Republic of the Philippines

POLYTECHNIC UNIVERSITY OF THE PHILIPPINES

Office of the Vice President for Academic Affairs
Santa Rosa Campus
____________________________________________________________

INSTRUCTIONAL MATERIAL FOR

ART APPRECIATION
(GEED 10073)

COMPILED BY:

ROCIO MARIE M. TEJIDO

and
JESELLIE P. PASTOLERO
Instructors
PUP Santa Rosa Campus

June, 2020
 TABLE OF CONTENTS
Page No.
Unit I ARTS AND HUMANITIES: WESTERN
AND FILIPINO CONCEPTS
Lesson 1 Art as a Humanistic Discipline, This Thing .………………. 5 - 21
Called Art (The Meaning, Origin, and Importance of Art
Lesson 2 Thoreau’s Difference between an Artist and, ………………… 22- 28
An Artisan
Lesson 3 The Filipino Concept of Art …………………………………… 29- 34
Lesson 4 Philosophical Importance of Art……………………………….. 35- 42

Unit II ART AND ARTISANS: JUDGING THE WORK OF ART, SUBJECT AND
CONTENT, AND PRODUCTION PROCESS
Lesson 5 Art and the Human Faculties (Judging ………………………. 44- 50
The Work of Art based from the Three Human Faculties
Lesson 6 Art, Perception and Reality ………………………….…… 51- 57
(The Subject and Content of Art)
Lesson 7 The Difference between Artists and Artisans ………………. 58- 63
And the Key Roles in Art Production and
the Production Process
Lesson 8 GAMABA National Artists and their works ……………. 64-66
Written Language

Unit III THE MEDIUM OF THE ARTS

Lesson 9 Medium of Visual Arts ...............................………………. 68- 74
Lesson 10 Mediums of Music .....................................…………….. 75- 76

Unit IV ELEMENTS OF ART

Lesson 11 Elements and Principles of Visual Arts .....……………… 78- 94
Lesson 12 Elements of Auditory Art and the Combined Art…………. 95- 97

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Unit V HISTORY OF THE ARTS
Lesson 13 The Western Art History ......................................……….... 99-103
Lesson 14 The Philippine Arts,......................................... ………….. 104-108

Unit VI THE VISUAL ARTS

Lesson 15 Painting ... ............................................................………. 110-115
Lesson 16 Sculpture,........................................................…………... 116-118
Lesson 17 Photography.....................................................………….. 119-137

Unit VII THE AUDITORY AND COMBINED ARTS

Lesson 18 Music ... ................................................................………. 139-143
Lesson 19 Drama,.............................................................…………... 144-147

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UNIT 1 – ARTS AND HUMANITIES: WESTERN AND FILIPINO
CONCEPTS

OVERVIEW:

The arts is a necessity at this time in world life when values are challenged and shaken by
events; cultures are damages by dominant concerns of politics and power struggles; and
economic deprivation cuts across cultures especially in the so-called “third world” community.
The humanities are very much present in the Philippine college curriculum because of the
merits they render to humanizing the Filipino student who in the future, will join the work force
and take up different roles in the society. By the term humanities, we generally mean art,
literature, music and theater, areas in which human values and individual expressiveness are
celebrated (Ramirez, et. al, 2008)

Art, which is an important component of the humanities, takes life for its subject matter, with
man as its main component. It relates to almost everything that surrounds man today, other
people and other times. As such, it is a powerful record of everything human that evolves
through the ages.

LEARNING OUTCOMES: After successful completion of this unit, you should be able to:

1. Students must be able to understand some central issues in the development of

Western civilization in relation to humanity and the sciences;
2. Characterize artistic expression based on personal experiences with art
3. Differentiate art history from art appreciation;
4. Discuss the nature of art’s preliminary expression
5. Clarify misconceptions about art; Differentiate art from nature;
6. Distinguish between directly functional and indirectly functional art
7. Recognize the philosophical contribution of Western civilization and Filipino concept
of pagpapakatao in relation to the formation of humanistic discipline;
8. Examine and explain the varied concepts between an Artist and an Artisan
9. Apply concepts and theories on beauty and aesthetics in real life scenarios
10. Discuss philosophical perspectives of art (Art as mimesis-Plato, Art as
Representation- Aristotle, Art for Art’s sake- Kant, Art as an Escape, Arts as
functional)
11. Explain and analyze the concept of art appreciation and the human faculties;
12. Differentiate content from subject;
13. Classify artworks according to subjects;
14. Analyze how artists present their subjects in relation to the real subject;
15. Characterize sources and kinds of art

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COURSE MATERIALS:
Lesson 1: ART AS A HUMANISTIC DISCIPLINE: THIS THING CALLED ART
(The Meaning, Origin and Importance of Art)

HUMANITIES AND ART: AN INTRODUCTION

HUMANITIES: What is it?

- The term Humanities comes from the Latin word, “humanitas” . It generally refers to art,
literature, music, architecture, dance and the theatre—in which human subjectivity is
emphasized and individual expressiveness is dramatized.
- From the word “Humanus – Humanitas – Human , humanity – it refers to the quality of
being human; huma, civilized, cultured)
- It is a branch of Learning- which refers to the study of arts. As a study its material object
is “Art work” and its formal object is “creativity and appreciation”.
Every creation around us which is made by human beings represents someone's humanity.
The chair we are sitting in, the clothes we are wearing, the building we are in, or our home, even
the time of day which people created, all are representative of someone's humanity -- their
human-ness. In other words, everything that human beings have created can be classified as
part of the humanities.

1. How important is Humanities?

- The fields of knowledge and study falling under humanities are dedicated to the pursuit
of discovering and understanding the nature of man.
- The humanities deal with man as a being of purpose, of values, loves, hates, ideas and
sometimes as a seer or prophet with divine inspiration.
- The humanities aim at educating.
- Humanities is more concerned on how a person expresses his/her feelings.
These feelings can be in facial manifestations or body movements. Laughing,
crying, clenching our fists, curling our toes, stretching out our fingers, and
crossing our arms are representations of humanities (Menoy, 2009).

2. Misconceptions on the term Humanities:

It should not be confused with the terms:

2.1. Humanism – specific philosophical belief
2.2. Humanitarianism – concern for charitable works.

3. Humanities: Art and Science

3.1. Art: Skills (Greek techne or technical)

3.2. Science: Involves a process.
3.3. Social Science: Man as the focus. Art is the subject matter, but art is
created by man for man.

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4. Humanities vs. Philosophy

Comparison:
Humanities: Man is the source and fountain of all creativity. (Creating Subject)
Philosophy: Man is the starting point of knowledge. (Inquiring Subject)

Contrast:
Humanities: Explicit understanding of artworks – extensions of his being (man).
Philosophy: Implicit understanding of himself as composed of body and soul.

5. Why Study Humanities?

1. Through Humanities, we can be connected to places we have not visited,

understand the past or history which has significance to the present. It makes
us encounter great minds and hearts of human history.
2. Through Humanities, we will be studying what humans have found valuable or
good throughout the time.
3. Through Humanities, we experience connection between culture and
community through different art exposures – museum visits, concerts, theater
performance, and support of local artists.
4. Through Humanities, we increase our respect for cultural and individual
differences through a knowledge of achievements and of world civilization.
5. Through Humanities, we gain a global perspective through the knowledge of
world cultures.

6. Through Humanities, once will be able to build up his/her career, focus in life,
minimize frustration, and most importantly, be able to work as part of an effective team.

ART: ITS MEANING AND IMPORTANCE

In our life, we experience so much fragmentation of our thoughts and feelings. But, by
creating arts, it brings things back together. We merely make art because of so many reasons,
and we enjoy the process of it.
- The word “art” usually refers to the so-called “fine arts” (e.g. pictorial, plastic, and
building)– and to the so-called “minor arts” (everyday, useful, applied, and decorative arts)
- The word “art” is derived from the Latin word arti, [or Italian artis] which denotes
craftsmanship, skill, mastery of form, inventiveness. It includes literature, music, paintings,
photography, sculpture, etc. It serves as an original record of human needs and
achievements. It usually refers to the so-called “fine arts” (e.g., graphics, plastic, and
building) and to the so-called “minor arts” (everyday, useful, applied, and decorative arts). It
is the process of using our senses and emotions in making creative activities (Marcos,
2010 and A. Tan); or from the Latin word ars meaning ability or skills (J.V. Estolas).
- Art is a product of man’s need to express himself (F. Zulueta). It concerned itself with the
communication of certain ideas and feelings by means of sensuous medium, color, sound,
bronze, marble, words, and film (C. Sanchez)
- Russian novelist, Leo Tolstoy, argues that art is important even amidst extensive poverty
and deprivation.
- It is a human capability to make things beautiful (e.g., buildings, illustration, designing,
painting, sculpture, and Photography) through the production of his/her imagination
depending on the preparation, theme, medium, and values used

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1. Some definitions of art according to philosophers:
- Art is that which brings life in harmony with the beauty of the
world.-Plato
- Art tries to reach the ideal (the God-like)- Plato
- Art is the whole spirit of man.-Ruskin
- Art is the medium by which the artist communicates himself
to his fellows.- Charleton Noyes

- Art should express harmony. –

Aristotle
- Art is the product of genius. -
Kant
- Art is anything made or done by
man that affects or moves us so that we
see or feel beauty in it. (Collins and Riley) Plato
- Art is an attitude of spirit, a state of mind - one which
demands for its own satisfaction and fulfilling, a shaping of matter to
new or more significant form. - John Dewey

Aristotle

ART, CREATIVITY, IMAGINATION AND EXPRESSION

BASIC ASSUMPTIONS OF ART

Art: Concept or Fact?

Art is either a concept or a fact. As a concept, it is subject to be understood and be grasped

by any perceiver. Furthermore, it cannot be defined because it springs from the ideas and
emotions of man concretized by means of any sensuous material.

But, art as a fact is observable; is that which is known through the senses. It refers then to
any creative work of an artist that can easily be described upon noticing the different mediums
being used and the context in which it is produced.

Assumption 1: ART IS TIMELESS AND UNIVERSAL

“I dreamt I saw great Venus by me stand,
Leading a nodding infant by the hand;
And that she said to me familiarly –

Take Love, and teach him how to play to me.”

-Translated by Leigh Hunt
Art has been Art has been created by all people at all times, in all countries and it lives
because it is well-liked and enjoyed.

In every age or country, there is always art. Wherever we go, whether it is a city or a
province, here or abroad, we surely have to pass buildings of various sorts---houses, schools,
churches, stores, etc. Some of them appear attractive and inviting, some do not. We look at

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some of them with awe and admiration.

We find art also in the clothes and the accessories we wear, in the design of our furniture
and furnishings; in the styles of the vehicles we use. We find art objects in the home and in the
community, in religion, in trade and in industries.

Art is universally present in all forms of human society and in every generation because
it serves some fundamental needs.

Often times, people feel that what is considered artistic are only those which have been
made long time ago. This is a misconception. Age is not a factor in determining art. “An art is
not good because it is old, but old because it is good” (Dudley et al., 1960) as cited in (Wel,
2018).
Examples:
1. Iliad and Odyssey
2. Mahabharata and Ramayana
3. Florante at Laura
4. Ibong Adarna
5. Noli Me Tangere and El Filibusterismo
6. Psalms (from the Bible)

Assumption 2: ART IS NOT NATURE, NATURE IS NOT ART. ART IS MAN-MADE

Distinctly different from each other, we see and hear only what there is in nature; the artists
open our eyes to see nature more clearly and to provide
new visions and interpretations of life (Lamucho et al,
2003). This relates to the concept of the Resemblance
theory in Art Work. This theory would mean that work
of art may closely resemblance nature, but it can never
duplicate nature in as much as it is only man-made. The
photographic art is somewhat closest to this theory. The
pictures or photographs you'll get are somewhat similar
to the original specimen but even then, they are only the
records of the subject or a scene.

Figure 1
Manila Bay's iconic sunset
Note: Manila Bay's iconic sunset, taken from the viewing deck of the Manila Ocean Park, Behind Quirino Grandstand,
Rizal Park, Ermita, Manila, Philippines (https://commons.wikimedia.org/wiki/File:Manila_Bay_Sunset_(2).JPG)
Copyright 2015 Lawrence Ruiz. Used under Creative Commons Attribution

Assumption 3: ART INVOLVES EXPERIENCE, ART IS A PERSONAL AND INDIVIDUAL

EXPERIENCE)

Art involves experience and that there can never be appreciation of art without experience,
the actual doing of something. Experience is the first and last demand of art. Unless one knows
the work itself has experience of it, he knows little.

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 “Someone else can compose music for you,
Someone else can perform music for you,
No one on earth can listen to music for you.”
-Olga Somaroff

All art demands experience. There can be no appreciation of art without experience. An
experience is something that affects your life.

Persons Affected by Art Experience:

1. The person of the artist.

2. The person of the percipient.

Characteristics of Experience:

1. It must be personal and individual. It must not exactly be the same as that of any
other person.
2. Experience is accompanied by emotion or emotional reaction. You like it or you
do not like it.

Assumption 4: ART MUST BE CREATIVE, NOT IMITATIVE

The comparison between the artist and craftsman has confused a lot of people. As mentioned
before, the word art originally meant skill, ability, or craft (corresponding to the Greek techne
from which we derive the words like technical and technique). In the ancient world, a "work of
art" was simply any object that required skill or craft in its production. Only gradually, beginning
about the middle of the 17th century, did work of art mean a work of fine or high art.

In this case, the artisan or the craftsman is not expected to be original and he is good at his
job to the extent that he can successfully follow the relevant rules. A work of a craft is good if it
matches the appropriate template and performs the desired function.

However, the artist must be creative and original. Good art cannot be produced by slavish-
rule following and imitation. Great artists are genius whose works transcend the rules and
conventions of their time.

Assumption 5: ART MUST BENEFIT AND SATISFY MAN- MAN MAKE USE OF ART IN
PRACTICAL LIFE THROUGH ARTISTIC PRINCIPLES, TASTE, AND SKILL.

Assumption 6: ART IS EXPRESSED THROUGH A CERTAIN MEDIUM OR MATERIAL BY

WHICH THE ARTIST COMMUNICATES HIMSELF TO HIS FELLOWS.

The choices a designer or artist can make are determined by the characteristics of the
materials used, and the techniques applied to those materials. The combination of materials and
techniques used are also referred to as the medium used.

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The Use of Natural Objects in Works of Art

There are some artists who would use the natural objects as they are without changing
them in carrying their art work. Take for example, a landscape. Artists charged with the task of
landscaping would have to use the stones and other natural materials without even deforming
their shape, form and organization. This is the principle of non-transformation.

Under the principle of Transformation, it is necessary for the artists to alter the natural
objects in carrying their art work because by so doing the idea of the artist, the purpose
of the art and the circumstances surrounding the art can properly be served.

GENERAL CLASSES OF ARTIFACTS

The three general classes of artifacts include the following:

1. Practically useful, but not disinterestedly pleasing (subjectively pleasing)

2. Both practically useful and disinterestedly pleasing (not subjectively pleasing); and
3. Not practically useful, but disinterestedly pleasing (not subjectively pleasing).

The works of art most of the times fall under the third class.

Disinterested – not determined by any personal or subjective interest. We take pleasure in

something because we judge it beautiful in itself, rather than judging it beautiful because we find
it pleasurable.

Example:
I like this artwork because it reminds me of the safety and warmth of our hometown. It is your
own pleasure that serves as the criterion in judging the art as beautiful. Artworks are beautiful in
themselves no matter they could give us subjective pleasure or not.

Natural objects vs. Artifacts

In relation to art and to the basic assumption # 2, the following are the arguments that would
separate each other from a single category:

1. Works of art can express ideas or feelings, but nature cannot.

2. Works of art---like sentences, but unlike natural objects--can mean something. This
point can perhaps be better put another way: works of art, like sentences, but unlike
natural objects, can embody communicative intentions. Take for example, reading a
poem. Through it, we are presumably entitled to ask, "What is trying to say?" We
are certainly not entitled to ask such a question after looking at a waterfall or a cloud.
3. Works of art can imitate nature (and can be applauded for doing so), but nature
cannot imitate nature

COMMON AMONG ART WORKS (UNITY)

The one thing that is common to all the works of art is the tie that relates a painting to a
song, a play to a dance. The most basic relationship is that the arts are concerned with
emotions; with our feelings about things. When a person sees a picture he thinks is beautiful or
a play he thinks is exciting, he feels that is lovely or stirring. His reaction is primarily emotional.

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DIVERSITY IN ARTS

The arts are remarkable in their diversity, not only in the subject matter but also in the
materials and in the forms. No rules can govern either in creation or in the appreciation. The
artist is influenced by the world around him, so that his work reflects the time and the place in
which he lives. If artists or critics do set up rules to follow, other artists and critics will prove the
rules false. Arts change as life changes. Authorities in arts state that the work of an artist must
be judged against the background of the time in which he lived.

CHARACTERISTICS OF ART WORKS

Drawing a conclusion from the ideas about art mentioned above, we can summarize the
following as the various characteristics of an art work:
1. They are man-made;
2. They are universal;
3. They are united;
4. They are diversified;
5. They are expressive;
6. They are creative; and
7. They are beautiful.

ART AS CREATIVE WORK

Jean-Paul Sartre (French Philosopher in the 20th century)

– Art as a creative work that depicts the world in a different perspective and source
of human freedom. (Greene, 1995)
– Each artwork beholds beauty of its own kind, the kind that the artist sees and
wants the viewers to perceive.
– Refining one's ability to appreciate art allows him to deeply understand the
purpose of an artwork and recognize the beauty it possesses. (Collins & Riley,
1931)
• Exercise and develop his taste for things that are fine and beautiful
• Make intelligent choices and decisions in acquiring necessities and luxuries
• Learning to appreciate art, no matter what vocation or profession you have, will lead to a
fuller and more meaningful life (Collins & Riley, 1931).

What is Creativity?

Kohl (2020) stated that creativity focuses on the process of forming original ideas through
exploration and discovery. In children, creativity develops from their experiences with the
process, rather than concern for the finished product. Creativity is not to be confused with talent,
skill, or intelligence. Creativity is not about doing something better than others, it is about
thinking, exploring, discovering, and imagining. Creativity is found in the obvious art and music,
but can also be found in science and play.

Role of Creativity in Art Making

1. Creativity requires thinking outside the box.
2. Creativity is what sets apart one artwork from another.

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 3. He [Artist] embraces originality, puts his own flavor into his work, and calls it his own
creative piece.

ART AS A PRODUCT OF IMAGINATION

Albert Einstein (German physicist)
– knowledge is derived from imagination.
– "Imagination is more important than knowledge. For knowledge is limited to all
we now know and understand, while imagination embraces the entire world, and
all there ever will be to know and understand.“
• Crafting of something bold, something new, and something better in the hopes of
creating something that will stimulate change.
• An artwork does not need to be a real thing, but can be imaginary (Collingwood, 1938).
• Artists use their imagination that gives birth to reality through creation.
Imagination as a Product of Art
1. Art also inspire imagination.
2. Creative pieces were made not only because they were functional to men, but also
because beauty gave them joy (Collins & Riley, 1931).

ART AS EXPRESSION
– An emotion will remain unknown to a man until he expresses it.
– Robin George Collingwod, an English philosopher who is best known for his work
in aesthetics explicated in his publication, The Principle of Art (1938) argues that
what an artist does to an emotion is not to include it, but express it.
Forms of Arts that an Artist used to Express Emotions
1. Visual Arts – a kind of art form that the population is most likely more exposed to, but its
variations are so diverse — they range from sculptures that you see in art galleries.
2. Film - refers to the art of putting together successions of still images in order to create
an illusion movement
3. Performance Art (dance) - is a live art and the artist medium is mainly the human body
which he or she used to perform but also employs other kind of art such as visual art,
props, or sound.
4. Poetry Performance - is an art where the artist expresses his emotions not by using
paint, charcoal, or camera but expresses them through words.
5. Architecture - Making of beautiful buildings. Some buildings only embody the
functionality, but the structure, lines, forms, and colors are not beautifully expressed.
Buildings should embody these three important elements—plan, construction, and
design.
6. Literary Art - uses words to express and communicate emotions to the readers. Literary
art goes beyond the usual professional, academic, journalistic, and other technical forms
of writing. It focuses on writing using a unique style, not following a specific format or
norm.
7. Theater - uses live performers to present accounts or imaginary events before a live
audience. It follows a script, considers several elements such as acting, gesture, lighting,

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 sound effects, musical score, scenery, and props. Participation of the viewer is an
important element in theater arts.
8. Applied Art - incorporates elements of style and design to everyday items with the aim
of increasing their aesthetical value. Industrial design, interior design, fashion design,
and graphic design are considered applied arts. Artists can combine functionality and
style.
PURPOSE AND FUNCTION OF ART

PURPOSE OF ART

Art has had a great number of different functions throughout its history, making its purpose
difficult to quantify to any single concept. This does not imply that the purpose of art is “vague”
but that it has had many unique, different reasons for being created. Some of the functions of art
are provided in the outline below. This is a partial list of purposes as developed by Claude Lévi-
Strauss.

1. Expression of the imagination. Art provides a means to express the imagination (things,
places, ideas that are unreal or unknowable) in non grammatical ways. Unlike words,
which come in sequences, each of which has a definite meaning, art provides a range of
forms, symbols and ideas with meanings that can be determined by the artist. An artist
can create visual imagery of mythical animals, religious concepts such as heaven or hell,
fictional places, or other things from their creative mind.

2. Ritualistic and symbolic functions. In many cultures, art is used in religion, spiritual or
magical rituals, performances and dances as a decoration or symbol of a god or other
divine quality. While these often have no specific utilitarian purpose, anthropologists
know that they often serve a purpose at the level of meaning within a particular culture.
This meaning is not furnished by any one individual, but is often the result of many
generations of change and understanding, and of a cosmological relationship within the
culture.

3. Communication. Art, at its simplest, is a form of communication. Most forms of

communication have an intent or goal directed toward other people. Illustrative arts, such
as scientific illustration, are a form of art as communication. Maps are another example.
However, the content need not be scientific. Stories, emotions, and feelings are also
communicated through art.

4. Entertainment. Art may seek to bring about a particular emotion or mood, for the purpose
of relaxing or entertaining the viewer. This is often the function of the art industries such
as Motion Pictures and Video Games. And of course, more traditional art, such as some
paintings and sculptures are simply meant to be enjoyable.

5. Political change. One of the defining functions of early twentieth-century art has been to
use visual images to bring about political change. Art movements that had this goal—
Dadaism, Surrealism, and Futurism, among others—are collectively referred to as the
avant-garde arts. This purpose of art continues today in many objects aimed at exposing
corruption of the ruling class, including government, the wealthy, and corporations.

6. Social causes. Art can be used to raise awareness for a large variety of causes. A
number of art activities are aimed at raising awareness of AIDS, autism, cancer, human

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 trafficking, and a variety of other topics, such as ocean conservation, human rights in
Darfur, murdered and missing Aboriginal women, elder abuse, marriage equality, and
pollution. Trashion, using trash to make fashion, is one example of using art to raise
awareness about pollution.

7. Psychological and healing purposes. Art is also used by art therapists,

psychotherapists and clinical psychologists as art therapy. The Diagnostic Drawing
Series, for example, is used to determine the personality and emotional functioning of a
patient. The end product (the art object) is not the principal goal in this case, but rather a
process of healing, through creative acts, is sought. The resultant piece of artwork may
also offer insight into the troubles experienced by the subject and may suggest suitable
approaches to be used in more conventional forms of psychiatric therapy.

8. Propaganda or commercialism. Art is often utilized as a form of propaganda, and thus

can be used to subtly influence popular conceptions or mood (especially regarding
political issues). In a similar way, art that tries to sell a product also influences mood and
emotion. In both cases, the purpose of art here is to subtly manipulate the viewer into a
particular emotional or psychological response toward a particular idea or object.

These are just one writer’s categorization of purposes for art; there are many other ways to
try to organize the diverse and complex ideas of art into artificial categories. In addition, the
functions of art described above are not mutually exclusive, as many of them may overlap. For
example, art for the purpose of entertainment may also be commercial or seek to sell a product
(i.e. a movie or video game).

Creativity or imagination is the primary basis of art. Art is created when an artist produces a
stimulating experience that is considered by his audience to have artistic merit. The artwork is
the visual expression of an idea or experience of an artist, through the use of a medium (Frank,
2011). It allows expression of the individuality of the artist. Through artistic endeavors, we can
share what is important to us with others and can learn about the values of feelings of those
sharing art with us. Some purposes of art are the following (Marcos et al., 2011).

1. Create Beauty- Art is an expression of our thoughts, emotions, and intuitions. It is the
communication of concepts that cannot be faithfully portrayed by words alone. The Artist
has considered nature as the standard of beauty. The example of beauty can be in a
snowy mountain scene, and the art is the photograph of it shown to the family.

2. Provide Decoration- Artworks are used to create a pleasing environment. It is intended

to beautify things to please and amuse the viewers through its colors and patterns.

3. Reveal Truth- Artwork helped to pursue truth and attempted to reveal about how the
world works. It is a kind of language that allows artists to send a message to the souls of
the recipients that help change their attitudes, their sensibility, and their ethics.

4. Express Values- Arts can illuminate our inner lives and enrich our emotional world.
Through arts, the artist will be encouraged to develop their creativity, challenge, and
communication skills. It also promotes self- esteem and wellness.

5. Commemorate Experience- Art serves to convey the personal experiences of an artist

and record his impression in his work.

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 6. Create Harmony- An artist makes use of the composition to put an order in the diverse
content of his work.

FUNCTIONS OF ART

Art has had a great number of different functions throughout its history, making its purpose
difficult to abstract or quantify to any single concept. This does not imply that the purpose of art
is “vague” but that it has had many unique, different reasons for being created. Some of
the functions of art are provided in the outline below. The different purposes of art may be
grouped according to those that are non-motivated and those that are motivated (Lévi-Strauss).
Non-motivated Functions of Art
The non-motivated purposes of art are those that are integral to being human, transcend the
individual, or do not fulfill a specific external purpose. In this sense, art, as creativity, is
something humans must do by their very nature (i.e., no other species creates art), and is
therefore beyond utility.
1. Basic human instinct for harmony, balance, rhythm. Art at this level is not an action or an
object, but an internal appreciation of balance and harmony (beauty), and therefore an aspect of
being human beyond utility.
Imitation, then, is one instinct of our nature. Next, there is the instinct for ‘harmony’ and
rhythm, meters being manifestly sections of rhythm. Persons, therefore, starting with
this natural gift developed by degrees their special aptitudes, till their rude
improvisations gave birth to Poetry. —Aristotle

2. Experience of the mysterious. Art provides a way to experience one’s self in relation to the
universe. This experience may often come unmotivated, as one appreciates art, music or
poetry.
The most beautiful thing we can experience is the mysterious. It is the source of all true
art and science. —Albert Einstein

3. Expression of the imagination. Art provides a means to express the imagination in non
grammatic ways that are not tied to the formality of spoken or written language. Unlike words,
which come in sequences and each of which have a definite meaning, art provides a range of
forms, symbols and ideas with meanings that are malleable.

Jupiter’s eagle [as an example of art] is not, like logical (aesthetic) attributes of an
object, the concept of the sublimity and majesty of creation, but rather something else
– something that gives the imagination an incentive to spread its flight over a whole
host of kindred representations that provoke more thought than admits of expression
in a concept determined by words. They furnish an aesthetic idea, which serves the
above rational idea as a substitute for logical presentation, but with the proper
function, however, of animating the mind by opening out for it a prospect into a field
of kindred representations stretching beyond its ken. —Immanuel Kant

15
4. Ritualistic and symbolic functions. In many cultures, art is used in rituals, performances
and dances as a decoration or symbol. While these often have no specific utilitarian (motivated)
purpose, anthropologists know that they often serve a purpose at the level of meaning within a
particular culture. This meaning is not furnished by any one individual, but is often the result of
many generations of change, and of a cosmological relationship within the culture.

Most scholars who deal with rock paintings or objects recovered from prehistoric
contexts that cannot be explained in utilitarian terms and are thus categorized as
decorative, ritual or symbolic, are aware of the trap posed by the term “art.”
-Silva Tomaskova

MOTIVATED FUNCTIONS OF ART

Motivated purposes of art refer to intentional, conscious actions on the part of the artists or
creator. These may be to bring about political change, to comment on an aspect of society, to
convey a specific emotion or mood, to address personal psychology, to illustrate another
discipline, to (with commercial arts) to sell a product, or simply as a form of communication.
1. Communication. Art, at its simplest, is a form of communication. As most forms of
communication have an intent or goal directed toward another individual, this is a motivated
purpose. Illustrative arts, such as scientific illustration, are a form of art as communication. Maps
are another example. However, the content need not be scientific. Emotions, moods and
feelings are also communicated through art.

[Art is a set of] artifacts or images with symbolic meanings as a means of communication.
—Steve Mithen

2. Art as entertainment. Art may seek to bring about a particular emotion or mood, for the
purpose of relaxing or entertaining the viewer. This is often the function of the art industries of
Motion Pictures and Video Games.

3. The Avante-Garde. Art for political change. One of the defining functions of early
twentieth-century art has been to use visual images to bring about political change. Art
movements that had this goal—Dadaism, Surrealism, Russian constructivism, and Abstract
Expressionism, among others—are collectively referred to as the avante-garde arts.
By contrast, the realistic attitude, inspired by positivism, from Saint Thomas Aquinas to
Anatole France, clearly seems to me to be hostile to any intellectual or moral advancement. I
loathe it, for it is made up of mediocrity, hate, and dull conceit. It is this attitude which today
gives birth to these ridiculous books, these insulting plays. It constantly feeds on and derives
strength from the newspapers and stultifies both science and art by assiduously flattering the
lowest of tastes; clarity bordering on stupidity, a dog’s life. —André Breton (Surrealism)

4. Art as a “free zone,” removed from the action of the social censure. Unlike the avant-garde
movements, which wanted to erase cultural differences in order to produce new universal
values, contemporary art has enhanced its tolerance towards cultural differences as well as its
critical and liberating functions (social inquiry, activism, subversion, deconstruction…),
becoming a more open place for research and experimentation.

16
5. Art for social inquiry, subversion, and/or anarchy. While similar to art for political change,
subversive or deconstructivist art may seek to question aspects of society without any specific
political goal. In this case, the function of art may be simply to criticize some aspect of society.

Spray-paint graffiti on a wall in Rome

Graffiti art and other types of street art are graphics and images that are spray-painted or
stenciled on publicly viewable walls, buildings, buses, trains, and bridges, usually without
permission. Certain art forms, such as graffiti, may also be illegal when they break laws (in this
case vandalism).
6. Art for social causes. Art can be used to raise awareness for a large variety of causes. A
number of art activities were aimed at raising awareness of autism, cancer, human
trafficking, and a variety of other topics, such as ocean conservation, human rights in
Darfur, murdered and missing Aboriginal women, elder abuse, and pollution. Trashion, using
trash to make fashion, practiced by artists such as Marina DeBris is one example of using art to
raise awareness about pollution.
7. Art for psychological and healing purposes. Art is also used by art therapists,
psychotherapists and clinical psychologists as art therapy. The Diagnostic Drawing Series, for
example, is used to determine the personality and emotional functioning of a patient. The end
product is not the principal goal in this case, but rather a process of healing, through creative
acts, is sought. The resultant piece of artwork may also offer insight into the troubles
experienced by the subject and may suggest suitable approaches to be used in more
conventional forms of psychiatric therapy.
8. Art for propaganda or commercialism. Art is often utilized as a form of propaganda, and
thus can be used to subtly influence popular conceptions or mood. In a similar way, art that tries
to sell a product also influences mood and emotion. In both cases, the purpose of art here is to
subtly manipulate the viewer into a particular emotional or psychological response toward a
particular idea or object.
9. Art as a fitness indicator. It has been argued that the ability of the human brain by far
exceeds what was needed for survival in the ancestral environment. One evolutionary
psychology explanation for this is that the human brain and associated traits (such as artistic
ability and creativity) are the human equivalent of the peacock’s tail. The purpose of the male
peacock’s extravagant tail has been argued to be to attract females. According to this theory
superior execution of art was evolutionarily important because it attracted mates.
The functions of art described above are not mutually exclusive, as many of them may
overlap. For example, art for the purpose of entertainment may also seek to sell a product (i.e.
a movie or video game).

17
 CLASSIFICATIONS OF ART

Many changes in the arts took place during the early modern period. Its classification can
be on many characteristics, including form, shape, function, use, or social context. Works of art
are classified in many different ways, namely:

1. Visual Arts- These arts are those forms that create works which are primarily visual
(forms perceived by the eyes). The man can take the beauty of nature through a piece of
paper so that other people may take time appreciating the captured image. Examples of
these arts include:
a. Painting- This form of visual art aims to evoke an emotion from the viewers. It is
practice by applying colors or other media to a surface with a brush or other objects.
b. Sculpture- This form of visual arts characterized as the art of representing an
imagined or observed objects in hard materials such as glass, metals, or wood in
three dimensions.
c. Architecture- This form of art provides us the physical structure we lived. It is a
profound expression of human culture in a particular period, and it will endure and
outlive us in forms of monuments that future generations will study and strive to
understand.
d. Drawing- This form of art enhances the way we see the world around and conditions
us to capture its details in a two-dimensional medium. This has been a critical
element of art throughout history and in the contemporary art world.
e. Photography- This form of art is a process of creating portraits by recording radiation
on a radiation-sensitive medium, such as electronic image sensors or photographic
films.

2. Performing Arts- These arts are those forms in which the artists used his/her own body,
face, and presence as a medium. Examples of these arts are as follows:
a. Theatre (Drama) - This form of art uses performers to present the experience of a real
or imagined event before a live audience in a specific place and time.
b. Music- This form of art helps to express our mood and feel the way through our
emotions and ideas. Based on a study, different types of music may be suitable to
different moods though classical music is still recommended as the most calming
music option.
c. Dance- This form of art is expressed through body movement which entails social
interaction, or presented in a spiritual or performance setting.
d. Film- This form of art allows us to explore the complexities of the human situation.
This is used to work out our emotions, to make history comes alive, science is
explained, and literary works are brought into life.
e. Installation Art- The fundamental nature of this form of art is the participation of the
spectators. In this work of art, viewers become active and navigate the work in an
environment that they can experience visually. It also has the capacity of passing on
particular information about any significant event around the world and interactively
represents documentary issues.
f. Opera- This form of art helps to tell stories through music. This is also performed with
a full orchestra composed of the various musical instrument sections. In this art form,
singers and musicians perform a dramatic work by combining text (called a libretto)
and musical score.
g. Stagecraft- This form of art is a technical aspect of theatrical production. This includes
constructing and arranging scenery, hanging and focusing of lighting, the design of

18
 costumes, makeup, and procurement of props, stage management and recording and
mixing of sound.

3. Literary Arts- These arts centered on creative writing and other composition processes
which intended to read. These include prose and poetry (e.g., novels, short stories,
sonnet, ballad, epic, and essay).

READINGS / REFERENCES:
1. Bascara, Linda R. and Adela Avillanoza. (2006). Humanities and the Digital Arts. Manila.
Rex Bookstore.

2. Lamucho, Victoria Santos et al. (2003) Introduction to Humanities. Valenzuela City.

Mutya Publishing House.

3. Menoy, Jesus Z. Introduction to the Humanities A Holistic Approach. Mandaluyong

City: Books Atbp. Publishing Corp., 2009.

4. Ramirez, Veronica et al.(2008). “Minding the Arts. Art Appreciation for College
Students”, Mutya Publishing House, Malabon City.

5. Sanchez, Custodia A., Paz F. Abad, and Loreto V. Jao. Introduction to the Humanities
Revised Edition. Rex Bookstore.

Online Source(s)
1. Functions of Art. Retrieved from:
https://courses.lumenlearning.com/masteryart1/chapter/oer-1-2/

2. Kohl, M. A. F. (2020, April 2). What is Creativity? | Process Art and Creativity. Bright
Ring Publishing, Inc. http://brightring.com/about-creativity/fostering-
creativity/#:%7E:text=Creativity%20is%20not%20about%20doing,found%20in%20scien
ce%20and%20play .

3. Overview on Humanities and Arts. Retrieved from:

http://www.geocities.ws/vitasophia_bookcenter/humanities.pdf

4. Purposes of Arts. Retrieved from: https://courses.lumenlearning.com/sac-

artappreciation/chapter/oer-1-2/

5. Wel, T. (2018, November 17). Art: Introduction and Assumptions. Ruel Positive.
http://www.ruelpositive.com/art-introduction-assumptions

IMAGES:

1. Ruiz, L. (2015, April 15). Manila Bay Sunset [Photograph]. Wikimedia Commons.
https://commons.wikimedia.org/wiki/File:Manila_Bay_Sunset_(2).JPG

19
 2. Wikimedia Commons. (n.d.-a). Aristotle [Photograph]. Wikimedia Commons.
https://upload.wikimedia.org/wikipedia/commons/a/ae/Aristotle_Altemps_Inv8575.jpg

3. Wikimedia Commons. (n.d.-b). Plato [Photograph]. Wikimedia Commons.

https://upload.wikimedia.org/wikipedia/commons/8/84/Bust_of_Plato%2C_Vatican_Muse
um%2C_Rome.jpg

WATCH:
1. Anthony Garcia. (2012, May 13). Humanities Presentation “What is Humanities?” for
CASC [Video file]. Retrieved from https://www.youtube.com/watch?v=t72HTrH_xX4

2. TED-Ed. (2018, November 26). Who decides what art means? - Hayley Levitt [Video
file]. Retrieved from https://www.youtube.com/watch?v=HoXyw909Qu0

3. TED-Ed. (2013d, October 4). How art can help you analyze - Amy E. Herman [Video
file]. Retrieved from https://www.youtube.com/watch?v=ubEadhXWwV4

ACTITVITIES/ASSESSMENT:

1. ACRONYM IT IS! (Describe me please!) From the insights that you have gained in
the readings, create an acronym using the words HUMANITIES and ARTS, to artistically
describe the two concepts. Write your description vertically in a short bond paper. You
may use colorful materials as a background for your texts.
Example:
H- A-
U- R-
M- T-
A- S-
N-
I-
T-
I-
R
E-
S-

Criteria for checking

I. Presence of Creativity in use of words (5 pts)

II. Content (relationship and relevance of ideas) (10 pts.)

III. Uniqueness/ Originality (10 pts.)

Total= 25 pts.

20
2. Reflection Paper: Answer the question below.
For offline learners, you may write your answers in a yellow pad. For online learners
send your paper on _____ through our assigned social platform (ex. Google
Classroom)
a. Does art always have a function? If an artwork did not have any function, will it
remain art?
Criteria for Checking
I. UNITY (presence of topic sentence) –5pts
II. COHERENCE (use of transitional devices)- 5pts
III. EMPHASIS (diction/ choice of words)- 5pts

21
COURSE MATERIALS:
LESSON 2: THOREAU’S DIFFERENCE BETWEEN AN ARTIST AND AN ARTISAN
“Talent is insignificant. I know a lot of talented ruins,” James Baldwin admonished in
his advice to aspiring writers as he considered the real building blocks of genius: “Beyond
talent lie all the usual words: discipline, love, luck, but most of all, endurance.” Two
decades before that, in pondering whether great artists are born or made, Jack Kerouac
proclaimed: “Genius gives birth, talent delivers.”
More than a century earlier, Henry David Thoreau (July 12, 1817–May 6, 1862) — one of
humanity’s greatest artists, in the most expansive sense of the word — brought his formidable
intellect and spiritual genius to this question in his 1849 masterwork A Week on the Concord
and Merrimack Rivers
Right around the time he was contemplating the myth of productivity and the true measure of
meaningful work, Thoreau writes:
“The Man of Genius may at the same time be, indeed is commonly, an
Artist, but the two are not to be confounded. The Man of Genius, referred to
mankind, is an originator, an inspired or demonic man, who produces a perfect
work in obedience to laws yet unexplored. The Artist is he who detects and
applies the law from observation of the works of Genius, whether of man or
nature. The Artisan is he who merely applies the rules which others have
detected. There has been no man of pure Genius; as there has been none wholly
destitute of Genius.”
Thoreau — who wrote beautifully about the dignity of defining one’s own success — argues
that true genius is often met with resistance; that the test and mark of genius is how well one is
able to stay one’s course amid external pressures to conform to the beaten path:
“To the rarest genius it is the most expensive to succumb and conform to
the ways of the world. Genius is the worst of lumber, if the poet would float upon
the breeze of popularity. The bird of paradise is obliged constantly to fly against
the wind, lest its gay trappings, pressing close to its body, impede its free
movements.
He is the best sailor who can steer within the fewest points of the wind,
and extract a motive power out of the greatest obstacles. Most begin to veer and
tack as soon as the wind changes from aft, and as within the tropics it does not
blow from all points of the compass, there are some harbors which they can
never reach.”
Not unlike we use the word “artist” today, Thoreau uses the word “poet” in more than its
literal sense, connoting not just writers of poetry but creators who enlarge our poetic
appreciation of beauty and truth through their work, whatever its nature. He writes:
“It is the worshippers of beauty, after all, who have done the real pioneer
work of the world. The poet will prevail to be popular in spite of his faults and in
spite of his beauties too. He will hit the nail on the head, and we shall not know
the shape of his hammer.”

22
 To the artists whose genius goes unrecognized in their lifetime, Thoreau offers the
consolation of a vaster perspective:
“The poet … will remember only that he saw truth and beauty from his
position, and expect the time when a vision as broad shall overlook the same
field as freely.”

ARTIST. CRAFTSMAN. ARTISAN: WHAT is the DIFFERENCE?

An Artist is someone who produces works like paintings or sculpture, or works in the
performing arts, or is skilled at a particular task or occupation.
An Artisan is someone who is skilled in an applied art, or makes a distinctive product in
small quantities.
A Craftsman is someone who is a sort of amalgam of both.
So what IS the difference?
The main difference is defined by how other people respond to the piece in question –
especially when they don’t like it. It’s also about the intention of the creator – " Why am I doing
this?" Although a craftsman might theoretically end up with a work of art… even by accident.
Is Artistry about originality vs. duplication?
An Artisan will be expected to be able to duplicate their work, whereas an Artist is all about
originality every time.
Creativity is key to all three in different levels of measure. However, the reason creativity in
advertising is a craft is because what we produce has a function. And that’s common to all
objects produced by a craftsman. And yet, sometimes - especially these days - it seems that we
are also producing what could equally well be described as aesthetic material without function,
and that’s a pure definition of art.
The definition is in a negative reaction
Food preparation is a very good example of something that might exist in all three definitions
simultaneously.
It is only the intention of the creator and the reaction of the consumer that decide which
definition it falls into. Is a chef creating a work of art when they prepare food? Are they making
something delicious? Are they creating something easily duplicated by others? Or are they just
manufacturing fuel? Also, the reaction by the creator to a rejection of the food can be anything
from derision of ignorance of what excellence is, to coming out of the kitchen with a meat
cleaver.
The difference can be within what the individual does with the material they’re working with.
The artist might take a material and apply it in a totally unique way to a subject. Whereas an
Artisan or craftsman might work within the limits of the material to get out of it the best they can.

23
 Then there’s the acquisition of the skills and talent. Craft is about learning as well as
following teaching. Art is inherent in one’s soul and doesn’t answer to the rules, and yet one
needs to know the rules in order to break them.

IMPORTANCE OF ARTISANS AND TYPES OF ARTISANS

Who are Artisans?

Artisans are tradesmen and tradeswomen or craftsmen and craftswomen. They are skilled
workers that are involved in skilled trade using their hands in making things, installing things,
repairing things and maintaining things with the help of tools, equipment or machinery. Unlike
white collar jobs, these crafts persons are known for blue collar jobs. As a matter of fact they are
skilled manual workers that specialize in specific crafts. Artisan services involve the use of
hands in making crafts hence these crafts are called handicrafts such that while the male
artisans are called handicraftsmen, the female artisans are called handicraftswomen. Some
artisans are also referred to as technicians as a result of their technical skills. In times past,
artisans are also called artificers.
Artisans are divided into two categories. Artisans that teach or train others are called
masters while those learning from these masters are called apprentices or journeymen.
Apprenticeship is the process and period of time for apprentices to learn crafts or trade from
their masters under agreed conditions.
Importance of Artisans
1. Artisans through their skills make things that can be used at homes, offices and
industries
2. Artisans help fix things for individuals, businesses, governmental and non-government
organizations.
3. Artisans that are good in installation help install things in homes, offices and industries.
4. Artisan services are sources of blue collar jobs which can reduce unemployment,
poverty and social vices.
5. Artisan services enable people who are not financially buoyant or academically sound to
be useful to themselves, their families and the society by learning vocational and
technical skills.
6. Artisans contribute to the economy of a nation through their taxes paid to the
government.

DIFFERENCE BETWEEN ARTISANS AND CRAFTSMEN

Although artisans and craftsmen are generally regarded to be the same, however it should
be noted that they differ in some ways. Thus, artisans are quite different from craftsmen
because they are skilled workers that make things using their hands owing to their dexterity
(ability to make things or perform tasks using hands). The things made my artisans can have
functional values, decorative values or aesthetic values. Besides, artisan products (i.e products
made by artisans) may have higher value than those of craftsmen. Craftsmen on the other
hand are skilled in crafts with lesser creativity but high replication. Craftsmen products(products
made by craftsmen are called crafts) have mainly functional values. The products made by

24
craftsmen may be of lesser value than those of artisans. We can therefore say to some extent
that some craftsmen are artisans but not all artisans are craftsmen.

Some Differences between Artisans and Technicians

All technicians are artisans but not all artisans are technicians. This is because some
artisans specialize in making only crafts while those that can install, repair and maintain things
like automobiles, electricals, electronics, equipment, machinery, etc are technicians in their own
right. Artisans have practical knowledge than theories unlike technicians that have both
theoretical and practical knowledge. Thus, technicians possess practical skills, know the
techniques and understand theories about specific field of technology. Artisans undergo
apprenticeship and/or vocational and technical training for skills acquisition but technicians may
undergo technical schools or institutions to acquire theoretical and practical skills. While artisans
are offered certificates of apprenticeship, technicians can have certificates and even diplomas.
Technicians are better paid than artisans. However, artisans and technicians can be highly
skilled or semi-skilled. It is important to note that besides technologists, artisans and technicians
are cadres of engineering.

CLASSIFICATION OF ARTISANS AND TYPES OF ARTISAN CRAFTS

There are many ways to classify artisans. On this context however, artisans and their crafts
can be classified into the following categories based on the nature of work of artisans, artisans’
crafts, what artisans work with and what artisans work on.

1. Woodworkers(woodland crafts): They are artisans that work on, work with wooden materials.
Those that manufacture using wood usually produce wooden crafts.

2. Building and construction workers(building crafts): These are artisans that use their artisan
skills to contribute to the building and construction industry. They make use of metal materials,
wooden materials, chemicals, etc.

3. Textile workers(textile crafts): These are artisans that make use of textiles and fabric
materials. They more or less part of the fashion industry. Hence fashion designers or tailors that
make clothes are textile workers. Leather workers that make use of hides and skin in making
shoes, bags, belts and caps fall under this category.

4. Metal Workers(Metal crafts): These are artisans that specialize in using metal materials. They
make, install, repair and maintain metal stuff. Welders and fabricators fall under this category of
artisans.

TYPES OF ARTISANS OR TYPES OF ARTISAN SERVICES

An artisan specializes in a particular craft. Thus, an artisan service varies depending on the
skill of individual artisans

1. Armorers: These are artisans that specialize in making of weapons. An example of an

armorer is a gunsmith.

2. Blacksmiths: Blacksmiths are artisans that specialize in making or forging iron. Ironsmiths
and iron benders are typical examples of blacksmiths.

25
3. Bladesmiths: Bladesmiths are artisans that make blades, knives, daggers and swords using
hammers, anvils and other smithing tools.

4. Goldsmiths: Goldsmiths are artisans that specialize in forging things from gold. Thus, can be
using gold in making jewelry

5. Gunsmiths: Gunsmiths are artisans that have the skills to make guns. A gunsmith is an
example of armorers.

6. Locksmiths: Locksmiths are artisans that make locks as well as unlock locks. The process of
making locks is called locksmithing.

7. Nailsmiths: These are artisans that specialize in making nails which are fasteners used in
construction and woodwork.

8. Joiners: Joiners are artisans that are trained to join two or more things together. Joiners are
makers of wooden furniture or fittings. Carpenters are joiners. The process of getting these
things joined is called joinery.

9. Coopers: Coopers are artisans that specialize in making barrels and repairing barrels. They
are can also make wooden vessels and repair wooden vessels- making casks, repair casks,
make buckets, repair buckets, make tubs and repair tubs.

10. Dyers: Dyers are artisans that are specially trained to dye cloth or fabrics.

11. Furriers: Furriers are artisans that specialize in making fur clothes, selling fur clothes and
repairing fur clothes.

12. Hatters: Hatters are artisans that specializing in making hats, selling hats and repairing hats.

13. Potters: Potters are artisans that are trained in making pots and ceramic wares. Thus,
potters use clay in making vessels. The process of making these pots is called pottery.

14. Rope makers: Rope makers are artisans that are skillful in rope making. In fact, they make
ropes.

15. Saddlers: Saddlers are artisans that make seats or tacks that are used in horses’ back,
bikes, bicycles, and others.

16. Shoemakers and Cobblers: Shoemakers are artisans that specialize in making shoes and
the process is called shoemaking. Cobblers are artisans that repair shoes hence otherwise
called shoe repairers or shoe menders.

17. Stonemasons: Stonemasons are artisans that work with stones.

18. Tailors and Seamstresses: Tailors are tradesmen(male artisans) that makes and amends
men’s clothing while seamstresses makes and amends women’s clothing. Tailors and
seamstresses are also called fashion designers or fashion makers. In fact, they sew clothes and
repair clothes.

26
19. Tanners: Tanners are artisans that tan hides to leathers which can be used in making
shoes, bags and belts. Tannery is the place where hides are tanned and the process of
converting hides to leathers is called tanning.

20. Weavers: These are artisans that are capable of twisting strands or materials of different
lengths over others. It can be human hairs or hair extensions, baskets, sieves, etc.

Besides the above types of artisans the following are also some types of artisans.

1. Bricklayers that specialize in bricklaying. They are also called masons and what they do is
called masonry. They are contracted for building residential and commercial homes and offices
respectively.

2. Plumbers that specialize in plumbing. They are hired for plumbing jobs or plumbing services

3. Tilers that specialize in tiling. They are hired for tiling jobs or tiling services

4. Electricians that specialize in electrical works or electrical services. They are hired for
electrical jobs or electrical services which could be electrical installations, electrical repairs and
electrical maintenance.

5. Painters that specialize in painting: They are hired for painting jobs or painting services

6. Carpenters that specialize in carpentry. They are hire for carpentry jobs or carpentry services.
Roofers specialize in roofing while furniture makers specialize in making furniture.

7. Hairdressers and barbers that specialize in hairdressing and barbing respectively.

8. Welders and fabricators that specialize in welding and fabrication. They are hired for welding
and fabrication jobs or welding and fabrication services.

9. Artists and craftsmen that specialize in making artworks and crafts respectively. They are
hired for arts and crafts jobs or services.

10. Decorators that specialize in decorations. They are hired for decoration jobs or decoration
services.

11. Bead makers that specialize in bead making. They are hire for bead making jobs or bead
making services. Bead making trainers are known to provide bead making training.

27
READINGS / REFERENCES:
1. Ramirez, Veronica et al.(2008). “Minding the Arts. Art Appreciation for College
Students”, Mutya Publishing House, Malabon City.
2. Menoy, Jesus Z. Introduction to the Humanities A Holistic Approach. Mandaluyong
City: Books Atbp. Publishing Corp., 2009.

Online Source(s)
1. Thoreau on the Difference Between an Artisan, an Artist, and a Genius Retrieved
from: https://www.brainpickings.org/2016/03/03/thoreau-on-genius/

WATCH:
1. Is there a difference between art and craft? - Laura Morelli. (TED-Ed; 7 Mar 2014)
Retrieved from https://www.youtube.com/watch?v=tVdw60eCnJI

ACTITVITIES/ASSESSMENT:

1. WRITE ON ME! Create an essay for the question below. For offline learners, you may
write your answers in a yellow pad. For online learners send your paper on _____
through our assigned social platform (ex. Google Classroom)
a. If you were an artist, what kind of artist will you be? What art field will you
explore? Why?
b. How can you utilize the arts to express yourself, your community, and your
relation to others and with the earth?

Criteria for Checking

I. UNITY (presence of topic sentence) –5pts
II. COHERENCE (use of transitional devices)- 5pts
III. EMPHASIS (diction/ choice of words)- 5pts

28
COURSE MATERIALS:
LESSON 3: THE FILIPINO CONCEPT OF ART

Article:
IN FOCUS: PHILIPPINE ARTS IN CONTEXT BY PROF. FELIPE M. DE LEON, JR.

A social view of the world makes people sociable, harmony-seeking and unitive. It
encourages a devotional attitude towards the highest ranking being in the cosmic social order
for the reason that becoming one with this figure unites one with the whole world. Filipino
traditional culture, which is essentially Southeast Asian, views the universe as the infinite
manifestations of a dynamic, creative living spirit, whose sacred essence is often symbolized as
a mythical hero or divine being and whose concrete representations are believed to be
permeated by this being’s spiritual energy.

Hence, images of these divine beings attract so much devotional fervor in all traditional
Filipino life, especially in the villages. A strongly shared devotion develops an expanded sense
of self, an orientation that is communal rather than individualistic, intuitive and holistic rather
than logical and analytic, and preferring interdependence and relationships over self -assertion
and privacy.

Filipinos are highly relational people. They are hardly alone, quite happy being together –
when they eat, sleep, work, travel, pray, create or celebrate. Having a minimal sense of privacy,
they are open, trusting and easily accessible socially. Instead of a meticulous concern for
safeguarding their private sphere, as in the case of Western peoples, many Filipinos actively
seek a convergence of their lives with the lives of others. For example, a sharing of concern is
seen in a common form of greeting in the region such as, “Where are you going?” or “Where
have you been?” Sharing of tasks and responsibilities within the family and the community is a
way of life. Thus, they become highly skilled and creative in interpersonal relations and social
interaction. The capacity to integrate socially becomes one of the hallmarks of maturity.

The communal orientation is manifested in all aspects of traditional Filipino village life and, to
a great extent, even in urban settings.

Attributes of Integral Art

The traditional arts most sensitively reflect this communal orientation. Being the most lucid
and expressive symbols of a culture’s values, the arts are the most powerful instruments of
inquiry into the essential character of a culture. It is undeniable that the following basic concepts
and attributes of art and the contexts of artistic creation, expression and experience could only
have arisen in communal or integral Filipino cultural settings:

1. Integration of the arts with other values and functions; they are not valued for their own
sakes. The aesthetic is not divorced from utilitarian, religious, moral, spiritual, social, and
ecological concerns. This ensures a balanced cultivation and development of human faculties –
physical skills as well as inner potentials.

2. Unity of the arts. Consistent with the integration of faculties is the integration of artistic
sensibilities. No one sensory mode and aesthetic intelligence is to be cultivated at the expense
of the others. Although one may be given emphasis – literary, visual, spatial, musical,

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kineaesthetic, gustatory and olfactory senses have to be harnessed and promoted together for
maximum aesthetic well-being.
3. Art is integrated with everyday life and not regarded as a separate activity; it does not
become a specialism (specialization that is narrow or at the expense of everything else,
according to Jacques Barzun). It is not for the specialist alone but for everyone. This implies that
there will be no special venues or spaces for art because it virtually exists wherever
and whenever there is human activity.

4. Equality of opportunity for participation in the artistic, creative process; there are
relatively no superstars, for the source of power is not the individual, who is only a channel of
divine inspiration or creativity. Thus, the author or creator is often anonymous.

5. The artist is not separate from his audience or society, communal participation is the
norm. Unlike in the West, there is no dichotomy of artist and society because art is not the
specialists’s concern alone. Everybody is expected to be an artist and participate in creative,
expressive activities.

6. Flexibility of material, technical, and formal requirements. No rigid or fixed standards

dictate the choice of materials, techniques, and forms for artistic creation and expression, e.g.
there is nothing like an arbitrary, fixed system of tuning as in the European equal-tempered
system though definite principles underlie the tuning of musical instruments such as lutes, flutes
and gongs. Such flexibility ensures a wider participation of people in artistic activity.

7. Use of available resources for artistic creation. Art is not synonymous with big production
costs because what matters is artistic excellence or the creative idea as well as making art part
of everyday life. Thus, the least expensive mediums, e.g. paper for kites is regarded highly
and not considered inferior to the costlier ones. And even the most practical objects like a
coconut grater, container, knife handle, tree stump, mat, or hat can become a medium for the
finest art.

8. Emphasis on the creative process rather than the finished product, endowing
extemporaneous, improvisatory or spontaneous expressions of creativity a higher value than
deliberate, often solitary, conceptualization and composition of forms. This valuing of process
rather than product nurtures creative health and can inhibit mere idolizing of masterpieces and
obsession with permanence

9. Simultaneity of conception and realization. This involves affirmation of the creative

imagination through the tradition of instant mirroring or biofeedback, which, together with
emphasis on the creative process, provides an excellent condition for communal participation.

As the Philippines became more Westernized towards the latter part of the 19th century
because of exposure to European liberal and secular ideas, particularly in the urban centers,
these contexts were replaced by their exact opposite. Artistic creation becomes highly
specialistic, separate from everyday life, an assertion of the individual ego, and driven by
commercial success. It becomes a medium for technical virtuosity, sensory impacts,
entertainment, and highly materialistic values. Art loses its magical, mythical and spiritual
qualities.

The Filipino cultural substratum, however, does not succumb that easily to foreign influences
no matter how dominant. The cultural matrix of Philippine art remains communal except among
Filipino artists thoroughly educated in the West. Hence, contemporary artists in the Philippines –

30
even those schooled in Western classical-romantic, realist, impressionist, post-impressionist,
cubistic, surrealist, expressionistic, abstractionist, constructivist, photorealist, pop-op, avant-
garde or post-modern thought – will exhibit formal tendencies clearly rooted in traditional art.
Western influences on Philippine art constitute some kind of a thin veneer or mask that
disguises indigenous qualities rooted in the communal tradition.

Unlike twentieth century cubism which fragments and dissects objects, Filipino art turns to
various techniques for presenting many sides or views of the object precisely for the purpose of
preserving its wholeness and articulating its nature. The omniscient perspective of communal
art reveals a keen interest in depicting the object as we know it rather than as we see it. As a
rule, the broadest sides are tilted towards us for greatest recognizability of the object. We see
this approach in contemporary painter Norma Belleza’s works, where it is extensively used, as
in her “Hapunan”(Supper). Objects most easily identifiable from the top view are portrayed from
this vantage point, such as the table, plates, stove and slippers. Those that are more intelligible
from a frontal or lateral orientation are depicted accordingly, such as the bottle, human figures
and the cat. Other contemporary artists notable for relying on the broadest aspect technique are
Antonio Austria and Manuel Baldemor.

An intimate knowledge of reality, such as may be obtained from a multi-view approach is

impossible to achieve with the camera. This machine can only depict one view at a time, and
hence can only present to us the surface, never the essence of reality. Honore Daumier, French
painter and caricaturist, just right after the use of the camera became popular in the 1840s,
declared that “the camera sees everything but understands nothing.”

Inspite of this declaration, however, Western art has become so imbued with the mechanistic
world view that conventional or academic Western realism has become synonymous with this
view, in varying degrees. The reason for this, perhaps, is that single or one-view perspective is
a fitting metaphor for the highly individualistic philosophy that pervades Western, especially
American, culture up to the present time. This is not to gainsay, however, the great strides in the
West towards a non-mechanistic world view since the advent of Cezanne and the post-
impressionists. In fact, the major movements of twentieth century art in Europe implicitly
question the philosophy of mechanistic materialsm.

The communal perspective attempts to represent the views of all the members of a
community. Hence, we do not find a single focal center in its artistic expressions. In the works of
Larry Alcala, the most popular Philippine cartoonist who recently passed away, there is no
interest in a single individual’s view of things. Instead, we get a wide panorama of social life and
activities, the way things would be experienced by different people at any one time or by one
person at different points in time. It could also be the experience of a community at various
points in time. Among the highly popular artists strongly manifesting this multi-focal, omniscient
view are Carlos Francisco, Jose Blanco, Tam Austria, Angelito Antonio, Mauro Malang Santos
and Anita Magsaysay Ho.

Related to this multi-focal tendency is the absence of emphasis on any one individual
person. There are no superstars. Most often it is not a single person but a group or community
that is portrayed.

The Filipino popular psyche is exceptionally transparent in its openness, spontaneity, and
capacity for empathy. This is most likely why many Filipinos are excellent communicators, highly
expressive, superior performers, extremely sensitive, warm and emotional. It is probably for the
same reason that they are good in pakikiramdam (participatory sensitivity) and lambing (tender,

31
loving care). Some of the correlates of these inner qualities are the preference for richly tasting
food (particularly flavors derived from garlic, sour fruits, shrimp paste, fish sauces, ginger,
turmeric, laurel, oregano and other spices); highly inflected speech; markedly tactile and
biomorphic forms, delight in rainbow hues and the polychromatic, and strong curvilinear
tendencies in the visual arts.

In contrast, Western, particularly British and American food, is relatively bland, their speech
monotonal, their art more visual than tactile, their colors monochromatic and their forms
rectilinear-geometric.

Certainly the works of many contemporary Filipino artists are supreme examples of
polychromaticism (use of rich, intense myriad hues) and immediately establish their relation to
multi-colored traditional creations such as fans, mats, Christmas star lanterns; and festivals like
the Pahiyas of Lucban, Moriones of Marinduque and Ati-Atihan of Kalibo.

A marked tendency of Philippine art, whether traditional, modern or contemporary, is the

penchant for filling up every empty space with form and detail. We call this maximalism. More
than anything else, this tendency seems to be a manifestation of the Filipinos’ highly sensitive
and expressive nature that is rooted in communal existence. One who connects to others so
fully, sensitively and intimately will have so much to be expressive about. Filipino spontaneity
and exuberance, it seems, knows no bounds. A well-known example of this in popular art is the
Filipino jeepney, whose profuseness of detail for a public utility vehicle – normally drab and
uniform in other countries – exists nowhere else in the world. In the more academic and serious
genres, there is a long thread of maximalism from Fernando Amorsolo in the early twentieth
century to Vicente Manansala in the 50s and Angelo Baldemor of today.

The Filipinos’ intuitive, holistic and multisensory approach to life militates against fragmenting
experience into separate levels or compartments. Indeed activities, objects, and the arts tend to
be multifunctional. Producing something that has many different uses creates a sense of
community for they bring people of different interests and needs together. A typical Filipino food
called sinigang combines soup, meat and vegetables in one bowl whereas they would constitute
separate dishes in another culture. Typically, Philippine stores and markets, even bookstores
and drugstores, but especially department stores and malls will contain all kinds of things
because they typically cater to Filipinos who come in groups.

Traditional Filipino culture does not divide the arts into seven different sensory–behavioral
categories. This insight at once provides us with a directional force in Philippine contemporary
art: a movement towards integration.

The arts brought to the Philippines from Europe in the 19th century came in separate
specializations: graphic, plastic, performing, literary and so forth. But Filipinos inevitably moved
towards their integration, as they have always done in the past. Again, the strong influence of
modernism in Philippine art during the thirty-year span from the 50s to the 70s demanded the
purity of painting as painting and sculpture as sculpture. But this began to change in the 80s
with the new and younger artists’ explorations into multi-media and installation art. An
outstanding example of this is Aro Soriano, who, for a long time enduring a Bohemian existence
as an exile in Paris, re-established himself in the Philippines in the 80s to rediscover his roots.
His works, though very contemporary in sensibility, characteristically display great skill in
integrating visual elements, folklore, song texts, ritual and performance.

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 Having a traditional base, the popularity of mixed media and installations in Philippine art
now eclipses all the others. These could either be an assemblage of three-dimensional forms
within a two-dimensional format, playfully interactive works which could be touched and
manipulated such as those of Noel Cuizon and Dennis Ascalon, or a combination of indigenous
materials and found objects, as in the installation and environmental art which gained
prominence through the pioneering efforts of Junyee, Santiago Bose and Roberto Villanueva
and later Imelda Cajipe-Endaya , Alwin Reamillo, and, in a class by himself because of his
fusion of found objects to create highly imaginative but functional sculptures, Gabby Barredo. A
heightened concern for the environment and assertion of indigenous identity are among the
significant contributions of this younger group of artists.

Though unrecognized by many art critics, it appears that the most salient feature of
Philippine arts is a rather stylized, rhythmic and patterned design or organization of forms. This
is especially evident in folk and popular art but manifest in almost the same degree in serious
art and other genres, except perhaps in social realist art and works of artists like Jaime de
Guzman and Onib Olmedo, whose genuine expressions of angst are typically non-existent in
Philippine art. Even the most impressionistic variety of Philippine art will not succumb to the lure
of formlessness and the shifting, shimmering textures of European impressionism. The use of
thick, raw, frenetically driven and agitated impastos in Western abstract expressionism is alien
to the Filipino temperament. Instead we find the so-called “abstract expressionist” textures and
compositions of Jose Joya and Raul Isidro to be highly lyrical, musical and rhythmically-
patterned in a way akin to that of traditional weaving. Even works superficially labeled
surrealistic in Philippine art are in reality playful fantasies, with none of the nihilism, sense of
ambiguity and absurdity of life associated with it in the West.

The rhythmic patterning in Philippine arts seems to stem from the Filipinos’ highly devotional
attitude towards the divine and the predisposition towards experiencing life as an integrated
whole, inspiring in them a deep sense of community and feeling of harmony with the vital
rhythms of existence. The joy and feeling of well-being that springs from this harmony
engenders in the Filipino soul an inherent musicality that provides the rhythmic matrix for
everything the Filipino artist touches. The quintessential expression of this gift is the abstract art
of Hernando Ocampo. The sinuous, cell-like, biomorphic forms of his paintings are individually
alive and distinct yet sensitive to one another and seemingly engaged in a collective dance of
joy. Some critics have suggested that Ocampo’s art could be the most faithful expression of
Filipino identity.

It is heartening to realize that no matter how extensive Western influence is on Philippine

culture, the Filipinos’ traditional sensibility, world view, values and attitudes remain essentially
intact, as can be gleaned from their contemporary visual arts.

READINGS / REFERENCES:
Online Source(s)
1. In Focus: Philippine Arts in Context by Prof. Felipe M. De Leon, Jr. Retrieved from:
http://gwhs-stg02.i.gov.ph/~s2govnccaph/about-culture-and-arts/in-focus/philippine-
arts-in-context/

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 Additional Reading:
1. Covar, Propero (1992). “Kaalamang Bayang Dalumat ng Pagkataong Pilipino”, url:
http://www.journals.upd.edu.ph/index/djwf/article/view File/ 4950/4459
WATCH:
1. Dayaw Season 1 (6 episodes), Legarda, 2015
(Ep 1 https://www.youtube.com/watch?v=8KlO6_Jpd-4&t=8s
EP 2 https://www.youtube.com/watch?v=uvkNKkRrgsc
Ep 3 https://www.youtube.com/watch?v=riI0bJA16hM
Ep 4 https://www.youtube.com/watch?v=yByYvQ__-kQ
Ep 5 https://www.youtube.com/watch?v=JseIf3ZMnzE
Ep 6 https://www.youtube.com/watch?v=Va1lmKd705g

ACTITVITIES/ASSESSMENT:

1. EMBRACE ME NOW. From the readings above, create a Brace Map Graphic
Organizer being guided by the questions below. Make sure to properly label entries to
show an organize concept. You may add symbols or creative images to support your
entries. For offline learners, you may write your answers in a short bond paper. For
online learners send your paper on _____ through our assigned social platform (ex.
Google Classroom).
a. How did the writer describe a Filipino artist as an individual?
b. What makes a Filipino artist vary from its Western counterparts?

Example of a Brace Map Organizer:

Criteria for checking:

I. Creativity of design (5 pts)
II. Organization of concepts per (10 pts.)
brace maps
III. Content Analysis of the (15 pts.)
presentation
/30 pts.

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COURSE MATERIALS:
LESSON 4: PHILOSOPHICAL IMPORTANCE OF ART

"Mimes" is the basic theoretical principle in the creation of art. The word is Greek and means
"imitation" (though in the sense of "re-presentation" rather than of "copying"). Plato and
Aristotle spoke of mimesis as the re-presentation of nature. According to Plato, all artistic
creation is a form of imitation: that which really exists (in the "world of ideas") is a type created
by God; the concrete things man perceives in his existence are shadowy representations of this
ideal type. Therefore, the painter, the tragedian, and the musician are imitators of an imitation,
twice removed from the truth. Aristotle, speaking of tragedy, stressed the point that it was an
"imitation of an action"--that of a man falling from a higher to a lower estate. Shakespeare, in
Hamlet's speech to the actors, referred to the purpose of playing as being " . . . to hold, as
'twere, the mirror up to nature." Thus, an artist, by skillfully selecting and presenting his material,
may purposefully seek to "imitate" the action of life.

ART AS MIMESIS (PLATO)

In Plato's The Republic, he paints a picture of artists as imitators and art as a mere imitation.
In his description of the ideal republic, Plato advises against the inclusion of art as a subject
in the curriculum and the banning of artists in the Republic.
In his theory of Mimesis, Plato says that all art is mimetic by nature; art is an imitation of life.
He believed that ‘idea’ is the ultimate reality. Art imitates idea and so it is imitation of reality. He
gives an example of a carpenter and a chair. The idea of ‘chair’ first came in the mind of
carpenter. He gave physical shape to his idea out of wood and created a chair. The painter
imitated the chair of the carpenter in his picture of chair. Thus, painter’s chair is twice removed
from reality. Hence, he believed that art is twice removed from reality. He gives first importance
to philosophy as philosophy deals with the ideas whereas poetry deals with illusion – things
which are twice removed from reality. So to Plato, philosophy is superior to poetry. Plato
rejected poetry as it is mimetic in nature on the moral and philosophical grounds. On the
contrary, Aristotle advocated poetry as it is mimetic in nature. According to him, poetry is an
imitation of an action and his tool of enquiry is neither philosophical nor moral. He examines
poetry as a piece of art and not as a book of preaching or teaching.
Plato was convinced that artists merely reinforce the belief in copies and discourage men to
reach for the real entities in the World of Forms.
Plato was deeply suspicious of arts and artists for two reasons:

1. They appeal to the emotion rather than to the rational faculty of men.
2. They imitate rather than lead one to reality.

Poetry arouses emotions and feelings and buzz, clouds rationality of people.

Art is just an imitation of imitation. A painting it's just an imitation of nature, which is also just
an imitation of reality in the world of forms. Art then is to be banished, alongside the
practitioner's, so that the attitudes and actions of the members of the republic will not be
corrupted by the influence of the arts. For Plato, art is dangerous because it provides a petty
replacement for the real and it sees that can only be attained through reason.

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Aristotle replied to the charges made by his Guru Plato against poetry in particular and
art in general. He replied to them one by one in his defense of poetry.

1. Plato says that art being the imitation of the actual is removed from the Truth. It only
gives the likeness of a thing in concrete, and the likeness is always less than real. But
Plato fails to explain that art also gives something more which is absent in the actual.
The artist does not simply reflect the real in the manner of a mirror. Art cannot be slavish
imitation of reality. Literature is not the exact reproduction of life in all its totality. It is the
representation of selected events and characters necessary in a coherent action for the
realization of the artist’s purpose. He even exalts, idealizes and imaginatively recreates
a world which has its own meaning and beauty. These elements, present in art, are
absent in the raw and rough real. While a poet creates something less than reality he at
the same times creates something more as well. He puts an idea of the reality which he
perceives in an object. This ‘more’, this intuition and perception, is the aim of the artist.
Artistic creation cannot be fairly criticized on the ground that it is not the creation in
concrete terms of things and beings. Thus considered, it does not take us away from the
Truth but leads us to the essential reality of life.

2. Plato again says that art is bad because it does not inspire virtue, does not teach
morality. But is teaching the function of art? Is it the aim of the artist? The function of art
is to provide aesthetic delight, communicate experience, express emotions and
represent life. It should never be confused with the function of ethics which is simply to
teach morality. If an artist succeeds in pleasing us in the aesthetic sense, he is a good
artist. If he fails in doing so, he is a bad artist. There is no other criterion to judge his
worth. R.A.Scott -James observes: “Morality teaches. Art does not attempt to teach. It
merely asserts it is thus or thus that life is perceived to be. That is my bit of reality, says
the artist. Take it or leave it – draw any lessons you like from it – that is my account of
things as they are – if it has any value to you as evidence of teaching, use it, but that is
not my business: I have given you my rendering, my account, my vision, my dream, my
illusion – call it what you will. If there is any lesson in it, it is yours to draw, not mine to
preach.” Similarly, Plato’s charges on needless lamentations and ecstasies at the
imaginary events of sorrow and happiness encourage the weaker part of the soul and
numb the faculty of reason. These charges are defended by Aristotle in his Theory
of Catharsis. David Daiches summarizes Aristotle’s views in reply to Plato’s charges in
brief: “Tragedy (Art) gives new knowledge, yields aesthetic satisfaction and produces a
better state of mind.”

3. Plato judges poetry now from the educational standpoint, now from the philosophical one
and then from the ethical one. But he does not care to consider it from its own unique
standpoint. He does not define its aims. He forgets that everything should be judged in
terms of its own aims and objectives, its own criteria of merit and demerit. We cannot
fairly maintain that music is bad because it does not paint, or that painting is bad
because it does not sing. Similarly, we cannot say that poetry is bad because it does not
teach philosophy or ethics. If poetry, philosophy and ethics had identical function, how
could they be different subjects? To denounce poetry because it is not philosophy or
ideal is clearly absurd.

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Aristotle's Objection to the Theory of Mimesis

Aristotle agrees with Plato in calling the poet an imitator and creative art, imitation. He
imitates one of the three objects – things as they were/are, things as they are said/ thought to
be or things as they ought to be. In other words, he imitates what is past or present, what is
commonly believed and what is ideal. Aristotle believes that there is natural pleasure in imitation
which is an in-born instinct in men. It is this pleasure in imitation that enables the child to learn
his earliest lessons in speech and conduct from those around him, because there is a pleasure
in doing so. In a grown-up child – a poet, there is another instinct, helping him to make him a
poet – the instinct for harmony and rhythm.

He does not agree with his teacher in – ‘poet’s imitation is twice removed from reality and
hence unreal/illusion of truth', to prove his point he compares poetry with history. The poet and
the historian differ not by their medium, but the true difference is that the historian relates ‘what
has happened’, the poet, ‘what may/ought to have happened’ - the ideal. Poetry, therefore, is
more philosophical, and a higher thing than history because history expresses the particular
while poetry tends to express the universal. Therefore, the picture of poetry pleases all and at all
times.

Aristotle does not agree with Plato in the function of poetry making people weaker and
emotional/too sentimental. For him, catharsis is ennobling and it humbles a human being.
So far as the moral nature of poetry is concerned, Aristotle believes that the end of poetry is to
please; however, teaching may be the by-product of it. Such pleasing is superior to the other
pleasures because it teaches civic morality. So all good literature gives pleasure, which is not
divorced from moral lessons.

“ART AS A REPRESENTATION” (ARISTOTLE)

In the field of aesthetics, Aristotle spoke of art as imitation but not in the Platonic sense. He
wrote: one could imitate things as they ought to be and art partly completes what nature cannot
bring to finish. To him, the artist repeats the form from the matter of some object of experience
such as the human being or a tree and imposes that form on another matter such as a canvas
or marble. This imitation is neither just copying an original model nor changing a symbol from
the original; instead, it is a particular representation of an aspect of things and each work is an
imitation of the universal whole.

Unlike Plato who thought that art is an imitation of another imitation, Aristotle conceived of art
as representing possible versions of reality. For a reason tell, all kinds of art do not aim to
represent reality as it is, it endeavors to provide a version of what might be or the myriad
possibilities of reality.

In Aristotelian worldview, art serves to particular purposes:

1. Art allows for the experience of pleasure (horrible experience can be made an object of
humor)
2. Art also has an ability to be instructive and teach its audience things about life (cognitive)

In consonance with Plato, Aristotle believed that aesthetics was inseparable from morality
and politics. And his book Politics, he maintained that music affects human character and
hence, the social order. Because he held that happiness is the aim of life, the major function of

37
art is to provide human satisfaction. He interpreted art as a means of pleasure and intellectual
enlightenment of rather than an instrument of moral education (Lamucho et al, 2003).

“ART FOR ART’S SAKE” (KANT)

Art enthusiast or not, this is a phrase many of us in the 21st Century will be familiar with. On
questions of why we create and value art, “art for art’s sake” argues judgment should not be
made based on how well work serves external purposes, such as moral or political commentary.
Instead, value is intrinsically defined by the aesthetic impression.

This, of course, is just one way of looking at art. Rooted in romanticism, the slogan rose to
prominence in 19th Century Europe, especially in France among artists seeking to defy
conventions of art’s rationalized utility and create for themselves. As a reflection on the meaning
of art, “art for art’s sake” is closely linked to British Aestheticism, a movement that claimed art’s
defining feature was its unparalleled beauty rather than its ‘deeper’, socio-political meanings;
Oscar Wilde famously distinguished the artist as “creator of beautiful things”. However, this is
not an absolute equivalent. Today the phrase is often deployed as a motto to defend freedom of
expression as the chief aim of art.

Piet Mondrian, ‘Composition II in Red, Blue and Yellow’, 1930 (image © public domain)

Before gaining such popularity, German philosopher Immanuel Kant qualified “art for art’s
sake” as a mode of approaching art in The Critique of Judgement (1790). Declaring content,
subject matter, and any other external demands obsolete, Kant argued the purpose of art is to
be “purposeless”. It should not have to justify any reason of existing and being valued other
than the fact that it is art. Our experience of art – the ways we appreciate and criticize work – is
therefore wholly commanded by aesthetic pleasure and delight, separate to the rest of the
world. To Kant, this was the only window through which it could be viewed. Responsible for a
host of core ideas in Western philosophy, Kant’s thoughts on autonomy and transcendental
value have resonated throughout modern thinking to present day.

Key theorists of the modern era stressed Kant’s theory was crucial to philosophical debates
around avant-gardism and, especially, formalism. Inspired by the value of art’s
material elements, Clive Bell assessed the configuration of images, presupposing that forms
“follow their own developmental logic” as dictated by an extrinsic force: The Significant Form.
He believed this to be an essential quality in art that generates an aesthetic emotion. In his
theory, art was neither necessarily mimetic nor tied to any cultural background, yet could still be
understood for unidentifiable reasons. With a similar approach, Clement Greenberg furthered

38
formalism by stating the kind of experience it provided was “valuable in its own right and not to
be obtained from any other kind of activity”.

The idea that art exists in a sphere of its own enlivened many conceptual art movements of
the 20th Century, bringing Kant’s theories into practical fruition. Piet Mondrian famously
banished representation in favour of focusing on form. By positioning primary colours about an
irregular grid differently in every piece, his work addresses compositional balance and precision,
hence their very literal titles. Objective, disciplined and ordered, such experiments are bound to
concepts of “art for art’s sake”. Jackson Pollock, often quoted as a key artist, used gestural
techniques in his drip paintings to reach similar ends as Mondrian. It is not imagery suggestive
of the real world that causes our appreciation of these artists’ pleasing aesthetics, but rather
something of their work’s composition and form. Whilst the matter of Pollock’s paintings relates
to form, his technique is inflected with emotional input, spurring questions on whether the work
is or is not exclusively concerned with what makes it an art form.

Jackson Pollock, Number 8, 1949 (image © jackson-pollock.org)

Conceptual art is not entirely centred around debates on form. It can equally exhibit deeply
provocative thoughts on the external world. Ai Weiwei, for instance, draws upon minimalist
constructions in A Ton of Tea (2007); however, its explanatory title provides a new dimension to
the piece. On recognising the ambiguous block as the widely drunk beverage, the tone
becomes one of social investigation, commenting on nationalism, global markets, and trade
exploitation. Despite its abstraction, Weiwei’s work can still serve as activist interrogation.

When expression and individuality permeate art a certain complexity arises once
more, as with Pollock. Wassily Kandinsky’s compositions exploit the
evocative affinity between shape and colour to represent fresh fusions of sight and sound.
However, his vocabulary is fundamentally based on personal experiences of music and visual
culture, formal experiments that serve as worldly interpretations at the same time.

39
 In realizing this, we acknowledge “art for art’s sake” is not a rule by which work is created.
It is also not a finalized answer to why art is considered good or bad. It is an interpretative
mechanism, just one angle for looking at non-figurative, abstract art. Even so, art does not
necessarily have to be non-narrative to be valued for what it is as art above all else. Paintings
with clear iconographical content can still be appreciated for the way they appear, the artist’s
handling of paint often being significantly more arresting than the subject matter.

When looking at art, it is important to bear in mind the implication that not all art has to mean
anything other than the fact that it is art. Once we start there, conceptualism can become both
more accessible and more confusing, depending on what you’re looking at (this is for later
discussion). Whilst not used at length in art history, the legacy of “art for art’s sake” lies
in accepting it as an autonomous pursuit and, thanks to its neat summary, it has remained
central to Western modes of looking at art.

40
READINGS / REFERENCES:

Online Source(s)
1. Theories of Art. Retrieved from: http://retiary.org/art_theories/theories_of_art.html

2. Plato’s Theory of Mimesis and Aristotle’s Defence. Retrieved from:

https://sites.google.com/site/nmeictproject/home/plato-s-theory-of-mimesis-and-aristotle-s-
defence

3. Aristotle's Reply to Plato's Objection. Retrieved from:

https://sites.google.com/site/nmeictproject/home/aristotle-s-reply-to-plato-s-objection

4. Aristotle's Objection to the Theory of Mimesis. Retrieved from:

https://sites.google.com/site/nmeictproject/home/aristotle-s-objection-to-the-theory-of-
mimesis

WATCH:
1. Edward John Padilla. (2019, January 26). What Is Art? Plato VS Aristotle [Video]. YouTube.
https://www.youtube.com/watch?v=HopuAGaycaE

2. TED-Ed. (2018, November 26). Who decides what art means? - Hayley Levitt [Video file].
Retrieved from https://www.youtube.com/watch?v=HoXyw909Qu0

3. TED-Ed. (2013d, October 4). How art can help you analyze - Amy E. Herman [Video file].
Retrieved from https://www.youtube.com/watch?v=ubEadhXWwV4

41
ACTITVITIES/ASSESSMENT:

1. WRITE ON ME! Write down your key ideas from the previous readings about the
Philosophical Importance of arts under each philosopher below. Under your key insights,
choose whether you agree or disagree and explain briefly why. For offline learners, you
may write your answers in a yellow pad. For online learners send your paper on _____
through our assigned social platform (ex. Google Classroom)

2. Be ready for a Unit 1 Quiz to be taken through Google forms. Link of the
quiz will be posted in our Google Classroom.

42
 UNIT 2 – ART AND ARTISANS: JUDGING THE WORK OF ART,
SUBJECT AND CONTENT, AND PRODUCTION PROCESS

OVERVIEW:

“Why do two colors, put one next to the other, sing? Can one really explain this? no. Just as
one can never learn how to paint.”- Pablo Picasso

As V.S. Lamucho (2003) stated “art has the answer to questions and deepens and broadens
our enjoyment at both levels of understanding and the heart.” Art engages man’s intellect and
emotions. It endows man with the urge to share, with all honest intentions and delights, his
creations without being empirical, rigid, objective and factual; delight and pleasure evoked from
knowledge of the artistic impression he creates and the sharing of an experience of deepening
one’s understanding of heart and reason. As we have discussed the nature, definitions
principles and functions of art in the previous units, we have come to understand the great need
for man to continuously create and share his expression to others. As what the famous Russian
novelist, Leo Tolstoy once argued, “art is important even amidst extensive poverty and
deprivation. If we cease to look at art as a means of pleasure all that is left is to perceive art as
a condition of human life. Just like speech, art acts as a means of union among men,
transmitting the thoughts and experiences of the artist.
But what is an artist? What makes someone an artist and what processes does one
undertake in the creation and production of an art?
It is also important to know that in appreciating an art requires the knowledge of learning
one’s human faculties. One can intelligently define art when the creative representation of the
ideas and emotions, dreams and reality, and everything human can be shared to people at
different time and spaces. Thus, situations and experiences of an artist matter.
This unit attempts to help students understand the man behind the art, his choice of subject
and content, and the process he undergoes in the production and curation of an art. This unit
will also introduce students to the people involved in the production of art and their key roles.

LEARNING OUTCOMES: After successful completion of this unit, you should be able to:
1. Explain and analyze the concept of art appreciation and the human faculties;
2. Differentiate content from subject;
3. Classify artworks according to subjects;
4. Analyze how artists present their subjects in relation to the real subject;
5. Characterize sources and kinds of art
6. Outline the history of the emergence of artists and artisans
7. Define the role of managers, curators, buyers, collectors, art dealers in the art world
8. Understand that the artisan’s work is an end in itself and the artist’s work is a means
to an end
9. Identify national and GAMABA artists’ notable works and their contribution to society.

43
COURSE MATERIALS:
LESSON 5: ART AND THE HUMAN FACULTIES
(JUDGING THE WORK OF ART- BASED ON THE THREE HUMAN FACULTIES)

Art and the Human Essence

The basic question in humanities, “Who am I?” is commonly answered by “I am a human

being.” This statement then produces another question that requires answer as well, which is,
“What is a human being?”

Leonardo da Vinci
Vitruvian Man, 1490

The THREE HUMAN FACULTIES responsible for judging an art:

Mind Will Senses

• Reason • Emotion • Perception

• Thinking • Feeling • Sensing

44
ANALYSIS OF ART BASED ON THE THREE HUMAN FACULTIES

Art can be evaluated base on the following level:

1. LEVEL OF THE SENSES

a. PERCEPTUAL ELEMENTS- this includes Sense-Data namely: Lines, Color, Shapes,

etc.
b. REPRESENTATIONS
Things, People, Objects, Events

2. LEVEL OF THE WILL

c. EMOTIONAL SUGGESTIONS
Happy, Sad, Afraid etc.

3. LEVEL OF THE MIND

d. INTELLECTUAL MEANING
Ideas, Concepts, Symbolism

The following are the examples under the Level of Senses:

Piet Mondrian, Composition II in

Red, Blue, and Yellow, 1930

VISUAL ELEMENTS
COLORS: Red, Yellow,
Blue, White, Black
SHAPES: Rectangles,
Square
LINES: Straight, Horizontal
and Vertical

45
 Fernando Amorsolo Winnowing
Rice, 1956

VISUAL ELEMENTS
COLORS:
SHAPES:
LINES:

REPRESENTATIONS:
PEOPLE: woman, farmers
ANIMALS: chicken, carabao
THINGS: trees, nipa hut, sky,
clouds, mountains
EVENTS: winnowing, planting,
cooking

Edvard Munch Winnowing Rice,

1956

VISUAL ELEMENTS
Colors, shapes, lines:

REPRESENTATIONS:
People, things, events:

EMOTIONS:
Facial expression of the woman,
by the curving lines of red,
yellow, orange
The following are theofexamples
the sky
under the Level of the Will:

46
Harmen Steenwyjck An INTELLECTUAL MEANING: Ideas, Concepts and Symbols in
Allegory of the Vanities of Art
Human Life, 1658

From the Book of

Ecclesiastes in the
Bible:
'Vanitas vanitatum... et
omnia vanitas', translated
'Vanity of vanities, all is
vanity'.

MEMENTO MORI
Reflecting about Death

Harmen Steenwyjck An
Allegory of the Vanities of
Human Life, 1658

VISUAL ELEMENTS
Color, etc
REPRESENTATIONS
Things, etc
EMOTIONS
SUGGESTIONS:
Sadness
INTELLECTUAL
MEANINGS
Concepts, Ideas,
Symbols

47
 LIGHT- Optimism,
Hope, God

BOOKS- human
knowledge
SHELL AND
JAPANESE
SWORD- (both
collectors’ rarities)
-Wealth
MUSICAL
INSRUMENTS- (a
recorder, part of a
shawm, a lute)-
the pleasures of
the senses

CHRONOMETER AND EXPIRING LAMP-transience and frailty

of human life
All are dominated by the SKULL - death

The following songs can also be analyzed on the basis of the three levels of human
faculties:

Dust In The Wind

Artist: Kansas Song writer (s): Kerry Livgren

I close my eyes Dust in the wind

Only for a moment, and the moment's gone
All my dreams
Pass before my eyes, a curiosity
Dust in the wind
All they are is dust in the wind
All we are is dust in the wind
Now don't hang on
Nothing lasts forever but the earth and sky
It slips away
And all your money won't another minute buy

Same old song Dust in the wind

Just a drop of water in an endless sea All we are is dust in the wind
All we do (All we are is dust in the wind)
Crumbles to the ground, though we refuse to Dust in the wind
see (Everything is dust in the wind)
Everything is dust in the wind
(In the wind)

The meaning of the lyrics alludes from the Bible, Genesis 3:19: “You are from dust, and into
dust you shall return.”

48
Magkaugnay Lyrics
by Joey Ayala
Lupa, laot, langit ay magkaugnay
Hayop, halaman, tao ay magkaugnay
The lyrics are about the interrelation and
interdependence of people and all living and
non living things in nature.

Ang lahat ng bagay ay magkaugnay

Magkaugnay ang lahat INTEGRATION
Tayo ay nakasakay sa mundong naglalakbay
Sa gitna ng kalawakan
Umiikot sa bituin na nagbibigay-buhay Western Folk Ethnic Philippine
Sa halaman, sa hayop at sa atin Music Music
Ang lahat ng bagay ay magkaugnay
Magkaugnay ang lahat

Iisang pinagmulan
Iisang hantungan ng ating lahi
Kamag-anak at katribo ang lahat ng narito
Sa lupa, sa laot at sa langit

Ang lahat ng bagay ay magkaugnay

Magkaugnay ang lahat

Lupa, laot, langit ay magkaugnay

Hayop, halaman, tao ay magkaugnay

Ang lahat ng bagay ay magkaugnay

Magkaugnay ang lahat

READINGS / REFERENCES:
1. Bascara, Linda R. and Adela Avillanoza. (2006). Humanities and the Digital Arts. Manila.
Rex Bookstore.
2. Cultural Appropriation and the Arts, Young, 2008, pp. 1-27; (ebook)
3. Lamucho, Victoria Santos et al. (2003) Introduction to Humanities. Valenzuela City.
Mutya Publishing House.
4. Sanchez, Custodia A., Paz F. Abad, and Loreto V. Jao. Introduction to the Humanities
Revised Edition. Rex Bookstore.

Online Source(s)
1. Lumen Learning. (n.d.). Introduction to Art Concepts, SAC, ART100 | Simple Book
Production. Retrieved August 4, 2020, from Retrieved from:
https://courses.lumenlearning.com/sac artappreciation/

49
ACTITVITIES/ASSESSMENT:

1. SEARCH ON ME! Find an art work or a song lyric of your choice to evaluate on
the basis of the three levels of the Human faculties. For offline learners, you may write
your answers in a yellow pad. For online learners send your paper on _____ through our
assigned social platform (ex. Google Classroom) (20pts.)
Follow this format in presenting your output:

RESEARCHED IMAGE OF THE ART WORK

/ LYRIC OF THE SONG

1. LEVEL OF THE SENSES

a. PERCEPTUAL (visual elements)-
b. REPRESENTATIONS-

2. LEVEL OF THE WILL

c. EMOTIONAL SUGGESTIONS

3. LEVEL OF THE MIND

d. INTELLECTUAL MEANING -

50
COURSE MATERIALS:

LESSON 6: ART AND THE PERCEPTION OF REALITY (THE SUBJECT AND

CONTENT OF ART)

THREE BASIC COMPONENTS OF A WORK OF ART

1. Subject – the visual focus or the image that may be extracted from examining the
artwork; the “what”
2. Content – the meaning that is communicated by the artist or the artwork; the “why”
3. Form – the development and configuration of the art work – how the elements and the
medium or material are put together; the “how”

SUBJECT

When people look at a holding for sculpture for the first time, the initial question but they
usually ask is "What is it?" or "What does it show?" Somehow, expect to see a recognizable
image and this works of art.

To a majority of people, that appeal of most works of art lies and the representation of
familiar objects. Their enjoyment of painting, sculpture, and literature comes not from their
perception of the "meaning or composition" but from the satisfaction they get out of recognizing
the subject or understanding the narrative content.

The subject of art refers to any person, object, scene, or event described or represented in a
work of art. Some courts have subject, others do not. The arts that have subject are called
representational or objective arts. Those that do not have subject are known as non
representational or non objective arts.

NON REPRESENTATIONAL/ NON

REPRESENTATIONAL / OBJECTIVE ARTS
OBJECTIVE ARTS
1. Painting 1. Music
2. Sculpture 2. Architecture, and
3. Graphic Arts 3. Many other Functional arts
4. Literature  Some musical compositions have subject.
5. Theater Arts They are generally referred to as program
 Although a great number of paintings, music. This kind of music imitate natural
sculptures and prints are without subject sounds (e.g. Rimsky Korsakov’s “The
Flight of the Bumblebee); set a mood (e.g.
Debussy’s “Claire de Lune”); or narrate a
story (e.g. Duka’s “The Sorcerer’s
Apprentice).

NON REPRESENTATIONAL/ NON

REPRESENTATIONAL / OBJECTIVE ARTS
OBJECTIVE ARTS
 Artworks that depict something easily  Artworks that have no resemblance
recognizable by most people. (human to any real subject.
figure, a banana, a tree, and so on. Such  They do not represent anything and
images need not be true to life. So a tree they are what they are

51
 does not have to be green, or even upright,  They rather appeal directly to the
but it must clearly represent or be senses primarily because of the satisfying
recognizable as a tree.) organization of their sensuous and
 Representational art describes artworks— expressive elements.
particularly paintings and sculptures–that  By contrast to representational art, non-
are clearly derived from real object representational or abstract art consists of
sources, and therefore are by definition images that have no clear identity, and
representing something with strong visual must be interpreted by the viewer.
references to the real world. Most, but not
all, abstract art is based on imagery from
the real world. The most “extreme” form of
abstract art is not connected to the visible
world and is known as
nonrepresentational.

REPRESENTATIONAL / OBJECTIVE ARTS

Johann Anton Eismann, Meerhaven. 17th c.

52
Candice Bohannon "Reason" bronze sculpture mounted on sandblasted black granite

Vincent Van Gogh, Sunflowers / Vase with Twelve Sunflowers, 1889, oil on canvas

53
 NON- REPRESENTATIONAL / NON- OBJECTIVE ARTS

Robert Delaunay, Le Premier Disque, 1913 Piet Mondrian, Composition with Red, Yellow, Blue, and
Black, 1921, oil on canvass

NON-REPRESENTATIONAL ART AND ABSTRACT ART

 In non-representational art eh same with abstract art?
 There is no clear-cut divide; rather, they exist in a spectrum.

Non-representational Representational art

art Abstract art

Head of a Woman, Mougins

Pablo Picasso (1962)

 Looking at the combination

of lines, shapes, and colors
of the sculpture will point to
a head of a woman
 Even with the abstraction of
the image, the work is
arguably representational
art.

54
WAYS OF REPRESENTING SUBJECT

The manner of representing subject matter varies according to the inventive miss and
purpose of each artist. Although they would seem to be like some people we know or have met.
We may employ realism, abstraction, or distortion.

Realism
When things are depicted in the way they would normally appear in nature, the
representation is said to be realistic.

Strictly speaking, no work of art is truly realistic, since no work of art is an accurate copy of
what exist in the natural world. Anyone who has watched a painter at work knows how many
details he leaves out, alters, and adds; departing from recording optical reality. Many great
artists have been able to create the illusion of reality through a selective use of details.

A realistic novel is not just a narration of events which actually took place. Rather, it is an
imaginative narrative, the details of which the author has so manipulated that the situation
appears as something that could have really happen or may possibly happen. It could, in fact,
be anchored on historical fact, but it's characters would be imaginary people, although they
would seem to be like some people we know or have met.

Abstraction
Some paintings seem to be photographic renderings of fact. But most paintings and
sculptures are abstract to a certain degree. Abstraction is a process of simplifying and / or
reorganizing objects and elements according to the demands of artistic expression. The artist
selects and renders the object with their shapes, colors, and positions altered.

In some abstract works, enough of a likeness has been retained to represent real things. In
others, the original objects have been reduced to simple geometric shapes and they can be
your rarely identified unless the artist has named them in his title. His concern is the rendering
of the essence of the subject rather than the natural formed itself.

Distortion
When figures have been so arranged that proportions differ noticeably from natural
measurements, the objects are said to be distorted. Distortion could also mean twisting,
stretching, or deforming the natural shape of the object.

Distortion is usually done to dramatize the shape of a figure or to create an emotional effect.
El Greco and elevated the bodies of Christ and the saints in his paintings to enhance the illusion
of spirituality. Caricatures employ distortion so that their target of ridicule would appear
grotesque and hateful.

KINDS OF SUBJECTS
The subjects depicted in works of art, particularly the visual arts can be grouped into:
1. Landscapes, seascapes, and 5. Figures
cityscapes 6. Everyday Life
2. Still lifes 7. History and Legend
3. Animals 8. Religion and Mythology
4. Portraits 9. Dreams and fantasies

55
SUBJECT AND CONTENT

Recognizing the subject is not necessarily grasping the content of a work of art. Subject and
content are two different things. But subject refers to the objects depicted by the artist, content
refers to what the artist expresses or communicates on the whole and his work. Sometimes it is
spoken as the meaning of the work. In literature it is called the theme. In fact, we may define it
as the statement we apprehend or the feeling or mood we experience with a work of art.
Content reveals the artists attitude towards his subject. The subject of Hidalgo's Wounded
Soldier is a soldier nursing his one, but its content is definitely more than this. It is the soldier’s
stoicism and dignity that the artists wanted us see.

One does not always see content, but it is transmitted by the way the subject and form
interact in a work. It is easier to grasp the content in arts with explicit subject matter then
abstract art.

Subject matter may acquire different levels of meaning. Cleaver classifies them as (1)
factual meaning, (2) conventional meaning, and (3) subjective meaning.

The factual meaning is the literal statement or the narrative content in the work which can
be directly apprehended because the objects presented are easily recognized. This meaning is
often supplemented by other levels of meaning hear it

The conventional meaning refers to the special meaning that a certain object or color has
for a particular culture or group of people. The flag is the agreed-upon symbol for a nation. The
cross is a Christian symbol of thing; the wheel is a Buddhist symbol for the teachings of
Gautama Buddha.

Subjective meaning is any personal meaning consciously or unconsciously conveyed by

the artist using a private symbolism which stems from his own association observing object,
actions, are colors with past experiences. This can be fully understood only when artists and
self explains what he really means, as in the case of the poems of T.S. Eliot where he provides
footnotes. Otherwise, it tends to be interpreted differently by feature of leader who may see it in
the light of these associations.

READINGS / REFERENCES:

BOOK:
1. Ortiz, M. A., Erestain, T., Guillermo, A., Montano, M., & Pilar, S. A. (1976). Art:
Perception and Appreciation. JMC PRESS, Inc.

IMAGE:
1. Bohannon, C. (2010). Reason [Photograph]. Candicebohannon.Com.
http://www.candicebohannon.com/403934/sculpture/

56
ACTITVITIES/ASSESSMENT:

1. VIEWER LENS. Examine the famous painting of Michelangelo, ‘Creation of Adam

(from the ceiling of the Sistine Chapel), 1984 as to its treatment of the subject matter.

For module learners, you may write your answers in a yellow pad. For online learners
send your paper on _____ through our assigned social platform (ex. Google
Classroom) (20pts.)

Criteria for checking

I. Thesis /Topic Sentences and Transitions (5 pts)

(Topic sentences contribute to the highly persuasive
nature of the argument)
II. Commentary and Evidence (10 pts.)
(Creative/original ideas and insights; extensive
commentary, refreshing; goes beyond obvious and
basic commentary)
III. Analysis, Logic and Argumentation (10 pts.)
( all ideas progress logically from an identifiable thesis,
compelling justifications are offered to support thesis,
counter-arguments are anticipated and addressed,
appropriate connections are made to outside material)
IV. Mechanics and Coherence (5 pts.)
(coherence, grammar, spelling, punctuation)
Total= /30 pts.

57
COURSE MATERIALS:
Lesson 7 THE DIFFERENCE BETWEEN ARTISTS AND ARTISANS AND THE KEY
ROLES IN ART PRODUCTION

WHO IS AN ARTIST AND AN ARTISAN?

Early on, artists were embedded in the development of culture, and in turn, art, was nurtured
by the varying cultures in which existed (Caslib Jr., et al., 2018). This makes the understanding
of an artist very important.
In lesson 2, we explored the difference between an artist, artisan and a craftsman with great
focus of the artisan and craftsman. We say that an artist is someone who produces works like
paintings or sculpture, or works in the performing arts, or is skilled at a particular task or
occupation, while an artisan is someone who is skilled in an applied art, or makes a distinctive
product in small quantities, and a craftsman is someone who is a sort of amalgam of both.
Now, let’s discuss further the difference between the artist and artisan.

ARTISTS AND ARTISANS: WHAT’S THE DIFFERENCE?

In an article from Now Bali, artisans were described as “is essentially a manual worker who
makes items with his or her hands, and who through skill, experience and talent can create
things of great beauty as well as being functional” (Life of the Island, 2013). The writer explained
that before the industrial revolution virtually everything was made by artisans. These include
smiths, weaver, carpenters, potters and more. In contrast an artist “is dedicated only to the
creative side, making visually pleasing work only for the enjoyment and appreciation of the
viewer, but with no functional value.” However, using functionality as a basis for the distinction is
just a part of what differentiates them. The core of the difference between the two is the concept
of conceptualization.
Sachant, et al (2020) explained that an artist, in the world today, is considered to be a person
with the talent and the skills to conceptualize and make creative works. This allows for such
persons to be singled out and prized for their artistic and original ideas. Their works range from
architecture, ceramics, digital arts, mixed media, painting and more. But of greater importance is
that artists are “the individuals who have the desire and ability to envision, design, and
fabricate the images, objects, and structures we all encounter, use, occupy, and enjoy every
day of our lives.” In the same way, an online article described an artist as someone who
performs any of the creative arts (i.e. painting and music). An artisan on the other hand is a
skilled worker who makes things by hand ((Difference Between Artist and Artisan, 2016).
In contrast, an artisan or craftsperson, for example, may produce decorative or utilitarian
arts, such as quilts or baskets. Often, an artisan or craftsperson is a skilled worker, but not the
inventor of the original idea or form. An artisan or craftsperson can also be someone who
creates their own designs, but does not work in art forms or with materials traditionally
associated with the so-called Fine Arts, such as painting and sculpture (Sachant, et al,
2020). In this case, a craftsperson might fashion jewelry, forge iron, or blow glass into patterns
and objects of their own devising but such inventive and skilled pieces, no matter how original,
are often categorized today as Fine Craft or Craft Art.

58
 Sachant et al (2020) further states that throughout history, “those who produced,
embellished, painted, and built were not considered to be artists as we think of them now. They
were artisans and craftspeople, and their role was to make the objects and build the structures
for which they were hired, according to the design (their own or another’s) agreed upon with
those for whom they were working.” That is not to say they were untrained. In Medieval
Europe, or the Middle Ages (fifth-fifteenth centuries), for example, an artisan generally began
around the age of twelve as an apprentice, that is, a student who learned all aspects of a
profession from a master who had their own workshop. Apprenticeships lasted five to nine years
or more, and included learning trades ranging from painting to baking, and masonry to candle
making. At the end of that period, an apprentice became a journeyman and was allowed to
become a member of the craft guild that supervised training and standards for those working in
that trade. To achieve full status in the guild, a journeyman had to complete their “masterpiece,”
demonstrating sufficient skill and craftsmanship to be named a master. This is true especially in
the creation of guilds in the past.
Here are additional ideas that differentiate an artist from an artisan:
Definitions of Artist and Artisan:
Artist: An artist is a person who performs any of the creative arts.
Artisan: An artisan is a skilled worker who makes things by hand.
Characteristics of Artist and Artisan:
Artistic Value:
Artist: The object has a clear artistic value.
Artisan: The object has an artistic value.
Functional Value:
Artist: The object has no functional value.
Artisan: The object has a functional value.
Object:
Artist: The object has a lot of aesthetic value and is appreciated for this quality as it
pleases the individual.
Artisan: The object though utilitarian has certain aesthetic attributes to it.
THE DIFFERENT KEY ROLES IN ART
Now that we have clarified the let’s delve into the different key roles in art.
In an article from Shoko Press (n.d.), it described art as “a dynamic industry that abounds
with creativity and imagination.” This means that as an industry, different key roles are needed
more than just the artist. Here are the list of the common people who works in the industry and
their roles in the industry and the skills required to do the roles taken from Sehgal (2016) and
Shoko Press (n.d):
1. ARTIST *
An artist is a person who is engaged in the activity of creating, practicing or demonstrating
art, working with visual techniques, such as composition, colour, space and perspective to
produce the desired effect. This could be in the form of installations, sculptures, paintings,
drawings, pottery, performances, dance, photography, video, film and any other medium. Artists

59
may also combine a number of different mediums into their work referred to as mixed media.
Artists tend to create their own pieces for sale directly to the public or through an intermediary
such as a gallery or an agent. Artists can also be commissioned by a client, gallery or
organisation to produce a piece of work, and may also run art classes or be involved with
community art projects.
Skills required: creativity, imagination, and business, marketing and financial awareness.
2. ART AGENT
An art agent represents an artist working on their behalf to promote and sell their work. The
role involves negotiating individual sales, commissions, licensing deals, as well as organising
publicity, and seeking opportunities such as teaching and workshops.
Skills required: Negotiation and financial acumen, communication and networking,
awareness of art trends, and marketing and PR.
3. ART CONSULTANT/ADVISOR
Art consultants also known as art advisors act as an intermediary between artists, galleries
and auction houses, and buyers by helping people such as art collectors select and acquire art
for their home, business, or collection as well as help them sell pieces they no longer require.
Skills required: A great eye for art, negotiation, communication and listening, sales, finances
and taxes.
4. ART DEALER *
An art dealer is a person or company that buys and sells works of art with aim of making a
profit. Dealers are essentially the supporters and promoters of an artist’s work. Their primary
role is to spot talent, nurture an artist’s career, generate exposure and establish his/her
reputation. An art dealer handles the advertising, public relations and the mounting of
exhibitions for an artist in exchange for a commission at the sale of the work.
Skills required: A great eye for art, awareness of trends, negotiation, communication and
networking, sales, finances.
5. ART AUCTIONEER
An art auctioneer works on behalf of their clients to sells pieces of art for the highest possible
price. The art auctioneer is responsible for setting the price of the artwork. Art auctioneers need
to be active in the arts by attending art exhibitions at galleries and museums, as well as
attending art lectures and other related professional events.
Skills required: Art history relevant to their area of expertise, research, valuation, marketing
and business, interpersonal skills
6. ART VALUER
Similar to an art auctioneer an art valuer gives advice on how much a work of art or a
collection of art is worth. An like art auctioneers, art valuers need to be active in the arts by
attending art exhibitions at galleries and museums, as well as attending art lectures and other
related professional events.
Skills required: Research, art history, communication, financial, and an eye for detail.

60
 7. GALLERY OWNER/MANAGER
A gallery owner or manager chooses and presents art for sale. Galleries may specialise in
specific areas. A gallery owner or manager’s responsibilities include Managing both the creative
and business sides of running an art gallery, as well as organising and exhibitions, private sales
and loaning out art.
Skills required: An eye for art, creative flair, an awareness of trends, business, financial,
marketing, sales, negotiation and communication.
8. CURATOR *
A curator is in charge of a collection of exhibits in a museum or art gallery, and is responsible
for assembling, cataloguing, managing, presenting and displaying artworks, cultural collections
and artifacts. Curators have an eye and passion for all art forms. They use their extensive
knowledge of the subject and organisational skills to coordinate exhibitions at museums,
galleries or public spaces. Curators are also responsible for the conceptual development,
design, layout and the execution of an art show. Art curators also research artists and write
catalogue essays.
Skills required: research, art/cultural history and awareness, organisation, project
management, communication, presenting and creative flair.
9. ART CONSERVATOR
Art conservators are responsible for restoring, preserving and analysing artifacts and works
of art. Art conservators tend to specialise in particular types of objects or materials such as
books, paintings, sculptures or textiles.
Skills required: Research, art and cultural history, fine art, writing and analytical.
10. ART HISTORIAN
Art historians study art created in the past by individuals, learning about artists’ lives and
their societies, and seeking to interpret and understand these works of art for the preservation of
future generations.
Skills required: Research, art and cultural history, fine art, writing and analytical.
11. ART CRITIC *
An art critic specialises in interpreting, analysing and evaluating art. Art critics produce
written critiques or reviews that are published in newspapers, magazines, books, exhibition
brochures and catalogues and well as on websites. Art critics are highly influential and can
make or break careers with their words. Critics also comment and pass judgement on the
technical factors, theme and artistic expression of the art being reviewed. Critics may work for a
magazine, newspaper website or choose to freelance.
Skills required: Observation, writing and editing, analytical, objective and research.
12. ART COLLECTORS *
It is difficult to imagine the artistic landscape without collectors. They are an integral part of
the art market that is keeping it afloat. The contributions of art collectors are vital for the very
existence of artists, dealers, galleries and auction houses. Prominent collectors’ are very
influent and can create recognition of an unknown artist by purchasing his work. In fact, the
majority of artworks housed in museums and galleries are donated by collectors.

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 THE CREATION OF THE ARTS
In our life, we experience so much fragmentation of our thoughts and feelings. But, by
creating arts, it brings things back together. We merely make art because of so many reasons,
and we enjoy the process of it.
Artist is most often refers to those who create within a context of the fine arts such as acting,
dancing, drawing, filmmaking, painting, sculpture, writing, photography, and music. They are
those who use imagination, and a skill to construct works that may be judged to have aesthetic
importance. Creativity is a characteristic of an artist that progressed in the extent of his/her life
to express feelings. These are all processed in three significant phases namely: Creation of
Forms; Creation of Ideas; and Creation of the Materials (Sanchez, 2011).
a. The Creations of ideas. Artists are usually impressionable persons. They used their
experiences as their basis in the making of dance, picture, a poem, or a play or a song.
For example, a composer may write a song on the developing romance between a man
and a woman, or on the pains of a broken-hearted.
b. The Creations of the Materials. The artist uses different materials or mediums to give
form to an idea. For example, a painter uses pigments; a sculptor uses wood, metal or
stone; an author uses words; and a composer who uses musical sounds to determine the
notes.
c. The Creations of Forms. There are diverse forms used by the artists in expressing their
ideas. It is a medium of artistic expression recognized as fine art. This form is used to
explain the physical nature of the artwork like in metal sculpture, an oil painting, etc.

THE PRODUCTION PROCESS

1. The process of creating an artwork does not necessarily follow a linear progression
2. The process is essentially tripartite:
a. Pre-production,
b. Production, and
c. Post-Production

READINGS
BOOK

1. Bascara, Linda R. and Adela Avillanoza. (2006). Humanities and the Digital Arts. Manila.
Rex Bookstore.
2. Caslib Jr., B. N., Garing, D. C., & Casaul, J. A. R. (2018). Art Appreciation (First ed.).
REX Bookstore.
3. Bascara, Linda R. and Adela Avillanoza. (2006). Humanities and the Digital Arts. Manila.
Rex Bookstore.
4. Lamucho, Victoria Santos et al. (2003) Introduction to Humanities. Valenzuela City.
Mutya Publishing House.
5. Sanchez, Custodia A., Paz F. Abad, and Loreto V. Jao. Introduction to the Humanities
Revised Edition. Rex Bookstore.

ONLINE ARTICLES
1. Difference Between Artist and Artisan. (2016, February 23). Compare the Difference
Between Similar Terms. https://www.differencebetween.com/difference-between-artist-
and-vs-artisan
 2. Lumen Learning. (n.d.). Introduction to Art Concepts, SAC, ART100 | Simple Book
Production. Retrieved August 4, 2020, from https://courses.lumenlearning.com/sac-
artappreciation/.
3. Life of the Island. (2013, March 26). Artists and Artisans – What’s the difference between
an artisan and an artist? NOW! Bali. https://nowbali.co.id/artists-and-artisans-what-s-the-
difference-between-an-artisan-and-an-artist//
4. Sachant, P., Blood, P., LeMieux, J., & Tekippe, R. (2020, May 18). 1.3: Who is
Considered an Artist? What Does it Mean to be an Artist? Humanities Libertexts.
https://human.libretexts.org/Bookshelves/Art/Book%3A_Introduction_to_Art_-
_Design_Context_and_Meaning_(Sachant_et_al.)/01%3A_What_is_Art%3F/1.03%3A_
Who_is_Considered_an_Artist%3F_What_Does_it_Mean_to_be_an_Artist%3F
5. Shoko Press. (n.d.). The Different Job Roles In Art. Retrieved August 5, 2020, from
http://www.shokopress.com/the-different-job-roles-in-art/
6. Sehgal, N. (2016, June 13). 5 Key Players of the Art World You Need To Know. Mojarto.
https://www.mojarto.com/blogs/5-key-players-of-the-art-world-you-need-to-know/

WATCH:
1. IAMAG. (2017, March 31). Studio Ghibli Artist Kazuo Oga Painting Process [Video].
YouTube. https://www.youtube.com/watch?v=JaO2HEkC_qQ
2. Tate. (2017, October 4). Tate Exchange | Production [Video]. YouTube.
https://www.youtube.com/watch?v=o1UbkRzurNw
3. TED xTalks. (2016, November 15). The creative process of a master artist | William
Kentridge | TEDxJohannesburgSalon [Video]. YouTube.
https://www.youtube.com/watch?v=SmaXqktW3A8

ACTITVITIES/ASSESSMENT:

1. ACTIVITY 1: Journal Writing: If you were working in the art industry, what role would
you wish to play? Why?

ONLINE Class: Write your journal entry on a Microsoft Word or Google Docs to
be submitted on Google Classroom
MODULE Class: Write your journal entry on your notebook/ journal notebook to
be submitted to your instructor

2. Activity 2: How to Make a Toast: On a piece of paper draw how to make a toast in five
minutes. Then, using sticky notes or cut paper, once again draw how to make a toast in
ten minutes. Finally, with a partner or small group, using the sticky notes from the
previous task, once again draw how to make a toast. You may use new sticky notes as
needed.
ONLINE Class: Record the activity (preferably) using video. You may also
document the activity using pictures.
MODULE Class: Record the activity (preferably) using video. You may also
document the activity using pictures.

3. Quiz: For online classes, quiz will be given through Google forms in Google classroom;
while for Modular mode, they will have the quiz file in their flash disk.

63
COURSE MATERIALS:
Lesson 8 GAMABA NATIONAL ARTISTS AND THEIR WORKS

Philippine GAMABA Awards

Gawad sa Manlilikhang Bayan Awards or GAMABA is an award that recognizes folk and
indigenous artists who remain loyal to their traditions. This award is managed by the National
Commission for Culture and the Arts (NCCA) through Gawad ng Bayan Committee. It began as
a project of the Philippine Rotary Club Makati- Ayala but was adopted by the Philippine
government in 1992 and become an institution through a Republic Act 7335.
This award aims to support and motivate these artists to preserve their artistic heritage for
the present and future generations. These artists are recognized as the Country’s Intangible
National Living Treasure.
To become a National Living Treasure, the candidate must have the following qualifications:
1. Must be an occupant of an indigenous/traditional cultural community
anywhere in the Philippines that has preserved native customs, beliefs,
rituals, and traditions and has syncretized whatever external elements that
have influenced it.
2. Must have involved in a folk art tradition that has been in existence and
documented for at least 50 years.
3. Must have consistently performed or produced over a significant period,
works of superior and distinctive quality.
4. Must acquire a mastery of tools and materials needed by the art, and must
have an established reputation in the art as master and maker of works of
extraordinary technical quality.
5. Must pass on and will pass on to other members of the community their
talents in the folk art for which their group is traditionally known.

GAMABA Awardees and Nominees

1. Ginaw Bilog (1993).A native of Oriental Mindoro who faithfully helps preserved the
Hanunuo Mangyan script and their Ambahan poetry.
2. Masino Intaray (1993).A native of Palawan who exemplary shared his skills in basal
or gong music ensemble. He is a musician and epic chanter (Kulilal and Bagit).
3. Samaon Sulaiman (1993). A Maguindanao of Mama SaPano who showed
outstanding artistry and dedication to his chosen instrument, the Magindanao
kutyapi.
4. Lang Dulay (1998). A T'boli of Lake Sebu, South Cotabato, for her skills in weaving
the abaca ikat cloth known as t'nalak.
5. Salinta Monon (1998). A Tagabawa-Bagobo of Bansalan, Davao del for fully
demonstrating her creative and expressive aspects of the Bagobo abaca ikat
weaving called inabal.
6. Alonzo Saclag (2000). A Kalinga of Lubuagan for his mastery of the Kalinga dance
and the performing arts.
7. Frederico Caballero (2000). A Panay-Bukidnon of Calinog, lloilo for his mastery of
chanting the epic tradition of Central Panay, the Sugidanon.

64
 8. Uwang Ahadas (2000). A Yakan of Lamitan, Basilan for his dexterity in playing
Yakan musical instruments such as the agung, gabbang, tuntungan, and
kwintangan.
9. Darhata Sawabi, (2005). A weaver of Parang, Sulu province for helping preserve the
art of “Pissyabit weaving.”
10. Eduardo Mutuc (2005). A Kapampangan from Central Luzon for reviving the metal or
smithcraft of Plateria which is in Spanish colonial era.
11. Haja Amina Appi (2005). A Sama of Tandubas, Tawi-Tawi, for sharing her skills in
mat weaving among the Sama indigenous community.
12. Teofilo Garcia (2012). A casque maker of San Quintin, Abra, Casquefor his skill
making Tabungaw.
13. Magdalena Gamayo (2012). A master weaver of Pinili, Ilocos Norte for his skill in
Weaving known as Inabel.
14. Yabing Masalon Dulo (2016). A master weaver of Polomolok, South Cotabato for his
contribution Ikat Weaving.
15. Ambalang Ausalin (2016). A Yakan master weaver of Lamitan, Basilan for Tennun
Weaving skills.
16. Estelita Tumandan Bantilan (2016). A B’laan master weaver of Malapatan,
Sarangani for preserving the Igem Weaving skills.
17. Whang-od (2017). A traditional tattoo artist (mambabatok) of Buscalan, Tinglayan,
Kalinga.

Other famous Filipino Artists and their Artwork

1. Ang Kiuko (Painting: The Crucifixion)
2. Diosdado Lorenzo (Painting: Still Life Paintings)
3. Fernando Cueto Amorsolo (Painting: Portrait of Presidents- M.Quezon; M. Roxas;
and S. Ozmeña)
4. Guillermo Tolentino (Sculpture: Oblation and the Bonifacio Monument)
5. Hernando Ocampo (Painting: The Contrast)
6. Juan Luna (Painting: Spoliarium)
7. Napoleon Abueva (Sculpture: Allegorical Harpoon)
8. Solomon Saprid ( Sculpture: Tikbalang)
9. Victorio Edades (Painting: The Builders)
10. Vicente Rivera (Painting: Supplication)

READINGS / REFERENCES:
Online Source
1. National Commission for Culture and the Arts. (2018, February 27). GAMABA: Gawad
sa Manlilikha ng Bayan. https://ncca.gov.ph/about-culture-and-arts/culture-
profile/gamaba/

WATCH:
1. NCCA. (2015, September 9). Gawad sa Manlilikha ng Bayan (National Living Treasures)
[Video]. YouTube. https://www.youtube.com/watch?v=_9SDzVNkJhk&feature=emb_title

65
ACTITVITIES/ASSESSMENT:

1. ACTIVITY 1: Journal Writing: If you were to become a Manlilikha ng Bayan, what age-
old or local custom would you bring to your art and/or craft that will bring pride to your
community and the country? What art form/ craft do you wish to use to transcend this
custom?

ONLINE Class: Write your journal entry on a Microsoft Word or Google Docs to
be submitted on Google Classroom
MODULE Class: Write your journal entry on your notebook/ journal notebook to
be submitted to your instructor

2. ACTIVITY 2: Filipino Logo: Art-Slogans are powerful marketing tools that can motivate
your clients to support your brand. It is an advertising tag-line or phrase that advertisers
create to express the importance and benefits of their product visually. In this activity,
you will create your own art for advertisement. Make an art logo for famous slogans with
a Filipino touch. Place your work on a short bond paper or use teachnology to make a
digital art.

Below are examples of a catchy product/company slogan:

Choose any of the following slogans listed below to make an art-logo out of it.

1. Addidas- “Impossible Nothing” 11. AT&T- “Reach out, and touch

2. Disneyland- “The happiest place someone”
on Earth” 12. m&m- “Melts in your mouth not in
3. IBM- “Solution for a small planet” your hands”
4. FedEx Corporation- “When there 13. Coca-Cola- “Twist cap
is no tomorro.” Refreshment”
5. Volkswagen- “Think small” 14. Visa- “It’s everywhere you want”
6. Canon EOS- “What we mean is 15. Burger King- “Have it your way”
what you see” 16. Kentucky Fried Chicken (KFC) –
7. Nikon- “At the heart of the “Finger licking good”
image” 17. Sony- “Connecting People”
8. Energizer- “Keep going and 18. NOKIA- “Connecting people”
going and going” 19. Nike- “just do it”
9. Diesel Jeans- “Be stupid” 20. Hallmark- “When you care
10. Jaguar- “Grace, space, pace” enough to send the very best”

66
 UNIT 3 – THE MEDIUM OF THE ARTS
OVERVIEW:

It is important to understand that expression that an artist wish to convey would not be
possible without the proper choice of medium. The correct choice of medium in the art allows for
an artist to work seamlessly and get his desired result.
This unit attempts to help students understand the different mediums and techniques that are
unique to different kinds of art, from the visual to the combined arts. This also aims to help the
students develop their personal artistic styles, artistic techniques for the different art medium
and the ability and evaluate great art.

LEARNING OUTCOMES: After successful completion of this unit, you should be able to:

1. Identify and classify the medium in various forms of art, viz., visual, auditory, and
literature and combined arts
2. Use visual art medium in a transformational Self Portrait.
3. Define an artist’s or artisan’s medium and technique
4. Differentiate between artists’ and artisan approach/ technique toward a particular
medium

67
COURSE MATERIALS:
Lesson 9 MEDIUM OF VISUAL ARTS

DEFINITION OF MEDIUM
Unless an artist translates his experience into a form that can be perceived, it cannot be
shared by other people. Art has to exist in some medium to be recognized as such.
The word medium, which comes from the Latin word medium, denotes the means by which
an artist communicates his idea. It is the stuff out of which he creates a work of art. These are
the materials which the artist uses to translate his feelings or thought into a beautiful reality. This
may be pigment in painting, stone, wood brick, concrete and various building materials in
architecture, steel, marble, bronze, and wood in sculpture, sound in music and words in
literature; and body movements in the dance.
On the basis of medium, the arts are primarily classified as: Visual and Auditory.
Visual- The visual or spaces are those whose mediums can be seen and which occupy
space. These are grouped into two classes.
a. The Two dimensional arts which include painting, drawing printmaking, and
photography.
b. The three dimensional arts, such as sculpture, architecture, landscaping,
community planning, industrial design, and the craft like ceramics and furniture
making.
Auditory- or time arts are those mediums that can be heard and which are expressed in
time. These are music and literature.
Combined arts are those whose mediums can be both seen and heard, and these exist in
both space and time. These include the dance, drama, opera, and the movies.

THE ARTIST AND HIS MEDIUM

The artist thinks feels and gives shape to his vision in terms of his mediums. When an artist
chooses his medium, he believes that this can best express the idea he wants to convey. Most
often an artist employs more than one medium to give meaning to his creative production.
Oftentimes, the matter of selecting the medium depends entirely on the artist himself since this
is a part of the artistic inspiration. The distinctive character of the medium determines the way it
can be worked on and turned into a work of art. The nature of each medium determines how a
work of art may be realized.
Definition of Technique
Technique is the manner in which the artist controls his medium to achieve the desired effect. It
is the ability with which he fulfills the technical requirement s of his particular work of art. It has
to do with the way he manipulates the work of art. It has to do with the way he manipulates his
medium to express his ideas. Apparently, artists differ from one another in technique even if
they use the same medium.

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The Mediums of Painting

Watercolor- as a medium is difficult to handle because it is difficult to produce warm and

rich tones. While changes may be made once the paint has been applied such changes
normally tend to make the color less luminous. This defect however are rendered by watercolor
artists through some techniques
An example is the method of gouache, an opaque watercolor painting the major effects
of which are caused by the whitepaper itself. The gouache, is done by mixing zinc white
with the regular watercolor paints to tone them down giving the appearance of sobriety
suitable for dramatic purposes

Fresco- This is the painting on a moist plaster surface with colors ground in water or a
limewater mixture. The colors dry into plaster, and the picture becomes a part of the wall.
Fresco must be done quickly because it is an exacting medium

Tempera- paints are mineral pigments mixed with egg yolk or egg white and ore. They are
often used as a binder due to its film forming properties and rapid drying rate.

Pastel- This is a stick of dried paste mage of pigments ground with chalk and compounded
with gum water. Its colors are luminous, and it is a very flexible medium. Some artists use a
fixing medium or a protecting surface such a glass, but when the chalk rubs, the picture loses
some of its brilliance.

Encaustic- This is one of the early mediums used by the Egyptians for the painted portrait
on mummy cases. This is done by painting with wax colors fixed with heat. Painting with wax
produces luster and radiance in the subject making them appear at their best in portraits.

Oil- painting is one of the most expensive art activities today because of the prohibitive cost of
materials. In oil painting, pigments are mixed with linseed oil and applied to the canvas. One
good quality of oil paint as a medium is its flexibility. The artist may use brush, palette knife or
even his bare hands when applying paint in his canvass. In some cases we do not even notice
the artist’s strokes because the paint is applied very smoothly. One distinctive characteristic of
oil paints, compared with other mediums, is that they dry slowly and the painting may be
changed and worked over a long period of time. Painting done in oil is glossy and lasts long.

Acrylic- This medium is used popularly by contemporary painters because of the

transparency and quick drying characteristics of water color and the flexibility of oil combined.
This synthetic paint is mixed with acrylic emulsion as binder for coating the surface of the
artwork. Acrylic paints do not tend to break easily, unlike oil paints which turn yellowish or
darker over a long of period of time.

Ink- It is a liquid that contains colors and dyes and is applied to a surface to produce an image,
text, or design. It is for drawing with a brush, or pen.

Mosaic- art is a picture or decoration made of small pieces of inlaid colored stones or glass
called “tesserae” which most often are cut in into squares glued on a surface with plaster or
cement. Mosaic is usually classified as painting. Although the medium used is not strictly
pigment. Mosaic art is an important feature of Byzantine churches. A prominent religious

69
artwork in Manila done in mosaic is found in the altar of Sta. Cruz Church showing a wounded
white lamb, symbolizing Christ, with a stream that flows down directly to the tabernacle

Stained Glass- as an artwork is common in Gothic Cathedrals and churches. This is made
by combining many small pieces of colored glass which are held together by bands of lead.

Tapestry – This is a fabric consisting of a warp upon which colored threads are woven by
hand to produce a design, often pictorial and for wall hangings and furniture covering. During
the middle Ages, they were hung on the walls of palaces and in Cathedrals on festive occasions
to provide warmth.

Drawing- is usually done on paper, using pencil pen and ink, or charcoal. It is the most
fundamental of all skills necessary in the arts.
Drawing can be done with different kinds of mediums and the most common is pencil
which comes in different degrees of hardness or softness, with the pencil lead (graphite)
depending on the kind of drawing the artists will undertake. For line work, hard pencil
lead is applied. Ink, one of the oldest mediums still in use, offers a great variety of
qualities, depending on the tools and techniques used in applying the ink on the surface.

Bistre- is a brown pigment extracted from the soot of wood, and often used in pen and wash
drawings.

Crayons- are pigments bound by wax and compressed into painted sticks used for drawing
especially among children in the elementary grade. They adhere better on paper surface.

Charcoal- These are carbonaceous materials obtained by heating wood or other organic
substances in the absence of air. Charcoal is used in representing broad masses of light and
shadow. Like drawing pencil, soft charcoal produces the darkest value, while the darkest
produces the lightness tone.

Silverpoint- In this medium, the artist has technique of drawing with a silver stylus on
specially prepared paper to produce a thin grayish line that was popular during the Renaissance
period.

Gouache- It is a water-based paint consisting of pigment and other materials designed to be

used in an opaque painting technique.

Enamel- It is a paint that air dries to a durable, usually glossy and solid finish. It is used for
outdoor coating surfaces or otherwise subject to variations in temperature.

Spray paint- It is the type of paint that comes in a sealed pressurized battle and released in
a fine spray.

Print making- a print is anything printed on a surface that is a direct result from a
duplicating process. Ordinarily, the painting or graphic image, is done in black ink on white
paper and becomes the artist’s plate.

70
Five Major Types of Prints
1) Woodcut
 As the name implies, this is made from a piece of wood. The design
stands as a relief, the remaining surface of the block being cut away. A
woodblock prints just as do the letters of a typewriter. The lines of the
design are wood, so they are very fine. Woodcuts can be identified
because of their firm, clear and black lines.
2) Engraving
 This is the art of forming designs by cutting, corrosion by acids. In
engraving, the lines of the designs are cut into a metal plate with ink and
transferred from the plate to the paper. The lines of an engraving are cut
by hand with an instrument called burin, a steel tool with an oblique point
and rounded handle for carving stone and engraving metal.
3) Intaglio
 Is a printing process in which the design or the text is engraved into the
surface of the place and the ink is transferred to paper from the groover.
The design is engraved or etched into a metal plate.
4) Stencil Printing
 Is a very common art activity done by high school students these days
as a part of their practical arts courses. It is a process which involves the
cutting of the design on special paper cardboard or metal sheet in such a
way that when ink is rubbed over it, the design is reproduced on the
surface.
5) Relief
 Involves the cutting away from a block of wood or linoleum the parts of
the design that the artist wants to be seen. Leaving the portion of a
design to stand out wants to be seen, leaving the portion of a design to
stand out on a block or on the linoleum. The apparent projection of parts
of the design gives the appearance of the third dimension. Color prints
are made by preparing a separate block for each color to be used. It is
important that only the parts to be printed with precision are on the
proper area

MEDIUM OF SCULPTURE
There are a number of materials available for a sculpture to work with according to the artists
interest in the subject- stone, marble, jade, and granite, to name a few. Each of them presents
an interesting motivation to challenge the sculptor’s creativity.

Stone- is the hard substance formed from mineral and earth material. The finish is granular
and dull in appearance. These are normally used for gravestones in cemeteries.

Granite- is a granular igneous rock composed of feldopars and quartz, usually combined with
other minerals and is quite difficult to chisel. This is good for large works with only a few
designs.

Marble- is limestone in a more or less crystalline state and is capable of taking a high polish,
occurring in many varieties. It is easier to carve than granite

71
Jade- is a fine, colorful stone usually green, and used widely in Ancient China. It is highly
esteemed as an ornamental stone for carving and fashioning jewelry.

Ivory- which comes from the main parts of the tasks of elephants is the hard white substance
use to make carvings and billiards balls. In the home of some well to do families in the
Philippines, faces and hands of images of saints are made of ivory. The bodies are made of
wood, carved and painted.

Metals- include any of a class of elementary substances as gold, silver or copper all of which
are characterized by capacity, ductility, conductivity and peculiar luster when freshly fractured.
Traditionally, the metals that have been the medium for sculpture are copper, brass, bronze,
gold, silver, and lead. Aluminum is a recent addition to the list

Bronze is another by product of metal consisting of copper and tin with color and is one of the
most universally popular metals for sculpture. Bronze as a material is strong, durable and
resistant to any atmospheric corrosion.

Brass -an alloy of copper and zinc is not popularly used by artists because of its limitations as
a medium. Although it has many practical uses, brass does not rust and it takes a brilliant
polish.

Copper – which has a peculiar brilliance, is used as a costing medium. This is basically
shaped by hammering. It can into relief forms.

Gold and Silver- are used as casting materials for small objects like medals, coins and
pieces of jewelry. Because they are quite expensive, they are used for either personal
accessories or religious adornments.

Lead- a bluish gray metal is used for casting and forging. With the help of a welding torch iron,
it can be worked into a variety of unique and exciting forms.

Plaster – is a composition of lime, sand and water. Plaster is worked on an armature of metal
wires and rods in addition to various materials and fibers. This is applied on walls and ceilings
and allowed to harden and dry. The medium is used extensively for making manikins, models,
molds, architectural decorations and other indoor sculpture.

Clay- is a natural earthy material that has the nature of plasticity when wet, consisting
essentially of hydrated silicates of aluminum used for making bricks and ceramics.

Glass- is a medium that is hard, brittle, noncrystalline, more or less transparent substances
produced by fusion, usually consisting of mutually dissolved silica and silicates and contains
soda and lime.

Wood- as a medium is perhaps easier to carve than any other mediums available because it
can be intricately carved and subjected into a variety of treatment not possible with stone.

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 MEDIUM OF ARCHITECTURE
Architecture is the art of designing and constructing a building which will serve a definite
function, ranging from providing discomfort shelter to meeting the technological demands of our
modern society.
A wide variety of construction materials are readily available to the architect of evening, and
from them he invariably chooses those which are durable and strong and which have a potential
for beauty besides

Post and lintel, the oldest of construction systems, which makes use of two vertical
supports (posts) spanned by a horizontal beam (lintel).

Arch, which consists of separate pieces of when wedge-shaped blocks called voussoirs,
arranged in a semicircle. The keystone, which is the last sets tone at the top center, locks the
pieces together into a single curved structure. This form relies on buttressing horse from the
sides to counteract the outward thrust of the curve of the arch.
The dome, which is the hemispherical roof resembling a ping pong ball half, is built on a
framework formed by a series of arches rising from consecutive points on a base called
the drum.

The truss, which is a system of triangular forms assembled into a rigid framework and
functioning like a beam or lintel. It is employed in bridges, assembly plants, theater,
gymnasiums and halls for wide spaces must be spanned with very few interior support.

Skeleton construction which includes a reinforced concrete and steel.

The cantilever which means the use of a beam or slab extending horizontally into explains
beyond its supporting post, yet strong enough to support walls and floors

READINGS / REFERENCES:

BOOK
1. Ortiz, M. A., Erestain, T., Guillermo, A., Montano, M., & Pilar, S. A. (1976). Art:
Perception and Appreciation. JMC PRESS, Inc.
Online Source:
2. Lumen Learning. (n.d.). Introduction to Art Concepts, SAC, ART100 | Simple Book
Production. Retrieved August 4, 2020, from https://courses.lumenlearning.com/sac-
artappreciation/

WATCH:
1. Sotheby’s. (2016, December 20). The Value of Art | Episode 9: Medium [Video].
YouTube. https://www.youtube.com/watch?v=mvI9vBEQfgU

73
ACTITVITIES/ASSESSMENT:

1. ACTIVITY 1: Art Experiment 1: Experiment in the actual rooms of some painting

mediums - oil, watercolor, tempera. Select simple compositions to work on.

ONLINE Class: Submit a photo of your art at Google Classroom

MODULE Class: Submit to your instructor

2. ACTIVITY 2: Art Experiment 2: Experiment with different household materials that you
can use for a sculpture. Select simple compositions to work on.

ONLINE Class: Submit a photo of your art at Google Classroom

MODULE Class: Submit to your instructor

3. Quiz: For online classes, quiz will be given through Google forms in Google classroom;
while for Modular mode, they will have the quiz file in their flash disk.

74
COURSE MATERIALS:
Lesson 10 MEDIUM OF MUSIC
Basically, music deals with sound. The medium of music is the sound. The medium of music
is the sound produced by man and the human voice and by most musical instruments. The
musical instruments which have a vibrator, a resonator and a system for producing and
regulating fixed pitches are grouped into four main types- stringed, woodwind, brass and
percussion instruments.

Stringed Instruments
 The violin is the smallest of the stringed instruments and has the highest pitch.
 The cello is much larger than the violin and has longer, thicker and heavier strings
 The viola and violin are played by tucking the instrument under the chin of the
musicians when they are playing
 The cello is bigger than the violin and the viola it resets on the floor when it is
played. The large protruding pin at its base holds it firmly on the floor
 The double bass is the longest of the string instruments and has the lowest pitch.
The distinguishing feature of the string instruments is that the smaller the size, the
higher is its pitch and the larger it is lower is its pitch.
 The Harps one of the oldest string instruments consisting of a triangular frame
formed by a sound box, a pillar and curved neck, and having strings that are
stretched between the sound box and the neck are plucked with fingers
 The guitar is a stringed musical instrument with a long fretted neck a flat somewhat
violin-like body and has six strings which are plucked
Woodwinds
The wind instruments consist of tubes usually made of wood which have holes on the sides.
When one or another of these holes is opened or closed, air inside the tube is changed, thus
producing tones of varied pitches. The keys are set and arranged to suit the natural position of
the fingers of the musician while he plays the instrument
 The Flute is a musical wind instrument consisting o a tube with a series of finger
holes or keys in which the wind is directed against a sharp edge. The flute produces
a melodious sound, and so it often plays solo parts in orchestral compositions in a
concert
 The Clarinet is a woodwind instrument in the form of a cylindrical tube with a single
reed attached to its mouthpiece. It has a wide range and usually plays the alto part
when the flute plays the melody.
 The Piccolo is a small flute, sounding an octave higher than the ordinary flute
 The oboe is a wood wind instrument having a slender conical body and a double
reed mouthpiece. The tone of the oboe is nasal
 The Bassoon is a larger woodwind instrument of low range with a doubled tube and
a curved metal crook to which a double reed is attached.
 The Saxophone is a musical wind instrument consisting of a conical, usually brass
tube with keys or valves and mouthpiece with one reed. This musical instrument is
not a regular member of the orchestra

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Brass Instruments
The brass instruments consist of cylindrical brass tubes of varying length.
 The trumpet is a brass instrument with a powerful, penetrating tone, consisting of a
tube commonly curved once or twice around on it and having a cup shaped
mouthpiece at one end and bell at the other. Because of its piercing tone when
played, it is associated with martial pomp.
 The horn is a wind instrument originally formed from the hollow horn of an animal
but now usually made of brass or other metals
 The trombone is a musical wind instrument consisting of a cylindrical metal tube
expanding into a bell and bent twice in U shape, usually equipped with a slide
 The tuba is the bass of the brass choir. It is also a valued brass wind instrument
having a low range.
Percussion Instruments
The word percussion simply means the striking of one body against another with some
sharpness. The striking or tapping or scratching of the instrument with the hand generates some
excitement ad enlivens the orchestral sound.
 The chimes is a musical instrument consisting of a set of slabs of metals which
produce musical tones when struck
 The glockenspiel is a musical instrument composed of a set of graduated steel bars
mounted in a frame and struck with hammers and used especially in bands
 The cymbal is a concave plate of brass or bronze that produces a sharp, ringing
sound when struck played either in pairs, by being struck together or simply by being
struck by a drumstick
 The xylophone is a musical instrument consisting of a graduated series of wooden
bars, usually sounded by striking with small wooden bars usually sounded by striking
with small wooden hammers
 The Kettledrum is a drum consisting of a hallow hemisphere of brass or copper over
which is stretched a skin
 The percussion instruments can produce tones of different and definite pitches.

READINGS / REFERENCES:
BOOK
1. Ortiz, M. A., Erestain, T., Guillermo, A., Montano, M., & Pilar, S. A. (1976). Art:
Perception and Appreciation. JMC PRESS, Inc.
Online Source:
2. Lumen Learning. (n.d.). Introduction to Art Concepts, SAC, ART100 | Simple Book
Production. Retrieved August 4, 2020, from https://courses.lumenlearning.com/sac-
artappreciation/

WATCH:
1. Sotheby’s. (2016, December 20). The Value of Art | Episode 9: Medium [Video].
YouTube. https://www.youtube.com/watch?v=mvI9vBEQfgU

ACTITVITIES/ASSESSMENT:
1. Quiz: For online classes, quiz will be given through Google forms in Google classroom;
while for Modular mode, they will have the quiz file in their flash disk.

76
 UNIT 4 – THE ELEMENTS AND PRINCIPLES OF THE ARTS

OVERVIEW:

Visual arts refer to still, and moving pictures, paintings, sculptures, photographs, digital
images, insulation or architecture that are created by artist. They are the representation or
embodiment of an idea, an experience, a concept, a surge of vitality, and a product of human
thinking.

Paintings are usually on display inside the museum or gallery. As such, it interacts with
other artworks and forms part of a strategy of display to convey a message to the viewer.
Sculpture may be put inside or outside a building. If it is three-dimensional, the viewer has to
look at all the sides of the sculpture: front, back, left and right. Digital art, which is composed
and stored in the computer, is viewed electronically. This can also be printed on regular size
paper or in large to billboard size. Illustration art sometimes requires the viewer to look at the
work in all its angles and sides or interact with it. In architecture, it is necessary to enter the
building and move around it for the viewer to experience its scale and space and have a sense
of the effect of its material on the architecture itself.

Visual images are made by arranging elements and organizing the design using selected
materials for art making.

LEARNING OUTCOMES: After successful completion of this unit, you should be able to:

1. Describe, interpret and analyze the Elements of Visual Arts

2. Determine dominant elements used in hybrid or modified art expressions
3. Evaluate the factors influencing artists such as distortion, transformation,
appropriation in an experimental or hybrid art expression
4. Translate one art form into another work

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COURSE MATERIALS:
LESSON 11: ELEMENTS AND PRINCIPLES OF VISUAL ARTS

The Elements of the Visual Art

1. Line
A line is defined as a mark that connects the space between two points, taking any form
along the way.

The line is an essential element of art, defined as a mark that connects the space between
two points, taking any form along the way. Lines are used most often to define shape in two-
dimensional works and could be called the most ancient, as well as the most universal, forms of
mark making.

There are many different types of lines, all characterized by their lengths being greater than
their width, as well as by the paths that they take. Depending on how they are used, lines help
to determine the motion, direction, and energy of a work of art. The quality of a line refers to the
character that is presented by a line in order to animate a surface to varying degrees.

Actual lines are lines that are physically present, existing as solid connections between one or
more points, while implied lines refer to the path that the viewer’s eye takes as it follows shape,
color, and form within an art work. Implied lines give works of art a sense of motion and keep
the viewer engaged in a composition. We can see numerous implied lines in Jacques-Louis
David’s Oath of the Horatii, connecting the figures and actions of the piece by leading the eye of
the viewer through the unfolding drama.

Straight or classic lines add stability and structure to a composition and can be vertical,
horizontal, or diagonal on the surface of the work. Expressive lines refer to curved marks that
increase the sense of dynamism of a work of art. These types of lines often follow an
undetermined path of sinuous curves. The outline or contour lines create a border or path
around the edge of a shape, thereby outlining and defining it. Cross contour lines delineate
differences in the features of a surface and can give the illusion of three dimensions or a sense
of form or shading.

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 Hatch lines are a series of short lines repeated in intervals, typically in a single direction, and
are used to add shading and texture to surfaces. Cross-hatch lines provide additional texture
and tone to the image surface and can be oriented in any direction. Layers of cross-hatching
can add rich texture and volume to image surfaces.

Key Points
 Actual lines are lines that are physically present, existing as solid connections between
one or more points.
 Implied line refers to the path that the viewer ‘s eye takes as it follows shapes, colors,
and forms along any given path.
 Straight or classic lines provide stability and structure to a composition and can be
vertical, horizontal, or diagonal on a work’s surface.
 Expressive lines refer to curved marks that increase the sense of dynamism of a work of
art.
 The outline or contour lines create a border or path around the edge of a shape, thereby
outlining and defining it. “Cross contour lines” delineate differences in the features of a
surface.
 Hatch lines are a series of short lines repeated in intervals, typically in a single direction,
and are used to add shading and texture to surfaces, while cross-hatch lines provide
additional texture and tone to the image surface and can be oriented in any direction.

Key Terms
 texture:The feel or shape of a surface or substance; the smoothness, roughness,
softness, etc. of something.
 cross-hatching:A method of showing shading by means of multiple small lines that
intersect.
 line:A path through two or more points.

2. Light and Value

Value refers to the use of light and dark in art.

The use of light and dark in art is called value. Value can be subdivided into tint (light hues)
and shade (dark hues). In painting, which uses subtractive color, value changes are achieved
by adding black or white to a color. Artists may also employ shading, which refers to a more
subtle manipulation of value. The value scale is used to show the standard variations in tones .
Values near the lighter end of the spectrum are termed high-keyed, while those on the darker
end are low-keyed.

In two-dimensional artworks, the use of value can help to give a shape the illusion of mass or
volume. It will also give the entire composition a sense of lighting. High contrast refers to the

79
placing of lighter areas directly against much darker ones, so their difference is showcased,
creating a dramatic effect. High contrast also refers to the presence of more blacks than white
or grey. Low-contrast images result from placing mid-range values together so there is not much
visible difference between them, creating a more subtle mood.

In Baroque painting, the technique of chiaroscuro was used to produce highly dramatic
effects in art. Chiaroscuro, which means literally “light-dark” in Italian, refers to clear tonal
contrasts exemplified by very high-keyed whites, placed directly against very low-keyed darks.
Candlelit scenes were common in Baroque painting as they effectively produced this dramatic
type of effect. Caravaggio used a high contrast palette in such works as The Denial of St.
Peter to create his expressive chiaroscuro scene.

Key Points
 In painting, value changes are achieved by adding black or white to a color.
 Value in art is also sometimes referred to as ” tint ” for light hues and “shade” for dark
hues.
 Values near the lighter end of the spectrum are termed “high-keyed” while those on the
darker end are called “low-keyed.”
 In two-dimensional art works, the use of value can help to give a shape the illusion of
mass or volume .
 Chiaroscuro was a common technique in Baroque painting and refers to clear tonal
contrasts exemplified by very high-keyed whites, placed directly against very low-keyed
darks.

Key Terms
 chiaroscuro:An artistic technique popularized during the Renaissance, referring to the
use of exaggerated light contrasts in order to create the illusion of volume.

3. Color
In the visual arts, color theory is a body of practical guidance to color mixing and the visual
impacts of specific color combinations.

Color is a fundamental artistic element which refers to the use of hue in art and design. It is
the most complex of the elements because of the wide array of combinations inherent to it.
Color theory first appeared in the 17th century when Isaac Newton discovered that white light
could be passed through a prism and divided into the full spectrum of colors. The spectrums of
colors contained in white light are, in order: red, orange, yellow, green, blue, indigo and violet.

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 Color theory subdivides color into the “primary colors” of red, yellow, and blue, which cannot
be mixed from other pigments; and the “secondary colors” of green, orange and violet, which
result from different combinations of the primary colors. Primary and secondary colors are
combined in various mixtures to create “tertiary colors.” Color theory is centered around the
color wheel, a diagram that shows the relationship of the various colors to each other.

Color ” value ” refers to the relative lightness or darkness of a color. In addition, “tint” and
“shade” are important aspects of color theory and result from lighter and darker variations in
value, respectively. “Tone” refers to the gradation or subtle changes of a color on a lighter or
darker scale. “Saturation” refers to the intensity of a color.

Additive and Subtractive Color

Additive color is color created by mixing red, green, and blue lights. Television screens, for
example, use additive color as they are made up of the primary colors of red, blue and green
(RGB). Subtractive color, or “process color,” works as the reverse of additive color and the
primary colors become cyan, magenta, yellow, and black (CMYK). Common applications of
subtractive color can be found in printing and photography.

Complementary Color

Complementary colors can be found directly opposite each other on the color wheel (purple
and yellow, green and red, orange and blue). When placed next to each other, these pairs
create the strongest contrast for those particular two colors.

Warm and Cool Color

The distinction between warm and cool colors has been important since at least the late 18th
century. The contrast, as traced by etymologies in the Oxford English Dictionary, seems related
to the observed contrast in landscape light, between the “warm” colors associated with daylight
or sunset and the “cool” colors associated with a gray or overcast day. Warm colors are the
hues from red through yellow, browns and tans included. Cool colors, on the other hand, are the

81
hues from blue green through blue violet, with most grays included. Color theory has described
perceptual and psychological effects to this contrast. Warm colors are said to advance or
appear more active in a painting, while cool colors tend to recede. Used in interior design or
fashion, warm colors are said to arouse or stimulate the viewer, while cool colors calm and
relax.

Key Points
 Color theory first appeared in the 17th century, when Isaac Newton discovered that
white light could be passed through a prism and divided into the full spectrum of colors.
 The spectrum of colors contained in white light are red, orange, yellow, green, blue,
indigo , and violet.
 Color theory divides color into the ” primary colors ” of red, yellow, and blue, which
cannot be mixed from other pigments, and the “secondary colors” of green, orange, and
violet, which result from different combinations of the primary colors.
 Primary and secondary colors are combined in various mixtures to create tertiary colors.
 Complementary colors are found opposite each other on the color wheel and represent
the strongest contrast for those particular two colors.

Key Terms
 complementary color:A color which is regarded as the opposite of another on the color
wheel (i.e., red and green, yellow and purple, and orange and blue).
 value:The relative darkness or lightness of a color in a specific area of a painting or
other visual art.
 primary color:Any of three colors which, when added to or subtracted from others in
different amounts, can generate all other colors.
 tint:A color considered with reference to other very similar colors. Red and blue are
different colors, but two shades of scarlet are different tints.
 gradation:A passing by small degrees from one tone or shade, as of color, to another.
 hue:A color, or shade of color.

4. Texture

Texture refers to the tactile quality of the surface of an art object.

Texture in art stimulates the senses of sight and touch and refers to the tactile quality of the
surface of the art. It is based on the perceived texture of the canvas or surface, which includes
the application of the paint. In the context of artwork, there are two types of texture: visual and
actual. Visual texture refers to an implied sense of texture that the artist creates through the use
of various artistic elements such as line, shading and color. Actual texture refers to the physical
rendering or the real surface qualities we can notice by touching an object, such as paint
application or three-dimensional art.

It is possible for an artwork to contain numerous visual textures, yet still remain smooth to
the touch. Take for example Realist or Illusionist works, which rely on the heavy use of paint
and varnish, yet maintain an utterly smooth surface. In Jan Van Eyck’s painting “The Virgin of
Chancellor Rolin” we can notice a great deal of texture in the clothing and robes especially,
while the surface of the work remains very smooth.

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 Paintings often use actual texture as well, which we can observe in the physical application
of paint. Visible brushstrokes and different amounts of paint will create a texture that adds to the
expressiveness of a painting and draw attention to specific areas within it. The artist Vincent van
Gogh is known to have used a great deal of actual texture in his paintings, noticeable in the
thick application of paint in such paintings as Starry Night.

83
Key Points
 Visual texture refers to an implied sense of texture that the artist creates through the use
of various artistic elements such as line , shading, and color.
 Actual texture refers to the physical rendering or the real surface qualities we can notice
by touching an object.
 Visible brushstrokes and different amounts of paint will create a physical texture that can
add to the expressiveness of a painting and draw attention to specific areas within it.
 It is possible for an artwork to contain numerous visual textures but still remain smooth
to the touch.

Key Terms
 tactile:Tangible; perceptible to the sense of touch.

5. Shape and Volume

Shape refers to an area in a two-dimensional space that is defined by edges; volume is
three-dimensional, exhibiting height, width, and depth.

Shape refers to an area in two-dimensional space that is defined by edges. Shapes are, by
definition, always flat in nature and can be geometric (e.g., a circle, square, or pyramid) or
organic (e.g., a leaf or a chair). Shapes can be created by placing two different textures, or
shape-groups, next to each other, thereby creating an enclosed area, such as a painting of an
object floating in water.

“Positive space” refers to the space of the defined shape, or figure. Typically, the positive
space is the subject of an artwork. “Negative space” refers to the space that exists around and
between one or more shapes. Positive and negative space can become difficult to distinguish
from each other in more abstract works.

A “plane” refers to any surface area within space. In two-dimensional art, the” picture plane”
is the flat surface that the image is created upon, such as paper, canvas, or wood. Three-
dimensional figures may be depicted on the flat picture plane through the use of the artistic
elements to imply depth and volume, as seen in the painting Small Bouquet of Flowers in a
Ceramic Vase by Jan Brueghel the Elder.

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 “Form” is a concept that is related to shape. Combining two or more shapes can create a
three-dimensional shape. Form is always considered three-dimensional as it exhibits volume—
or height, width, and depth. Art makes use of both actual and implied volume.

While three-dimensional forms, such as sculpture, have volume inherently, volume can also
be simulated, or implied, in a two-dimensional work such as a painting. Shape, volume, and
space—whether actual or implied—are the basis of the perception of reality.

Key Points
 “Positive space ” refers to the space of the defined shape or figure.
 “Negative space” refers to the space that exists around and between one or more
shapes.
 A ” plane ” in art refers to any surface area within space.
 ” Form ” is a concept that is related to shape and can be created by combining two or
more shapes, resulting in a three-dimensional shape.
 Art makes use of both actual and implied volume .
 Shape, volume, and space, whether actual or implied, are the basis of the perception of
reality.

Key Terms
 form:The shape or visible structure of an artistic expression.
 volume:A unit of three-dimensional measure of space that comprises a length, a width,
and a height.
 plane:A flat surface extending infinitely in all directions (e.g., horizontal or vertical plane).

PRINCIPLES OF VISUAL ARTS

1. Time and Motion

Motion, a principle of art, is a tool artists use to organize the artistic elements in a work; it is
employed in both static and time-based mediums.

Motion, or movement, is considered to be one of the “principles of art”; that is, one of the tools
artists use to organize the artistic elements in a work of art. Motion is employed in both static
and in time-based mediums and can show a direct action or the intended path for the viewer ‘s
eye to follow through a piece.

Techniques such as scale and proportion are used to create the feeling of motion or the
passing of time in static visual artwork. For example, on a flat picture plane , an image that is
smaller and lighter colored than its surroundings will appear to be in the background. Another
technique for implying motion and/or time is the placement of a repeated element in different
areas within an artwork.

Visual experiments in time and motion were first produced in the mid-19th century. The
photographer Eadweard Muybridge is well known for his sequential shots of humans and
animals walking, running, and jumping, which he displayed together to illustrate the motion of
his subjects. Marcel Duchamp’s Nude Descending a Staircase, No. 2 exemplifies an absolute
feeling of motion from the upper left to lower right corner of the piece.

85
 Marcel Duchamp, Nude Descending a Staircase, No. 2, 1912: T
his work represents Duchamp’s conception of motion and time.

While static art forms have the ability to imply or suggest time and motion, the time-based
mediums of film, video, kinetic sculpture, and performance art demonstrate time and motion by
their very definitions. Film is many static images that are quickly passed through a lens. Video is
essentially the same process, but digitally-based and with fewer frames per second.

Performance art takes place in real time and makes use of real people and objects, much
like theater. Kinetic art is art that moves, or depends on movement, for its effect. All of these
mediums use time and motion as a key aspect of their forms of expression.

Key Points
 Techniques such as scale and proportion are used to create the feeling of motion or the
passing of time in static a visual piece.
 The placement of a repeated element in different area within an artwork is another way
to imply motion and the passing of time.
 Visual experiments in time and motion were first produced in the mid-19th century, and
the photographer Eadweard Muybridge is well-known for his sequential shots.
 The time-based mediums of film, video, kinetic sculpture , and performance art employ
time and motion by their very definitions.

Key Terms
 frames per second:The number of times an imaging device produces unique
consecutive images (frames) in one second. Abbreviation: FPS.
 static:Fixed in place; having no motion.

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2. Compositional Balance

Compositional balance refers to the placement of the artistic elements in relation to each
other within a work of art.

Compositional balance refers to the placement of the elements of art (color, form , line ,
shape, space , texture , and value) in relation to each other. When balanced, a composition
appears more stable and visually pleasing. Just as symmetry relates to aesthetic preference
and reflects an intuitive sense for how things “should” appear, the overall balance of a given
composition contributes to outside judgments of the work.

Creating a harmonious compositional balance involves arranging elements so that no single

part of a work overpowers or seems heavier than any other part. The three most common types
of compositional balance are symmetrical, asymmetrical, and radial.

Symmetrical balance is the most stable, in a visual sense, and generally conveys a sense of
harmonious or aesthetically pleasing proportionality. When both sides of an artwork on either
side of the horizontal or vertical axis of the picture plane are the same in terms of the sense that
is created by the arrangement of the elements of art, the work is said to exhibit this type of
balance. The opposite of symmetry is asymmetry.

Asymmetry is defined as the absence of, or a violation of, the principles of symmetry.
Examples of asymmetry appear commonly in architecture. Although pre-modern architectural
styles tended to place an emphasis on symmetry (except where extreme site conditions or
historical developments lead away from this classical ideal), modern and postmodern architects
frequently used asymmetry as a design element. For instance, while most bridges employ a
symmetrical form due to intrinsic simplicities of design, analysis, fabrication, and economical
use of materials, a number of modern bridges have deliberately departed from this, either in
response to site-specific considerations or to create a dramatic design statement. .

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 Radial balance refers to circular elements in compositions. In classical geometry, a radius of
a circle or sphere is any line segment from its center to its perimeter. By extension, the radius of
a circle or sphere is the length of any such segment, which is half the diameter. The radius may
be more than half the diameter, which is usually defined as the maximum distance between any
two points of the figure. The in radius of a geometric figure is usually the radius of the largest
circle or sphere contained in it. The inner radius of a ring, tube or other hollow object is the
radius of its cavity. The name “radial” or “radius” comes from Latin radius, meaning “ray” but
also the spoke of a circular chariot wheel.

Key Points
 A harmonious compositional balance involves arranging elements so that no one part of
a work overpowers or seems heavier than any other part.
 The three most common types of compositional balance are symmetrical, asymmetrical,
and radial .
 When balanced, a composition appears stable and visually right. Just as symmetry
relates to aesthetic preference and reflects an intuitive sense for how things “should”
appear, the overall balance of a given composition contributes to outside judgments of
the work.
Key Terms
 radial:Arranged like rays that radiate from, or converge to, a common center.
 symmetry:Exact correspondence on either side of a dividing line, plane, center, or axis.
The satisfying arrangement of a balanced distribution of the elements of a whole.
 asymmetry:Want of symmetry, or proportion between the parts of a thing, especially
want of bilateral symmetry. Lacking a common measure between two objects or
quantities; Incommensurability. That which causes something to not be symmetrical.

3. Rhythm

Artists use rhythm as a tool to guide the eye of the viewer through works of art.

The principles of visual art are the rules, tools, and guidelines that artists use to organize the
elements of in a piece of artwork. When the principles and elements are successfully combined,
they aid in creating an aesthetically pleasing or interesting work of art. While there is some
variation among them, movement, unity, harmony, variety, balance, rhythm, emphasis, contrast,
proportion, and pattern are commonly sited as principles of art.

Rhythm (from Greek rhythmos, “any regular recurring motion, symmetry” (Liddell and Scott
1996)) may be generally defined as a “movement marked by the regulated succession of strong
and weak elements, or of opposite or different conditions” (Anon. 1971). This general meaning
of regular recurrence or pattern in time may be applied to a wide variety of cyclical natural
phenomena having a periodicity or frequency of anything from microseconds to millions of
years. In the performing arts, rhythm is the timing of events on a human scale, of musical
sounds and silences, of the steps of a dance, or the meter of spoken language and poetry.
Rhythm may also refer to visual presentation, as “timed movement through space” (Jirousek
1995), and a common language of pattern unites rhythm with geometry.

In a visual composition , pattern and rhythm are generally expressed by showing consistency
with colors or lines . For instance, placing a red spiral at the bottom left and top right, for
example, will cause the eye to move from one spiral, to the other, and then to the space in
between.

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 The repetition of elements creates movement of the viewer‘s eye and can, therefore, make
the artwork feel active. Hilma af Klint’s Svanen (The Swan) exemplifies the visual representation
of rhythm using color and symmetry.

Key Points
 Rhythm may be generally defined as a “movement marked by the regulated succession
of strong and weak elements, or of opposite or different conditions” (Anon. 1971).
 Rhythm may also refer to visual presentation as “timed movement through space ”
(Jirousek 1995), and a common language of pattern unites rhythm with geometry.
 For instance, placing a red spiral at the bottom left and top right, for example, will cause
the eye to move from one spiral, to the other, and everything in between. It is indicating
movement in the piece by the repetition of elements and, therefore, can make artwork
seem active.
Key Terms
 symmetry: Exact correspondence on either side of a dividing line, plane, center or axis.
The satisfying arrangement of a balanced distribution of the elements of a whole.

4. Proportion and Scale

Proportion is a measurement of the size and quantity of elements within a composition.

Proportion is a measurement of the size and quantity of elements within a composition .

Hierarchical proportion is a technique used in art, mostly in sculpture and painting, in which the
artist uses unnatural proportion or scale to depict the relative importance of the figures in the
artwork. In ancient Egyptian art, for example, gods and important political figures appear much
larger than common people. Beginning with the Renaissance, artists recognized the connection
between proportion and perspective , and the illusion of three-dimensional space . Images of
the human body in exaggerated proportion were used to depict the reality an artist interpreted.

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 Mathematically, proportion is the relation between elements and a whole. In architecture, the
whole is not just a building but the set and setting of the site. The things that make a building
and its site “well shaped” include everything from the orientation of the site and the buildings on
it, to the features of the grounds on which it is situated. Light, shade, wind, elevation , and
choice of materials all relate to a standard of architectural proportion.

Architecture has often used proportional systems to generate or constrain the forms
considered suitable for inclusion in a building. In almost every building tradition, there is a
system of mathematical relations which governs the relationships between aspects of the
design. These systems of proportion are often quite simple: whole number ratios or
incommensurable ratios (such as the golden ratio) were determined using geometrical methods.
Generally, the goal of a proportional system is to produce a sense of coherence and harmony
among the elements of a building.

Among the various ancient artistic traditions, the harmonic proportions, human proportions,
cosmic orientations, various aspects of sacred geometry, and small whole-number ratios were
all applied as part of the practice of architectural design. For instance, the Greek classical
architectural orders are all proportioned rather than dimensioned or measured modules,
because the earliest modules were not based on body parts and their spans (fingers, palms,
hands, and feet), but rather on column diameters and the widths of arcades and fenestrations .

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 Typically, one set of column diameter modules used for casework and architectural moldings
by the Egyptians and Romans is based on the proportions of the palm and the finger, while
another less delicate module—used for door and window trim, tile work, and roofing in
Mesopotamia and Greece—was based on the proportions of the hand and the thumb.

Dating back to the Pythagoreans, there was an idea that proportions should be related to
standards, and that the more general and formulaic the standards, the better. This concept—
that there should be beauty and elegance evidenced by a skillful composition of well understood
elements—underlies mathematics, art, and architecture. The classical standards are a series of
paired opposites designed to expand the dimensional constraints of harmony and proportion.

Key Points
 Hierarchical proportion is a technique used in art, mostly in sculpture and painting, in
which the artist uses unnatural proportion or scale to depict the relative importance of
the figures in the artwork.
 Mathematically, proportion is the relation between elements and a whole. In architecture,
the whole is not just a building but the set and setting of the site.
 Among the various ancient artistic traditions, the harmonic proportions, human
proportions, cosmic orientations, various aspects of sacred geometry , and small whole-
number ratios were all applied as part of the practice of architectural design.
Key Terms
 golden ratio:The irrational number (approximately 1·618), usually denoted by the Greek
letter φ (phi), which is equal to the sum of its own reciprocal and 1, or, equivalently, is
such that the ratio of 1 to the number is equal to the ratio of its reciprocal to 1. Some
twentieth-century artists and architects have proportioned their works to approximate
this—especially in the form of the golden rectangle, in which the ratio of the longer side
to the shorter equals this number—believing this proportion to be aesthetically pleasing.

5. Space
Space in art can be defined as the area that exists between two identifiable points.
The organization of space in art is referred to as composition, and is an essential component
of any work of art. Space can be generally defined as the area that exists between any two
identifiable points.

Space is conceived of differently in each medium. The space in a painting, for

example, includes the background, foreground and middle ground, while three-dimensional
space, like sculpture or installation, will involve the distance between, around, and within points
of the work. Space is further categorized as positive or negative. “Positive space” can be
defined as the subject of an artwork, while “negative space” can be defined as the space around
the subject.

Over the ages, space has been conceived of in various ways. Artists have devoted a great
deal of time to experimenting with perspectives and degrees of flatness of the pictorial plane .

The perspective system has been a highly employed convention in Western art. Visually, it is
an illusionist phenomenon, well suited to realism and the depiction of reality as it appears. After
spending hundreds of years developing linear perspective, Western artistic conventions about
the accurate depiction of space went through a radical shift at the beginning of the 20th century.

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The innovations of Cubism and subsequent modernist movements represented an important
shift in the use of space within Western art, the impact of which is still being felt.

Key Points
 The organization of space is referred to as composition and is an essential component to
any work of art.
 The space of an artwork includes the background, foreground, and middle ground , as
well as the distance between, around, and within things.
 There are two types of space: positive space and negative space.
 After spending hundreds of years developing linear perspective , Western artistic notions
about the accurate depiction of space went through a radical shift at the beginning of the
20th century.
 Cubism and subsequent modernist movements represented an important shift in the use
of space within Western art, which is still being felt today.
Key Terms
 space: The distance or empty area between things.
 Cubism: An artistic movement in the early 20th century characterized by the depiction of
natural forms as geometric structures of planes.

The Analysis of Visual Arts: Form, Medium, Subject Matter and Style

Awareness and understanding of art were course of you were to have knowledge of its A) form
(the elements and principles of organization); b) medium; c) subject matter and style.

A. Form
Form and encompasses the elements of art and the principles of organization that guide the
artists in art making. It refers to the physical aesthetic qualities of the image. Just as a writer
uses words, sentences, and paragraphs in order to put across an idea, the artist uses the
elements of art and principles of organization to create visual images.

The elements of art that we experience for senses includes: line, shape and form, texture,
color, space and movement. The principles of organization show how sensory properties are
organized to achieve a sense of unity and harmony, variety, rhythm, proportion, balance, and
perspective. The viewer must understand how the elements of art and principles of design are
used by the artist.

To guide the viewer in describing, interpreting, and analyzing the form, here are some questions
that he /ed she can answer :

1. What are the dominant elements in the artwork?

2. How are these used?
3. How is the main subject treated in relation to the background?
4. How is space used within the frame?
5. How does the dominant element affect you? Or you some objects cover most of the frame?

B. Medium

Medium refers to the materials used by the artist. Mediums vary in the different art forms.
Painting uses oil, watercolor, acrylic, poster paint, fresco or tempera. Sculpture uses wood,
plaster, marble, clay and other tactile materials.

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 Following are some of the most popular medium used today in the visual arts (see also
previous unit):

Drawing. This two-dimensional art can be done using chalk, charcoal, pastel or pencil and
ink on paper. So allows you to have a variety of tonal areas. Through the use of heavy or light
pressure, you create a blend of shades. Charcoal is burnt wood and therefore creates smudge
easily on paper. They come in sharpened 64 pencils either hard or soft. Pastel comes light and
pale color trucks. The dust it creates and paper can remain in place through the use of fixative
spray.

Painting in oil is most popular medium in two-dimensional expression because it offers a

wide variety of colors. It is use on canvas and the pigments are mixed with oil. Because the dry
up slowly, retouching and reworking are possible. Texture can also be created through a variety
of brush strokes and several layers of paint.

Watercolor painting and evils the artist to do transparent painting on paper. Although
watercolor allows for such effect, the artist has to be skillful enough to work fast and control the
colors because it dries up easily and once the colors overlap, they create other Color tones.

Acrylic dissolves in water and uses acrylic polymer as a binding agent. Acrylics dry fast, thin
and resistant to cracking under temperature and humidity extremes.

Photography is done with a camera. An image is captured through the lens of a camera and
is printed on photographic paper through a chemical process. The material used in photography
has evolved from film to digital. Film comes in cartridge rules that are easily mounted inside the
camera box. Digital photography emerge through technological developments in computer
systems. It does not require the use of film. Instead, images are recorded instantly, which may
be viewed in the camera LCD or through the computer. These images may be printed through
the computer printer on printing paper for on plain bond paper.

Clay is a medium used in sculpture. It comes in three forms: earthenware, which can be
sun-baked or kiln baked: stoneware, which goes to throw much higher firing that vitrifies the clay
so that it becomes close - drained and non-porous; and porcelain, which imparts a smooth
finish, color and decorative effects.

Wood is commonly used in the Philippines. Some examples of woods used for sculpture are
not a, batikuling, kamagong, langka, santol, marang and molave. Aside from their extreme
durability, they have a warm of tone and a natural coloration that ranges from dark brown to
yellow and reddish used, as well as fine - grained texture.
Other mediums in sculpture include paper as in origami, and found objects such as discarded
junk color, driftwood, shells, rubber tires and many other materials that have not been
traditionally used in art or assembled into artworks.

C. Subject matter
Subject matter is what the artwork is all about. It may be a human figure, a landscape, a
commemoration of an event, or an idea or feeling made visible through a visual art.

To guide the viewer in describing, interpreting an analyzing the form, here are some questions
he / she can answer:

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1. What is the main figure in the artwork?
2. How do other figures in the artwork affect the main figure?
3. What is the significance of the figure/s to you in terms of personal, historical, social, or
political value?

D. Style
The treatment of the artworks subject is very much affected by artistic style. Artists are
recognized by their viewers on the art world through their style. "the manner in which artist
express themselves constitute style. Style gives us a body of characteristics that identifies an
artwork with an individual, a historical., A school of artists, for a nation, for example, realism,
expressionism, abstract and so on " (Spore 14)

To guide the viewer in describing, interpreting and analyzing the form, here are some
questions he / she can answer:

1. What particular characteristics does this artwork have that are also present in other works by
the same artist?
2. Describe the use of elements of art and principles of design that identify the artwork with
other works done in the same era or movement.

The guide questions provided above can lead to an appreciation of the aesthetic properties
of art. Knowing the form (the elements in the principles of organization); b) medium; and c)
subject matter and style of an artwork gives us a ready outline through which to begin a formal
analysis of an artwork.

READINGS / REFERENCES:
1. Ramirez, Veronica et al.(2008).” Minding the Arts. Art Appreciation for College
Students, Mutya Publishing House
2. Visual Arts. Retrieved from: https://courses.lumenlearning.com/boundless-
arthistory/chapter/visual-elements/

WATCH:
1. TED-Ed. (2016, February 25). How ancient art influenced modern art - Felipe
Galindo [Video file]. Retrieved from https://www.youtube.com/watch?v=V9RrO0dtu5M

ACTITVITIES/ASSESSMENT:
1. COMBINE IT NOW. Analysis paper (May be individual /per group): Choose a
contemporary work and discuss the subject, medium and technique; discuss further how
the artist utilized the elements and principles of design in an artwork. Place your answer
in a yellow paper.

2. (Elements of Art) In a short bond paper, create a Doodle Art. Make sure to apply
the elements of visual arts in your artwork.

3. (Light and Value) In an oslo paper, create a Soil or Coffee Art of any theme of your
choice. Be sure to show the playful use of light and value in your output.

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COURSE MATERIALS:
LESSON 12: ELEMENTS OF AUDITORY ARTS AND THE COMBINED ARTS

The Elements of Music

Music is highly useful art that originates in nature and has been taken up by humanity as a
way of expression. It has the power to influence emotional and psychological aspects of
behavior. It has major elements, namely:

1. Harmony (From the Greek harmonia, meaning “joint or agreement”) - It refers to the
verticalization of pitch. It is often thought as the art of combining pitches into chords.
These chords are usually arranged into sentence-like patterns called chord
progressions.
2. Key- It is known as tonality, a principle in music composition wherein at the end of the
piece there is a feeling of completion by going back to the tonic.
3. Melody (From a Greek meloidia, which means “singing” or “chanting”)- It refers to the
tune of a song or piece of music.
4. Pitch- It refers to the perceptual property that allows the ordering of sounds on a
frequency-related scale either relative lowness or highness.
5. Rhythm- It comes from a Greek word rhythmos, which means “any regular recurring
motion.” It is the pattern of the sound in time and beats in music.
6. Tempo- It regards to the speed (slow or fast) of a given piece of music.
7. Texture- It refers to how the harmonic materials are combined in a composition. It
could be monophonic (single melodic line), polyphonic (two or more melodic lines)
and homophonic (the main melody accompanied by chords).
8. Timbre- It refers to the quality of the sound (tone) that distinguishes one voice or
instrument from another.

The Elements of Drama

1. Audience. The audience is the body of theatre-goers that the writer always had in
mind when he/she wrote the play. The role of the audience is to witness the
production and to encourage the actors through their applause and appreciation.
2. Dialogue. The dialogue is a technique in which playwright used two or more
characters to be engaged in conversation with one another. It has two parts: Inner
Dialogue (the characters speak to themselves and reveal their personalities like a
monologue) and the Outer Dialogue (a simple conversation between two characters
in a play).
3. Plot. It refers to the order of events or story that occurred in a play. What the
characters do, how they interact, the course of their lives as narrated by the story,
and what happens to them in the end, constitutes the plot.
4. Stagecraft. It refers to the technical aspects of theatrical production, which include
costume design, lighting, scenic design, stage machinery, sound, and makeup.
5. Convention. It refers to the technique of actions established by the director to the
actors to create a desired dramatic effect.
6. Genres. It refers to the types of acts used in a drama in showing an emotional and
relational development of realistic characters.

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 7. Characterization. It is a writer's ability to match the Protagonist against an
Antagonist. The protagonist is the main character in a story while the antagonist is
the opposition.
Other Dramatic Elements

Dramatic elements are the center of all drama. They can be used in isolation and are
manipulated by a performer for a spectacular result. The following are the other dramatic
elements:

1. Climax. It is the highest point of dramatic tension or conflict in a story or play. Without
the climax, a story will have lack of excitement or an overarching meaning.
2. Conflict. It is a vital element of drama and script writing. It is an essential ingredient
for all dramatic performances. It can be between two or more characters, or just one
(inner conflict). It can be verbal (physical) or non-verbal (psychological).
3. Contrast. The use of variation in a drama is a useful way to focus the audience's
attention. Without the careful use of contrast, a performance is dull and lacks tension. A
prominent example of contrast is a sad scene followed by a happy one.
4. Focus. It is used interchangeably with the terms concentration and engagement in
assisting the performer in the portrayal of believable personae. It also suggests
memorization of word, moves, gestures, and requires channeling (focusing) of all the
performer’s energies into achieving the given goals of a character.
5. Language. It is the written script that helps achieve any performance. The use of words
in performance can be verbal (vocal) or non-verbal (body language). It can also be sung
or chanted as a major means of communicating the story of the drama to the viewers.
6. Mood. It refers to the emotion or tone of a performance through a combination of
several stagecrafts and dramatic elements that harmoniously work with each other. The
mood of production is linked with common feelings such as anger, desire, frustration, or
pity. It can also be through lighting, sound, movement, setting, rhythm, contrast, or
conflict.
7. Rhythm. It refers to the speed and timing (beat or tempo) of the play that follows the
emotional state of one or more characters of the performance.
8. Sound. It is a means of creating an atmosphere or mood in a play. Small props
sometimes produced sound effects that can be used live during a performance.
9. Space. It refers to the practical use of available area utilized by the actors, such as
crawling, bending over, sitting, or lying down.
10. Symbol. It refers to the objects or sets and props used in theatre performances. They
are intended to arouse some concept or emotion in the mind of the audience.
11. Tension. This can sometimes be similar to the term conflict. The tension form when
audience anticipates specific outcomes in the plot of the story. The development of
tension usually parallels the advancement of the plot, leading to the climax.
12. Timing. It refers to the dramatic phases or synchronization of movements and gestures
of the various parts of production for theatrical effect.

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READINGS / REFERENCES:
1. Dr. Lamucho, Victoria Santos et al. (2003) Introduction to Humanities. Valenzuela City.
Mutya Publishing House.
2. Bascara, Linda R. and Adela Avillanoza. (2006). Humanities and the Digital Arts. Manila.
Rex Bookstore.
3. Sanchez, Custodia A., Paz F. Abad, and Loreto V. Jao. Introduction to the Humanities
Revised Edition. Rex Bookstore.
4. Lumen Learning. (n.d.). Introduction to Art Concepts, SAC, ART100 | Simple Book
Production. Retrieved August 4, 2020, from https://courses.lumenlearning.com/sac-
artappreciation/

ACTITVITIES/ASSESSMENT:
1. ACTIVITY 1: TRANSLATE: Translate a short poem in English or the lyrics of an English
song into the vernacular. Try to capture the sentiment and tone of the original.

2. ACTIVITY 2: ASIDE: Read the speech of Brutus from Shakespeare’s Julius Caesar,
write an aside version of the speech. Then record yourself. Apply the elements of Music
and Drama in the activity.

3. UNIT Quiz: For online classes, quiz will be given through Google forms in Google
classroom; while for Modular mode, they will have the quiz file in their flash disk.

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 UNIT 5 – THE HISTORY OF THE ARTS
OVERVIEW:
Historically speaking, the human instinct to create art is universal. Art is an approach of a
human being to communicate his/her beliefs and express ideas about his/her experiences. It
also provides valuable insights into the past and existing cultures. It helps us to understand
how others have lived and what they valued (Annenberg Foundation, 2017).
The history of art reflects the remnant of civilization, the study of artworks, and the lives of
artists illuminate much about our shared past. It helps us to discover, authenticate who made a
particular art object (Meyer, 2009). It also helped us to appreciate the stylistic and recognized
development of artistic practices on a large scale and within a broad historical viewpoint.
The history of art also covers the entire history of humankind since prehistoric times. Art is a
product of man’s emotional and intellectual connection with the world. It also aimed to produce
a message which will either provoke an unexplainable consciousness within the hearts of its
viewers or incite wisdom among inquisitive minds. Leroi-Gourhan (1967) lists three primary
domains of the expression of feeling associated to the first periods of humanity that may add to
our understanding of the beginnings of art such as Psycho-physiological impressions; Magic-
religious; and techno-economic.
This unit attempts to help students trace the developments of art from the medium, style and
techniques and movements that led to art as we know today..

LEARNING OUTCOMES: After successful completion of this unit, you should be able to:

1. Identify the underlying history, philosophy of the era or movements

2. Classify the various art movements by citing their important characteristics such as
historical, background, factors, influential person, socio-political issues, and
prevalent artists, art forms, and media
3. Present the history and movements of the arts through a timeline
4. Cite important characteristics in an artwork based on the era movement (document
and annotate works).

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COURSE MATERIALS:
LESSON 13: THE WESTERN ART HISTORY

ART IN PREHISTORIC CIVILIZATION

The term “prehistoric” relates to the time before written history. Specifically, the writing
developed in ancient Mesopotamia before 3000 B.C.E., so this period includes visual culture
(paintings, sculpture, and architecture) made before that date (Zucker, 2015). The oldest
recognized decorative art forms come from Africa date back to 100,000 BC.E.
Prehistoric art has four main periods: Stone Age, Neolithic, Bronze Age, and Iron Age. The
remaining artifacts of this period are small sculptures and cave paintings. During these early
times, different forms of art were created and performed as a sign of communication or
adoration to the deity. This practice shows how cultural and religious factors played little to the
development of the art forms that made the ancient society so famous until now.
Ancient people often represented their worldviews and beliefs through visual images. Art
emerged with the appearance and the dispersal of entirely modern people through Africa, Asia,
Australia, America and Europe. Paintings, sculptures, engravings, and potteries are expressions
for beauty and complex social and spiritual systems. Prehistoric art like animals are the favorite
subjects of hunters, herdsmen, and breeders.
Prehistoric art is a symbolic system that is an integral part of the culture that creates it
(Honour et al., 2005). Many archaeologists have identified Stone Age art, namely: petroglyphs
(rock carvings and engravings); pictographs (graphic imagery, symbols); ancient sculpture
(totemic statues, ivory carvings); and megalithic arts (performs or any other works associated
with the formation of stones).
The oldest European cave art is the El Castillo Cave (Cave of the Castle) in Spain. This
cave was discovered in 1903 by Hermilio Alcalde del Río, a Spanish archaeologist. Some
Archaeologists argue that artwork inside this cave are probably a creation of Homo
neanderthalensis. Hand stencils, claviforms (club shapes) and disks made by blowing paint
onto the wall in El Castillo cave found that date back at least 40,800 years, making them older
than those of the Chauvet Cave in central France, which dated to around 39,000 years (Kwong,
2012).Other old cave painting sites in France include Lascaux, Grotte de Cussac, Pech Merle,
Cave of Niaux, and Font-de-Gaume.
Stone Tools for Art Making
Stone is formed based on the composition of minerals on it. It classified as Mineral growth,
Sedimentary, Metamorphic, and Volcanic. Sedimentary rocks shaped through the deposition
and compression of particulate matter. On the other hand, Metamorphic rocks changed from the
result of extreme temperature and pressure. Volcanic rocks are from molten igneous magma
(Prindle, 1994).
The tools made of stone were the instruments by which early man developed and
progressed. All human culture founded on the ingenuity and brainpower of our early ancestors
in creating sophisticated tools that enable them to survive. The first stone tools (eoliths- which
are now believed to be naturally produced by geological processes such as glaciation) and
other types of organic materials (wood, bone, ivory, and antler) were about two million years

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ago. The oldest human tools were a simple stone chopper, such as those unearth at Olduvai
George in Tanzania. Many Paleoanthropologists (people who study the origins and
predecessors of the present human species) confirmed that the Palaeolithic Man produced four
types of tools in creating an art namely: pebble tools (with a single sharpened edge for cutting or
chopping): Bifacial tools (hand axes); Flake tools; and Blade tools.
Pebble Tools (Pebble chopper). It is a first cutting device and considered as the oldest type
of tool made by humans. The tool contains a rounded stone struck some blows with a similar
stone used as a pounder, which created a serrated crest that served as a chopping blade.
Bifacial tools. It is a hand ax prehistoric stone tool flake with two faces or sides. These
tools may be oval, triangular, or almond-shaped in form and characterized by axial symmetry.
The cutting edge could be straight or jagged and is used as a knife, pick, scraper, or weapon.
The technique was distinctive of the hand-ax tradition of the lower Palaeolithic period and the
Acheulian culture.
Flake tools. These are hand tools used during Stone Age. They are usually formed by
crushing off a small or large fragment then used as the tool. Both cores and flakes could be as
stone tools. New flakes were very sharp, but quickly became blunt during use and had to be
sharpened again by further flaking, a process called “retouch.”
Blade tools. These are a Stone tool created by striking a long narrow flake from a stone
core. This procedure of cutting the stone and creating the blades is called lithic reduction. After
chipping the blades, they integrated into larger tools, such as spears.

Medieval Arts in Europe

The primitive art of the Western world covers an extensive range of time and place over
1000 years. Specifically, Medieval art in Europe grew out of the artistic culture of the Roman
Empire and the iconographic practices in the church of the early Christian (Oliquiano, 2012).
These sources were mixed with the influential "barbarian" artistic culture of Northern Europe to
make an extraordinary creative legacy. Medieval art portrayed in Pietistic painting (religious art)
displayed in a Ceramics, fresco and mosaic paintings, Goldsmith and Silversmith, Stained
Glass, illuminated manuscripts, metalwork, Tapestry, and Heraldry in churches.
a. Illuminated Manuscripts (Illumination) - They were colorful religious texts which often
use of gold and silver as its main feature. The term illuminate is the Latin word
“illuminate” which means to adorn or to enlighten. It is the embellishment of a manuscript
with bright colors. The artist who produced the impressive artwork on illuminated
manuscripts was called Illuminators.
b. Metalwork- Metalworkers were very skilled in creating religious objects for church
decorations. Experts in Bronze art produced beautiful jewels, sculptures, and even
church doors.
c. Silversmith and Goldsmith- They were excellent artists who created new shapes of
jewelry. The Medieval church demanded to employed silversmiths and goldsmiths in the
church to produce e2222 with small pieces of colored glass, stone or other materials.
The early Christians used ceiling and wall mosaics in their churches and cathedrals.
d. Paintings- Artists who were skillful in Iconography uses Fresco and panel painting with
the religious theme during the medieval period. Fresco is performed mostly on wall

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 covers or ceilings. Likewise, Panels is a painting which showed on several pieces of
wood that joined together. It is also for the Icons of Byzantine art.
e. Bayeux Tapestry- It is embroidery in colored wool. It is consists of eight long strips of
unbleached linen, sewn together to form a continuous panel of 230 feet long and 20
inches high.
f. Ceramics- They were hand shaped cooking pots, jars, and pitchers.
g. Stained Glass- It is usually applied exclusively to the windows of medieval churches,
castles, and cathedrals. It creates the primary form of art where small pieces of glass
are arranged to form pictures or patterns which are held together by strips of lead and
supported by a hard frame.
h. Heraldry- It is the manner of designing coats of arms and insignia. Specimens of coats
of arms were worked using embroidery, paper, painted wood, stonework and stained
glass.

Famous Artists in Western Europe

The great artists introduced the advancement of arts during the middle periods. During this
era, artists split away from the influences of the Byzantium art style and developed into the
Gothic visual art. The Medieval painters and sculptors were founders of the movement towards
greater realism which culminated in the Renaissance art style. Most famous artists during
medieval period were Donatello, Giotto, Leon Battista Alberti, Cimabue, Filippo Brunelleschi,
Fra Angelico and Lorenzo Ghiberti.
1. Donatello (also known as Donato di Niccolo di Betto Bardi). He was born in 1386 in
Italy. He was the son of Nicolo di Betto Bardi, a wool merchant in Florence. He
learned the fabrication of metals and other substances which known as metallurgy.
His most famous works of art include David, Mary Magdalene, Madonna, Salome,
Zuccone, and St. Mark, St. John the Evangelist and St. George and the Dragon. He
also invented a technique known as schiacciato (shallow relief), which achieved effects
of spatial depth. He died on December 13, 1466.
2. Giotto di Bondone. He was born about 1266 in Vespignano village, Florence. He
was the son of Giorgio Vasari, a small landed farmer. He worked with others artists for
the Cathedral of San Francesco in Assisi and began painting a fresco cycle there with
scenes from the Old and New Testaments. In 1300, he was invited by Pope Benedict
XI in Rome to paint a mosaic over the entrance to St. Peter's Basilica. He died on
January 8, 1337, in Florence.
3. Leon Battista Alberti- He was born in Genoa on February 14, 1404, in Italy. As an
Architect, he was hired by Pope Nicholas V in the renovation of the papal palace and
of the Roman bridge of Acqua Vergine. He died in Rome on April 25, 1472.
4. Giovanni Cimabue- He was born in Florence in 1240. He devoted all his time
wrapping his paper and his books with photographs of horses, houses, people, and
other various things he dreamt up. He made mosaics .as well as paintings, which
include the frescoes of New Testament scenes in the upper church of St. Francis of
Assisi. He died in 1302.
5. Filippo Brunelleschi- He was born in 1377 in Florence, Italy. He was the son
Brunellesco Di Lippoo, an Italian lawyer and his mother was Giuliana Spini. He was a
sculptor and goldsmith in one of the Florentine workshops. He died on April 15, 1446.
6. Fra Angelico (also known as Beato Angelico, which means "Blessed Angelic One”)-
He was born in 1395 in Florence, Italy. As a Painter, his most famous works of art

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 include the Annunciation, The Madonna and Saints and the Transfiguration of Christ
painting.
7. Lorenzo Ghiberti- He was born in 1380 in Florence, Italy. He was admitted to the
Gold Guild and started his apprenticeship as a goldsmith in 1392. He started work on
the East Doors of the Baptistery of San Giovanni. The Bronze doors (known as the
“Gates of Paradise”) had 10panels depicting scenes from the Old Testament. He died
in 1445.
Most Common Paintings in Classical Greek
During the classical era, most paintings were discovered in panels, tomb, and vases. It
portrays natural symbols with dynamic masterpieces about battle scenes, mythological figures,
and everyday scenes. It also discloses a grasp of linear perspective and naturalist illustration
(Rayos, 2018). Familiar paintings in classical Greek are as follows:
a. Kerch Vase Painting
Kerch Vase is red-figured pottery named after the place where it discovered. Most common
motifs were scenes from the life of women, mythological beings or mythical story or event. This
type of painting used a technique known as polychromy which combined different colors
especially the brilliant one in an artistic manner. The shapes commonly found are:
1. Krater (it is a bowl used for mixing wine and water)
2. lebesgamikos (a container with high handles and lid use to carry bridal bath)
3. lekanis (a low bowl with two horizontal handles and a small, broad foot)
4. pelike (a wine container)

b. Panel Painting
Panel Painting was especially famous for making beautiful altarpieces. This type of
paintings executed on flat panels of wood or metals which can be either a small, single piece or
several boards that are together. The earliest known old panel painting is the Pitsa Panel (dated
between 540 and 530 B.C.E.).
c. Tomb/Wall Painting
Popular Tomb or wall painting during classical period uses either tempera (water-based) or
encaustic (wax) as a method of fresco. Colors in this type are made with grind powder stains in
pure water, dry and set with plaster to become a lasting part of the wall.

READINGS / REFERENCES:
1. Dr. Lamucho, Victoria Santos et al. (2003) Introduction to Humanities. Valenzuela City.
Mutya Publishing House.
2. Bascara, Linda R. and Adela Avillanoza. (2006). Humanities and the Digital Arts. Manila.
Rex Bookstore.
3. Ortiz, M. A., Erestain, T., Guillermo, A., Montano, M., & Pilar, S. A. (1976). Art:
Perception and Appreciation. JMC PRESS, Inc.
4. Sanchez, Custodia A., Paz F. Abad, and Loreto V. Jao. Introduction to the Humanities
Revised Edition. Rex Bookstore.
5. Lumen Learning. (n.d.). Introduction to Art Concepts, SAC, ART100 | Simple Book
Production. Retrieved August 4, 2020, from https://courses.lumenlearning.com/sac-
artappreciation/

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ACTITVITIES/ASSESSMENT:
1. ACTIVITY 1: SHAPE THE ROCK: Imagine how the prehistoric people were able to
make an artwork all over the caves. Make your style of cave art using a stone as your
working canvas and another stone as your medium to create an artwork.
Materials:

1. Flat rock (any shape)

2. Stones (with sharp edges)

Procedure:

1. Using the sharp-edged rock, scratch the flat rock with your desired design.
3. Put varnish utilizing a mixture of white glue diluted with water to preserve your
plan on the stone.
4. The rock design should imitate the character of a prehistoric artwork.
5. You may also use patterns that display the identity of your region of City.

2. ACTIVITY 2: Mosaic in a Wood: The Greeks first manufactured mosaics during ancient
time. This art of creating images with an assemblage of small pieces of colored glass,
stone, or other materials was usually black and white used in the floor and pathways.
Either in triangular or square design, pebbles are applied with mortar or other adhesive
to create floor and wall mosaics.

Materials:

1. Sheet of wood
2. Colored Tiles
3. Pencil
4. Grout float
6. Paper towel
7. Spray bottle
8. Sponge
9. White vinegar
10. Gloves

Procedures:

1. Create your decorative mosaic by sketching a design into a piece of flat wood
(long coupon band size).
2. Select your tile and wrap it in a cloth. Using a Hammer, Break the Tile. (Note:
wearing of safety goggles to protect your eyes is necessary).
3. Gather your broken tiles into color categories.
4. Glue each piece individually and put it in your design.
5. Spread the grout using a grout float.
6. Allow the grout to become stable for 20 minutes.
7. Using a sponge and water, gently wipe off excess grout.
8. Spray white vinegar to get grout dust off using a paper towel or cloth..

3. Quiz: For online classes, quiz will be given through Google forms in Google classroom;
while for Modular mode, they will have the quiz file in their flash disk.

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COURSE MATERIALS:
LESSON 14: THE FILIPINO ART AND CRAFT

Like in any other country, art influenced the life of the Filipinos and the things that surround
them. The Philippine arts reflect a Filipino society with diverse cultural influences and traditions
of the Malayan peoples such as the Chinese and Indians. Islamic traditions were introduced to
the Philippine Islands in the 14th century.
Likewise, Europe and the United States intensely influenced Filipino artists. However, while
drawing on Western forms, the works of Filipino musicians, painters, and writers are imbued
with distinctly Philippine themes. By expressing the richness of the culture of the archipelago in
all its diversity, Filipino artists have helped in shaping a sense of national identity. Many Malay
cultural traditions have continued until this time despite foreign rule. Muslims and tribal groups
maintained distinct traditions in dance, music, and sculpture.
Indigenous arts in the Philippines are labors of love and patience. The intricate carvings on
wood, metal, stone or glass are products of skillful hands and imaginative minds of the different
tribes of the archipelago. Indigenous musical instruments like the flute, drums, rainsticks, native
guitars, and bells made of bamboo, animal skin, seeds, and seashells. The careful manipulation
of these materials produces sounds and unique instruments used mostly in tribal dances and
rituals (Ramirez, 1999).
PRE-COLONIAL ART FORMS IN THE ARCHIPELAGO
The arts in the Philippine archipelago had its past and continued to develop by numerous
modern artists. With their different context regarding history, style, cultural symbols, and
meanings, these artworks are portrayed (Estrella, 2017).The following are some known artforms
in the Philippines:
Agung. It is a musical instrument of the Kulintang ensemble which is played by one or two
persons depending on its number. By using a rubber-padded beater, this instrument is
performed on both the boss/knob and the face of the gong.
Banog-banog. It is a dance that portrays hunters shielding in their chickens from the
famishing hawk.
BlitB’laan. It is a courtship dance of the Bilaan of Davao del Sur mimicking birds during
mating season. The females scurry to safety, burying their heads under their wings (using the
malong), but the aggressive males follow them wherever they go.
Cañao. It is a ritual-dance performed during native feasts or celebrations in the highlands
of the Cordilleras in the Luzon area of the Philippines. It is a symbol of triumph or expectation
for abundant crops.
Gangsa. It is an indigenous musical instrument of the Bontoc tribes of Kalinga, Ifugao in
the mountain regions (the Cordillera) of the northern Philippines.
Inamong. It is an ethnic dance among Tigwahanon Manobos in the Province of Bukidnon
and performed during their harvest time. This type of dance shows a couple, with their bodies
and arms slightly bent forward, mimicking the movement of a pair of flirting among monkeys.

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 Kadal Iwas. It is a dance performed by the T-boli and Tausug tribes respectively which
mimic a mealtime of monkeys in removing nits and lice from each other. A variation of this
dance is to mimics a monkey who sits on an anthill by mistake and is attacked by angry ants all
over his body.
Kashawing. It is a ritual among the Maranaos and is performed to ensure a good harvest.
Kinabua. It is ritual dance among the Mandaya tribes in Northern Mindanao. This type of
dance portrays the Hawks’ use of sweet songs to lure out the hen and the chicks that are made
into a meal.
Mamakar. It is a Bontoc War Dance performed during the planting season and a bountiful
harvest.
Man-manok. It is a dance performed in Vigan, Ilocos Sur. This type of dance mimics fowls
wherein a tribal blankets that represent the colorful plumage of wild cocks are shown off by the
warriors who intend on winning the attention of the maiden hen.
Mayvanuvanua. It refers to a sacrificial rite performed at the beginning of the summer
fishing season among mataw fishers in Batanes Island. This type of dance is an act of
invitation to capture the fish dorado successfully.
Mumbaki. It is a local term which refers to the “sayer of prayers” among the Ifugaos in
Northern Luzon. These prayers are performed during funerals, wedding, Thanksgiving, and
other celebrations. This is offered to the supreme deity, Maknongan.
Ngilin. It is a cultural dance performed among the Kalinga tribe during Marriage rituals and
other celebrations like the budong (peace pact). This type of dance is played to simulate the
romantic or peaceful interactions of a rooster and a hen.
Pagdiwata. It refers to a ritual performed among the ethnic group in the north and central
Palawan. The ceremony is held on various occasions including bountiful harvests and
weddings.
Pangalay (also known as Sea Gypsies).It is a native dance of the Badjao performed during
weddings and other social gatherings. This type of dance emphasizes the agility of the upper
body wherein the rhythmic bounce of the shoulder with the simultaneous alternating waving of
arms is the essential movement.
Sampak. It is a war dance performed by the Mandaya tribe. This type of dance requires
excellent skill in the handling of a shield, spear, and a sword.
Saut. It is a ritual dance performed by a male Talaanding tribe presenting their expertise in
style and arts in fighting their opponent. This ritual dance is also an offering to their magbabaya
(god).
Talip. It is a courtship dance among the Ifugao. This is performed during the celebration of
the intaneg (wedding). In this dance, the man traps a woman with an attractive blanket to place
on her shapely shoulders.

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Famous Indigenous Musical Instruments in the Philippines
Aerophones. It refers to any musical instrument which produces sound without the use of
strings or membranes. Examples of these are as follows:
a. Baliing- Nose flutes of the Apayao
b. Bansik - Bamboo flute of the Negrito
d. Kaleleng- a Long bamboo tube of the Bontoc
e. Bulungudyong -Vertical & long flute of the B'laan
f. Kalaleng - Bamboo flute of the Tinggian
g. Lantoy– Nose flute of the Mangyan
h. Palandag (Palendag) – Lip-valley flute of the Bagobo
i. Paldong and Tongali – Lip valley flutes of the Kalinga
j. Pulalo – Lip valley flute of the Mansaka
k. Sahunay - Pipe with reed (clarinet) of the Tausog
Chordophones. It refers to any musical instrument which makes sound by way of trembling
strings stretched between two points. Examples of these are as follows:
a. Faglong – Two-stringed, lute-like instrument of the B'laan
b. Kolitong – Bamboo guitar of the Kalingga
c. Kudlong - Two stringed boat lute of the Bagobo
d. Kudyapi -Two stringed boat lute of the Maranao
e. Kulit-en – Guitar of the Tinggian
f. Pas-ing – Guitar of the Igorot
g. Serongagandi – a Decorated bamboo tube of the Maranao
h. Saludoy –Bamboo guitar of the T’boli
Idiophone. It refers to any musical instrument which produced sound primarily by way of the
instrument's vibrating, without the use of strings or membranes.

a. Afiw –Jaw Harp of the Bontoc

b. Agung - Bossed gong of the Maranao
c. Balingbing – Bamboo buzzer of the Kalingga
d. Bangibang – Percussion bar of the Ifugao
e. Gabbang – Bamboo xylophone of the Tausog
f. Kinaban – Jaw Harp of the Hanunoo
g. Kubing –Jaw Harp of the Ata and Maranao
i. Kulintang - Metal xylophone of the Maranao
j. Kumbing – Jaw Harp of the Manobo
k. Palipal – Bamboo clapper of the Ifugao
l. Tagutok – Decorated bamboo scraper of the Maranao
m. Tanggunggu – Gong chime of the Kalagan, B'laan, Manuvu, Bagobo
n. Tongkaling - Pellet bells or crotal bells of the B’laan
Membranophone. It refers to any musical instrument which produces sound by way of a
vibrating stretched membrane.Most membranophones are drums, such as:
a. Dabakan - Glass shaped drum of the Maranao
b. Gandang – Double headed cylindrical drum of the Maranao
c. Libbit – Conical drum of the Ifugao
d. Sulibao – Conical drum of the Ibaloy

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Importance of Philippine Artistic Handicrafts
The Philippines is abundant in natural resources that scattered throughout its islands. Filipino
artist used the parts of trees, plants, and other natural resources as the raw materials and
turned them into simple, yet useful tools or instruments. This type of work is called Artistic
Handicrafts (sometimes called artisanry). Although this type of art changes from time to time it
is still imperative to continue and is preserve due to the following reasons:
1. It promotes our cultural legacy through the use of indigenous materials.
2. It shows an individual's creativity and superior ingenuity.
3. It encouraged producers to produce more raw materials.
4. It generates employment.
5. It developed values of perseverance and resiliency.
Common Handicraft Materials
Every Filipino family owns handicraft products like baskets, brooms, feather dusters, and
other furniture. Likewise, accessories like earrings, bracelets, necklaces, and other clothing
apparel made from native products such as beads, shells, and seeds. These are clear
indications that our handicraft industry is enjoying the patronage of Filipinos.
Filipino handicraft makers fashion them into accessories, bags, bamboo sofa sets, baskets,
cabinets, clothes, lamp shades, wall décor, and others. The following are the typical materials
needed in the making of Filipino handicrafts:
a. Abaca (Musa Textilis) - It is a tree-like herb resembling the banana plant. It is durable
and dyed in different colors.
b. Bamboo (BambusaSpinosa) - It is for the furniture industry because of its strength
and durability. It is also valuable material for basket and hat making.
c. Buri (CoryphaElata)- It is a palm from which three kinds of fibers, namely buri, raffia,
and until, are taken. It can be dyed merely and woven into many shapes. The buri
leaf is the most flexible material used for making hats, boxes and other novelty items.
d. Caragumoy (Pandanus Simplex) - It is greenish grey as it dries and is used
traditionally in making bags, baskets, hats, and mats.
e. Coconut (CocosNucifera) - It is the most utilized palm in the Philippines. Its
cocomidrib is used primarily as handicraft material for the production of baskets, and
brooms (tingting). The coco shells are used for manufacturing articles such as
buttons, coin banks, lamp shades, pins, and others.
f. Kalas- It is a by-product of the buri palm. Locally, the term "kalas" (which means “to
loosen") refers to the loosened strands of a buri rope. It creates an unusual, rustic
pattern with distinct characteristics from its original material when artistically woven.
g. Leather- It is a material created through the tanning of skins of animals like carabaos,
horses, snakes, alligators, goats, lizards, and others.
h. Pandan-Dagat (PandanusTectorius) - It is a variety of screw pine abundantly
distributed along sandy beaches and coastal brushes in the Philippines.
i. Rattan (Calamus Maximus) - It is the most flexible material used in the manufacturing
industry and been known to extend up to hundreds of meters long.
j. Seagrass (RhynchosporaCorymbosa) – It is a type of grass in shallow salty and
brackish waters. The stems are distinctly triangular, and the leaves are broad and
long.

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Traditional Handiwork in the Philippines
The following are some handicrafts in the different regions of the Philippines:
1. Jewelry (Central Luzon, Southern Luzon, and Mindanao Regions). This handicraft is
mostly in Central Luzon region, mainly from the province of Bulacan. You can also
find related of this from Mindanao regions, but down south, you can even get powerful
brass amulets and other accessories.
2. Metal Craft (Southern Luzon and Mindanao Regions). This type of handicraft is in
Southern Luzon region, particularly in the province of Batangas. A very popular metal
craft which is locally and internationally as an excellent source for a portable knife is
called Balisong. Traditional weapons made from brass, bronze, and gold, are also
abundant in the island of Mindanao.
3. Pots and Jars (Ilocos Region).The pots and jars known as burnay can found explicitly
in the province of Ilocos Sur. These creations are made from Grade A clay through a
method that has been practiced by locals since the pre-colonial times.
4. Woven fabrics (Mindanao Regions). These fabrics are woven traditionally, by
interlacing threads using a manual machine called a loom. One of the common
materials in this region is called malong which is historically used as a skirt and
sometimes as a blanket.
6. Wood Carvings (Cordillera and Southern Luzon Regions). Fantastic wood carvings
produced by the Ifugao in the northern region of the Cordilleras. Often, these wood
carvings are depicting their indigenous gods. Excellent kitchenware like wooden
bowls and utensils are in this region.

READINGS / REFERENCES:
1. Dr. Lamucho, Victoria Santos et al. (2003) Introduction to Humanities. Valenzuela City.
Mutya Publishing House.
2. Bascara, Linda R. and Adela Avillanoza. (2006). Humanities and the Digital Arts. Manila.
Rex Bookstore.
3. Ortiz, M. A., Erestain, T., Guillermo, A., Montano, M., & Pilar, S. A. (1976). Art:
Perception and Appreciation. JMC PRESS, Inc.
4. Sanchez, Custodia A., Paz F. Abad, and Loreto V. Jao. Introduction to the Humanities
Revised Edition. Rex Bookstore.
5. Lumen Learning. (n.d.). Introduction to Art Concepts, SAC, ART100 | Simple Book
Production. Retrieved August 4, 2020, from https://courses.lumenlearning.com/sac-
artappreciation/
ACTITVITIES/ASSESSMENT:

1. Quiz: For online classes, quiz will be given through Google forms in Google classroom;
while for Modular mode, they will have the quiz file in their flash disk.

108
 UNIT 6 – THE VISUAL ARTS
OVERVIEW:
“Every artist dips his brush in his own soul, and paints his own nature into his own nature,
into his pictures” –Henry Beecher

The Visual Arts include a wide array of media, tools and processes. The areas most people
associate with the visual arts include drawing, painting, printmaking, sculpture and photography.
The previous units have discussed the different medium and elements concerned with the visual
arts. This unit attempts to help students have a deeper understanding of the visual arts.

LEARNING OUTCOMES: After successful completion of this unit, you should be able to:

1. Identify the elements of Painting;

2. Show the importance of the color wheel;
3. Convey an idea about the symbolism and meaning of the colors; and
4. Demonstrate knowledge about the mediums in Painting and its characteristics
5. Evaluate the Composition of a Painting and its remarkable features
6. Examine the characteristics and medium of a basic Sculpture.

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COURSE MATERIALS:
LESSON 15: PAINTING

Painting is the expression of ideas and emotions, with the creation of certain aesthetic
qualities, in a two-dimensional visual language. The elements of this language—its shapes,
lines, colours, tones, and textures—are used in various ways to produce sensations of volume,
space, movement, and light on a flat surface. These elements are combined into expressive
patterns in order to represent real or supernatural phenomena, to interpret a narrative theme, or
to create wholly abstract visual relationships. An artist’s decision to use a particular medium,
such as tempera, fresco, oil, acrylic, watercolour or other water-based paints, ink, gouache,
encaustic, or casein, as well as the choice of a particular form, such as mural, easel, panel,
miniature, manuscript illumination, scroll, screen or fan, panorama, or any of a variety of modern
forms, is based on the sensuous qualities and the expressive possibilities and limitations of
those options. The choices of the medium and the form, as well as the artist’s own technique,
combine to realize a unique visual image.

FORMS OF PAINTING

Mural painting
 Mural painting has its roots in the primeval instincts of people to decorate their
surroundings and to use wall surfaces as a form for expressing ideas, emotions, and
beliefs. In their universal manifestation in graffiti and in ancient murals, such as cave
paintings and protodynastic Egyptian frescoes, symbols and representational images
have been spread freely and indiscriminately across walls, ceilings, and floors. But, in
more disciplined attempts to symbolize the importance and function of particular
buildings through their interior decoration, murals have been designed for the restricted
framework of specific surface areas. They therefore have to be painted in close
relationship to the scale, style, and mood of the interior and with regard to such siting
considerations as light sources, eye levels, the spectators’ lines of sight and means of
approach, and the emotive scale relationship between spectators and the painted
images.

Easel and panel painting

 The easel, or studio, picture was a form developed during the Renaissance with the
establishment of the painter as an individual artist. Its scale and portability enabled
European artists to extend the range of themes, previously restricted to those suitable to
mural decoration. Easel and panel forms include still life, portraiture, landscape, and
genre subjects and permit the representation of ephemeral effects of light and
atmosphere that the more intimate forms of Asian art had already allowed the painters of
scrolls, screens, and fans to express. Although easel paintings are occasionally
commissioned for a special purpose, they are generally bought as independent art
objects and used as decorative focal features or illusionary window views in private
homes. They are also collected as financial investment, for social prestige, for the
therapeutic escapism their subject may provide, or purely for the aesthetic pleasure they
afford.

110
  Panel paintings, by strict definition, are small pictures designed for specific sacred or
secular purposes or as part of a functional object. Although these wooden boards are
sometimes categorized as a form of “decorative” rather than “fine” art, the best examples
justify their place in museums alongside great easel paintings. Among the functions they
originally served were as predellas (the facings to altar-step risers); devotional and
ceremonial icons; portable, folding diptych and triptych altarpieces; shop and tavern
signboards; mummy cases; and panel decorations of carriages, musical instruments,
and cassoni. Many of them were painted by acknowledged masters, such as Fra
Angelico, Paolo Uccello, and Antoine Watteau, as well as by anonymous folk artists.

Miniature painting
 Miniature painting is a term applied both to Western portrait miniatures and to the Indian
and Islamic forms of manuscript painting discussed below. Portrait miniatures, or
limnings, were originally painted in watercolour with body colour on vellum and card.
They were often worn in jewelled, enamelled lockets. Sixteenth-century miniaturists,
such as Hans Holbein the Younger, Jean Clouet, Nicholas Hilliard, and Isaac Oliver,
painted them in the tradition of medieval illuminators. Their flat designs, richly textured
and minutely detailed, often incorporated allegorical and gilded heraldic motifs. In 17th-
and 18th-century Western portrait miniatures, the two-dimensional pattern of rich colours
was developed by atmospheric tonal modeling into more naturalistic representations;
these were sometimes in pastel and pencil or painted in oils on a metal base.
Pantographs (reducing and enlarging copying instruments made on the lazy-tongs lever
principle) might be used to transfer a drawing. Among the exponents of this naturalistic
style were Francisco Goya, Fragonard, Samuel Cooper, and François Dumont. The
introduction of painted ivory miniatures was followed, in the 19th century, by a decline in
aesthetic standards, although a classical simplicity was achieved by unsophisticated
itinerant limners and by the German miniaturist Patricius Kittner. The painted miniature
was eventually superseded by the small, hand-tinted photograph.

Scroll painting
 Hand scrolls, traditional to China and Japan, are ink paintings on continuous lengths of
paper or silk. They are unrolled at arm’s length and viewed from right to left. These
generally represent panoramic views of rivers, mountain and urban landscapes, and
domestic interiors. They also illustrate romantic novels, Daoist and Buddhist themes,
and historical and genre subjects. Narrative poetic commentaries were included as
integral textures in the flowing design. The scrolls are remarkable for their vitality, the
lyrical representation of atmospheric space, and for the rising and dipping viewpoints
that anticipate the zooming motion-picture camera. The earliest surviving scrolls, such
as Gu Kaizhi’s The Admonitions of the Court Instructress, date from the 4th century AD.
Asian hanging scrolls and Indian and Tibetan temple banners are forms similar to those
of Western easel and panel paintings. Their subjects range from the seasons, domestic
interiors, landscapes, and portraits to Vishnu epics, mandalas (symbolic diagrams of the
universe), and temple icons. They are painted in ink or gouache on silk and paper and
are usually mounted on embroidered or block-printed silk. The dramatic interplay of bold,
flattened images against the open space of an unpainted or gilded ground influenced
19th-century Western Art Nouveau decoration.

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Screen and fan painting
 Folding screens and screen doors originated in China and Japan, probably during the
12th century (or possibly earlier), and screen painting continued as a traditional form into
the 20th. They are in ink or gouache on plain or gilded paper and silk. Their vivid
rendering of animals, birds, and flowers and their atmospheric landscapes brought
nature indoors. In some screens each panel was designed as an individual painting,
while in others a continuous pattern flowed freely across the divisions. Japanese
screens were often painted in complementary yin and yang pairs. Large 12-panel
Chinese coromandel lacquer screens were imported into Europe during the 17th and
18th centuries. French Rococo boudoir screens depicting fêtes champêtres
(townspeople enjoying rural surroundings) and toile de Jouy (landscape or floral)
pastoral themes were painted on silk or on wood panels in a flamboyantly scrolled,
gilded framework. The designs of Art Nouveau screens were inspired by the Japanese
tradition. Sidney Nolan’s screens on Greek themes and the pastiches of Victorian paper-
scrap screens by Pop art painters are recent Western revivals. Traditional to the Greek
and Russian Orthodox churches is the iconostasis screen, which stands between the
nave and sanctuary and displays icon panel paintings representing the Virgin, the saints,
and narrative subjects.

Panoramas
 Panoramas were intended to simulate the sensation of scanning an extensive urban or
country view or seascape. This form of painting was popular at the end of the 18th
century. Notable examples are The Battle of Agincourt (1805), by R.K. Porter, and the
Mesdag Panorama (1881), by Hendrik Willem Mesdag. Panoramas might be compared
to Cinerama films and enjoyed as a stimulating optical entertainment, along with
cyclorama drums (large pictorial representations encircling the spectator), trompe l’oeil
diorama peep shows, and the show box, for which Thomas Gainsborough painted glass
transparencies. More serious forms of panoramic painting are exemplified in Chinese
Buddhist sanctuary frescoes, Asian hand scrolls, Dürer’s watercolour townscapes,
Andrey Rublyov’s 14th-century mural of Moscow, and Uccello’s original sequence of
three panels depicting the Battle of San Romano.

Modern forms
 The concept of painting as a medium for creating illusions of space, volume, texture,
light, and movement on a flat, stationary support was challenged by many modern
artists. Some late 20th-century forms, for example, blurred the conventional distinctions
between the mediums of sculpture and painting. Sculptors such as David Smith,
Eduardo Paolozzi, and Philip Sutton made multicoloured constructions; painters such as
Jean Arp and Ben Nicholson created abstract designs in painted wood relief, and
Richard Smith painted on three-dimensional canvas structures the surfaces of which curl
and thrust toward the spectator. And, rather than deny the essential flatness of the
painting support by using traditional methods of representing volume and texture, Robert
Rauschenberg and Jim Dine attached real objects and textures to the painted surface,
and Frank Stella and Kenneth Noland designed their irregularly shaped canvases to be
seen as explicitly flat art objects. Rejecting earlier painting methods of reproducing
effects of light with tonal contrasts and broken pigment colour, some artists made use of
neon tubes and mirrors. Instead of simulating sensations of movement by optical illusion,
others designed kinetic panels and boxes in which coloured shapes revolved under

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 electric power. The traditional definition of painting as a visual, concrete art form was
questioned by Conceptual art, in which the painter’s idea might be expressed only in the
form of documented proposals for unrealized and often unrealizable projects. In
performance art and happenings, which employed techniques akin to those used in
theatre, the artists themselves became a kind of medium.

Portraiture
 The earliest surviving portraits of particular persons are probably the serene, idealized
faces painted on the front and inside surfaces of dynastic Egyptian sarcophagi. The
human individuality of the Roman mummy portraits of the 1st and 2nd century AD,
however, suggests more authentic likenesses. Although portraits are among the highest
achievements in painting, the subject poses special problems for the artist
commissioned to paint a notable contemporary. The portraits of patrons by artists such
as Raphael, Rubens, Hyacinthe Rigaud, Antoine-Jean Gros, Jacques-Louis David, and
Sir Thomas Lawrence were required to express nobility, grace, and authority, just as the
sultans and rajahs portrayed on frontispieces to Persian and Indian illuminated books
and albums had understandably to be flattered as benevolent despots. Such
concessions to the sitter’s vanity and social position seem to have been disregarded,
however, in the convincing likenesses by more objective realists such as Robert
Campin, Dürer, Jan van Eyck, Velázquez, Goya, and Gustave Courbet. Probably the
finest are the self-portraits and studies of ordinary people by Rembrandt and van Gogh,
where psychological insight, emotional empathy, and aesthetic values are fused. A more
decorative approach to the subject is seen in the flattened portraits by Holbein, the
Elizabethan and itinerant naïve U.S. limners, and the East Asian paintings of ancestors,
poets, priests, and emperors. Like these paintings, the full-length portraits by Boucher,
Gainsborough, Kees van Dongen, and Matisse display as much regard for the texture
and form of their sitters’ dress as for their facial features.

Landscape
 Idealized landscapes were common subjects for fresco decoration in Roman villas.
Landscape painting (as exemplified by a Chinese landscape scroll by Gu Kaizhi dating
from the 4th century) was an established tradition in East Asia, where themes such as
the seasons and the elements held a spiritual significance. In Europe, imaginary
landscapes decorated 15th-century Books of Hours. The first naturalistic landscapes
were painted by Dürer and Bruegel. Landscapes appeared in most Renaissance
paintings, however, only as settings to portraits and figure compositions. It was not until
the 17th-century Dutch and Flemish schools—of Rembrandt, Jacob van Ruisdael,
Meindert Hobbema, Aelbert Cuyp, Rubens, and Hercules Seghers—that they were
accepted in the West as independent subjects. The most significant developments in
19th-century painting, however, were made through the landscapes of the
Impressionists and the Neo-Impressionists and Post-Impressionists. Styles in landscape
painting range from the tranquil, classically idealized world of Poussin and Claude, the
precise, canal topography of Francesco Guardi and Canaletto and the structural
analyses of Cézanne to the poetic romanticism of Samuel Palmer and the later
Constables and Turners and the exultant pantheism of Rubens and van Gogh. Modern
landscapes vary in approach from the Expressionism of Oskar Kokoschka’s cities and
rivers, Maurice de Vlaminck’s wintry countrysides, and John Marin’s crystalline
seascapes to the metaphysical country of Ernst, Dalí, and René Magritte and the semi-

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 abstract coastlines of Nicolas de Stael, Maria Elena Vieira da Silva, and Richard
Diebenkorn.

Still life
 The earliest European still-life painting is usually attributed to Jacopo de’ Barbari (i.e.,
Dead Bird, 1504). In Western paintings, still life often appears as a minor feature of the
design; but until the 17th century it was not generally painted for its own sake, although it
was already traditional to East Asian art. The subject is particularly associated with
northern European painting, and the choice of objects very often has a religious or
literary significance: wine, water, and bread symbolizing the Passion; skulls,
hourglasses, and candles, the transience of life; and selected flowers and fruits, the
seasons. Flower painting, especially, held a spiritual and emotional meaning for
Japanese artists and for 19th-century European painters, such as Odilon Redon, Paul
Gauguin, and van Gogh. Still life has been expressed in many different ways: Giuseppe
Arcimboldo’s witty arrangements of fruit, flowers, and vegetables made into fantastic
allegorical heads and figures; the sensuous representation of food by Frans Snyders,
Goya, and William Merritt Chase; the trompe l’oeil illusionism of Alexandre-François
Desportes and William Harnett; the formal decoration of folk artists or untrained artists
such as Henri Rousseau and Séraphine and of modern painters such as Matisse, Dufy,
and Pat Caulfield; the semi-abstract designs of Picasso, Gris, and William Scott; and,
probably at its highest level of expression, the majestic still lifes of Chardin, Cézanne,
and Giorgio Morandi.

CLASSIFICATIONS OF PAINTING STYLES

Part of the desire in painting particularly in the 21st century is the variety of available art
styles. The style in painting is in two senses: it can refer to the distinctive visual elements,
techniques, and methods that characterized one’s artwork, and can refer to the movement or
school that associated to the artists. Such classifications include the following styles:

a. Western Styles

Abstraction. It is an art in painting which does not attempt to represent an accurate

depiction of a visual reality but instead use colors, shapes, forms and gestural marks to achieve
its effect. It may be formed by reducing the observable phenomenon, typically to retain only
information which is relevant for a particular purpose.

Expressionism. It is sometimes called emotional realism. In this style, the artists sought to
express meaning or emotional experience rather than physical truth.

Baroque. It is characterized by dynamism (a sense of motion), which is augmented by

extravagant effects (e.g., sharp curves, rich decoration). Among the most significant Baroque
painters areCaravaggio, Rembrandt, Rubens, Velazquez, Poussin, and Vermeer.

Impressionism. It is a type of art presenting the real-life subject with emphasis on the
impression left in the artist’s perception, particularly the effect of light on the object used as a
subject.

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 Modernism. It is characterized by a cautious rejection of the styles of the past and
emphasizing innovation and experimentation of materials and techniques instead to create
better artworks.

b. Modern Styles

Realism. It is a style of painting practiced before the invention of the camera, where artists
depicted landscapes and humans with as much attention to detail and precision as possible.
The artist’s primary goal is to describe accurately and truthfully as possible what is observed.

Symbolism. It is an art that represents the subject symbolically. For instance, the
“Spolarium” painting of Juan Luna depicts the suffering of the Filipino people from the hands of
the Spaniards. Many works of art included by some writers who cover the Symbolist era were
produced in the middle of the century, or even before.

Fauvism. It refers to art that used brilliant primary colors or color illumination on subjects
like pictures to emphasize comfort, joy, and leisure. It comes from the French word fauves,
meaning “wild beasts” (this name refers to a small group of painters in Paris who exhibited
works notable for the bold and expressive use of pure color).

Cubism. It is a form of abstraction wherein the object is first reduced to cubes and then
flattened into two-dimensional shapes. It has been considered the most influential and powerful
art movement during the 20th century in Paris established by Georges Braque and Pablo
Picasso.

Surrealism. It is a type of art wherein the artist creates dreamlike paintings that filled with
mysterious objects. It is the opposite of abstraction that attempts to portray the conscious mind
through unconventional means

READINGS / REFERENCES:
1. Dr. Lamucho, Victoria Santos et al. (2003) Introduction to Humanities. Valenzuela City.
Mutya Publishing House.
2. Bascara, Linda R. and Adela Avillanoza. (2006). Humanities and the Digital Arts. Manila.
Rex Bookstore.
3. Ortiz, M. A., Erestain, T., Guillermo, A., Montano, M., & Pilar, S. A. (1976). Art:
Perception and Appreciation. JMC PRESS, Inc.
4. Sanchez, Custodia A., Paz F. Abad, and Loreto V. Jao. Introduction to the Humanities
Revised Edition. Rex Bookstore.
5. Lumen Learning. (n.d.). Introduction to Art Concepts, SAC, ART100 | Simple Book
Production. Retrieved August 4, 2020, from https://courses.lumenlearning.com/sac-
artappreciation/
6. Britanica https://www.britannica.com/art/painting/Forms-of-painting

ACTITVITIES/ASSESSMENT:
1. ACTIVITY 1: DRAW –Draw or Paint any objects in a canvass (any size), using different
mediums and colors.
2. Quiz: For online classes, quiz will be given through Google forms in Google classroom;
while for Modular mode, they will have the quiz file in their flash disk.

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COURSE MATERIALS:
LESSON 16: SCULPTURE

Sculpture is from the Latin word sculpere which means “to carve.” The tools used in
sculpture are varied and is changing throughout history. It engages our sense differently than
paintings because it occupies space as a three-dimensional mass through carving, casting
modeling or assembling materials (Sheldon, 1968). It has sought to produce artworks that are
as permanent and is working in durable and expensive materials such as bronze granite,
limestone, marble, and stone. More rarely, precious metals such as gold, ivory, jade, and silver
were used for chryselephantine works. More common and less expensive materials were also
used for broader consumption, like cast metals, ceramics, glass, and hardwoods.

The sculpture has long been one of the most popular forms of fine arts and one of the most
beautiful representations of the humankind. It was also used to represent societal concerns,
such as morality, politics, and religion (Witcombe, 1997). For many of years, scuplture has filled
many roles in human life. For example, the earliest sculpture was made to supply magical help
to trackers, to represent gods, and to hope of making their ancient kings becomes immortal.

Most common purpose of sculpture during the ancient time is associated with religion.
Different images like a human-made object revered for the spirit are familiar in many cultures.
One of the oldest sculptures discovered is an ivory statuette, dating approximately 30,000 BCE
from a cave at Hohlenstein-Stadel, Germany called Löwenmensch (which means a“lion-
human”). This Paleolithic period statue is about 12” tall and depicts a human figure with a feline
face.

Another very iconic and famous piece of sculpture is “the Sphinx” of Egypt. This sculpture
of an image of the pharaoh Khafreand is part of a funerary complex for the pharaoh. Egyptian
sculpture and all Egyptian art were on the belief in a life after death wherein the body of their
ruler (the pharaoh) was preserved carefully and buried with some goods with him to provide for
his needs forever. The Egyptians often combined features from various creatures to symbolize
ideas. For example, the head of the pharaoh Khafre is added to the bowing figure of a lion to
form the Great Sphinx. This type of masterpiece suggests the combination of human
intelligence and animal strength. The Great Sphinx of Egypt is an enormous sandstone
sculpture, measuring 240’ ft. Long and 65’ ft. High.

IMPORTANCE OF SCULPTURE

The sculpture is a perceptive-regeneration of reality through the use of three-dimensional

form. As a specialized work of art, its objective is to exemplify a concept by forming a visual
equivalent. Since the shape is the dominant characteristic of sculptures, the human body and
animals have been its primary subject. They are constructed using bronze, clay, ivory as their
mediums.

Likewise, the making of Sculpture is with the idea of expressing religious, personal, and
political views. This kind of artwork is meant to create a sense of patriotism, pride, greatness
and spiritual respect. Statues and sculptures have always been an integral part of museums
and art history. They become more popular as decoration items in private homes and office
facilities. Sculptures and miniatures have also become more popular as decoration items, and in
the long term, valuable art investments.

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Types of Sculptures

Bust. A bust is a sculpted and painted representation of the upper part of the human figure
such as the head, neck, shoulders, chest or breast.

Statue. A statue is a life-size or a larger size of a sculpture of a person or an animal, made

of metal, stone or wood. The world's tallest statue is the 420 feet (128 meters) Spring Temple
Buddha in Henan, China.

Architectural. Architectural sculpture is a universal classification used to describe a

structural design such as buildings, bridges, burial chamber and other big projects. It is from a
brand of materials which includes carved stone such as brownstone, cast iron, machine pressed
sheet zinc, terra cotta, concrete and other architectural supplies.

Techniques

Sculpture techniques have the aim of providing practical and technical support through
several procedures. These processes are either additive (added material) or subtractive
(material is removed or carved out). Sculptures primarily use four basic techniques, namely:

Carving. It is a procedure in which the artists cut away objects until reached the desired
form. Various tools are used, depending the materials to be carved and the statue to which the
work has progressed.
a. Stone carving- It is a type of sculpture which requires patience and planning. It is a
shaping activity of pieces of rough natural stone through the use of essential hand
tools like hammer and chisel.
b. Wood carving- It is the art of shaping objects of wood using cutting tools. It is done
through a specialized carving knife (used to cut or smooth the wood), the slicer saw
(used to cut off chunks of wood), the chisel (used for lines and cleaning up flat
surfaces), and the gouge (used in carving hollows, rounds, and sweeping curves).

Casting. Casting is a method by which a liquid material is usually poured into a frame or
pattern, which contains a hollow cavity of the desired shape, and then allowed to harden. It has
two types, namely:
a. Glass casting- It is a shaping activity of pieces of rough natural stone through the use
of essential hand tools like hammer and chisel.
c. Slip casting- It is a technique for the mass-production of pottery, especially for
shapes not easily made on a wheel.

Molding. Molding sculpture is an additive process. It is the working of soft or plastic

materials(like clay and wax) by hand to build up or shape to create a form.

Assembling. Assembling is an additive process of gathering and joining different materials

to create an assembled artwork. An example of assemblage is Martin Puryear's network of
welded and sandblasted stainless steel tubes whose joints are bound together by strands of
silver and patented bronze.

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Basic Sculpture Terms

a. Armature- It is skeleton-like framework used to support the building of paper-mâché,

usually made or stiff wire.
b. Assemblage- It is a three-dimensional art assembly of various materials, often taken
from scraps, junk, or various natural or human-made objects.
d. Base- It is the portion of the work on which the sculpture rest.
e. Craftsmanship- It is a skill with which one uses tools and materials in producing art.
f. Plaster of Paris- It is an excellent white powder which sets hard when blended in the
water.
g. Freestanding- It refers to a method when a sculpture is intended to view from all
sides.
h. Manipulation- It is a process of shaping an object by a skilled worker.
i. Replica- It refers to a precise reproduction of an artwork.

READINGS / REFERENCES:
1. Dr. Lamucho, Victoria Santos et al. (2003) Introduction to Humanities. Valenzuela City.
Mutya Publishing House.
2. Bascara, Linda R. and Adela Avillanoza. (2006). Humanities and the Digital Arts. Manila.
Rex Bookstore.
3. Ortiz, M. A., Erestain, T., Guillermo, A., Montano, M., & Pilar, S. A. (1976). Art:
Perception and Appreciation. JMC PRESS, Inc.
4. Sanchez, Custodia A., Paz F. Abad, and Loreto V. Jao. Introduction to the Humanities
Revised Edition. Rex Bookstore.

ACTITVITIES/ASSESSMENT:
1. ACTIVITY 1: Paper Sculpture –Be creative. Using pieces of paper make a Paper
Sculpture

2. Quiz: For online classes, quiz will be given through Google forms in Google classroom;
while for Modular mode, they will have the quiz file in their flash disk.

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COURSE MATERIALS:
LESSON 17: PHOTOGRAPHY

Before photography, painted portraits were afforded only to the wealthy and most
prominent members of society. They became symbols of social class distinctions. Now portraits
became available to individuals and families from all social levels.

The advent of photography caused realignment in the use of other two-dimensional media.
The photograph was now in direct competition with drawing, painting and printmaking. The
camera turns its gaze on the human narrative that stands before it. The photograph gave (for
the most part), a realistic and unedited view of our world. In its early beginning, photography
was considered to offer a more “true” image of nature because it was created mechanically, not
by the subjective hand of an artist. Its use as a tool for documentation was immediate, which
gave the photo a scientific role to play. (adapted from https://courses.lumenlearning.com/).

THE COMPOSITION OF PHOTOGRAPHY

Photography is the process of making pictures by means of capturing light on a light-

sensitive medium, such as a sensor or film. Light patterns reflected or emitted from objects are
recorded onto a sensitive medium or storage chip through a timed exposure. The most common
process is done through mechanical, chemical or digital devices known as cameras.

Introduction to Photography

The word comes from the Greek words phos "light", and graphis "stylus", "paintbrush" or
"representation by means of lines" or "drawing", together meaning "drawing with light."
Traditionally the product of photography has been called a photograph. The term photo is an
abbreviation; many people also call them pictures. In digital photography, the term image has
begun to replace photograph the term image is traditional in geometric optics.

The word “photography” was first used by Sir John Herschel in 1839, the year the invention
of the photographic process was made public.

A Brief History of Photography and the People Who Made It Succeed

Color photography started to become popular and accessible with the release of Eastman
Kodak’s “Kodachrome” film in the 1930s. Before that, almost all photos were monochromatic –
although a handful of photographers, toeing the line between chemists and alchemists, had
been using specialized techniques to capture color images for decades before. You’ll find
some fascinating galleries of photos from the 1800s or early 1900s captured in full color, worth
exploring if you have not seen them already.

These scientist-magicians, the first color photographers, are hardly alone in pushing the
boundaries of one of the world’s newest art forms. The history of photography has always been
a history of people – artists and inventors who steered the field into the modern era.

Below, is a brief introduction to some of photography’s most important names. Their

discoveries, creations, ideas, and photographs shape our own pictures to this day, subtly or not.
Although this is just a brief bird’s-eye view, these nonetheless are people you should know
before you step into the technical side of photography:

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1. Joseph Nicéphore Niépce
 Invention: The first permanent photograph (“View from the Window at Le Gras,” shown
earlier)
 Where: France, 1826
 Impact: Cameras had already existed for centuries before this, but they had one major
flaw: You couldn’t record a photo with them! They simply projected light onto a separate
surface – one which artists used to create realistic paintings, but not strictly photographs.
Niépce solved this problem by coating a pewter plate with, essentially, asphalt, which
grew harder when exposed to light. By washing the plate with lavender oil, he was able
to fix the hardened substance permanently to the plate.
 Quote: “The discovery I have made, and which I call Heliography, consists in
reproducing spontaneously, by the action of light, with gradations of tints from black to
white, the images received in the camera obscura.” Mic drop.

2. Louis Daguerre
 Invention: The Daguerreotype (first commercial photographic material)
 Where: France, 1839
 Impact: Daguerreotypes are images fixed directly to a heavily polished sheet of silver-
plated copper. This invention is what really made photography a practical reality –
although it was still just an expensive curiosity to many people at this point. If you’ve
never seen daguerreotypes in person, you might be surprised to know just
how sharp they are.
 Quote: “I have seized the light. I have arrested its flight.”

3. Alfred Stieglitz
 Genre: Portraiture and documentary
 Where: United States, late 1800s through mid 1900s
 Impact: Alfred Stieglitz was a photographer, but, more importantly, he was one of the
first influential members of the art community to take photography seriously as a creative
medium. He believed that photographs could express the artist’s vision just as well as
paintings or music – in other words, that photographers could be artists. Today’s
perception of photography as an art form owes a lot to Stieglitz.
 Quote: “In photography, there is a reality so subtle that it becomes more real than
reality.”

4. Dorothea Lange
 Genre: Portrait photography
 Where: United States, 1930s
 Impact: One of the most prominent documentary photographers of all time, and the
photographer behind one of the most influential images of all time (shown below), is
Dorothea Lange. If you’ve ever seen photos from the Great Depression, you most likely
have seen some of her work. Her photos shaped the field of documentary photography
and showed the camera’s potential for power more than almost anyone else in history.
 Quote: “The camera is an instrument that teaches people how to see without a camera.”

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 “Migrant Mother,” Dorothea Lange’s most famous photograph

5. Ansel Adams
 Genre: Landscape photography
 Where: United States
 When: 1920s to 1960s (for most of his work)
 Impact: Ansel Adams is perhaps the most famous photographer in history, which is
remarkable because he mainly took pictures of landscapes and natural scenes.
(Typically, famous photographers have tended to photograph people instead.) Ansel
Adams helped usher in an era of realism in landscape photography, and he was an early
champion of the environmentalism and preservation movements in the United States.
 Quote: “There is nothing worse than a sharp image of a fuzzy concept.”

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Photographic Cameras

The camera is the image-forming device, and photographic film is the recording medium. A
camera works somewhat like the human eye, capturing reflected light from objects and through
a camera lens and focusing those light rays into an image. Traditionally cameras recorded the
image onto film. More recently through the development of computer chips, many cameras
capture their images on a computer chip. The computer chip then allows the conversion of the
image to digital data. Regardless of whether the photography is film or digital-based, the images
can be made permanent and seen by an unlimited number of people.

Photographers control the camera and lens to "expose" the light recording material usually
film or a charge-coupled device; a complementary metal-oxidesemiconductor may also be used
to the required amount of light. After processing, this produces an image.

Types of Camera

1. SLR Single Lens Reflex: The viewfinder sees the same image as the main lens, i.e. what
you see is what you get. SLRs also allow you to change lenses for different purposes. This is a
hugely popular type of camera, pretty much the standard for enthusiasts and professionals.

2. Viewfinder or range finder: In this type of camera the viewfinder is separate to the lens.
This is common in cheap cameras, although some professional cameras also use this
configuration. The main problem with a separate viewfinder is that the image you see may not
be quite the same as the image that gets recorded. This limitation is overcome in professional
cameras by using viewfinders that compensate for the different positions. Viewfinder cameras
do have some advantages; for example, lower noise and higher light levels to the viewfinder.
3. Twin reflex: The camera has two lenses — one for the photograph and one for the
viewfinder. This type of camera has certain advantages in some professional situations.

4. View: A flexible bellows joins two standards — one with the lens and the other with the
viewfinder or film. This allows for unusual types of composition; for example, distorting the
shape of the image by skewing the film plane

5. Pinhole: A very simple camera without a lens.

Uses of Photography

Photography is practiced on a professional level for portraiture and for various commercial
and industrial applications, including the preparation of photographs for advertising, illustration,
display, and record-keeping. Press photography is for newspaper and magazine illustrations of
topical events and objects. Photography is used at several levels in the graphic arts to convert
original photographs or other illustrations into printing plates for high-quality reproduction in
quantity. Industrial photography includes the generation and reproduction of engineering
drawings, high-speed photography, and many other forms of technical photography, which can
aid in the development, design, and manufacture of various products. Aerial photography is
used for military investigation and mapping, civilian mapping, urban and highway planning, and
surveys of material resources. Biomedical photography is used to reveal or record biological
structures, often of significance in medical research, diagnosis, or treatment. Photography is
widely applied to preparing projection slides and other displays for teaching through visual
education.

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 Photography is one of the most important tools in scientific and technical fields. It extends
the range of vision, allowing records to be made of things or events which are difficult or
impossible to see because they are too faint, too brief, too small, or too distant, or associated
with radiation to which the eye is insensitive. Technical photographs can be studied at leisure,
measured, and stored for reference or security. The acquisition and interpretation of images in
scientific and technical photography usually requires direct participation by the scientist or
skilled technicians.

THE COMPOSITION OF PHOTOGRAPHY

Aside from a camera and film, photography requires the following:

1. SUBJECT. This is the main focus of your photograph. It is what you want your viewers to see
first when they see the image. It can be a still life, portrait, landscape, human interest, lights or
distorted figures. It is usually the sharpest object in the photograph.

2. BACKGROUND AND FOREGROUND. What is in front of your subject is the foreground.

What is behind your subject is your background. When taking a photo of your subject, you
should study in first in relation to its foreground and background to make sure they do not
contrast strongly with the focal point of the photograph. Sometimes, the background is the blur
effect or a mix of colors.

3. RULE OF THIRDS. The rule of thirds involves mentally dividing up your image using 2
horizontal lines and 2 vertical lines, as shown below. You then position the important elements
in your scene along those lines, or at the points where they meet. The idea is that an off-centre
composition is more pleasing to the eye and looks more natural than one where the subject is
placed right in the middle of the frame. It also encourages you to make creative use of negative
space, the empty areas around your subject.

When framing a photo, imagine the scene divided up as above. Think about what elements
of the photo are most important, and try to position them at or near the lines and intersections of
the grid. They do not have to be perfectly lined up as long as they are close.

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 In landscape shots, it is common to position the horizon along the centre of the frame, but
this can give the photo a "split in two" feel. Instead, place it along one of the horizontal lines.
Try to include another interesting object, such as the tree in the photo above, and position it
according to the rule of thirds. This provides an "anchor", a natural focal point for the scene.

4. LIGHTING
Lighting is a key factor in creating a successful image. Lighting determines not only
brightness and darkness, but also tone, mood and the atmosphere. Therefore it is necessary to
control and manipulate light correctly in order to get the best texture, vibrancy of colour and
luminosity on your subjects. By distributing shadow and highlights accurately, you can create
stylized professional looking photographs.

Creator: Jan Zeman Copyright: © Jan Zeman, 2015 Information extracted from IPTC Photo Metadata.

5. MOTION

Motion photography defies some of the standard rules and if you do not know the basics of
capturing motion, you miss the moment at the blink of an eye. Sometimes instead of freezing a
moment, we would like to show the movement that we sometimes crave as an afterthought from
still photographs. The storytelling element makes photographs showing motion that much more
interesting.

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KINDS OF PHOTOGRAPHY

Infrared Photography

Emulsions made with special sensitizing dyes can respond to radiation at wavelengths up to
1200 nanometers, though the most common infrared films exhibit little sensitivity beyond 900
nm. One specialized color film incorporates a layer sensitive in the 700–900-nm region and is
developed to false colors to show infrared-reflecting subjects as bright red.

Photographs can thus be made of subjects, which radiate in the near-infrared, such as stars,
certain lasers and light-emitting diodes, and hot objects with surface temperatures greater than
500°F 260°C). Infrared films are more commonly used to photograph subjects, which selectively
transmit or reflect near-infrared radiation, especially in a manner different from visible radiation.
Infrared photographs taken from long distances or high altitudes usually show improved clarity
of detail because atmospheric scatter haze is diminished with increasing wavelength and
because the contrast of ground objects may be higher as a result of their different reflectance in
the near-infrared. Grass and foliage appear white because chlorophyll is transparent in the
near-infrared, while water is rendered black because it is an efficient absorber of infrared
radiation.

Ultraviolet Photography

Two distinct classes of photography rely on ultraviolet radiation. In the first, the recording
material is exposed directly with ultraviolet radiation emitted, reflected, or transmitted by the
subject; in the other, exposure is made solely with visible radiation resulting from the
fluorescence of certain materials when irradiated in the ultraviolet. In the direct case, the
wavelength region is usually restricted by the camera lens and filtration to 350–400 nm, which is
readily detected with conventional black-and-white films. Ultraviolet photography is
accomplished at shorter wavelengths in spectrographs and cameras fitted with
ultraviolettransmitting or reflecting optics, usually with specialized films. In
ultravioletfluorescence photography, ultraviolet radiation is blocked from the film by filtration
over the camera lens and the fluorescing subject is recorded readily with conventional color or

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panchromatic films. Both forms of ultraviolet photography are used in close-up photography and
photomicrography by mineralogists, museums, art galleries, and forensic photographers.

High-speed Photography

Photography at exposure durations shorter than those possible with conventional shutters or
at frequencies frame rates greater than those achievable with motion picture cameras with
intermittent film movements is useful in a wide range of technical applications.

Aerial Photography

The art of aerial photography, in which photographs of the Earth's surface are made with
specialized roll-film cameras carried aloft on balloons, airplanes, and spacecraft, is an important
segment of a broader generic technology, remote sensing. The film is often replaced with an
electronic sensor, the sensor system may be mounted on an aircraft or spacecraft, and the
subject may be the surface of a distant planet instead of Earth. Remote sensing is used to
gather military intelligence; to provide most of the information for plotting maps; for evaluating

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natural resources minerals, petroleum, soils, crops, and water and natural disasters; and for
planning cities, highways, dams, pipelines, and airfields. Aerial photography normally provides
higher ground resolution and geometric accuracy than the imagery obtained with electronic
sensors, especially when covering small areas, so it continues as the foundation for
mapmaking, urban planning, and some other applications.

Digital Photography

The process of electronic acquisition, the equivalent of taking a photograph, is often referred
to as image capture.

Light intensity is detected in digital camera by a photo sensor. This is normally a charge-
coupled device CCD, although complementary metal oxide silicon CMOS) devices are
beginning to appear in some systems.

When photons strike the sensor, they give up energy. This causes electrons to be emitted,
turning the energy of the photons into electrical energy. The number of electrons that are
emitted can be measured to determine how many photons struck the capture element, and from
this the scanner can generate a value for the intensity of light arriving from the point on the
original being analyzed.

The aim of the digitization stage is to capture all the information from an original that will be
needed in the reproduction and convert it into an array of binary numbers that a computer can
process. The human visual system actively seeks cues that will give it information about the
objects within the visual field, and a reproduction of an image that contains a large amount of
detail is almost always preferred to one in which some of the detail has been lost.

Like conventional cameras, digital cameras come in compact, single-lens reflex, and large-
format varieties. Low-resolution compacts are useful for producing classified advertisements
and tend to have relatively simple optics, image-sensing electronics, and controlling software.
Digital cameras are often based on existing single-lens reflex camera designs with the addition
of CCD backs and storage subsystems. The capture resolution of these cameras is ideal for
news photography and other applications with similar quality requirements.

PHOTOGRAPHY TYPES

1. Black-and-white Photography

"Casting Winds" - this black & white displays the classic monochrome look, as well as the
use of simulated optical filtering to enhance or diminish the rendering of certain light
wavelengths. All photography was originally monochrome, or blackand-white. Even after color

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film was readily available, black-and-white photography continued to dominate for decades, due
to its lower cost and its "classic" photographic look. In modern times, black-and-white has
mostly become a minority art form, and most photography has become color photography.

Many photographers continue to produce some monochrome images. Some full color digital
images are processed using a variety of techniques to create black and whites, and some
cameras have even been produced to exclusively shoot monochrome.

2. Color Photography

Color photography was explored beginning in the mid 1800s. Early experiments in color
could not fix the photograph and prevent the color from fading. The first permanent color photo
was taken in 1861 by the physicist James Clerk Maxwell. Maxwell made contributions to the
area of optics and color vision, being credited with the discovery that color photographs could
be formed using red, green, and blue filters. He had the photographer Thomas Sutton
photograph a tartan ribbon three times, each time with a different color filter over the lens. The
three images were developed and then projected onto a screen with three different projectors,
each equipped with the same color filter used to take its image. When brought into focus, the
three images formed a full color image. The three photographic plates now reside in a small
museum at 14 India Street, Edinburgh, the house where Maxwell was born.

Color photography may form images as a positive transparency, intended for use in a slide
projector or as color negatives, intended for use in creating positive color enlargements on
specially coated paper. The latter is now the most common form of film non -digital color
photography owing to the introduction of automated photo printing equipment.

3. Digital Photography

Traditional photography burdened photographers working at remote locations without easy

access to processing facilities, and competition from television pressured photographers to
deliver images to newspapers with greater speed. Photo journalists at remote locations often
carried miniature photo labs and a means of transmitting images through telephone lines. In
1981, Sony unveiled the first consumer camera to use a charge-coupled device for imaging,
eliminating the need for film: the Sony Mavica. While the Mavica saved images to disk, the
images were displayed on television, and the camera was not fully digital. In 1990, Kodak
unveiled the DCS 100, the first commercially available digital camera. Although it’s high cost
precluded uses other than photojournalism and professional photography, commercial digital
photography was born.

Digital imaging uses an electronic image sensor to record the image as a set of electronic
data rather than as chemical changes on film. The primary difference between digital and
chemical photography is that analog photography resists manipulation because it involves film,
optics and photographic paper, while digital imaging is a highly manipulative medium. This
difference allows for a degree of image post-processing that is comparatively difficult in film-
based photography, permitting different communicative potentials and applications.

Digital imaging is rapidly replacing film photography in consumer and professional markets.
Digital point-and-shoot cameras have become widespread consumer products, outselling film
cameras, and including new features such as video and audio recording. Kodak announced in

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January 2004 that it would no longer produce reloadable 35 mm cameras after the end of that
year. This was interpreted as a sign of the end of film photography. However, Kodak was at that
time a minor player in the reloadable film cameras market. In January 2006, Nikon followed suit
and announced that they will stop the production of all but two models of their film cameras: the
low-end Nikon FM10, and the high-end Nikon F6. On May 25, 2006, Canon announced they will
stop developing new film SLR camera.

Because photography is popularly synonymous with truth "The camera doesn't lie.", digital
imaging has raised many ethical concerns. Many photojournalists have declared they will not
crop their pictures, or are forbidden from combining elements of multiple photos to make
"illustrations," passing them as real photographs. Many courts will not accept digital images as
evidence because of their inherently manipulative nature. Today's technology has made picture
editing relatively easy for even the novice photographer

Commercial Photography

The commercial photographic world can be broken down to:

1. Advertising photography: photographs made to illustrate and usually sell a service or

product. These images are generally done with an advertising agency, design firm or with an in-
house corporate design team.

2. Fashion and glamour photography: This type of photography usually incorporates models.
Fashion photography emphasizes the clothes or product, glamour emphasizes the model.
Glamour photography is popular in advertising and in men's magazines. Models in glamour
photography may be nude, but this is not always the case.

3. Crime Scene Photography: This type of photography consists of photographing scenes of

crime such at robberies and murders. A black and white camera or an infrared camera may be
used to capture specific details.

4. Still life photography usually depicts inanimate subject matter, typically commonplace
objects which may be either natural or man-made.

5. Food photography can be used for editorial, packaging or advertising use. Food
photography is similar to still life photography, but requires some special skills.

6. Editorial photography: photographs made to illustrate a story or idea within the context of a
magazine. These are usually assigned by the magazine

7. Photojournalism: this can be considered a subset of editorial photography. Photographs

made in this context are accepted as a documentation of a news story.

8. Portrait and wedding photography: photographs made and sold directly to the end user of
the images.

9. Fine art photography: photographs made to fulfill a vision, and reproduced to be sold
directly to the customer.

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10. Landscape photography: photographs of different locations made to be sold to tourists as
postcards.

5 Fundamental Elements of Photography

(By Jacob Maentz / February 4, 2020)

1. Light
Light is the most fundamental element that all photographs need because it illuminates the
scene or subject. Whether it be natural or artificial light the quality and direction of light is what's
important.
Light helps to create a particular mood within the photograph and can bring emphasis to key
elements within a frame. Likewise, light can help create depth and accentuate the textures in an
image by creating a mix of highlights and shadows.

In the above photo, artificial candle and street lights helps set the solemn mood of the photo
while illuminating the subjects. Natural light in the image below mixes with smoke to create a
number of highlights and shadows giving some depth, mood and texture to the photo. The way
the light hits the smoke also makes the photo more dramatic.

2. Color
Like light, color helps to set the mood of an image and can play a significant role in touching
the viewer on an emotional level. Color can also be used as a compositional tool where
contrasting colours play a very important role.

Color is one of the main factors responsible for making a photo feel mysterious, exciting,
sad, or gloomy. Evoking emotions is important in creating strong images and color is one of our
primary tools to do this. Again, this is an in-depth topic which this article will not go into, but be
thoughtful that by using appropriate colors in our images we can better convey different
emotions and make a stronger impact on the viewer.

The blue sky color in the image below against the dimly lit houses in the foreground, gives a
peaceful, tranquil feeling that I wanted to let my viewers feel. This was a very remote location in
the forest and it was indeed a peaceful and quiet place. I used the calming blue color of the sky

130
to help set the mood I wanted my viewers to feel about the place and the complementary colors
work very well in this image.

Similar to how calm and tranquil colours were used to set a peaceful and quiet mood in the
above photograph, warm or vibrant colours like red, orange and yellow can be used to tell
happy, eye-catching, cheerful stories. Look for colours in the scene to highlight them and use
them to strengthen the composition in your images.

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3. Moment

A strong moment is more than highlighting a particular subject or action in time. Creating a
moment in a photograph should be about having all the elements in a frame come together as
to tell a captivating story, when every part of the picture interacts with the other parts in a way
that the viewer might think – wow this is special and probably doesn't happen that often.

Not every photo will be able to have special moments where all the parts come together
perfectly, but again we should be thinking about this when shooting so we can try to include
more elements that create a stronger moment. Not to forget, shooting at a particular time of the
day adds power and meaning to the moment which means light also plays an important role
here.

The photo below is not a great example, but it's on the right track in terms of thinking
“moment.” When I first noticed these farmers I sat down for awhile and followed them for about
15 minutes. I wanted them to get used to me and eventually get back to their work after the
initial laughter of me being there wore away.

The two women in front eventually got really close to me and I could see a photo starting to
unfold. I knew I wanted at least two farmers in the shot, but having a third person would be even
better. The lady in back was not yet in that position, but I could see her starting to walk forward.
I waited a bit and the two women in front stayed in their position. Eventually the lady in back
came into the left of the frame I was able to get a round of photos off.
By having three farmers in the frame I feel it's a better moment and the image tells a stronger
story.

4. Composition

Composition, in essence, is about putting together objects in your frame in such a way as to
emphasize the parts you want to and make them stand out in a particular way. Composition can
often be very subjective, but good composition can turn an ordinary scene into an image that
grabs the viewers attention.

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 There are numerous rules, principles and guidelines for creating better composed images,
but in the end it's up to the photographer to find something that works for the given situation. I
find it useful to study the work of the masters and of course shoot as much as possible to get
practice.

I have noticed over the past few years that I am more happy with the results of how I
compose a majority of my photos. There is still a huge amount of learning to do, but by studying
others photos and getting out to shoot we will inevitably improve our composition skills.
Creating relevant and good compositions is a key element of great photographs.

When composing photographs, it is better to keep an eye out for elements like lines, curves,
shapes, textures, patterns, colours, negative space within the frame, so you can use them to
compose brilliant photographs. There are other compositional guidelines that photographers
need to use to tell stories or create compelling images, the easiest one to start with will be
the rule of thirds where photographers can place the most interesting or important elements of
the scene along the one third lines or points to get a well composed image.

The image below is a good example of how to create depth in an image using composition.
This is something I try to always think about when composing certain types of photos. Is there a
foreground, middleground and background that gives some depth to the image? By placing the
coconuts in the bottom right of the frame and the house in the back the image becomes more
three-dimensional and interesting.

5. Photographer's Choice of Distance To Their Subject

The distance the photographer chooses to be from their subject will affect the feeling and
overall impact a photo has. It will also determine what focal length you need to shoot at in order
to get all of the important parts of the photo into the frame.

Like with all of these five tools/elements there is no right or wrong way, per se. It will vary
depending on the situation and what the photographer wants to accomplish. That being said,
certain images are more powerful if shot closer to the subject, making the viewer feel like they
are there. Other images look much better at a further distance from the subject. There should be
a thought process though about why we choose to be certain distances from our subjects and
how that will make the final image look.

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 The image above was taken using a wide angle lens fairly close to the subject. This was
necessary because of the small boat we were riding. By being close to the subject it gives the
sense that the viewer is also on the boat and in the scene with the man. In the image below, a
longer lens was used – shot at 200mm. By using a longer lens we get the feeling that we are on
the outside of the frame looking in.

When shooting a moment, give importance to how you arrange various elements within the
frame. Do not overcrowd and let objects overlap unnecessarily as it can be quite distracting and
look chaotic. Leave some breathing space for better frames, for example, leave space between
the subject or other elements and the edge of the frame.

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READINGS / REFERENCES:
1. Jocano, Landa F. (2001). “Aesthetic Dimension,” in Filipino Worldview, Quezon City:
PUNLAD Research House, 2001. Pp.135-144.
2. Ramirez, Veronica et al.(2008).” Minding the Arts. Art Appreciation for College Students
3. Dr. Lamucho, Victoria Santos et al. (2003) Introduction to Humanities. Valenzuela City. Mutya
Publishing House.
4. Bascara, Linda R. and Adela Avillanoza. (2006). Humanities and the Digital Arts. Manila. Rex
Bookstore.
5. Sanchez, Custodia A., Paz F. Abad, and Loreto V. Jao. Introduction to the Humanities
Revised Edition. Rex Bookstore.

Online sources:

1. Fine Arts and Media Technique: Photography. Retrieved from:

https://courses.lumenlearning.com/atd-sac-artappreciation/chapter/oer-1-23/

2. Introduction to Photography. Retrieved from : http://www.nraismc.com/wp-

content/uploads/2017/03/403_-_INTRODUCTION_TO_PHOTOGRAPHY__1_.pdf

3.Photgraphy Art or Science? Retrieved from: https://www.iosart.com/photography-art-or-

science/doc/photography-art-or-science.pdf

4. Brief History of Photography. Retrieved from: https://photographylife.com/what-is-

photography

5. Five Fundamental Elements of Photography (By Jacob Maentz / February 4, 2020).

Retrieved from https://www.lightstalking.com/5-fundamental-elements-of-great-photographs/

WATCH

1. TED-Ed. (2013b, February 28). Illuminating photography: From camera obscura to camera
phone - Eva Timothy [Video file]. Retrieved from https://www.youtube.com/watch?v=XaGUL8B-
BrE
2. TED-Ed. (2013a, January 1). How photography connects us - David Griffin [Video file].
Retrieved from https://www.youtube.com/watch?v=m-UrpcSRVGk
3. TED-Ed. (2013b, February 28). Illuminating photography: From camera obscura to camera
phone - Eva Timothy [Video file]. Retrieved from https://www.youtube.com/watch?v=XaGUL8B-
BrE
4. TED-Ed. (2013a, January 1). How photography connects us - David Griffin [Video file].
Retrieved from https://www.youtube.com/watch?v=m-UrpcSRVGk

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ACTITVITIES/ASSESSMENT:

1. LET US TALK IT OVER! Answer the following questions below. For offline
learners, you may write your answers in a yellow pad. For online learners send your
paper on _____ through our assigned social platform (ex. Google Classroom) (20pts.)
a. What is the purpose of photography?
b. What are the types of photography?
c. For you what makes a great photo?

2. LET US TALK ABOUT PICTURES. Find a printed picture in your safe keeping.
Evaluate the photograph using the 5 COMPOSITION OF PHOTOGRAPHY.

POINTS DESCRIPTION

20 The students show a clear understanding of the composition of

photography. Effective evaluative techniques are used to clearly explain
the concept.

15 The students’ understanding of the composition created is evident. Basic

content about composition of photography are used to explain the
concept.
10 The students lack the understanding of the composition of photography.
There is no attempt to use in depth assessment to explain the concept.

3. LET US TALK IT OVER. As an amateur photographer, if you are about to capture

a photo, which of the Five elements of photography as per Jacob Maentz would you
consider first and last? Why? Explain your answer in a two paragraph consisting of 7-15
sentences each.

For offline learners, you may write your answers in a yellow pad. For online learners
send your paper on _____ through our assigned social platform (ex. Google
Classroom) (20pts.)

2. LET US TAKE A PICTURE. (This activity is flexible for both online and module
learners. Arrangements will be settle through our assigned social platform)
Using your android phone, provide an originally captured photo of the Five elements of
photography. Make sure to apply the previously read concepts about photography in
your output. Be guided by the criteria below.

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Relevancy
How well does the photo
meet the criteria of the
category it is in?
Composition
Are the items of interest
placed well in the photo?
Are there distracting
elements?
Creativity
Is the subject matter
pictured in a unique way?
Does the photo
demonstrate originality?
Has the photographer
used light in an
interesting way?
Technical Quality
Is the photo in focus?
Is the lighting in balance?
How is the quality of the
print?
Overall Impression
Is the photo able to grab
the viewer's attention and
hold it?
What is the WOW factor?
Are there any special
effects or extras?
3. Be ready for Unit Quiz. Link of the quiz will be posted in our Google Classroom
Poor Fair Good
25 pts 30 pts 50 pts
Poor Fair Good
Photo does not fit the category. Photo fits the category but might fit Photo matches the
better in another category. category precisely.
Poor Fair Good
Photo has two or more distracting Photo has one minor distracting Items are placed so that
elements or photo has distracting element OR photo has an item that they grab the viewer's
elements and items that could be could have been placed in a better interest.
placed better. location.
There are no distracting
elements in the photo.
Poor Fair Good
Photo is missing two more more Photo is missing one quality Photo is unique,
qualities (unique, original, (unique, original, or interesting). original, and interesting.
interesting).
Poor Fair Good
Photo is out of focus. The lighting is Photo is not in focus OR print is Photo is in focus, the
not balanced. The print quality low quality OR the lighting is not lighting is balanced. The
could be improved. balanced. print is good quality.
Poor Fair Good
The photo does not grab the Photo grabs the viewer's attention. Photo holds the viewer's
viewer's attention. There are no There are no special effects or attention and leaves a
extras. extras. great impression.
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 UNIT 7 – THE AUDITORY AND COMBINED ARTS
OVERVIEW:
“Poetry the language of the brain while music is of the heart.”- Franz Liszt

Music as a language can communicate without words, with no explanations needed, just like
with one experience with this sheer pleasure of listening to it. On the other hand, combined arts
can be seen and heard and which exist in both space and time and together with music on the
performing arts. Unlike the visual arts the experience of the auditory and combined arts are
different.
This unit attempts to help students have a deeper appreciation of the performing arts..

LEARNING OUTCOMES: After successful completion of this unit, you should be able to:

1. Discuss and analyze the in artistic representations of each Combined Arts.

2. Cite some of the major distinguishing characteristics of the evolution of Art styles in
Music and Theater Arts

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COURSE MATERIALS:
LESSON 18: MUSIC

The Origin and Importance of Music

The word “music” is from the Greek word mousike, which means “Art of the Muses.” It is the
art of arranging tones in an orderly way to produce a unified and continuous composition. The
common elements of music are pitch (which governs melody and harmony), rhythm (and its
associated concepts tempo, meter, and articulation) dynamics, and the sonic qualities of timbre
and texture.
To many people of different cultures, music is an integral part of their way of life. It is an art
that puts sounds together in a way that people like. Most music includes people singing with
their voices or playing a musical instrument, such as drums, piano, guitar, and others.
When music is written on a staff, the pitches (tones) and their duration are represented by
symbols known as notes. These symbols are put on the lines and in the spaces between the
lines. Each position says which tone must be played. The higher the note is in the staff, the
higher the pitch of the tone. The lower the notes are, the lower the pitch of the tone.
Music can also be written, naming them as in the solfa “Do, Re, Mi, Fa, Sol, La, Si/Ti, Do.”
The next table shows how each note is represented in the Standard Notation or chords. This
notation was made to make the lecture on music notes simple and easy to read.
What is the Role of Music in Our Lives?
Art and music are fundamental human functions and essential parts of human life. Without
music, our life is a lost, unsure, and probably incapable of venting our emotions (Galindo, 2003).
Based on studies, music can be a right way of helping our imagination goes to new heights. It
touches our soul and enables us to express different moods and emotions. It inspires people
and allows us to get in touch with our feelings in a way that is unique. It allows our body and
mind to make a break from the monotony of life.
Likewise, music can kindle the mind. It can inspire ordinary human feelings and bridges gaps
between cultures. It touches our emotional being and shows emotions that are sometimes
difficult to articulate. It can be our day happy or excited.
The Essentials in Song writing
The song is a composition for a voice or voices, performed by singing. Musical instruments
may accompany a song, or it may be unaccompanied, as in the case of the cappella songs. It
may be for a solo singer, a duet, trio, or larger ensemble involving more voices. Songs with
more than one voice to a part are considered choral works. Most song writing techniques are
about what you should do to succeed. Below are the common essentials in song writing
(Kamien, 1997).
Arrangement. Arrangement in music is considered as a reconceptualization of a previously
composed work. It includes the order in which the sections of music are placed (such as, intro-
verse-chorus-verse-chorus), and the organization of the instrumentation, vocals or other parts of
music that make up the song.

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 Beat and Rhythm. The beat is the speed (tempo) of the song that drives the listener to feel
either fast or slow. On the other hand, the rhythm is the beat that the various instruments such
as bass, drum, and guitar have produced.
Chords (chord progression). It refers to any harmonic set of pitches used to accompany
the melody of the song. It is formed when multiple pitches (notes on a musical instrument) are
placed together on staff (a sheet of music). It comes in different varieties, which includes the
augmented chords, major chords, minor chords, diminished chords, seventh chords, and
Neapolitan chords.
Concept (story). All songs have a storyline or concept. Typically, the song title will convey
the essence of that story idea and the words (lyric) will expound upon that idea.
Genre and Style. The genre of the song such as pop, rock, or country is established by the
beat and rhythm of the song. The quality of the song branches out from the genre, such as
alternative, hip-hop, punk rock, or alternative type of music.
Length. The length of a song is always considered, depending on its use. They can be
shorter or longer, but this is the typical length of today’s musical arrangement.
Lyrics. This term comes from the Greek word lyrikos, which means “singing to the lyre.” It
describes a concept of a theme which rhymes in the sections of music.
Melody. Melody is the harmony of the song that you play or sing. It is the main line of
music you’re making and the basis of the song.
Song Sections. Songs are divided up into sections or components such as intro, verse,
chorus, bridge, lead breaks, etc.

The Different Music Genres

Being involved in a musical event with music-minded people who enjoy the same sort of
songs and sounds can be a good experience. Genres can sometimes be a good-natured way to
work with other people and to introduce new fans to the music you are producing.
Music is a form of art and an organized sound. It voices our emotions harmoniously and
pleasantly. Different genres of music help in soothing one’s disturbed soul in the growth of
concentration and cheer us to live our life joyfully. Some types of music are as follows:
Classical Music. Classical music is a sophisticated form of composition as it requires skills
like learning the ability to coordinate with others musicians.
Folk Music. This type of music reflects the emotions of common people. Cultural and
popular music are the two sub-genres of folk music.
Funk. This music became known in the late 1960s. Funk made rhythm the most important
element while de-emphasizing melody.
Hip-hop Music. Hip-hop music always includes the use of an instrument such as bass,
drums, guitar, piano, violin, and fiddle. In this type of music, the bass is the main instrument.
This can be used in different intensities to emote feelings of anger or pride.

140
 Jazz. Complex and strong beats feature this type of music. The main instruments used for
this type of music are a cornet, trumpet, or violin.
Meta Music. This is a type of music wherein the melody is influenced by the structure of the
songs (known as “information music”).
Opera Music. This genre has a fantastic combination of theatrical art and musical invention
and is played explicitly in big audiences.
Rock Music. This music genre requires the vocals to be accompanied by bass, drums, and
guitar. Sometimes, piano, synthesizer, saxophone, flute, mandolin, and sitar are also in this
genre for a more profound impact. This type of music has several sub-genres, such as hard
rock, metal rock, and progressive rock.
Techno Music. This genre is also known as fusion type of music. This is a form of electronic
dance-music based on African-American music styles like electro jazz and funk.
Trance Music. This type of music is usually performed in clubhouses. This is characterized
by fast tempo and repetitious beats.
Classification of Musical Instruments
A Musical instrument is a tool adapted or created in making musical sounds. It was
primarily designed to emulate natural sounds for ritual purposes. Their vocal range often
classifies it in comparison with other instruments such as the following:
a. Alto Instruments
1. Alto Saxophone- It is a member of the saxophone family of woodwind instruments
invented in 1841 by Adolphe Sax, a Belgian instrument designer. It is a type of
device mostly used in classical compositions.
2. French Horn- It is a brass instrument made about 12-13 feet of tubing wrapped into a
coil with a flared bell.
3. English Horn (also known as coranglais) - It is a double-reed woodwind instrument in
the oboe family.
4. Viola- It is the middle voice of the violin family and between the violin and the cello. It
is a bowed string instrument.
b. Bass Instruments
1. Double Bass- It is the largest and lowest-pitched bowed string instrument in the
modern symphony orchestra.
2. Bass Guitar- It is a stringed instrument with a longer neck and scale length, with four
to eight strings. It is played mainly with the fingers or thumb, by picking, plucking,
slapping, popping, tapping, or thumping.
3. Bass Saxophone-It is one of the largest members of the saxophone family of low
range, usually supported on a stand while being played.
4. Tuba- It is the largest and deep-pitched brass instrument. The Sound is produced by
vibrating the lips into a sizeable cup-shaped mouthpiece.

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c. Baritone Instruments
1. Bassoon- It is, a woodwind instrument in the double reed family. It is played by
pressing the reed between the lips and blow to sound the instrument.
2. Baritone Saxophone- It is one of largest members of the saxophone family and is the
lowest-pitched saxophone.
3. Bass Clarinet- It is regularly performed in symphony orchestras, wind ensembles,
occasionally in marching bands, and plays an occasional solo role in contemporary
music.
5. Cello (viooncello)- It is a bowed, and sometimes plucked string instrument. It has a
hollow wooden body with two sound holes, and four strings were running along the
body and neck.
6. Baritone Horn-It is a wind instrument that consists of a brass tube (usually of variable
length) that is blown using a cup-shaped or pipe-shaped mouthpiece.
d. Soprano Instruments
1. Flute- It is a wind instrument that produces sound through the flow of air from the
hole that has an elaborate set of keys.
2. Violin- It is a small string instrument, usually with four strings tuned in perfect fifths.
3. Soprano Saxophone- It is a woodwind instrument used as a solo and chamber
instrument in classical music or a concert band or orchestra.
4. Trumpet- It is the musical instrument which is usually played by blowing air through
closed lips in producing a buzzing sound.
5. Clarinet- It is a type of woodwind instrument that has a straight cylindrical tube with a
flaring bell and a single-reed mouthpiece.
7. Oboe- It is a woodwind instrument with a double-reed mouthpiece, a slender tubular
body, and holes stopped by keys.
8. Piccolo- It is the high-pitched woodwind instrument used in orchestras and military
bands
e. Tenor Instruments
1. Trombone- It is a musical instrument in which the sound is produced when the
player’s vibrating lips trigger the air column inside the device to vibrate.
2. Tenor Saxophone- It is a medium-sized woodwind instrument that is very prominent
in jazz groups and is one of the essential voices of a concert or marching band.
3. Guitar- It is a stringed musical instrument with a fretted fingerboard, typically
incurved sides, and have six or twelve strings, played by plucking or strumming.
READINGS / REFERENCES:
1. Dr. Lamucho, Victoria Santos et al. (2003) Introduction to Humanities. Valenzuela City.
Mutya Publishing House.
2. Bascara, Linda R. and Adela Avillanoza. (2006). Humanities and the Digital Arts. Manila.
Rex Bookstore.
3. Ortiz, M. A., Erestain, T., Guillermo, A., Montano, M., & Pilar, S. A. (1976). Art:
Perception and Appreciation. JMC PRESS, Inc.
4. Sanchez, Custodia A., Paz F. Abad, and Loreto V. Jao. Introduction to the Humanities
Revised Edition. Rex Bookstore.
5. Lumen Learning. (n.d.). Introduction to Art Concepts, SAC, ART100 | Simple Book
Production. Retrieved August 4, 2020, from https://courses.lumenlearning.com/sac-
artappreciation/

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ACTITVITIES/ASSESSMENT:
1. ACTIVITY 1: MUSICAL THERAPHY: Reflect on the lyrics of the song, “Lead Me Lord”
by Gary Valenciano. Share your thoughts on the meaning of the song through Google
Classroom (online learners) and (one a yellow/ bond paper (modular learners).
Lead me, Lord
Lead me by the hand and help me face the rising sun
Comfort me through all the pain that life may bring
There's no other hope that I can lean upon
Lead me, Lord, lead me all my life

Walk by me
Walk by me across the lonely roads that I may face
Take my arms and let your hand show me the way
Show the way to live in your heart
All my days, all my life

You are my light

You're the lamp upon my feet
All the time my Lord I need You there
You are my light; I cannot live alone
Let me stay by Your guiding love
All through my life
Lead me, Lord

Lead me, Lord

Even though at times I'd rather go along my way
Hear me take the right direction
Take Your road
Lead me Lord and never leave my side
All my days, all my life

You are my light

You're the lamp upon my feet
All the time my Lord I need You there
You are my light; I cannot live alone
Let me stay by Your guiding love
All through my life

You are my light

You're the lamp upon my feet
All the time my Lord I need You there
(You are my light)
(I just cannot live alone)
Let me stay by Your guiding love
All through my life, all through my days
So Lead me Oh Lord
Lead me, Lord
2. ACTIVITY 2; Song Composition: to compose a song depicting the life of the students
or any theme (focus). Compositions can be in English, Tagalog, or any Filipino dialect.
Let this song be presented in the class with the following criteria: Melody, Beat and
Rhythm, as well as Length

3. Quiz: For online classes, quiz will be given through Google forms in Google classroom;
while for Modular mode, they will have the quiz file in their flash disk.

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COURSE MATERIALS:
LESSON 19: COMBINED ARTS
THE SPATIO- TEMPORAL FRAMES IN THE COMBINED ARTS

Unlike the visual arts, combined arts are transitory in nature since they are events that occur
in time. This quality sets them apart from painting, sculpture and architecture, which are
otherwise values for their tangible and unchangeable qualities. We can always go back again
and again to Van Gogh’s Starry Night painting and marvel at the expressive lines and colors
which have remained the same through the years, or experience the same majestic stance of
the Greek Winged Victory sculpture as it was first beheld thousands of years ago. In music,
however, the notes and the melody of Beethoven’s Symphony No. 5 cannot be held forever. Its
timber, pitch, and volume can only register when they move through time. Its music can only be
heard through its continuous shift of notes, through repetition, variation and accumulation of
effects in time. Similarly, the cumulative series of sights, sounds and impression in Theater and
Cinema can only manifest in time. (Wilson 3-4).
Another element that is common among the combined arts is the LOCUS- the specific space
in which Music, Film and Theater and other Combined arts occur. This unique spatial quality
does not only serves as a physical or tangible receptacle that enables this arts to manifest as
they move in time but also gives them a definitive shape. Adolphe Apphia, one of the 20 th
century major theoreticians of Theater, in Action, Space, Light, Painting, illustrates this point in
reference to the theater space. He says that space must conform to the plastic feature of the
actor or actress, and that it must work to serve his or her moving, alive and three dimensional
character (Brockett, 229). Space, in this sense, not only locates the actor or actress in three-
dimensional space bit also defines his/her performance’s dynamic shape.
One’s experience of the combined arts may also be affected by the kinds of spaces in which
these arts are held. The audience’s experience of the play performed in a traditional theater
building complete with arena, thrust, or proscenium stage will be different from that performed in
an alternative space (Goldfarb 11). Juan Ekis, an Director Playwright of the Palanca award
winning play 20 Questions makes use of a concerted space- an nook in a resto bar to create a
cramped but snug and intimate bedroom space where actors interact. This specific theater
space not only conforms to the demands of the performance, but also affects or alters the
audience’s reception and experience of the play.
The Display of Skills in the Combined Arts
Another integral aspect of the combined arts is the performance, which consist in the display
or demonstration of certain technical skills by human beings for the public’s pleasure or
enjoyment. In theater, this may be shown in the display of prowess by the actor or actress in
staging literary test or simply in the display of his or her active body or his or her body
movement activities on stage (Carlson 2-3: 114). This is illustrated in Hoy Boyet, Hatingabi na’y
Gising Ka Pa Pala, a theater play written by Tony Perez, where student-director Patrick Valera
makes recourse to pure vitruousic physical skills as he makes demands for extremely taxing
physical display from his actors to allow complex psychological and emotional explorations. In
music, this can be shown in the demonstration of virtuousity of a pianist who performs a piece in
front of an audience. In Cinema, this can be shown in the display of aural and visual images to

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depict a story or a fact facilitated by technology and mixed media through the expertise of a
director, actor and the production crew.
The Structure of the Combined Arts
The display of skills in Music, Theater and Cinema, and all the combined arts for that matter,
is realized through a set of production, techniques, processes and conventions and through the
organization of specific elements according to certain rules or principles that are unique to each
form.
Structure refers to the different aspects that make up a performance in the combined arts.
Specifically, it points to what constitutes the performance in Music, Film and Theater including
but not limited to a set of characteristics identifiable by particular elements, rules or principles of
organization, conventions or techniques and processes, that organize the production within the
specific spatial and temporal frames.
The Structure of Music
In Music, what constitutes it structure are the elements of 1) Rhythm, 2) Melody, 3) Harmony,
4) Texture, and their organization or Form.
The Structure of Theater
In theater, what is performed may vary. In many cultures, what has become the major mode
of theatrical performance is the enactment of literature or dramatic text. From the tradition of
Aristotelian drama, the theater performance is organized according to specific elements such as
the Plot, Character, Thought, Diction, Music and Spectacle. In preliterate societies and in
indigenous non-western rituals and dramas, manifestations or movements, gestures, sound and
voice that follow certain patterns give the performance its structure rather than the narrative.
Different genres of theater have their own distinctive or unique set of elements and conventions.
The Structure of Cinema
What constitute the Structure of Cinema are the elements of 1) Script or the Narrative, 2)
Acting, 3) Production Design which includes the props, set design, costume and décor, 4)
Staging or Directing 5) Cinematography, 6) Editing and 7) Sound Design, and their particular
organizations.
THE ANALYSIS OF THE COMBINED ARTS
The analysis of Cinema will be generally according to Structure, which we refer to as Form.
A. FORM
Form refers to the elements, principles of composition, conventions and techniques that are
used to organize a work of art.
To guide the viewer in describing, interpreting, and analyzing the form here are some guide
questions he or she can answer:
1. What are the dominant elements?
2. How are you these used in the artwork?
3. How the dominant elements affect you?

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 4. What are the principal principles conventions and techniques that are used in the artwork?
5 How do these principles apply to the dominant elements and vice-versa to effectively
convey the main theme of your work?

B. Medium

Medium refers to the material used by the artist. There variety of materials used in the
combined arts. Theater uses the body and voice as a principal media while music makes use of
the voice and sound. The media are the vehicles with which the artist conveys the content of his
or her artwork.

To guide the viewer in describing, interpreting, and analyzing the medium here are some
questions he or she can answer:

1. What is the principal medium used by the artists?

2. How does the medium bring forth the beauty of artwork?
3. What other media can help convey the theme of the artwork? Why and how?
4. How well does the medium convey the meaning of the artwork?

C. Subject matter

Subject matter is what the artwork is about. It may be a person, nature, and event, feeling or
idea that is central in artist.

To guide the viewer in describing, interpreting, and analyzing the subject matter, here are some
questions he / she can answer:
1. What is the theme of the artwork?
2. What are the other sub themes that connect to the central theme?
3. What is the significance of the central theme / is to you in terms of personal, historical, social
or political value?

D. Style

Style refers to the set of characteristics that identifies an artwork with an individual, a
historical period, a school of artist, or a nation (Sporre 14).

To guide the viewer in describing, interpreting and analyzing the style, here are some
questions he /ed she can answer:

1. What particular characteristic does this artwork have that are also present in other works by
the same artist?
2. Describe the use of elements, principles and conventions that identify the artwork within the
same genre and period.

The guide questions provided above can lead to an appreciation of the aesthetic qualities of
art. Knowing the a) form (the elements, principles, and conventions): b) medium: and c) subject
matter and style open artwork gives us a ready outline on which to begin a formal analysis of an
artwork.

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READINGS / REFERENCES:
1. Ramirez, Veronica et al.(2008).” Minding the Arts. Art Appreciation for College
Students, Mutya Publishing House

ACTITVITIES/ASSESSMENT:

1. COMBINE IT NOW. Provide at least ONE specific example of Combined Arts

(anything from dance, poetry, theater, improvised scenes, music, musical plays
and events, cinema and performances) then analyze it using the structure of the
chosen art from which it falls. Make sure to provide accuracy of details for clarity of your
assessment. Use the format below.
Example: The Theater play: Huling El Bimbo
A. Form Answers:
1. What are the dominant elements?
2. How are you these used in the artwork? 3.
How the dominant elements affect you?
4. What are the principal principles conventions
and techniques that are used in the artwork?
5 How do these principles apply to the
dominant elements and vice-versa to
effectively convey the main theme of your
work?
B. Medium Answers:
1. What is the principal medium used by the
artists?
2. How does the medium bring forth the beauty
of artwork?
3. What other media can help convey the
theme of the artwork? Why and how?
4. How well does the medium convey the
meaning of the artwork.
C. Subject matter Answers:
1. What is the theme of the artwork?
2. What are the other sub themes that connect
to the central theme?
3. What is the significance of the central theme
/ is to you in terms of personal, historical, social
or political value?
D. Style Answers:
1. What particular characteristic does this
artwork have that are also present in other
works by the same artist?
2. Describe the use of elements, principles and
conventions that identify the artwork within the
same genre and period.

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