Watercolour Painting as an Academic Discipline at the University of Uyo, Akwa Ibom State

Watercolour painting, characterised by its transparency, luminosity, and technical demands, occupies a distinct position within the studio arts curriculum that differs markedly from oil and acrylic media in both its physical properties and its conceptual possibilities. This study examines the teaching, learning, and practice of watercolour painting at the Department of Fine and Applied Arts, University of Uyo, Akwa Ibom State, in Nigeria's South South geopolitical zone. A descriptive survey design is employed, with primary data collected from 75 painting students, 8 painting lecturers, and studio facility records through structured questionnaires and studio observation sessions. The study evaluates course content coverage for watercolour within the painting curriculum, student competency development across the wet-on-wet, wet-on-dry, and glazing techniques, the quality of materials available, and the exhibition opportunities for watercolour works within and beyond the university. The theoretical framework draws on studio art pedagogy literature and the history of watercolour in Nigerian art education. The study examines whether watercolour is adequately represented in the curriculum relative to oil painting and whether its distinctive aesthetic possibilities are being fully exploited in student practice. The South South context introduces the influence of the region's light quality and environmental themes on the watercolour works produced. Recent literature has identified watercolour as an underresearched medium in Nigerian studio art scholarship. Findings are intended for art department heads, the National Universities Commission, and fine arts professional bodies. Keywords: watercolour, studio art, University of Uyo, painting pedagogy, South South Nigeria