From «educational tool» to «creative partner»: observations on how generative AI changes the logic of teaching in the field of fine arts

Abstract

The transformation of pedagogical logic in the field of fine arts under the influence of generative artificial intelligence technologies reflects fundamental changes in the understanding of the creative process, authorship, and the professional formation of the artist in a digital environment. A gradual transition is observed from the perception of generative models primarily as auxiliary tools for the visualization of ideas or the generation of references toward their interpretation as a full-fledged creative partner capable of introducing elements of surprise, stimulating reflection, and expanding the boundaries of stylistic experimentation. Analysis of interaction dynamics demonstrates that at the initial stages of training, substitutive scenarios predominate in which technologies are used to produce a final image, whereas progression to senior courses and master’s programs strengthens an orientation toward iterative dialogue, preliminary sketching, critical analysis of compositional and coloristic decisions, and the creation of auxiliary textures and elements. This testifies to the formation of a more mature professional approach in which technology enriches rather than replaces the author’s work. Pedagogical attitudes exhibit significant differentiation depending on disciplinary affiliation and teaching experience: representatives of the academic tradition in fine arts more frequently adhere to restrictive positions, while fields of design and visual communications are dominated by an integrative perspective that presupposes the inclusion of generative tools at various stages of work. Assessments of the degree of authorship in hybrid creative forms reveal a shared value foundation uniting instructors and students, according to which maximum creative agency is preserved with substantial manual elaboration, and minimum authorship occurs with simple prompt formulation without further intervention – although students demonstrate a somewhat more liberal attitude toward hybrid practices compared with educators. Revision of the criteria for evaluating academic works becomes inevitable, as traditional parameters of technical mastery and originality require supplementation by such aspects as transparency in technology use, the quality of interaction with the model, and the ability to make conscious choices among instrumental, dialogic, and partnership models of collaboration. These models coexist in individual interaction profiles, becoming salient depending on task context, which underscores the need to develop reflective competencies enabling the artist to maintain control over the creative statement amid accelerating technological change. The asynchrony between the rapid evolution of generative systems and the updating of institutional norms in educational programs creates a zone of pedagogical uncertainty requiring substantive reflection on the place of technology in the logic of artistic education without abandoning fundamental competencies in manual craftsmanship, visual literacy, and conceptual thinking. The observations presented make it possible to establish the article’s main content, evaluate its significance for the rethinking of methodological approaches in art pedagogy, and make an informed decision about consulting the full text for in-depth acquaintance with specific trends and their pedagogical implications.