visual field with the subject, resulting to a more realistic image.

Art is not merely a form of entertainment; it is a way of life for artists. And their income is

always a question with it being intensely subjective. Art is not something you can eat, wear, drive
or something people can live in – it is pretty much useless, which is what makes it hard for people

to buy it. But why is some art so expensive? Wealthy people participate in this kind of business.

They collect artworks, expensive ones, and call it a hobby. Using it as their way of boasting their

taste and wealth, they see it as a form of competition with their peers. This is also practiced in the

Philippines. Recently, they have been experiencing quite a success in the art industry. With the

increasing number of events and art galleries, younger artists are able to find a market to sell their

works. Not only that, younger collectors are hungry for art. What fuels their lust is the shortage of

it, which according to them, makes it more fun. “They like the hunt. And they like showing off.

Collecting art is one way of measuring who has the bigger dick, because art is hard to get, even if

you have the money.” (Cometa, 2016 - Inquirer) But this is just a small portion of the art industry.

Most of the artists in the Philippines are not rich and may never have the chance to be. Apart from

the cluster of well moneyed Filipinos, the value of art is heavily looked down on in the country.

One specific reason of this is the mindset that being a doctor, or an engineer is the measurement

of being successful. It has become part of the culture that artists are automatically going to fail in

life, which they should not.

Filipinos are known for being practical when it comes to money. Although artists cannot

blame them for being unwilling to pay for something they do not know how would benefit them,

it should be a responsibility to let them know that the work of an artist is just as relevant as

everyone else’s. “Everyone has a role, and not all roles directly solve the world’s problems.”, Len

Cristobal mentioned in his article in 2018, “Artists help us with introspection; the way we see, feel,

and understand things because this world has a way of hardening our hearts and confounding our

brains.” Artists are rarely seen even though art is everywhere, the stigma plays a crucial part in
their career. Artists go through schools and workshops, spending most of their days practicing and

studying to improve their craft. Art is not just a recreational activity for artists, it is work.

Statement of the Problem

Art students experience higher unemployment rate compared to the courses that is not

related to art (Jones, 2015). In this study we aim to know why artist experience career shift and if

there is a significant difference in non-artists such as non-arts and design students and how they

value art. Furthermore, the researchers aim to know why and how these situations happen.

In this research paper, we intend to fulfill the answers to the following questions:

1) What forms of visual arts do non-artists enjoy/regularly avail?

2) How much would non-artists value/pay for these certain forms of visual arts?

3) How does the interaction between non-artists and artists affect artists?

Purpose of the Study

Artists consider non-artists as one of their clients and the main viewers of their creations. The

main purpose of this study is to examine the correlation of their feedback and insights to the

ongoing movement of visual arts, to determine what kind of feedbacks make a significant effect

to certain form of visual arts, how their perspective and liking can have a huge impact into the art

world and local artists. In this study, the researchers also tackles on how exactly a non-artist views

and opinions about art can affect local artist’s business, income and relevancy into the public and

about how their opinions can affect the integrity and value of art, and lastly the purpose of this
study is to see the positive and negative relationship of non-artists with visual arts and artists

themselves.

Significance of the Study

The findings of this study will be of great benefit to the following:

Scope and Delimitations

The society. It gives the society a much wider perspective from both sides of the non-

artists and the artists and this study might help them realize how much art industries and art in

general contribute to the society and each one of the people who belong in it are seen or reflected

in each time an artwork is made.

Artists. This study aims to help artists in their careers. Artists who work for the creative

image of multiple companies may appreciate the insights of the people who are not as

knowledgeable as them in arts. People will be aware about the less known ideas about being

artists and the struggles that come with it. In addition, this may help artists to be encouraged

from what the non-artists may give as remarks to what they are doing. Artists will not be limited

for bringing out their designs because they don’t need to do an artwork base on the crowd

because people were now well informed.

Non-artists. This study will provide information and awareness on the art appreciation and

the struggle that goes through the process of making artworks. This can be a help for them to

expand their knowledge on different forms of visual that they might have overlooked when they
are also consumers of these works through different media, and this can be an encouragement for

them to explore and make art themselves.

Students. This will help the students to be conscious of the importance of art and how it

contributes to the society and its function; the ides from this study may give them the opportunity

to change the misconception and the conventional cognizance of the society to visual arts.

Future Researchers. This study can be used by future researchers as a reference for further

studies.

This study focuses on how non-artists view art. In this study, the researchers will

conduct a survey for Grade 12 students in Philippine Women’s University-Jose Abad Santos

Memorial School -Manila, school year 2019-2020 who will represent as population. The survey

will be given to different tracks of senior high such as HUMSS, STEM, ABM and TVL. The other

students which do not fall as part of Grade 12 students from Academic and TVL tracks are not

within the scope of this research. The study would be done through the utilization of questionnaire

to the students as survey and reference. Questionnaires contain pictures of different artworks and

art style. By answering the questionnaire, the researchers will be able to know on how the non-

artist view art and how much would they pay for a specific artwork to Grade 12 students who

make art and aspire to be artists.

 CHAPTER II

Review of the Related Literature

What are the visual arts?

Visual Art is a complex stimulus (Hagtvedt and Patrick, 2008), art can affect the human

mind by feeling a particular emotion while looking or doing an artwork, art are created to

stimulate us through a visual experience (Esaak, 2019) as a viewer art is meant to make you feel

a thousand emotions by looking at an artist’s artwork either it could be the feeling of fascination

or nostalgia, the beauty of art is it speaks for itself without saying a single word. Moreover,

Dalisay (2018) said that art has made tremendous contributions to the economy and the world.

According to a test that was held by university students who are not very familiar with art find

that using two mediums such as drawing and collage are somehow therapeutic; and they felt like

that the possibilities are limitless (Rafaelli, Hartzell, 2016). Different people have different

views of art, Many people have even given their own opinion on how they view about art, some

did not like art, some said art is a way to see the world and some did not even pay attention and

think it is irrelevant (Ichoku, 2019), (Montebello in Wallach’s article, 1997) art matters less to

our lives that it did in the past, now the people only praise the name of the artist instead of

praising the art itself, (Rosenblum in Wallach’s article, 1997) somebody has to be the first to

give praise, but if that is not given then there is nothing there. Without people to make and

appreciate art and artists, art itself would be meaningless.

Value of art

Visual arts have been a commodity in the society since the beginning of humanity while

its sole function is mainly based on aesthetics and the emotion it evokes. To art world outsiders,
the distinctions in price can be confusing. Because there are some artworks that are expensive and

other is not. Talking in the most essential economic terms popularity and a shortage of supply

creates high prices for artworks. In this study we will see on how other people see the value of art

in the society. Craftsmanship is intrinsically remarkable on the grounds that there is a limited

supply on the market available at some random time. This chapter presents brief review of

literature and studies, both local and foreign that is related to these studies.

(Neuendorf, 2016) asked on why there’s an artwork sell worth $10,000 and another for

$10 million—or even $100 million? He is confused on where do we based the pricing. According

to Augusto Arbizo, price is determined by “an artist’s exhibition history, sales history (if any),

career level, and size of artwork.” He added that “sometimes, production costs are factored in as a

cost that needs to be recouped.” A show at a significant exhibition hall, for example, New York's

MoMA can affect a work of art's worth. At that point, there are progressively mind-boggling

components to consider. Is the artist “attractive”? What is the artist's essentialness with regards to

art history Is the artwork representative of the artist’s style? According to Neuendorf, to determine

the value of an art is dependent to the artist style and status whether she/he is well known to the

society and if his/her works made an impact to the people.

“Every period in art history, you’ve got the people who write the vocabulary,” (Jones,

2015) “and then you have lots of people who learn the vocabulary and use it quite intelligently.

There are lots of Fauvists apart from Matisse and Derain, but you remember the people who

actually establish the rules.” The artist’s importance and standing in art history is an important

influencing factor. In the present market, individuals are keen on what's happening and hot, artists

who will be the next big thing, or built up, perceived, brand-name specialists. Correspondingly, an

artist’s inclusion in a significant exhibition of gallery show, or incorporation in the collections of

influential and regarded collectors, can positively affect the price of an artwork. According to

Jones, the value of an artwork totally depends on the artist. The artist who made the foundation

style in the art industry usually gets paid hundred times for their artwork. Joerg and Jesse (2018)

states that people propose that the value of art is registered by the emotion of wonder. Departing

from some standard approaches in empirical aesthetics, we focus on the appreciation of art as art

rather than mere aesthetic preference. They conclude that people have different taste on how they

value a certain artwork and that greatly influence the pricing. While on (Nigel, 2013) The value of

the arts is often measured in terms of human creativity against instrumental rationality. For him

the value of art is just based on the end beauty of the product itself whether it is pleasing in the

eyes or not.

In the general economy, art and finance can be close relatives. (Cardoso, 2015) According to

her, the rationale of the art market is fundamentally the same as the one of the financial world

Contemplating a monetary setting, it doesn't make a difference how we see craftsmanship or

money: when workmanship is created by people and establishments subject to our financial

condition, they likewise become subject to the requirements of the material world. She also added

that art, finance and status always go together because you cannot be well known enough by talents

alone, artists will need money to make themselves known.

The broad definition of finance is “the monetary resources and affairs of a state,

organization, or person”. (Cardoso, 2015) Since the beginning artists have been bolstered by

people, states or associations with fiscal assets. They would be approached to depict notable

individuals so as to "immortalize" them, leaving a heritage. The artist itself would profit by this,

aside from the payment. Nowadays, artist are "free" to make their own art and their "signature is

everything". The "status" is a relative situation towards a person or thing, an insignificant length
of presence; for this situation the artists can profit by significant collectors who are additionally

anticipating be the known as the glad proprietor of such artwork. Status and acknowledgment are

a piece of our psychological reward framework.

Art is a unique feature of human experience. (Leder, 2012) They conducted a research

about the related difference between the aesthetic appreciation of classical, abstract, and modern

artworks. They measured liking, elicited emotions, arousal, and comprehension, and compared

structural equation solutions for 2 groups of students with higher and lower levels of art expertise.

They infer that it all depends on the person on how they see art because everyone has a different

taste and different art style they were exposed to. Based to their research experts and nonexperts

revealed strong effects of emotions in all condition. Thus, when it comes to an artwork's value

everybody has a different say because according to Leder, we are all emotional being and we are

all differently drawn to a specific style, era or artist that we can connect emotionally. (Leder,2012)

These results reflect experts' greater flexibility and differentiation in art appreciation.

They give us something to admire, and they allow us to feel something meaningful. (Gonzalez,

2017) The same with Leder's point on his research Gonzalez concluded that the value of an artwork

depends to every individual and commonly it's based on how they relate to one's artwork

emotionally and by understanding.

Artistic value is standalone value embedded in the artwork and includes its quality and

significance. (EY, 2017) It’s the general beauty of an artwork and it agrees to the idea of Gonzalez

and Leder that it all depends to the person's preferred style and whether he relates to it emotionally

and by understanding.
Art Market

The discipline of arts marketing has been flourishing since the 1970s. (Boorsma 2006;

O’Reilly, Rentschler, and Kirchner 2014), contributing to organizational effectiveness and

public awareness of cultural promotion.

An example of the flourishing art market is shown by Karabell (2018) as the total spending

on arts sponsorship in North America did cost $993 million in 2017 and is expected to grow and

increase 3.7% into 1.3 billion in 2018. According to Lee (2005), the position of marketing in the

arts has been established by creating and disseminating knowledge through higher education

programmes, academic and practitioner conferences and manuals of marketing practice supported

by government funds since the 1990s. Arts marketing was concerned with “marketing as a set of

techniques” in its commencing. Kotler (1980) said in the beginning of Marketing the Arts that

marketing became “the critical mechanism for building, enduring and satisfying the

relationships between arts organizations and its target audience”, indicating the problem of

transferring marketing concepts to the arts sector. The problem lies in the differences between

commercial goods and artistic outcomes. Arts marketing does not start from the needs of the

market, but is initiated right after the produced outcomes from artists. Several local artists whose

art became famous in merchandise didn’t do it for marketing rather did it because it best fits the

viewers’ perspective. In this sense, Mokwa, Nakamoto, and Enis (1980) argue that marketing does

not tell an artist how to create a work of art; rather, the role of marketing is to match the artists’

creations and interpretations with an appropriate audience”. Bradshaw (2010) separates the domain

of the arts from the concept of marketing, for it “arguably smuggles a primitive conceptualization

of art and marketing as diametrically opposed”. Thus, Bradshaw emphasizes the implications of

interaction between marketing and the arts. Hagtvedt and Patrick (2008) indicated the influence of
visual art on marketing in their empirical study. They pointed out that art creates connotations of

luxury and prestige and facilitates cognitive flexibility, positively affecting customers’ evaluation

of brand extension. Through similar experiments, they reveal that the presence of visual art has a

positive effect on the consumers’ evaluation of a product.

Work in the Art Industry

Visual arts can be seen anywhere and they circulate through different platforms, whether said

platforms are traditional or digital. Through these platforms, artworks and masterpieces by artists

are given importance and value through its coexistence with marketing. The art/creative industry

is not only limited to what is classically known to be art, as it also has to be integrated with

commercial work as the creative industries are productive in generating new ideas in different

fields such as in technologies/scientific areas, music, entertainment, especially in architecture,

design, education, and art (van Oort, Marlet, and Rutten, 2013). In the merchandise of fine arts,

the name of the artists is one of the aspects that give value to a piece of an artwork. People who –

are regular enthusiasts and consumers of art take the integrity of the art and the values of the artists

who create art ardently. According to a study, it is important for patrons to know that artworks

pass their authenticity and their respectful credit to any inspiration that they have, including the

artist’s reputation whether the artist and their ideas are socially accepted (Marshall and Thatch,

2016). When these criteria are mixed together in order to sell in the postmodern society that the

consumers are in now, these things have led creatives into having struggles and/or challenges that

they experience within working in the art world and how much they get from it, less people can

get through the cutthroat industry of art. Based on du Toit (2015)’s article, the intermediate world

of artists is full of chaos and it lacks space for new artists as they are usually ignored when there

are people who are already taken seriously in the art world. They further state that the unknown
limitation towards art making what the kind of consumers that an artist will have based on the type

of art they will be making keeps the art world somewhat terrifying for them.

While there are people who still aspire to be artists in the future and though artworks can

cost hundreds and millions of dollars, working in the art industry is still a difficult world to have

a place in and earn from. A study shows the largest unemployment rate comes from the students

who graduated in arts-related courses with 12.9 to 11.8% compared to other courses like business,

engineering, and computer and information sciences (Cascone, 2014) and art-related courses such

as advertising, graphic design, fine arts, theater, and photography are listed as the worst college

majors in 2019 (Forbes, 2019). On the other hand, it is still unknown as to why these kinds of

labor and the appreciation of visual arts is still not enough for a lot of artists to make living of.

According to Cristobal (2018), one of the factors that can be affecting are the consumers who are

not quite knowledgeable of what is going on around the art industry or the process of making art

itself. They not aware of the value of art and how much art contributes to their daily lives, when

they pay for their services and still some of them might think that art is purely a hobby and a

recreational activity, hence making them conclude that any service that comes from a small-scale

artist can be free of charge when it is their work. The difficulties that every artist can experience

through the process of the creation of the artwork, the amount of thought that goes to every work

and negotiation with clients can have an effect on them and their creativity (Gerard, 2019), and

this phenomena oversees the future and the fear the creatives have for the future of art and the

possibility of it being homogenous and identical (Bawcombe, et. al., 2016). However, these can

be changed or prevented if there are more studies about what could possibly cater more to the

clients, especially for people who do not really engage themselves in art that much the researchers
aim to see their perspective about it and what can artists know about them and improve the

relationship of non-artists and artists as producers and consumers.

Definition of Terms

Aesthetic - a set of principles concerned with the nature and appreciation of beauty, especially in

art.

Bolstered-provided with padded support.

Commodity - a raw material or primary agricultural product that can be bought and sold, such as

copper or coffee.

Coexistence-the state or fact of living or existing at the same time or in the same place.

Craftsmanship-the quality of design and work shown in something made by hand; artistry.

Differentiation-the action or process of differentiating.

Distinctions - the act of perceiving someone or something as being not the same and often

treating as separate or different : the distinguishing of a difference without distinction as to race,

sex, or religion also : the difference distinguished the distinction between imply and infer.

Embedded-(of an object) fixed firmly and deeply in a surrounding mass; implanted

Empirical-based on, concerned with, or verifiable by observation or experience rather than

theory or pure logic.

Homogenous-of the same kind; alike.

Immortalize-confer enduring fame upon.

Intrinsically-in an essential or natural way.

Rationality-the quality of being based on or in accordance with reason or logic

Standalone- operate independently

Stimulate - to excite to activity or growth or to greater activity.

Postmodern-subsequent to or coming later than that which is modern

Phenomenon-a fact or situation that is observed to exist or happen, especially one whose cause

or explanation is in question.

CONCEPTUAL FRAMEWORK

The conceptual framework is based on the procedure that will be executed in the

fulfillment of the study. The study includes these certain variables as key points in order to attain

the researchers’ objective.

INDEPENDENT VARIABLES DEPENDENT VARIABLES

Non – artists (Grade 12 Non-A&D Their unbiased perspective/opinion

Students on visual arts

Non-artists’ preferences on art styles The possible income of artists/prices of

and forms of visual arts artworks

Art Styles Non-artists’ given

value/appreciation
 CHAPTER III

METHODOLOGY

Introduction

This chapter presents the overall process in the gathering the data from respondents that

are selected. The chapter also contains the research design, research locale, the selection of the

subject, instrument and technique, and research statistical tool.

Research Design

This study uses the mixed method design as the researchers aim to get the perspective of

non-artist students on visual arts through a measurable way of gathering data by distributing a

survey to the selected number of respondents. The study uses a descriptive approach to the process

of its methodology to observe, analyze and determine the correlation of the variables with each

other objectively using surveys and give a glimpse to the state of the current day's nature of what

causes such phenomena to happen [Koh, Owen (2000)]. The reasons for using descriptive method

to the study is not only to see the correlation of two variables (perception of non-artists and visual

arts), but also to have an insight of the relationship between them.

The process for the methodology starts from the formulation of the questionnaire which

requires for validation and its distribution as survey once it has been approved, and the respondents

are selected as the Grade 12 students of Philippine Women’s University – Jose Abad Santos

Memorial School Manila that are enrolled to tracks or strands that are not under the Arts and

Design track, preferably with no background, knowledge, or expertise in making art as an interest,

hobby, or a job to gather an unbiased and controlled/measurable response to the questionnaire that

was given. The respondents are selected by using purposive sampling method as the researchers

chose a common background for each individual that will participate in the study; and Slovin’s
formula is used to calculate the sample/number of respondents from the population of Grade 12

students in the campus.

Research Locale
 Philippine Women’s University

The respondents for the survey that is utilized in this study are the Grade 12 students from

different strands/tracks except Arts and Design (STEM, ABM, HUMSS, and TVL) in Philippine

Women’s University – Jose Abad Santos Manila in Taft Avenue, Malate, Manila as the campus

have an adequate amount of students and range of diversity in the tracks/strands that they offer;

therefore making the study applicable to the said locale.

Research Instrument and Technique

This study conducts a survey for the respondents wherein Likert scale is used to determine

what the respondents think/identifies the closest about the certain statements given in the

questionnaire by the scale of 1-5 where the choices start with 5 - strongly agree, 4- agree, 3-

somewhat disagree, 2- agree, 1- strongly disagree.

The questionnaire is based on the liking, perspective, and opinions about topics related to

art, these questions provided for the respondents are 15 questions that answer the following

research questions for this study:

1) What forms of visual arts do non-artists enjoy/regularly avail?

2) How much would non-artists value/pay for these certain forms of visual arts?

3) How does the interaction between non-artists and artists affect artists?

In the preparation of the instrument, the researchers have put simple questions to

accommodate the knowledge and preparedness for the respondents, un-challenging questions were
provided to the respondents to accommodate their time and schedule, and the instrument is

authorized to obtain valid and reliable answers from the respondents.

The technique of this methodology is as follows: the first step used was to ask permission to

conduct the survey using approved questions. The questionnaire was distributed to the chosen

Grade 12 students of Philippine Women’s University Jose Abad Santos, Manila.

Copies of the approved questionnaire were distributed in order to gather relevant data. The

sample is determined by using purposive sampling method.

The data to be used in this study will be gathered from the responses of the selected respondents

on the survey distributed to them. Then, obtained data are being analyzed statistically through

tabulation and computation of their results.

Research Subject

In this qualitative study, 4 classes (sections) of Philippine Women’s University Jose

Abad Santos will be selected to participate in the process. Chosen students will be given a

questionnaire that will show on how the non-artist view visual arts.

The subjects and respondents of this study will be the Grade 12 students of Philippine

Women’s University Jose Abad Santos enrolled in Manila. A total of 110 respondents: 32

students from Galileo, 28 students from Edison, 27 students from Darwin and 23 students from

Franklin take the survey and answer the questions through the Likert scale where they check the

box under the rating that they identify with/relate to the most.
Population and Sample

Since the subject of this study are non-artists of the Grade 12 students in PWU-JASMS,

the researchers used the purposive method in sampling. There are five sections with a total of 168

students and from the computation of Slovin’s formula, 118 of them are the targeted respondents.

The researchers compute the sample population using Slovin‘s formula with 5% error or

tolerance percentage error.

Slovin’s Formula: n = N / (1 + N (e)2

Whereas:

n = Sample of the population of Garde 12 students in PWU-JASMS

N = Total population of Grade 12 students in PWU-JASMS

e = Percentage Error

Given the value of:

N = 168

e = 5% (0.05)

Computation:

n = 168 / (1+168(0.05)2

n = 168 / (1+168(0.0025)

n = 168 / 1 + 0.5225

n = 168 /1.5225

n = 118

Formula for the sample:

SAMPLE TOTAL x PERCENTAGE = SAMPLE

 Table 1. Population and Sample

SECTIONS POPULATION PERCENTAGE SAMPLE

Galileo 49 29.17% 34

Edison 42 25% 30

Darwin 41 24.40% 29

Franklin 36 21.43% 25

TOTAL: 168 100% 118

APPENDICES

Perspective of non-artists to art: Impact to Art Industry as Consumer

QUESTIONNAIRE
Please rate how strongly you agree or disagree with each of the following statements by
putting a check under their corresponding numbers. (5 – strongly agree, 4- agree, 3- somewhat
disagree, 2-disagree, 1- strongly disagree)
STATEMENT 5 4 3 2 1
Strongly Agree Somewhat Disagree Strongly
Agree Disagree Disagree
1. I appreciate arts for their
aesthetic value.
2. I appreciate arts that make
people think.
3. I like art that are made by
famous people.
4. Arts do not make sense to me.
5. I don’t understand some of
the artworks that are made
today.
6. I often find entertainment in
visual arts through paintings
or artworks.
7. I often find entertainment in
visual arts through films,
videos, and photography.
 8. I find entertainment in visual
are through performance art,
theater, etc.
9. When it comes to art styles, I
prefer realism or anything that
is considered “classic” or
“traditional”.
10. When it comes to art styles, I
like the ones that are unusual
or non-traditional.
11. I think that there are standards
that should be followed when
it comes to making art.
12. I think that arts are important
for a lot of people, but it is not
for me.
13. I think that arts are important
for people, including me.
14. I think that art is taken too
seriously.
15. Have you considered buying an artwork/paying for a creative work before? If not, are
you interested in buying/paying for one or more? ____ Yes ____ No
16. Is an artwork reasonable to pay for if it is not based on its size/aesthetic value/style and is
solely based on the artist’s pricing?
____ Yes ____ No
17. If you had the means to buy an artwork (that you really like/you have commissioned)
directly from the artist, how much would you pay for it?

__ below 1000PHP

__1000 PHP - 2500PHP

__2500 PHP-5000 PHP

__Above 5000php
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