Part I

Two – Dimensional media

In the artist’s choice of materials to best convey the message that they want to impart
to their audience, they open themselves to a wide array of media. Their choice will eventually establish
an association between them and their chosen medium. Initially many artists before they settle on a
medium, would tend to experiment on one, two or a mixture of media until they find one that they feel
they want to be identified with. This association with the medium will allow them to fully express their
own artistic style.

In their exploration, many artists will opt for two-dimensional media as one of the ways to
express their thoughts and ideas. The use of these medium may prove to be challenging especially for
new artist. His genius, however in the manipulation of the material will create effects that will leave in
his audience a sense of awe and heighten in them an appreciation of the arts and seemingly man’s
limitless capabilities.

Through the centuries, artists have discovered and developed materials from many sources and
have marveled at the beauty of its effects on a flat surface. There was even a time when artist resort
into making their own medium which now is used to authenticate his work and seal his legacy as a two-
dimensional artist.

Artists’ style expressed in two-dimensional art varies in the surface that they use; the paints that
they choose and the technique they employ to manipulate the materials. Part I then focuses on media
for two-dimensional art: the surface, paints and various techniques of manipulation. The goal is not only
to inform but to educate the learner on the basics of two-dimensional art form.

Lesson 1: Support and Other Materials

An artwork is described as two-dimensional if it has length and width. Twi-dimensional artworks

are flat. Although some works give 3D effect, this effect on a flat surface is only an illusion of depth used
by the artist. 2D artworks are usually composed of two parts: the support or the surface (paper, canvas,
wood) and the drawing medium (pencil, chalk, charcoal) or the paints (oil, acrylic, watercolor). The use
of surfaces or support varies depending on the drawing medium or the paint that is used. It is a
important to keep in mind is that the physical characteristics of the surface (also called the ground)
should be able to “support” the medium it holds. The following are brief descriptions of the different
surfaces used in two-dimensional art:

Paper

This is the most popular surface used for 2D artwork. For the young and the old, anywhere you
go, paper is always available in various sizes, thickness, textures, and colors. Paper is an organic is an
organic medium made from cellulose pulp derived mainly from wood, certain grasses and linen rags. It is
processed into flexible sheets or rolls. There are different kinds of paper made for different medium –
drawings or paintings.

Different Kinds of Paper Support

 • Laid Paper. Paper processes with a pattern of parallel lines created by the wires of the mold
used for production. Some have pronounced surface texture suitable for sketching with pastel,
charcoal and soft pencil.
• Textured Pastel, Charcoal and Craft Paper. This type has fine irregular texture pressed into the
surface during the process of its manufacture. This paper is good for pastel and charcoal and can
be used for layering but not for heavy layering.
• Wove Paper. This is paper made on a woven wire ‘cloth’ like a fine sieve. The surface created is
fine and smooth with no evidence of texture. This is best for ink drawing and realist pencil
drawing.
• Rough Grained Paper. This type has a ‘bumpy’ surface. This is a favorite of watercolor artists.
The tiny pits in the paper allows paint to pool in heavy wash while in dry wash, it leaves tiny dots
of white that contributes to that characteristic effect of the whole work.
• Medium Paper. This type of paper has been hot rolled or ‘pressed’ shading with a sharpened
pencil.
• Smooth-Hot Press. This type of paper has been hot rolled or ‘pressed’ during production to
create a very smooth, flat surface. This type allows the drawing of very fine detail without
bumps or texture showing up.

Generally, the types of paper may fall under hot-pressed (HP) which are smooth; cold-pressed
which has moderate texture and rough (R) which has the most pronounced tooth. For choosing the best
paper support, an artist should consider the type of paper that is going to be used; the weight or
thickness of the paper (water particularly causes the sheets to expand) and the quality of the fibers used
in making the paper (the finest papers are made from linen rags).

Canvas

This is made of closely woven, heavy cloth of cotton, hemp or linen onto which painting is done
usually in oils. Most ready-made canvases are already printed with acrylic gesso. Gesso is a generic term
that is used for the initial coat applied to a support before it is painted on. The purpose of priming the
support is to protect it from the paint. The gesso allows the paint to stick to the support for it affects the
absorbency of the support. When the gesso dries, it creates a matt, gritty surface that provides adhesion
for the paint. For a smoother finish, the surface may be sanded.

Wood

This support is known as hardboard which is a board or panel that is made from wood. The
advantage of wood is it offers a more rigid surface that results in less cracking in the paint. Softwoods
are not suitable for painting because they contain excess resin that cause the paint to crack. Below are
the kinds of wood ideal for support in art:

• Masonite. This wood is a trademarked brand name of a particular type of board made from
wood fibers and glue (resin) that is molded into a flat board.
• Plywood. This is made from wood veneers which are thin layers or slices of wood glued
together. Plywood is industrially produced and can be made from local hardwoods or soft
woods.
• Laminated Board. This has mica film on its surface to give it resistance and strength.
Wall

This support traditionally may be made of stone. Recently, however, the walls for painting
murals are made of concrete. Before starting the mural project, the wall should be carefully
inspected for cracks, molds, dirt, wax, oil or grease. If any of these are found, clean the wall
thoroughly with mild soap solution such as TSP Cleanser (trisodium phosphate). It should be painted
with acrylic primer to make sure that the paint will stick to the wall.

For two-dimensional art, the support or surface is just one important part of the whole art
experience. Another factor to be knowledgeable about is the drawing medium and the type of brush
to be used for applying the paint to the support.

Charcoal

This is an organic drawing material from burnt wood. Charcoal can come in two forms: vine
charcoal and compressed charcoal. Charcoal was said to be one of the easiest media to learn.
Mistakes made in charcoal can be fixed and reworked. Charcoal goes on the support easily and can
easily be blended.

• Vine Charcoal comes in thin sticks and is easy to blend and erase. A variety of effects can be
created with vine charcoal. A piece of vine charcoal used on its side can create different
broad strokes depending on its size and the amount of pressure that is use in putting the
charcoal to the surface.
• Compressed Charcoal is made up of lose charcoal pressed into a stick. It creates a much
darker black than vine charcoal and can be used on its own or blended with vine charcoal. It
comes in square sticks or in pencil form and are softer than the round ones.

Graphite

Pencils. This medium is easy to use and not as messy as charcoal. 2B, 4B, 6B and ebony pencils
result in a range of different tones. The higher the B number; the softer the lead and the softer the
lead, the darker the line or tone. The ebony pencil is the softest and makes the darkest black that
graphite can produce.

Brush

The main function of a brush is to transfer paint mixtures to the surface. No other instrument
was invented that would accomplish this task better than a paint brush. A common brush is made
up of a tuft of hair (usually animal hair) fastened to a handle with a ferrule. The function of the
brush is the same for all art activity. Each one, however; would only differ in the material used, the
style of the brush and its size. Brushes can be classified by the hair type and shape.

Classification of Brushes by Hair Type

a. Bristle Brush. This is use for thickly prepared paints and are capable of spreading paints in
impasto consistencies. Its characteristic stiffness, on the other hand, can damage
transparent watercolor because the scrubbing action tend to loosen the pigment.
 b. Sable Brush. This brush is known for its resiliency and cause less damage than a bristle
brush. Sable brushes can also hold a good amount of pigment and water. These brushes are
more for watercolor projects. The best sables are from a certain species of Siberian mink.
Environmental consciousness, however, substituted squirrel hair or camel hair for the
endangered mink.

Brink Classification by Shape (basic)

a. Dome Shaped Brush. This is also known as the wash brush/sky brush. It covers more areas
and primarily used for painting skies.
b. Pointed Brushes. These are particularly used for making linear markings.
c. Flat Brush. This is usually ideal for making broad strokes.
• Brush Size. The sizes of the brushes are coded in numeric designations from 000 to 8 in the
French Scale and from 0 to 12 in the Standard English Scale. Artists should learn how to compare
brushes by checking on their weights and how it feels like in the hand. Beginners are advised not
to buy packaged sets of brushes and paints. For better quality and long-lasting products
personal judgement may give the artists the best satisfaction in the end.
• Oriental Brushes. These brushes differ from the brushes used in the West both in the materials
used and in appearance. The tuft is usually of deer hair, fox hair, hog bristle, goat hair, horse
hair, and wool.

LESSON 2: DRAWING

This is the process of moving an instrument over a smooth surface to leave a mark called a line.
Drawing is usually the first step in producing 2D artworks. For some, the drawing made by the artist
is already considered finished artwork. Drawings can be created using dry media like graphite
pencils, charcoal, crayons, pastels, and chalks or wet media like pen and ink and brushes with water
color. All drawing media have their own characteristics: rough lines for example are produced by
crayons and chalk while pens and graphite pencils produced smooth lines.

Drawing Materials

• Sketchbook (9x12 or smaller depending on the artist’s preference)

• Graphite Pencils (2H, HB, 2B, 4B and 6B or mechanical pencil .5mm and .3 mm)
• Erasers (vinyl and kneaded)
• Pencil sharpener
• Ruler
• Charcoal (vine and compressed)
• Spray Fixative (Spray Fix)
• Portfolio (to keep finished work)

Kinds of Drawing

Life Drawing. A drawing that is based directly on the observation of the artist of his subject.
Good examples are still life drawings and figure drawings.
 Emotive Drawing. A type of drawing that emphasizes the expression of different emotions,
feelings and mood.

Sketching. These are drawings done at the “spur of the moment.” The artist puts down on paper
thoughts and ideas that occur instantly. It is usually a rough freehand, loose drawing that is not
considered as finished work. Further, the artist here had visualized something which he feels he had to
immediately put-on paper.

Perspective Drawing. A drawing in which the artist creates 3D images on a 2D picture plane. The
artist uses his ability to depict the illusion of space on a flat surface.

Shading Techniques

Shading is the use of light and shadow (degrees of values) giving the work characteristics of
having depth and texture. The following are shading techniques that artist use to add perspective to
their works:

Hatching. This is accomplished by drawing thin lines that runs in the same direction.

Cross-Hatching. This is accomplished by crisscrossing lines.

Blending. This is accomplished by changing the value little by little. For example, from dark to
medium to light and vice versa.

Stippling. This is accomplished by using dot patterns to create dark values.

A. Drawing with Graphite Pencils

Pencils are capable of making different kinds of lines and tones (degrees of light shadow
depending on three factors: a. the sharpness of the point; b. how much pressure is
applied; and c. the angle of how the pencil is held.

All of the shading techniques can be applied using a graphite pencil. These pencils can
draw better on cold press paper or on paper with some surface texture. Textured paper
supports will produce drawings with texture. After the drawing is finished, a fixative
should be sprayed lightly to preserve the drawing and protect it from being smeared.

B. Drawing with Charcoal

The best way to hold a stick of vine charcoal is between the first three fingers and the
thumb with the end not used pointing down. This position will encourage drawing with the arm
rather than the wrist. When it comes to detail work, the vine charcoal can be held like a pencil.
The tip can make thick lines and thin lines or a combination of both depending on how the
charcoal is held and how much pressure is used.

In using compressed charcoal, the black that results is much darker than vine charcoal.
Compressed charcoal can be used alone or blended with vine charcoal. The square sticks are
 softer than the round ones. Lines can be made with the corners of a square stick and broad
strokes with its flat side.

A kneaded eraser is a tool that can add character to the charcoal drawing. Aside from
erasing, it can make areas already dark with charcoal lighter. A kneaded eraser initially has the
shape of a square or a rectangle. To use it, it should be rolled into an irregular elongated shape.
When it gets soiled with charcoal, kneading the charcoal into the eraser will make the eraser
clean enough to be used again. When the eraser gets very black, it’s time to throw it away and
get a new one.

In charcoal drawings, paper stumps (torchons) which are sticks of rolled or pressed
paper are used for blending. They come in different sizes and can blend charcoal into gradated
tones. Soiled paper stumps with charcoal can be cleaned on another piece of paper. When they
get too full of charcoal to be useful throw them out and get new ones.

A chamois cloth is another tool for blending and removing charcoal. But unlike kneaded
eraser, it cannot bring back the white of the paper.

Charcoal pencils (2B, 4B, and 6B) are soft. After drawing lines with the pencils, the
blackness of charcoal can be softened using a paper stump. Changing the angle of the charcoal
pencil can result in broader strokes.

The recommended support for charcoal is rough newsprint paper. The texture of the
newsprint is just enough to hold the charcoal. Newsprint is also inexpensive which is good for
beginners.

Fixative spray should be used after the project is done to make the charcoal adhere to
the paper permanently. Fixatives should be used in a well-ventilated area. Spray several light
coats of fixative. Too much can make the drawing turn dull-yellow.

Stages of Drawing

The following steps represent good drawing habits (be It for graphite or charcoal drawings) and
establish a progression that is logical and will give the artist control of the project. Following the steps
will let the artist know when the drawing is done:

1. Look. Study the image that is about to be drawn. Look for lines and shapes. Check the
orientation (is it vertical or horizontal). Consider the light source as this will add realism to the
work.
2. Transfer the information. Arrange the element sand composition.
a. Arrangement of the subject and the space surrounding them within the drawing format.
Visualize how the image will look on the support/surface. Make marks to represent the
outermost edges. Sketch lightly and roughly.
3. Block in the background. Add a third dimension by focusing on the shapes of the shadows and
the cast shadows.
4. Add a third dimension with volume. Give each object a 3D quality. Render texture.
5. Finish the drawing.
Part II

Three-Dimensional Media

The allure of solid forms are what other artists choose for their masterpieces. Solid
shapes, volume and interesting use of space are some of the elements that challenges three-
dimensional artists in the search of their own expressive style.

The manipulation of three-dimensional media demands in the artist a level of expertise

in the use of special tools and equipment. This proves to be a necessity on order to “free” the image
hidden within the solid medium.

Curiously though, some media begin with a material that is initially pliable, melted or
frozen. Others start as a mass of dense, solid material while a few others have already acquired
individual forms which are made to become a part of an amazing whole image. The versatility of solid
media on creating three-dimensional images poses a challenge for the artist in how to make this
material yield to his willful hands.

Part II on the three-dimensional media will enlighten the learners and the beginner
artists on the kinds of social media, the process each undergoes and the techniques involve in producing
beautiful solid work of arts.

LESSON 6: SCULPTURE

Contemporary Philippine Sculpture has been continuously evolving since the works of
Guillermo Tollentino with his famous Bonifacio Monument. Contemporary sculptors in the likes of
Napoleon Abueva and Ramon Orlina had experimented on and made use of different media or a
combination of media for the contemporary works. Many of the works of contemporary sculptors are
not usually found in museums but rather in the different public places (classified as public art) or in
private collections (commissioned works). This lesson focuses on the techniques used by local artists in
making sculptures and the materials that are chosen for expression.

Techniques used in Sculpture

The major processes involve in making sculptures are similar for three-dimensional
artists anywhere in the world you go. Artist are different however, in the technique he chooses to
express himself since comfort and feeling at home with the technique are very important considerations
in how he expresses his art. The ways or methods employed by the sculptor In creating three-
dimensional forms are summarized as follows:

• Subtraction – This is the method in which sculptors cut away or remove pieces or parts
of the material (called glyptic material) such as stone or wood. Special tools are used by the artist to
achieve this purpose. This includes chisels, hammers, torches, saws, grinders, and polishers. To reduce
the material is like freeing the image that is trapped in the material (Ocvirk, 2013).

• Manipulation – This process is also known as modeling. Manipulation usually involves

the use of pliable medium such as clay, wax or plaster. The technique is classified as a direct method of
creating the form of the image. Most pliable materials are not durable thus the sculptor further subjects
this media to other processes for it to undergo technical changes to make them durable. Clay for
instance, may be baked in a kiln to make it hard for it to retain its final form.

• Addition – This technique involves putting together materials through the use of
welding torches, soldering, guns, staplers, bolts, screws, nails, rivets, glue and rope or string. When a
sculpture is too heavy, internal supports like wires are used. The material is then attached to this wire.
The method of addition, in other words is an assembling technique.

o Welding – It is the process of joining together pieces of metal by heating the surfaces to
the point of melting using a blowtorch, and uniting them by pressing and/ or hammering.

• Substitution – This is known as casting. This involves the reproduction of an original 3D

image in a new material by using a mold (Ocvirk, 2013). The goal of substitution is to duplicate the form
or image in a more permanent material. This can be done through processes like sand casting, plaster
casting, or lost-wax casting. A variety of molds can be used like waste mold, piece mold, and flexible
mold. At most times, it is necessary to destroy the mold to protect the monetary value of the work.

o Sand-casting – This is sand molded castings which is a metal casting process

characterized by using sand as the mold material. This sculptures are produced in foundries.

o Plastic casting – This is similar to sand casting except that the material used is plaster.

o Lost-wax casting – This process involves pouring molten metal into the mold that is
made of wax. Once the mold is made, the wax model is melted and drained away. This is also known as
investment casting.

Contemporary sculptors have experimented with new techniques to show artistic freedom of
expression. Today, not only do sculptors carve and model; they now saw, weave, glue, weld, bolt, rivet,
and stamp assorted materials like wood, metal, plastic, and cloth.

Kind of Sculptures

Sculptures were originally classified as freestanding and relief. Now, other kinds of
sculptures may be added to these two classification:

• Constructed Sculpture
 This is a product of assemblage. An assortment of materials like, wood, metal, wire, plastic and
found objects are attached together through various methods of the additive technique to achieve the
final form.

• Kinetic Sculpture

This kind of answers the sculptor’s concern about how motion or movement may be portrayed
in sculpture. The actual movement in kinetic sculptures may be caused by the wind, magnetic fields, jet
of water, electric motors, variation in the intensity of light or active manipulation of the viewer.

Local Materials for Contemporary Sculpture

Wood

The type of wood used for the sculpture usually depends on the availability of the
material, the process the artist will employ to finish the work and the meaning attach to it by the artist.

A newly cut wood is not ideal for sculpture because it still has a considerable amount of
moisture. Making the log dry quickly will cause the wood to crack. The solution is air drying for
extended period of time. Since the drying period takes time, the alternative is to use kiln-dried wood
that are cut into boards. These boards can be planned and glued together when big sized sculptures are
desired.

Paete, Laguna in the Philippines is where the best wood carvers in the country are
found. The type of wood used for sculpture that are available locally are molave, acacia, langka wood,
ipil wood, kamagong, palm wood, and bamboo. The following are brief descriptions of these locally
available woods:

Molave - medum size tree

- classified as hardwood

- Found in low altitude forests called “molave forest” in the PH

- Has medicinal purposes

- One of the hardest wood in the PH, resistant to fungal, termite, and beetle attacks.

Acacia – Hardwood found in PH

- Sustainable and can be seen along roads and undeveloped lands.

- It is dense and durable hardwood that has high oil content and is resistant to the
elements, rotting and insects.

Langka Wood – hardwood from a jackfruit tree, also known as Jack Tree
 - found locally and is best known for its fruit

Ipil tree – fast growing hardwood that is usually a bush or a small tree

- grows up to 6 meters high

- not affected by high temperatures

- provides good shade

- survives with minimal water

- is not affected by salinity, pests and disease

- has shiny black-brown color and is durable for furniture and other architectural
construction

Kamagong - also known as “iron wood” locally known as “mabolo tree

- reaches about 25 – 32 meters high and 60 to 80 cm in diameter.

- Found in Mt. Makiling

- It is dark brown, known as Philippine Ebony good for carving

- Highly in demand for furnitures, cabinets, tool, handles, violins and drawing instruments

- Known for it’s beauty and durability

- An endangered species protected in the PH

Palm Wood - from palm trees

- Soft-stemmed, and more flexible than sturdy

- Known for its resilience

- Hardwood substitute known as coco lumber or coconut lumber.

- Coconut timbers are fibrous

- Color tones range from dark brown (high density) to golden tones (low density)

- Grow from 25 meters w/ a diameter of 300mm.

- Hardest and densest part of the wood is found in the outer perimeter of the trunk which
gives the tree it’s strength
 - High silica content gives it high elasticity

- Towards the center of the trunk, the wood is less dense and therefore softer.

Bamboo woods – giant, fast growing grasses that have woody stems

- Used for many art purposes

- Used for sculpture ranges from assemblage to installations

- Usage is dependent on It’s age

- 6 – 9 months old bamboo is ideal for making baskets

- 2 – 3 years is for making boards

- And 3 – 6 years are best for construction

- It loses its strength after 6 years.

Tools for Wood Carving

Gouge – tool with a curve cutting edge used in variety of forms and sizes for carving hollows,
rounds, and sweeping curves

Coping Saw – is a small saw that is used to cut-off chunks of wood at once.

Chisel - may be large or small, whose straight, cutting edge is used for lines and cleaning-up flat
surfaces.

Short Bent – with a spoon like dip used for quick deep cuts.

Long Bent - for making deep long cuts

Straight Skew – has a diagonal cutting edge

Parting Tool/ Veiner – is a furrowing tool with a “v” cutting edge.

Fish tail – is a tool that flares out in the left and right tips like a tail fish.

(all of these tools are available with cutting edges in different sizes from 1/8 to 1)

Three basic parts of a wood carving tool are: the blade which is the primary cutting section, the
tang, which is inserted into the handle of the tool to hold the blade; and the handle. Most handles are
octagonal in shape so the tool will not turn or twist while carving.