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Students’ Perceptions of Digital Tools in Teaching and Learning Fine
and Applied Arts
Sulayman Olubunmi Ganiyu, Oluwaferanmi Fiyin Yusuf
Department of Fine and Applied Arts, Adeyemi Federal University of Education, Ondo.
DOI:
https://doi.org/10.51583/IJLTEMAS.2026.150500228
Received: 25 May 2026; Accepted: 30 May 2026; Published: 18 June 2026
ABSTRACT
This study investigates the perceptions of undergraduate students regarding the use of digital tools in the teaching
and learning of Fine and Applied Arts at Adeyemi Federal University of Education, Ondo. Against the backdrop
of the post-COVID-19 pandemic, it examines how studio-based art students integrate such tools in their
coursework. A descriptive survey design was employed, using an online questionnaire administered via Google
Forms to a convenience sample of 107 undergraduate students from 100-level to 400-level. The instrument
captured the students' familiarity with digital tools, their frequency and purpose of use, perceived benefits for
creativity and understanding, and the various challenges associated with access and instructional support.
Descriptive statistics were used to summarise patterns of device ownership, tool usage, and perceptions across
academic levels. The findings indicate that most of the respondents use personal digital devices and show
readiness for greater digital integration, particularly where such tools support visualisation, experimentation, and
flexible access to learning resources. However, limited infrastructure, unstable internet connectivity, and varied
lecturer competence constrain effective adoption. The study recommends strategic ICT infrastructure
investment, targeted staff development, and curriculum review as crucial interventions in the alignment of Fine
and Applied Arts education in Nigeria with contemporary digital practices and the enhancement of students’
learning experiences.
Keywords: Art curriculum development, digital tools, fine arts education, student perceptions, Nigeria.
INTRODUCTION
The global shift to digital learning, accelerated by the COVID-19 pandemic, has emphasised the need to
understand Fine and Applied Arts students' perceptions of digital tools, particularly as studio-based programmes
adapted to digital strategies. The integration of digital tools in Fine and Applied Arts has revolutionised the way
students and educators approach creative processes, enabling new forms of expression and learning. As digital
tools such as graphic design software, 3D modelling programs, and virtual platforms become integral to the
curriculum, the traditional boundaries of artistic education are expanding. This transformation has been
highlighted by Manovich (2016), who examined how the intersection of art and technology has enabled hybrid
forms of creativity, blending the digital with the physical in innovative ways. By embracing this shift, educators
would not only have enhanced technical proficiency but also would have fostered collaboration and critical
thinking, making technology a vital component of modern arts education.
However, Ajayi and Luckay (2023) report that Fine and Applied Arts departments in Nigeria face serious
challenges regarding technology resources, device access, and pedagogical approaches. There is considerable
variation in technology availability across institutions, which unevenly shapes students’ learning experiences.
Many students struggle to access computers and other digital devices, limiting their capacity to complete
assignments, engage with digital art practices, and build portfolios suitable for contemporary creative industries.
In addition, teaching in many programmes remains heavily oriented toward traditional studio methods, with
insufficient emphasis on digital skills and tools. To prepare students for the current art world, it is imperative to
integrate modern technology more systematically and to strengthen both infrastructural support and pedagogical
practices in these departments.
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This study, therefore, responds to the growing need for digital tools in art practice that Nigerian universities are
not yet adequately meeting. It identifies a clear gap between the demand for contemporary digital technologies
in Fine and Applied Arts and the limited resources, skills, and pedagogical support available to use them
effectively. This gap risks constraining students’ and emerging artists’ ability to fully leverage digital
technologies in their creative and professional work.
A key problem addressed by this study is the limited empirical evidence on how art students in Nigeria perceive
digital tools in both studio-based and theory-based courses. Most existing research on digital tools in education
focuses on general education or STEM fields and is predominantly situated in Global North contexts, with little
attention to Fine and Applied Arts in sub-Saharan Africa. Consequently, there is a scarcity of context-specific,
discipline-focused evidence on how Nigerian art students access devices, become familiar with digital tools, and
perceive their impact on creativity and learning outcomes.
This study addresses that gap by providing contextual, discipline-specific evidence on device access, tool
familiarity, and perceived impact on creativity and learning outcomes among undergraduate Fine and Applied
Arts students in Nigeria. By exploring students’ perceptions, the findings contribute to scholarly discussions in
art education about how digital platforms can enhance instruction, critique, documentation, and portfolio
development in Nigerian higher education.
Accordingly, this study examines undergraduate students’ perceptions of digital tools in the teaching and
learning of Fine and Applied Arts at Adeyemi Federal University of Education, Ondo. Specifically, it addresses
the following research questions:
i. How familiar are students with digital tools relevant to their studies?
ii. How frequently and easily do students utilise these tools in their educational practices?
iii. What benefits do students perceive from using digital tools in their art education?
iv. What infrastructural or pedagogical challenges do students encounter in the adoption of digital tools?
v. To what extent do students feel prepared for increased integration of digital tools in their coursework?
The main objectives of the study are to:
i. assess students’ familiarity with digital tools relevant to their studies;
ii. gauge the frequency and ease of their use of these tools in educational practices;
iii. identify perceived benefits, such as enhanced creativity or efficiency in producing artworks;
iv. document infrastructural or pedagogical barriers that may hinder effective digital tool integration; and
v. evaluate students’ readiness to embrace greater digital integration in their art education.
These objectives are justified by the increasing role of digital media in education and the creative industries;
understanding student perceptions and experiences can inform curriculum development, support services, staff
training, and ICT infrastructure investments within the department and similar contexts.
The study focuses on undergraduate students in the Department of Fine and Applied Arts at Adeyemi Federal
University of Education, Ondo, who are currently enrolled and have completed at least one art course involving
digital tools. It examines digital tools specifically used for teaching and learning in Fine and Applied Arts, rather
than all possible technologies. By exploring students’ views, the findings aim to contribute to ongoing scholarly
discussions in art education about how digital platforms can enhance instruction, critique, documentation, and
portfolio development. Ultimately, the results are intended to guide curriculum revision, teacher training needs,
and strategic investments in ICT infrastructure, thereby improving student engagement, teaching quality, and
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the overall digital learning landscape in Nigerian art education
Brief History of Digital Tools in Education and in Fine and Applied Arts
The use of digital tools in education began in the 1960s with computers for administrative tasks, but it expanded
significantly in the 1970s and 1980s with the advent of personal computers and early computer-assisted
instruction (Amhag et al., 2019; Jeng & Zaini, 2025; Jingying, 2025). The 1990s saw a shift with the internet
and multimedia technology introducing educational software that included video and audio, enhancing the
learning experience for students. Tools like Adobe Photoshop and Macromedia Flash became accessible for
creating digital art and animations, particularly in Fine and Applied Arts (Poiasok & Bespartochna, 2025;
Wachowiak, 2022).
In the early 2000s, technology such as smartboards, digital projectors, and online platforms like Blackboard
transformed classrooms, enabling virtual collaboration and enhancing teaching methods (Haleem et al., 2022;
Kalyani, 2024). In arts education, tools like AutoCAD and 3D modelling programs expanded design learning,
fostering creativity and technical skill ((Ling & Gao, 2025; Okotubu, 2024).
In the 2010s, tools like Google Drive and online courses made arts education more accessible, allowing people
from different backgrounds to learn about digital art (Paul et al., 2023; Al-Samarraie & Saeed, 2018). Today,
new technologies like AI, augmented reality, and 3D printing are changing how we teach Fine and Applied Arts,
encouraging more creativity and exploration (Al-Ansi et al., 2023; Al-Samarraie & Saeed, 2018).
The evolution of digital tools in education reflects advancements that have transformed teaching and learning in
Fine and Applied Arts. As technology continues to develop, it is essential for educators to adapt and integrate
these tools effectively, fostering creativity in future generations of artists.
As posited by Chen (2023), the COVID-19 pandemic prompted a significant shift towards digital learning across
various educational programmes, including those that rely heavily on studio-based activities, such as art, design,
and performing arts. This transition brought both challenges and opportunities for students and educators.
One major challenge in art education is keeping hands-on, interactive activities that studio-based programmes
need. According to Singh et al. (2021), many students find it hard to adjust to the lack of direct interaction and
feedback that physical studios provide. Creative education often relies on in-person discussions and peer reviews,
which are hard to recreate online.
However, moving to digital platforms has pushed educators to find new teaching methods. Virtual tools and
software have become more important, allowing for fresh ways to collaborate and be creative. This shift has led
teachers to integrate technology into their lessons more deeply, which might improve learning even after the
pandemic. While the move to online learning has created challenges for studio-based programmes, it has also
sparked innovation and a rethink of traditional teaching methods (Mulenga & Shilongo, 2024). The long-term
effects of this change will continue to emerge as schools adjust to new educational needs.
METHODOLOGY
Research design
This study adopted a descriptive survey design to investigate students’ perceptions of digital tools in the teaching
and learning of Fine and Applied Arts. The design was considered appropriate for obtaining self-reported
information on access to devices, familiarity with educational tools, and perceived impact on learning
experiences across academic levels.
Population and sampling
The target population comprised undergraduate students in the Department of Fine and Applied Arts from 100-
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level to 400-level numbering 387 in total. A convenience sampling strategy was employed, leveraging
departmental communication channels and class WhatsApp groups to reach participants efficiently. The intended
sample size was 40–100 respondents to support robust descriptive analysis; however, at this preliminary stage,
valid responses were obtained from 107 students, representing approximately 37.3% of the Department's
undergraduate population at the time of the study. These data are used here to illustrate emerging patterns and
to refine the research instrument and procedures for subsequent large-scale data collection.
Research instrument
Data were collected using a structured questionnaire developed by the researcher and administered via Google
Forms. The instrument comprised five sections, namely, demographics, access and familiarity, learning
experience, benefits and challenges, and readiness.
i. Demographics addressed academic level and specialisation;
ii. Access and familiarity dealt with device ownership and knowledge of digital tools;
iii. Learning experience used five Likert-scale items to capture engagement, ease of use, lecturer support,
creativity, and understanding;
iv. Benefits and challenges utilised multiple-response lists to elucidate responses about perceived
advantages and obstacles; and
v. Readiness explored the willingness to see greater integration of digital tools with a 1–5 readiness scale.
Items were phrased concisely to enhance clarity and completion rates.
Data collection procedure and ethics
The questionnaire link was distributed to students through departmental channels and class WhatsApp groups.
Data collection took place over three days, allowing participants to respond at their convenience using mobile
phones, tablets, or computers. Ethical considerations were strictly observed, ensuring that participation was
voluntary, informed consent was obtained electronically before accessing the instrument, anonymity was
assured, and responses were used solely for research purposes. No personally identifiable information was
collected, and participants were informed of their right to withdraw at any time without penalty.
Reliability and Validity of the Instrument
The questionnaire included five Likert‑scale items designed to capture different dimensions of the study, such
as engagement, ease of use, lecturers’ support, creativity/productivity, and understanding of course content.
Internal consistency reliability was assessed using Cronbach’s alpha for these five items based on complete cases
(n = 67). The analysis yielded a Cronbach’s alpha coefficient of 0.509, indicating poor internal consistency when
the items are treated as a single scale.
The relatively low alpha is likely due to the multidimensional structure of the instrument in question. The items
were purposely written to tap into different but related dimensions of students’ perceptions and not a
unidimensional construct. Engagement, ease of use, lecturer support, creativity and understanding are distinct
facets of the overall learning experience with digital tools. They are thus not expected to be strongly correlated
with each other. Following this conceptualisation, the five items are interpreted as separate indicators of
perceived learning experience rather than as subscales of a composite score.
Content validity was demonstrated by adapting items from the digital learning and art education literature and
then having them reviewed by two experts in art education and educational technology to ensure relevance and
clarity.
Data preparation
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Responses from Google Forms were exported as a comma-separated values (CSV) file for analysis. The dataset
was screened for completeness and accuracy, including verification of the CSV structure, removal of duplicate
records, and inspection of missing values. Variables with more than 5% missingness were excluded from
analysis, while minor gaps in otherwise complete cases were handled through appropriate imputation procedures.
Categorical variables were standardised (e.g., device types and tool categories), and Likert-scale items were
converted to numeric codes following a consistent ordering. Full responses on all five Likert items were available
for 67 of the 107 respondents; these complete cases were used for the reliability analysis. Variable names were
harmonised and assigned descriptive labels, and the final de-identified dataset, named
cleaned_art_education_dataset.csv, was checked to ensure compliance with ethical requirements regarding
anonymity and consent.
Data analysis
Data analysis focused on descriptive statistics and graphical summaries to characterise patterns of device usage,
familiarity with digital tools, and perceived learning experiences. In addition to descriptive statistics, inferential
analyses were conducted to examine relationships between digital tool usage and students’ perceptions of
engagement and creativity. A frequency variable was constructed from self‑reported usage (Rarely = 1, Weekly
= 2, Daily = 3). An engagement score was computed as the mean of four Likert items (engagement, ease of use,
lecturer support, understanding), and a creativity score was derived from a single item assessing perceived
enhancement of creativity and productivity. Pearson and Spearman correlation analyses examined associations
between frequency of digital tool use and engagement and creativity scores. One‑way ANOVA tests compared
mean engagement and creativity scores across usage frequency groups (Rarely, Weekly, Daily) and across
academic levels (100–400 level). Statistical significance was set at p < .05. All analyses were performed using
IBM SPSS version 30. Each of the five Likert‑scale items was analysed separately as an indicator of a specific
dimension of perceived learning experience. Descriptive statistics and group comparisons were conducted for
each item.
RESULT PRESENTATION
To enhance ease of result interpretation, several visualisations were produced, including a pie chart of devices
used for academic work and bar charts comparing mean perception scores by level and summarising the
prevalence of specific benefits and challenges.
A pie chart illustrating the distribution of devices used for academic work. Each segment of the pie represents
the proportion of users for each type of device (see Fig. 1).
Fig. 1: Frequently used devices by Arts students
A grouped column chart (Fig. 2) displaying the average scores across the measures of engagement, ease of use,
creativity, understanding, and lecturer support, presented for the total sample and segmented by academic level.
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Fig. 2: Benefits of digital tools to Arts students.
A bar chart, shown in Fig. 3, depicted the perceptions of students on their readiness to use digital tools.
Fig. 3: Perceptions of students’ readiness to use digital tools
A bar chart that illustrated the counts of significant challenges reported by participants, such as poor internet
connectivity, the high cost of devices, and insufficient training (see Fig. 4).
Fig. 4: Challenges faced by Arts students in the use of digital tools
Correlation analyses examined whether more frequent use of digital tools was associated with higher engagement
and creativity scores. As shown in Table 1, both Pearson and Spearman correlations revealed very weak to weak
positive associations between frequency of digital tool use and engagement (Pearson r = 0.091, p = 0.378;
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Spearman ρ = 0.150, p = 0.144), and between frequency of use and creativity (Pearson r = 0.155, p = 0.133;
Spearman ρ = 0.164, p = 0.111). None of these relationships reached statistical significance at the 0.05 level,
indicating that, in this sample, more frequent use of digital tools was not strongly associated with higher
perceived engagement or creativity.
Table 1. Correlations among frequency of digital tool use, engagement, and creativity
Variable
Correlation Type
r/ρ
p‑value
Frequency of use – Engagement
Pearson
0.091
0.378
Frequency of use – Engagement
Spearman
0.150
0.144
Frequency of use – Creativity
Pearson
0.155
0.133
Frequency of use – Creativity
Spearman
0.164
0.111
One‑way ANOVA was used to compare engagement and creativity scores across students who reported using
digital tools rarely, weekly, or daily (Table 2). Mean engagement scores were similar across groups (Rarely =
3.60, Weekly = 3.61, Daily = 3.76), and the difference was not statistically significant, F(2, 93) = 0.49, p = 0.614.
Creativity scores were highest among daily users (Rarely = 3.89, Weekly = 3.78, Daily = 4.16), but this
difference also did not reach statistical significance, F(2, 93) = 2.56, p = 0.083.
Table 2. Mean engagement and creativity scores by frequency of digital tool use
Frequency of use
Engagement Mean (SD)
Rarely
3.60
Weekly
3.61
Daily
3.76
Note: Engagement: F(2, 93) = 0.49, p = 0.614; Creativity: F(2, 93) = 2.56, p = 0.083.
Engagement and creativity scores were also compared across academic levels (100–400 level). Engagement
means ranged from 3.17 (300 level) to 3.82 (100 level), but differences were not statistically significant, F(2,
93) = 2.14, p = 0.100. Creativity means were similar across levels (100 = 3.94, 200 = 3.92, 300 = 4.00, 400 =
4.05), F(2, 93) = 0.19, p = 0.906.
Table 3. Mean engagement and creativity scores by academic level
Academic level
Engagement Mean (SD)
100 level
3.82
200 level
3.62
300 level
3.17
400 level
3.80
Note: Engagement: F(3, 93) = 2.14, p = 0.100; Creativity: F(3, 93) = 0.19, p = 0.906.
DISCUSSION OF FINDINGS
The findings of this study reveal that undergraduate students in the Department of Fine and Applied Arts at
Adeyemi Federal University of Education are generally familiar with basic digital devices, particularly
smartphones, but have more limited access to computers and specialised art software. Most respondents reported
using digital tools primarily for coursework documentation, image editing, and research, while fewer reported
using them for advanced creative practices such as digital illustration, 3D modelling, or digital portfolio
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development. Students perceived multiple benefits of digital tools, including enhanced creativity, easier
documentation of artworks, and greater flexibility in accessing learning materials. However, these benefits were
moderated by significant infrastructural and pedagogical challenges, including unstable internet connectivity,
high cost of devices and software, and limited lecturer competence in digital pedagogies. Students expressed a
positive readiness to embrace greater digital integration, provided that institutional support is strengthened.
These patterns align with broader literature on digital learning in art and design education. Chen (2023) for
example, argues that the COVID‑19 pandemic accelerated the adoption of digital tools across studio‑based
programmes, creating opportunities for creativity and flexibility while exposing gaps in infrastructure and staff
preparedness. Similarly, this study shows that students value digital tools for enhancing creativity and enabling
flexible access to resources, consistent with reports that virtual platforms can foster new forms of collaboration,
experimentation, and digital portfolio development in art education.
However, some findings contrast with existing literature. In many studies from the Global North, students
typically report reliable access to institutional computers, high-speed internet, and a range of professional
software, with challenges centred more on pedagogical adaptation than on basic access. In contrast, Nigerian
Fine and Applied Arts students in this study identified device access and infrastructure as primary constraints.
This aligns with Ajayi and Luckay (2023), who report serious technology resource deficits in Nigerian Fine and
Applied Arts departments, including uneven technology availability across institutions and limited emphasis on
digital skills in teaching. The present study extends this evidence by focusing specifically on students’
perceptions in a Nigerian university context, rather than general education or STEM contexts, which dominate
the literature.
The context matters for several reasons. First, Fine and Applied Arts education in Nigeria remains heavily studio-
based and traditionally oriented, with many lecturers relying on conventional methods and giving limited
attention to digital skills. This contrasts with many international contexts where digital tools are more
systematically integrated into art curricula from early stages. Second, infrastructural constraints in Nigeria, such
as unreliable electricity, limited broadband coverage, and high import costs for devices and software, shape
students’ experiences in ways that are less pronounced in Global North settings. These contextual factors help
explain why, despite positive perceptions and readiness, students’ actual use of advanced digital tools remains
constrained.
The finding that students perceive digital tools as enhancing creativity, yet face barriers to advanced use, supports
Singh et al.’s (2021) observation that creative education relies heavily on in-person interaction and studio
feedback, which are difficult to replicate online. In this study, students appear to view digital tools as
complementary to, rather than a replacement for, traditional studio practice, using them to support
documentation, research, and preliminary design while still relying on physical studios for core creative work.
This hybrid orientation may reflect both the potential of digital tools and the limitations of the current
institutional context.
All things considered, the study provides discipline-specific, context-specific evidence about how Nigerian Fine
and Applied Arts students use devices, familiarise themselves with digital tools, and assess their influence on
learning outcomes and creativity. This addresses a gap in the literature, which is primarily composed of STEM
or general education studies from the Global North, and offers a basis for curricular and policy interventions
specific to art education in Nigeria.
Contrary to expectations, students' perceived engagement and creativity were not significantly correlated with
how frequently they used digital tools. The difference was not statistically significant, despite daily users
reporting somewhat higher creativity scores. This implies that the quality of integration, pedagogical support,
and alignment with studio tasks may have a greater impact on engagement and creativity than frequency of use
alone.
Furthermore, engagement and creativity scores did not differ significantly across academic levels, indicating that
students’ perceptions of digital tools are relatively stable from early to advanced stages of the programme. This
may reflect persistent infrastructural and pedagogical constraints that affect all levels similarly, as well as the
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continued dominance of traditional studio methods across the curriculum.
Discussion of Anomalies or Unexpected Findings
A few unexpected patterns emerged, which merit further consideration. While the majority of participants
identified inadequate internet connectivity as a significant challenge, a notable subset reported having adequate
access but struggling primarily with the costs of devices and software. This is somewhat surprising given the
perceived lower cost of consumer technology. This suggests that affordability constraints continue to be a
significant barrier in this context, even when connectivity is available. Cross-tabulations found that laptop
ownership was associated with higher familiarity with more complex academic tools. However, some students
who relied primarily on smartphones reported relatively high engagement scores, challenging the assumption
that device type alone determines effective use of digital applications. These anomalies highlight the importance
of taking into account not only hardware but also students' digital literacies, support structures, and how tools
are integrated into teaching and assessment.
The combination of quantitative analysis and visual representations in this study helped clarify how device usage
and familiarity with tools relate to students’ engagement, while also highlighting nuanced patterns that simple
frequency counts might overlook. These insights can inform more targeted educational policies and support
strategies aimed at addressing specific infrastructural and pedagogical barriers.
Limitations of the study and future research
This study is limited by its focus on a single institution and its relatively small initial sample, which restricts the
generalisability of the findings beyond the specific departmental context. Future research should replicate this
study across multiple Nigerian universities and include larger, more diverse samples to examine variations by
region, institution type, and specialisation. Longitudinal studies could also track how students’ perceptions and
digital competencies evolve over their programme and into their professional practice.
The five Likert‑scale perception items showed limited internal consistency (Cronbach’s alpha = 0.509) when
treated as a single scale, reflecting their multidimensional nature. In future research, separate subscales for
engagement, ease of use, lecturer support, creativity, and understanding, each with multiple items, could be
developed to improve reliability and allow more robust psychometric evaluation.
CONCLUSION
This study examined undergraduate students’ perceptions of digital tools in the teaching and learning of Fine
and Applied Arts at Adeyemi Federal University of Education, Ondo. The findings indicate that students are
positively disposed to digital tools and perceive them as beneficial for creativity, documentation, and flexible
access to learning materials. However, their use of digital tools is constrained by limited access to devices and
computers, unstable internet connectivity, high costs of software and hardware, and insufficient lecturer
competence in digital pedagogies. Despite these challenges, students express a strong readiness for greater digital
integration in their coursework.
The results have clear implications for curriculum design, lecturer training, and institutional infrastructure in
Fine and Applied Arts departments. First, the curriculum should explicitly incorporate digital competencies as
core learning outcomes, including skills in digital image editing, portfolio development, documentation, and
basic design software. Digital tools should not be treated as optional add-ons but as integral components of studio
and theory courses, aligned with contemporary creative industry demands.
Second, lecturer training programmes are needed to build capacity in digital pedagogies. Many instructors in
Fine and Applied Arts are accustomed to traditional studio methods and may lack confidence or expertise in
using digital tools for teaching, critique, and assessment. Targeted professional development, workshops, and
communities of practice can help lecturers integrate digital tools effectively into studio instruction, online
critique sessions, and portfolio reviews.
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Third, institutional infrastructure must be strengthened to support digital learning. This includes providing
campus computer labs with reliable high-speed internet, subsidised or loan schemes for devices, access to
affordable or open-source art software, and sustained technical support. Without such investments, the potential
of digital tools to enhance creativity and learning will remain unrealised for many students.
In conclusion, strategic investment in ICT infrastructure, deliberate curriculum reform, and sustained staff
development are essential to align Fine and Applied Arts education in Nigeria with contemporary digital
practices. By addressing these areas, Nigerian universities can better prepare art students to utilise digital
technologies in their creative work and to compete effectively in the global creative economy.
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