Reading Visual Art

Erlinda R. Fandiño. PhD

Mayra Christina M. Ambrocio, DEM
Efren G. Mayani
Ervin Espinosa

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 LAGUNA UNIVERSITY

Vision

Laguna University shall be a socially responsive educational institution of

choice providing holistically developed individuals in the Asia-Pacific Region.

Mission

Laguna University is committed to produce academically prepared and

technically skilled individuals who are socially and morally upright.

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Course Code: AH02

Course Description: This explores visual art including film and text, reading
and analysis.

Course Intended Learning Outcomes (CILO):

At the end of the semester, the students should be able to:
1. Demonstrate a variety of readings, skills and experiences in Visual Arts;
2. Foster interest and enjoyment in reading, doing, production and
consumption of art and craft, an awareness and understanding of the
holistic nature of the and design activity;
3. Evaluate the concepts and themes elicited from the various visual arts,
be an informed citizens and raise the standard of cultural awareness
among students;
4. Identify the opportunity for informed decision-making through the
development of skills in critical thinking, problem solving, research and
communication;
5. Adept on the knowledge of visual arts practitioners and their practice
in history and contemporary society.
6. Develop appreciation, tolerance and diversity among students for
various backgrounds and point of view , an understanding of cultural
change and the importance of art and design in the evaluation of
personal experience in a multicultural society;
7. Compile a well-organized, comprehensive journal to include samples and
supportive theoretical and visual material, using knowledge of layout and
design techniques.

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Course Requirements:

Class Standing 60%

Major Exams 40%
Periodic Grade 100%

Prelim Grade 60% Class Standing + 40% Prelim Exam

Midterm Grade 30% Prelim Grade + 70% (60% Midterm Class
Standing
+ 40% Midterm Exam)
Final Grade 30% Midterm Grade + 70% (60% Final Class
Standing
+ 40% Final Exam)

Note: Components of Class Standing are reflected in the OBTLP and Grading
Sheets.

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 Table of Contents

Module 1: Visual Art in the Curriculum 1

Introduction 1
Learning Outcomes 1
Lesson 1. Art and Craft 3
Lesson 2: History and Development of Crafts 5
Lesson 3: Types of Crafts 6
Lesson 4. Arts versus Crafts 7
Lesson 5. The Visual Arts Program 10
Lesson 6. Engagement 13
Lesson 7: Criteria for Organizing Visual Art Activities 15
Lesson 8: Language and Visual Arts 18

Module 2: Understanding Visual Arts 20

Introduction 20
Learning Outcomes 21
Lesson 1. Art Concepts: Theory and Appreciation 22
Lesson 2. Skills and Activities: Application 23
Lesson 3. Ancient Arts and Crafts 25

Module 3: Learning Visual Art 33

Introduction 33
Learning Outcomes 34
Lesson 1: Planning and Managing Art 35
Lesson 2: Physical Environment 39
Lesson 3: Teaching and Learning Process 41
Lesson 4: Displaying the Art 47
Lesson 5: Integration 48
Lesson 6: Assessing Student’s arts and crafts 54

Module 4: Two-dimensional Expressive Forms 74

Introduction 74
Learning Outcomes 76
Lesson 1: Graphic and Communication Design 80
Lesson 2: Print making 89
Lesson 3: Textile Design and manipulation 92

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 MODULE 1
VISUAL ART IN THE CURRICULUM

Introduction

The inclusion of visual arts in curriculum has direct bearing on the exploration and
expression of ideas, feelings and experiences through its historical development, process
skills, engagement, and organizational activities by virtue of approaches as enlivened by
language direct to learner’s sensual and intellectual appreciations.

The above rationale tended the Commission on Higher Education (CHED) for the
inclusion of visual arts in curriculum as this is an interdisciplinary degree that provides students
with the knowledge, skills, and experience to become either licensed preK-12 art teachers to
teach in a public/ private school or qualified candidates for teaching in a community setting.
To prepare for the art education profession, students complete a combination of coursework
in visual art, education, and art education. The program culminates in either an internship in
a community organization or a semester-long student teaching assignment in a school setting
that gives a crucial background in what it means to be an art educator. Here artistic and
intellectual training is balanced with professional preparation leading to careers in arts
education as the foundation for degree programs in acting, filmmaking, and musical theatre.

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 Learning Outcomes

At the end of the module, students should be able to:

1. Participate in art class by giving them chance to development of arts and crafts both
local and global in boosting bonding, self-confidence, and sense of achievement and
pride;
2. Enhance further the top process skills as the elemental components of the visua l arts
program; and
3. Describe arts and crafts focused on their line, shape, tone, color, pattern, texture and
form as the inherent language;
4. Analyze and classify the skill and imagination that the artist has used in composing
and constructing arts and crafts.

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Lesson 1. Art and Craft
The word visual is etymologically rooted from Late Latin visuals, "of sight" a looking;
power of sight; things seen, appearance," from visus, past participle of videre "to see" meaning
"perceptible by sight" simply "relating to vision;” and whereas art has its etymological origins
from Old French art, from Latin artem (nominative ars) "work of art; practical skill; a business,
craft," from Sanskrit rtih "manner, mode;" Greek artisan "to prepare"), suffixed form of root *ar-
"to fit together" as certainly etymologically akin to Latin arma "weapons" (Online Etymology
Dictionary, n.d.)

The modern English word art (a noun, an adjective and a verb at the same time) has
an interesting etymology; it comes from the Latin artem, the Old English eart, the Middle
English art, and the Old French art. There is also a similarity with the Old Norse EST...
Merriam-Webster describes art as a thing that is created through ability and imagination and
is beautiful and transmits feelings (English-ingles, n.d).

Combining the foregoing terms to form visual art simply denotes art forms such as
painting, drawing, printmaking, sculpture, ceramics, photography, video, filmmaking, design,
crafts, and architecture. Many artistic disciplines such as performing arts, conceptual art,
textile arts also involve aspects of visual arts as well as arts of other types. Also included within
the visual arts are the applied arts such as industrial design, graphic design, fashion design,
interior design and decorative art (Dicazo, 2020).

Training in the visual arts has generally been through variations of the apprentice and
workshop systems. In Europe the Renaissance movement to increase the prestige of the artist
led to the academy system for training artists, and today most of the people who are pursuing
a career in arts train in art schools at tertiary levels. Visual arts have now become an elective
subject in most education systems (Dicazo, 2020).

The non-traditional arts in the Philippines encompass dance, music, theatre, visual
arts, literature, film and broadcast arts, architecture and allied arts, and design. There are
numerous Filipino specialists or experts on the various fields of non-traditional arts, with those

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garnering the highest distinctions declared as National Artist, equal to Gawad Manlilika ng
Bayan (GAMABA).
The art of the Philippines refers to the visual arts, performing arts, textile art traditions,
literature, dance, pottery, and other art forms in the country. Philippine Contemporary Art was
an offshoot of social realism brought about by Martial Law. Arts became expression of people’s
aspiration for a just, free, and sovereign society (Diary ng Humanista, 2020).

Thus in retrospect, Ocampo was a self-taught painter who ignited the nationalist spirit
during the post-war era through his works. His abstract paintings would depict landscapes of
the Philippines, its rich flora and fauna, and the stars, sun, and rain. Before teaching himself
visual arts, he studied law and commerce (Diary ng Humanista, 2020)...

Craft (n.) is etymologically from various origins starting with Old English cræft (West
Saxon, Northumbrian), -creft (Kentish), "power, physical strength, might," from Proto-
Germanic *krab-/*kraf-(source also of Old Frisian kreft, Old High German chraft, German Kraft
"strength, skill;" Old Norse kraptr "strength, virtue"). The ultimate etymology is uncertain.
Sense expanded in Old English to include "skill, dexterity; art, science, and talent” (Online
Etymology Dictionary, n.d.).

Other figurative meanings, craft either from Middle or Old English denotes physical
strength, force, might, courage, art, science, skill, ability, trick, fraud, trade, calling, work or
product of art, hex, tool, machine”), from Proto-Germanic *kraftaz (“power”), from Proto-Indo-
European *ger- (“to turn, wind”). Cognate with Saterland Frisian Kraft (“strength”), West Frisian
krêft (“strength”), Dutch kracht (“strength, force, power”), German Kraft (“strength, force,
power”), Norwegian or Swedish meaning, Kraft means “power, force” (Online Etymology
Dictionary, n.d.).

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Lesson 2. History and Development of Crafts (Ruskin and Morris,
n.d.)

Craft Guilds (c.1250-1850). Originally coined during medieval times in Europe, the
term "Craft Guild" refers to an occupational association which typically consisted of all the
artisans (and sometimes the suppliers, retailers and wholesale merchants) involved in a
specific branch of industry or commerce. Largely developed after 1250, Medieval craft guilds
(e.g. for goldsmithery and metalwork) varied little in their general organization. Each had an
assembly of all members, which possessed some rule-making.

Wood Carving from Paete - Wood Carving Capital of the Philippines. The wood is light
but can last for a lifetime. Other wood that are used are Narra, Molave and Kamagong. These
are very tough and heavy type of woods. The scarcity of these type of woods make theme
very expensive. Paete is also known to make statues made of paper called paper mache. It’s
cheaper but won’t last as long as wooded crafts. Thus Paete's taka has been tagged as
Philippine Art, Culture and Antiquities due to Paetenos skills in making beautiful flowers of
scarlet red adorn from head to toe. Big, round, expressive dark eyes govern the proud head
and a red stiff tail by enhancing the powerful back. A small horse, a first taka toy as a craftwork
of art and a loving gift from a Palestinian as the Philippines last remaining artistic strongholds
in the passing of time.

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Lesson 3. Types of Craft (Ruskin and Morris, n.d.)

There are hundreds if not thousands of different varieties of handicrafts. The following
list of crafts is included merely for illustrative purposes.

Textiles: Appliqué, Crocheting, Embroidery, Felt-making, Knitting, Lace-making,

Macramé, Quilting, Tapestry art, Weaving.

Woodcraft: Wood-carving, Wood-turning, Cabinet making, Furniture making,

lacquerware.

Paper craft: Paper Modelling, Collage, Decoupage, Origami paper folding, Papier-
mâché.

Pottery and Glass Crafts: Ceramics (earthenware, stoneware, porcelain), Mosaic Art,
Glass Bead making, Glass Blowing, Glass Etching, (see Stained Glass Art
Materials/Methods).

Jewelry: Includes metalwork involving processes like embossing, repoussé work,

engraving, enameling (types include champlevé, basse taille, cloisonné, plique-à-jour),
granulation and filigree decoration. For more, see: Jewelry: History, Techniques.

Other Examples of Craftwork (Ruskin and Morris, n.d.)

Basket weaving, Beer-making, Book-binding, Doll-making, Enameling, Floral Design,

Ikebana, Jewelry-making, Knife-making (cutler), Leatherwork, Metalwork, Model-making,
Tattoo Designing, Toy-making.

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Lesson 4. Arts versus Crafts (Ruskin and Morris, n.d.)

Ever since the Renaissance era, rebirth or revival of the classic (Tabotabo, C. V.,
2006:) when the status of painters and sculptors (who were previously regarded as craftsmen)
was upgraded to "artist", the term "crafts" has been classified as a lesser creative activity to
"arts." Why? Because, supposedly, a craftsman can predict what he is going to create,
whereas an artist can't predict what he is going to create until he has created it. In practice,
however, the line between an "art" and a "craft" is frequently so fine as to be meaningless. A
ceramicist, for instance, is most unlikely ever to be able to predict how a particular glaze will
impact on the piece of clay sculpture being produced.

Decorative Arts: Applied Art: Versus Crafts (Ruskin and Morris, n.d.)

The etymology and distinctive meanings of terms like "arts" and "crafts" is further
complicated and confused by the expansion of closely related areas like "Decorative Arts" and
"Applied Arts".

"Decorative Art" is traditionally considered to include ornamental and functional works

in ceramic, glass, metal, wood and textiles. The term encompasses pottery, furniture,
furnishings, interior design, and architecture, and is used by art critics to distinguish these
areas from the "fine arts" such as drawing, painting, and sculpture: "Fine Arts" being created
purely for aesthetic reasons ("art for art's sake").

"Applied Art" describes fields of creative activity that apply design and aesthetics to
utilitarian objects of everyday use making functional things beautiful (Sanchez, C. A., Abad,
P. F., Jao, L.V. Sanchez, R. A. , 2012: 4). It includes activities like architecture, interior design,
graphic design, fashion design, industrial or commercial design, decorative art and functional
art are considered applied arts. An example is the Bayeux Tapestry.

As you can see, a noticeable overlap exists between the three areas: decorative,
applied arts, and crafts, and (in practice) between unique crafted items and fine art sculpture.
Furthermore, the "Arts and Crafts Movement" at the turn of 19th century was a major influence

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on all these differing branches of artistic endeavor, as were the movements "Art Nouveau" and
"Art Deco".
The etymology and distinctive meanings of terms like "arts" and "crafts" are further
complicated and confused by the expansion of closely related areas like "Decorative Arts" and
"Applied Arts". “Decorative Arts " are traditionally considered to include ornamental as it is
concerned with the design and decoration of objects that are chiefly prized for their utility,
rather than for their purely aesthetic qualities. Objects associated with the decorative arts
include ceramics, glassware, jewel, furniture, and clothing. On the other hand, "Applied Arts
are the applications of design and decoration to everyday objects to make them aesthetically
pleasing. The term is applied in distinction to the fine arts which aims to produce objects which
are beautiful and/or provide intellectual expressive activity where (ideally) we express
ourselves using one (or more) of the artistic mediums. That can happen in art which is realistic
(replicating what one sees - because what one see’s is expression) or abstract or surrealistic.
Thus, applied art is not primarily expressive (although it includes expressive elements).
Primarily, applied art is created to achieve something. In advertising it’s applied in order to
make messages more powerful. In craft it’s applied to make something that sells well.

Toward this end, the difference between art and craft wherein most people do not see
any difference between art and craft as they are both considered to be forms of creativity. Let’s
consider how art and craft differ. Art is a form of work that is the expression of emotions.Craft
is a form of work, which results in a tangible output, for example, molding and carving.

It is therefore worthwhile that visual arts curriculum, students learn through a balanced
programme of study consisting of two intertwined and interrelated strands: visual arts
appreciation and criticism in context and visual arts making. These form the basic Visual Arts
curriculum framework. The strands are closely related and should be learned in an integrative
system with the inclusion of Southeast Asian arts. Whatever indigenous theatrical forms may
have existed in the Philippines, other than tribal epic recitations, were obliterated by the
Spanish to facilitate the spread of Christianity. The earliest known form of organized theatre
is the comedia, or moro-moro, created by Spanish priests.

Philippine Post Modern Art (1970 – 1980s) has been the support of the Philippine
Government for the arts via the creation of the Cultural Center of the Philippines during 1969

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which apparently gave a venue for all artists to experiment and explore different art mediums
tying closely to the Post-Modern Art Period of the West with Pop Art, Installation Art,
Performance Art as seemingly dominating the scene as spiraled in the curriculum of Art
Education in the country.

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Lesson 5. The Visual Arts Program (Phillips, 2012)

The Top Process Skills as the elemental components of visual arts program:
1. Creativity - Being able to think on your feet, approach tasks from different perspectives and
think ‘outside of the box’ will distinguish you from others. In an arts program, you will be asked
to recite a monologue in 6 different ways, create a painting that represents a memory, or
compose a new rhythm to enhance a piece of music. If you have practice thinking creatively,
it will come naturally now and in your future career.

2. Confidence - The skills developed through theater, not only train you how to convincingly
deliver a message, but also build the confidence you need to take command of the stage.
Theatre training gives you the practice of stepping out of your comfort zone and allows you to
make mistakes and learn from them in rehearsal. This process gives you the confidence to
perform in front of large audiences.

3. Problem Solving - Artistic creations are born through the solving of problems. How do I turn
this clay into a sculpture? How do I portray a particular emotion through dance? How will my
character react in this situation? Without even realizing that art participations are consistently
being challenged to solve problems. All this practice problem solving develops skills in
reasoning and understanding. This will help develop important problem-solving skills
necessary for success in any career.

4. Perseverance - When a child picks up a violin for the first time, she/he knows that playing
Bach right away is not an option; however, when that child practices, learns the skills and
techniques and doesn't give up, that Bach concerto is that much closer. In an increasingly
competitive world, where people are being asked to continually develop new skills,
perseverance is essential to achieving success.

5. Focus - The ability to focus is a key skill developed through ensemble work. Keeping a
balance between listening and contributing involves a great deal of concentration and focus.
It requires each participant to not only think about their role, but how their role contributes to

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the big picture of what is being created. Recent research has shown that participation in the
arts improves your abilities to concentrate and focus in other aspects of life.

6. Non-Verbal Communication - Through experiences in theater and dance education,

children learn to breakdown the mechanics of body language. They experience different ways
of moving and how those movements communicate different emotions. They are then coached
in performance skills to ensure they are portraying their character effectively to the audience.

7. Receiving Constructive Feedback - Receiving constructive feedback about a performance

or visual art piece is a regular part of any arts instruction. You learn that feedback is part of
learning and it is not something to be offended by or to be taken personally. It is something
helpful. The goal is the improvement of skills and evaluation is incorporated at every step of
the process. Each arts discipline has built in parameters to ensure that critique is a valuable
experience and greatly contributes to the success of the final piece.

8. Collaboration - Most arts disciplines are collaborative in nature. Through the arts, you
practice by working together, sharing responsibility, and compromising with others to
accomplish a common goal. When you have a part to play in a music ensemble, or a theater
or dance production, you begin to understand that your contribution is necessary for the
success of the group. Through these experiences, you gain confidence and start to learn that
every body’s contributions have value even if they don’t have the biggest role.

9. Dedication - When you get to practice by following through with artistic endeavors that result
in a finished product or performance, you learn to associate dedication with a feeling of
accomplishment. You practice by developing healthy work habits of being on time for
rehearsals and performances, respecting the contributions of others, and putting effort into the
success of the final piece. In the performing arts, the reward for dedication is the warm feeling
of an audience’s applause that comes rushing over you, making all your efforts worthwhile.

10. Accountability - When you practice by creating something collaboratively with others, you
get used to the idea that you and others’ actions affect other people. They learn that when
they are not prepared or on-time, that other people suffer. Through the arts, you also learn

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that it is important to admit that you made a mistake and take responsibility for it. Because
mistakes are a regular part of the process of learning in the arts, you begin to see that mistakes
happen. We acknowledge them, learn from them and move on.

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Lesson 6. Engagement (Engage, n.d.)

Engage from Old French engager "bind (by promise or oath), pledge; pawn". And thus
engage generally means bringing people and art together.

That’s why the Engage Journal as published twice annually in Europe reached the
international circulation by exploring current themes linked to the visual arts and education.
With the foregoing publication attracted and occupied the attention among visual art lovers
practically around the world which started from 1640s to the present. Thus engagement has
been rationalized as opportunities for employment and security for aid wherein at the end,
developed the notion of "binding as by a pledge by entering into combat or contest."

Roger Williams University founded in 1956 offered courses in both the liberal arts and
professional fields of study, popularly a leading independent, coeducational university with
over 45 majors in arts and sciences, professional studies, architecture, and law. Across two
campuses, one on the water in Bristol, and one in the heart of Providence, Rhode Island,
students become community and globally-minded citizens through project-based, experiential
learning. At this point in time, the Visual Arts department at the said university, prepares
students for future careers in the arts with an interdisciplinary spirit and a global perspective.
The Visual Arts faculty consists of active artists who share their experience with students
through lively and challenging discussions and critiques. Media exploration is encouraged
throughout the program and culminates in the creation of a cohesive body of work that reflects
the individual student’s interests. Emphasis of study is placed on historical as well as
contemporary theories in the arts so that students may better place their own artwork within a
larger context. Balancing craft and conceptual agility, and new and traditional media, the
Visual Arts program positions graduates to engage in an increasingly interdisciplinary world

An arts specialist co-plans and co-teaches alongside the general education teacher to
help ensure academic learning is happening through an art form and vice versa. For example,
one third-grade science unit on leaf classification integrated visual arts into science.
The RBC Emerging Visual Artists program at Arts Commons provides an exceptional
opportunity for emerging visual artists to develop their artistic practice, to showcase their work

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to the public through exhibitions, open studio and speaking engagements, and hone their
professional skills in order to build a solid foundation for a successful career.

Lesson 7. Criteria for Organizing Visual Art Activities

(Sosnowski, n.d.)

Activities in both visual and performing arts give students the opportunity to develop
skills in basic techniques and learn vocabulary and principles of individual art forms. Practice
in the arts also allows students to develop their abilities to communicate with their peers and
express emotions and ideas. Additionally, studying the arts can be done in conjunction with
math, history and language arts lessons. Much more organizing visual art activities can be
done through the following avenues:

1. Music

Teacher and students making music. Simple activities for young kids include sing-
alongs and the use of homemade instruments to keep rhythm with traditional songs. As they
get older, elementary-age kids can create their own music given a poem or dance as
inspiration. Projects include creating instruments to match each type of musical sound.
Students in the middle grades can be introduced to sheet music and reading musical notes.
Older students can improvise or arrange music from a variety of cultures in conjunction with
the study of geography or world history. Projects include creating group presentations of
compositions or performing in an assembly.

2. Dance

Teenagers dancing. As another performing art, dance gives young students the
opportunity to interpret what they learn and create their own dance routines and movements
that follow the rhythm of the music accompaniment (Caslib, B. N. Jr., Garing, D. C.,Casaul,JA.,
2018: 20). To begin, young students can be taught to imitate simple dance patterns from a
variety of dance genres. Additionally, a game like Simon Says can help younger students to
practice basic motor skills like running, galloping and sliding. The game can be furthered in
the next grades to include more complex movements, including performing actions in a
sequence. Older students can study dance to understand cultural influences on the art over

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the course of history. Middle and high school students also can begin to learn basic elements
of anatomy and the biology of movement through the study of dance.

3. Theater

A school play. Children as young as kindergarten can play games including freezing
in musical chairs or holding statue poses. Students mirror each other or the teacher or perform
pantomimes to tell a story. Older elementary students can imitate the voices of a variety of
characters or create fictitious situations to present to the class. Theater projects for older
students include comparing stage productions to literature in an English class or learning basic
audiovisual practices in developing a stage performance. Participation in the presentation of
a theatrical performance teaches students a variety of skills including creating rehearsal
schedules, developing set and costume design, and directing and blocking stage movements.

4. Visual Arts

Young girl painting. To develop understanding and use of visual arts, young students
can illustrate their personal experiences. Students also can use manipulatives and clay to
create patterns and play with three-dimensional art forms (Devilles, G. C., Malquez, R. B..
Tolentino, R. B., 2018: 7). Activities for kids as young as preschool age include drawing or
painting self-portraits or portraits of another person or coloring images provided by the
teacher. As elementary students get older, they can create projects focusing on more detail in
replicating faces. Middle and high school students can compare different types of art forms,
curate shows for their classmates, or develop analyses of visual artists and their
representations of the cultures around them.

Regardless of how old we are, we never stop learning. Classroom is the educational
resource for people of all ages. Whether you’re studying times tables or applying to college,
Classroom has the answers. Visual arts is a vehicle through which people make meaning of
the complexities of life and make connections between themselves and others. Visual arts
offers enjoyment and delight, and stimulates imagination. Visual arts provides a common
thread of understanding across generations. In short, visual arts describes, defines, and

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deepens human experience throughout history and are embedded in our daily lives. Visual
arts is a vehicle through which people make meaning of the complexities of life and make
connections by means of engagement in different activities as criteria set between themselves
and others.

Lesson 8. Language and Visual Arts (Anderson, n.d.)

A Visual Language is a practical introduction to the language of the visual arts, with a
strong, innovative methodology. This expanded second edition begins with the basics of
shape, composition and drawing, and gradually moves on to explore more complex
arrangements, including abstract and representational analysis and composition.

The visual language is a system of communication using visual elements. Speech as a means
of communication cannot strictly be separated from the whole of human communicative
activity which includes the visual and the term 'language' in relation to vision is an extension
of its use to describe the perception, comprehension and production of visible signs.

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 Assessment Task 1

Discuss scholarly the following:

1. Trace the historical development of arts and crafts both local and global in boosting
bonding, self-confidence, and sense of achievement and pride in you and your classmates in
the class.
2. How the top process skills as the elemental components of the visual arts program
are enhanced in you subsequent to your attendance for a couple of days in Visual Arts Class?
3. What degree of art and craft appreciations enlivened in you by means of line, shape,
tone, color, pattern, texture and form as the inherent language in order for you to analyze the
same by breaking them down into component parts as seemingly the ample basis for your
appreciation or rudeness of the skill and imagination that the artist has used in composing and
constructing them?

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 Summary

The word visual has various etymological origins from Late Latin visuals down the line
to the Greek artisan "to prepare", and thus ultimately settled by Merriam-Webster connotation
by describing it as art, a thing that is created through ability and imagination and is beautiful
and transmits feelings. In practice, however, the line between an "art" and a "craft" is frequently
so fine as to be meaningless to zero down squabbles between artists and craftsmen.

The ten top process skills as the elemental components of visual arts program through
which people make meaning of the complexities of life and make connections by means of
engagement in different activities as criteria set between themselves and others. In retrospect,
the visual language is a system of communication using the optic ocular sight for human
artistic and crafted activities shall not perish from the surface of the earth.

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 References

Anderson, S. (n.d.). A Visual Language. Retrieved from https://bookshop.org/books/a-visual-

language/9781408152225
Diary ng Humanista (2020). Contemporary Philippine Arts from the Region. Retrieved from
https://www.facebook.com/Diarynghumanista/posts/994906760974918/
Dicazo (2020). What is Visual Art? Retrieved from
https://dicazo.wordpress.com/2020/06/03/what-is-visual-art/
Engage (n.d.). Bringing people and art together. Retrieved from https://engage.org
English-ingles (n.d.). Etymology of Art. Retrieved from https://english-ingles.com/etymology-
of-art/
National Commission for Culture and the Arts (NCAA). (2015). National Living Treasures
Guidelines.
Online Etymology Dictionary (n.d.). Visual. Retrieved from
https://www.etymonline.com/word/visual
Phillips, L. (2012).The Top 10 Skills Learn from the Arts | ARTS Blog. Retrieved from
https://blog.americansforthearts.org/2019/05/15/the-top-10-skills
Ruskin, J., Morris, W. (n.d.). Crafts: History and Types. Retrieved from http://www.visual-arts-
cork.com/crafts-history-types.htm#types
Sosnowski, (n.d.). Fun Performing & Visual Arts Activities for Kids. Retrieved from
https://classroom.synonym.com/importance-dance-childhood-education-
5535793.html

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 MODULE 2
UNDERSTANDING VISUAL ARTS

Introduction

Understanding visual arts demands for elemental components as infused in the very
being of the artists with the grip of discernment in appreciating the ocular works produced by
human creative skill and imagination by means of the prevalence of a theme as inherently
deeper and broader which convey something more universal; mood as an atmosphere of
expression; and the tone by conjuring up an image in harmonizing the pleasing sensation as
adept in the maven of proficiency. It is along this line that by visual arts denote works like
paintings, sculptures, and prints as opposed to performing arts, like music or dance, and thus
understanding the elements of the foregoing visionary artistry, enjoins by urging to bid the
prevalence of the aforementioned theme, mood, and tone among those who wish to join the
rank and file of artist lovers.

Learning Outcomes

At the end of the module, students should be able to:

1. Know in depth the art concepts in term of theory and appreciation;

2. Apply art concepts based on theory and appreciation by engaging in artistic activities
in enhancing their creative skill and imagination both in school, at home and their
respective workplaces;

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 3. Trace the history behind ancient and modern arts and crafts and the influences made
for commercialization of the same both local and global in the 21st century high-tech
informational advancement.

Lesson 1. Art Concepts: Theory and Appreciation

Multiple solutions are explored before settling on the final design. Art concepts are not
only used to develop the work, but also to show the project's progress to directors, clients and
investors. Once the development of the work is complete, such concepts may be reworked
and used for advertising materials.

The term "art concepts” were used by the Walt Disney Animation Studios as early as
the 1930s. A concept artist is an individual who generates by bringing about a visual design
for an item, character, or area that does not yet exist. Relatively, this includes, but is not limited
to, film, animation, and more recently, video game production. Being a concept artists take
commitment, vision and a clear understanding of the role they played in visual artistry.
Somehow, while it is necessary for them to have the skills of fine artists, they must also be
able to work under strict deadlines in the capacity of graphic designers. Some concept artists
may start as fine artists, industrial designers, animators, or even special effects artists.
Interpretation of ideas and how they are realized is where the concept artist's individual
creativity is most evident, but subject matter is often beyond their control. Many concept artists
work in a studio or from home remotely as freelancers. Working for a studio has the advantage
of an established salary. The average salary for a concept artist in video games is $60,000-
$70,000 a year, although many make much less or more than that (Devilles et al., 2018,).

No less than LeWitt (2019) who discloses that in conceptual art, the idea or concept is
the most important aspect of the work. When an artist uses a conceptual form of art, it means
that all of the planning and decisions are made beforehand and the execution is a perfunctory
affair (Art tem, n.d.).

Art concepts as related to theory and application in terms of which works of art are
interpreted and evaluated. This subheading addresses the nature of modern aesthetics and
its underlying theoretical principles and concerned application. Aesthetics, the philosophical
study of beauty and taste, is closely related to the philosophy of art, which is concerned with
the nature of art and the concepts in terms of which individual works of art are elucidated in

21
order to shed light for understanding and comprehension as basis for judgmental assessment
and appraisal.

As Scruton (2015) confirms, “we are acquainted with an interesting and puzzling realm
of experience: the realm of the beautiful, the ugly, the sublime, and the elegant; of taste,
criticism, and fine art; and of contemplation, sensuous enjoyment, and charm. In all these
phenomena we believe that similar principles are operative and that similar interests are
engaged. If we are mistaken in this impression, we will have to dismiss such ideas as beauty
and taste as having only peripheral philosophical interest. Alternatively, if our impression is
correct and philosophy corroborates it, we will have discovered the basis for a philosophical
aesthetics as related to theoretical principles and concerned application in the field of visual
arts” (Munro, n.d.).

22
Lesson 2. Skills and Activities: Application (Sanchez, C., Abad, Jao
& Sanchez, R., 2012)

It is of common knowledge that criticizing, evaluating, and explaining works of art as

bases for problem solving and scathing analysis normally use the castigatory of thinking skills
to evaluate and means of effectively dealing with difficult situation in order to zero down
drawback and obstacle to hurdle in the achievement and enhancement of the ability to be
creative and innovative in the field of competitive visual artistry.

These art skills are drawn as follows:

1. Honing Their Judgement. Many areas of education require right or wrong

answers. The visual arts give a child the opportunity to make choices and to understand the
impact of those choices. Students learn that there may be more than one answer to any
question as they learn to explore the nuanced aspects of life.

2. Developing Problem-Solving Skills. Creating art allows children and young people
to see, interpret, and reflect on the world in a way that’s distinct. It provides perspectives to
consider, rather than a pre-determined outcome, thereby helping them to learn how to
consider and weigh alternatives.

3. Learning That Small Choices Can Have Large Impacts. Art provides an
opportunity for students to see how a big picture image can be affected by small adjustments
to the work.

4. Expressing Feelings and Emotions. Young people, especially teenagers, often

have difficulties in expressing their true feelings or emotions. Art allows them to say what they
may not be able to communicate directly (Devilles, G. C, Malquez, R. R. & Tolentino, and R.
B.., 2018, 159-161).

5. Triggering a Sense of Discovery. The arts can prompt a sense of discovery about
learning and demonstrate that the limits of our learning extend beyond numbers and words.

Engaging Students through the Arts Activities

Dr. Upitis, (2019), a professor of Arts Education at Queens University in Canada and
in the United States has this to say: “those students who are fully engaged are ready to learn
in every way – physically, socially, emotionally and intellectually. The arts play a vital role in

23
ensuring that students remain engaged by encouraging them to learn in physical and
embodied ways as findings in her research revealed as follows:

● The arts teach us how to make judgments in the absence of rules; they also teach us that
goals are best held with flexibility and that some activities are self-justifying.

● the arts offer intrinsic benefits related to student experience and expression and bonus
benefits related to intellectual achievement, including the development of general thinking
skills and problem-solving abilities.

● Canadian research affirms that spending time in the arts does not come at the expense of
achievement in other subjects, but improves estimation and computation skills and enhances
student engagement in school learning overall.

Thus, Dr. Upitis recommended the following tips for students’ physical engagement in
daily classroom arts activities in natural way: • set up a listening station in the classroom

• encourage students to share the music they like to hear; • have materials on hand for
sketching and drawing; • move and chant as they learn their times tables; • act out a story line
of a book shared in class; • compose soundscapes using found instruments and body
percussion

And • create a choreography to illustrate evolutionary concepts in science (Palma, 1992).

Teach other subjects using arts-infused methods. Try to: • encourage students to
“show what they know” through tableaux, monologues or choreographed movement routines;

• find natural connections between an art form and a non-arts subject and use one to inform
the other for instance geometry through sculpture, teach history through the enactment of
historical events, or teach elapsed time through movement sequences

Create opportunities to learn arts skills. Have students • learn painting and drawing
techniques (perhaps with a volunteer or resident artist; • sing or learn to play musical
instruments; •and learn a type of dance form.

Enlist the help of parents and others to bring arts experiences to their students. Begin
by: • creating a roster of parent skills and strengths in the arts; • learning about arts in the
community and • applying to arts councils to support specific projects in the arts.

24
 Become an arts advocate. Begin by: • supporting arts in the classroom, • providing
evidence to parents and administrators about the value of the arts, using research and
classroom examples.

Lesson 3. Ancient Arts and Crafts (NCAA, 2015)

Ancient Arts

Ancient arts refer to the many types of art produced by the advanced cultures of ancient
societies with some form of writing, such as those of ancient China, India, Mesopotamia,
Persia, Palestine, Egypt, Greece, and Rome (Smith, 2017). The art of pre- literate societies is
normally referred to as Prehistoric art. Although some Pre-Columbian cultures developed
writing during the centuries before the arrival of Europeans, on groundsof dating these are
covered at Pre-Columbian art, and articles such as Maya art and Aztec artas well as Olmec
art. Historical records revealed that within boundaries of some of the most ancient civilizations
known first developed writing and agriculture. Many civilizations flourishedthere, leaving behind
a rich legacy of ancient art.

Filipino Ancient Art

The National Commission for Culture and the Arts, the official cultural agency of the
government of the Philippines, has categorized Filipino arts into traditional and non-traditional.
Each category is split into various arts, which in turn have sub-categories of their own.

Traditional arts, Folk architecture – including, but not limited to, stilt houses, land
houses, and aerial houses

Maritime transport – boat houses, boat-making, and maritime traditions

Weaving – including, but not limited to, basket weaving, back-strap loom weaving,
headgear weaving, fishnet weaving, and other forms of weaving

Carving – including, but not limited to, woodcarving and folk non-clay sculpture

Folk performing arts – including, but not limited to, dances, plays, and dramas

Folk (oral) literature – including, but not limited to, epics, songs, and myths

Folk graphic and plastic arts – including, but not limited to, calligraphy, tattooing, folk
writing, folk drawing, and folk painting (Tabotabo, C. V. 2006, 187).

25
 Ornament, textile, or fiber art – hat-making, mask-making, accessory-making,
ornamental metal crafts

Pottery – including, but not limited to, ceramic making, clay pot-making, and folk clay
sculpture

Other artistic expressions of traditional culture – including, but not limited to, non-
ornamental metal crafts, martial arts, supernatural healing arts, medicinal arts, and
constellation traditions

Madonna with Child ivory statue with silver made by an unknown artist (17th century)

Non-traditional arts such as:

Dance – including, but not limited to, dance choreography, dance direction, and dance
performance

Music – including, but not limited to, musical composition, musical direction, and
musical performance

Theater – including, but not limited to, theatrical direction, theatrical performance,
theatrical production design, theatrical light and sound design, and theatrical playwriting

Visual arts – including, but not limited to painting, non-folk sculpture, printmaking,
photography, installation art, mixed media works, illustration, graphic arts, performance art,
and imaging,

Literature – including, but not limited to, poetry, fiction, essay, and literary/art criticism

Film and broadcast arts – including, but not limited to, film and broadcast direction, film
and broadcast writing, film and broadcast production design, film and broadcast
cinematography, film and broadcast editing, film and broadcast animation, film and broadcast
performance, and film and broadcast new media

Architecture and allied arts – including, but not limited to, non-folk architecture, interior
design, landscape architecture, and urban design

Design – including, but not limited to, industrial design, and fashion design

The traditional arts in the Philippines encompass folk architecture, maritime transport,
weaving, carving, folk performing arts, folk (oral) literature, folk graphic and plastic arts,

26
ornament, textile, or fiber art, pottery, and other artistic expressions of traditional culture
(Sanchez, et al. 2012,38-40). There are numerous Filipino specialists or experts on the various
fields of traditional arts, with those garnering the highest distinctions declared as Gawad
Manlilikha ng Bayan (GAMABA), equal to National Artist.

Folk architecture in the Philippines differs significantly per ethnic group, where the
structures can be made of bamboo, wood, rock, coral, rattan, grass, and other materials.

These abodes can range from the hut-style bahay kubo which utilizes vernacular
mediums in construction, the highland houses called bale that may have four to eight sides,
depending on the ethnic association, the coral houses of Batanes which protects the natives
from the harsh sandy winds of the area, the royal house torogan which is engraved with
intricately-made okir motif, and the palaces of major kingdoms such as the Daru Jambangan
or Palace of Flowers, which was the seat of power and residence of the head of Sulu prior to
colonization. Folk architecture also includes religious buildings, generally called as spirit
houses, which are shrines for the protective spirits or gods. Most are house-like buildings
made of native materials, and are usually open-air. Some were originally pagoda-like, a style
later continued by natives converted into Islam, but have now become extremely rare. There
are also buildings that have connected indigenous and Hispanic motif, forming the bahay Na
bato architecture, and its proto-types. Many of these bahay Na bato buildings have been
declared as world heritage site, as part of Vigan. Folk structures include simple sacred stick
stands to indigenous castles or fortresses such as the idjang, to geologically-altering works of
art such as the Rice Terraces of the Philippine Cordilleras, locally called payyo. Five rice
terrace clusters have been declared as world heritage sites, namely Nagacadan, Hungduan,
central Mayoyao, Bangaan, and Batad.

The history of the Philippines between 900 and 1565 begins with the creation of the
Laguna Copperplate Inscription in 900 and ends with Spanish colonization in 1565. The
inscription records its date of creation in the year 822 of the Hindu Saka calendar,
corresponding to 900 AD in the Gregorian system. Therefore, the recovery of this document
marks the end of prehistory of the Philippines at 900 AD. During this historical time period, the
Philippine archipelago was home to numerous adjacent kingdoms scattered therein.

Maritime transport in the Philippines includes boat houses, boat-making, and maritime
traditions. These structures, traditionally made of wood chosen by elders and crafts folks, were
used as the main vehicles of the people, connecting one island to another, where the

27
seas and rivers became the people's roads. Although boats are believed to have been used
in the archipelago for thousands of years since the arrival of humans through water, the
earliest evidence of boat-making and the usage of boats in the country continues to be dated
as 320 AD through the carbon-dating of the Butuan boats that are identified as remains of a
gigantic barangay (Caslib et al., 2018).

Crafts

The term “craft” is etymologically from the Old English word craft, which means power,
strength, or might. Later on, it came to mean “skill or art” and was associated with an idea of
“mental power” (Harper, 2001). Eventually, it was linked to “things made by hand” (Oxford
Dictionaries, 2009). Other connotations of the word are decorative arts (handmade luxury
goods for use and display inside buildings or on the human body), “trade and folkways,” and
“long traditions of pre-industrial production of handmade objects.

Craft generally denotes a skill, usually employed in branches of the decorative arts
(eg. ceramics), or in an associated artistic practice (eg. lace-making). A key feature of crafts
is that they involve a high degree of "hands-on" craftsmanship (hence the colloquial term
"handicrafts) rather than just skill with a machine.

Some crafts that are practiced by artists working alone are sometimes referred to by
the vague term "studio craft". Metal work, wood turning, glass blowing, and glass art are
examples of "studio crafts", as is pottery - notably the studio pottery movement exemplified by
Bernard Leach in Britain.

The United Nations Educational, Scientific, and Cultural Organization (UNESCO)

define “crafts” as follows: Those produced by artisans, either completely by hand, or with the
help of hand tools or even mechanical means, as long as the direct manual contribution of the
artisan remains the most substantial component of the finished product. These are produced
without restriction in the terms of quantity and using raw materials from sustainable resources.
The special nature of artisanal products derives from their distinctive features, which can be
utilitarian, aesthetic, artistic, creative, culturally attached, decorative, functional, traditional,
religiously and socially symbolic and significant (Smithrim and Upitis, 2005).

Clearly, the foregoing exhibition acknowledged the aesthetic properties of craftworks,

to help clear the way for their integration into the art world. Its aim is not to end up calling craft

28
art but to see craft’s “aesthetic potential.” Flores clarifies: Philippine Traditional Crafts in
Discipline-Based Art Education: A New Prospect.

Commercial Art and Craft (Occupational Outlook Handbook, 2020)

Craft and fine artists use a variety of materials and techniques to create art for sale
and exhibition. Many of them work in fine or commercial-art studios located in office buildings,
warehouses, or lofts. Others work in private studios in their homes. Some artists share studio
space, where they also may exhibit their work.

Thus, in order for them to become craft and fine artists, they improve their skills through
practice and repetition. A bachelor’s degree is common for these artists, whereas those who
attained financial stability pursued their self-imposed professional growth by finishing their
graduate and postgraduate degrees in specialized field of art and craft, for statusand recognition
(Palma, 1992).

As to job outlook, the overall employment of craft and fine artists is projected to show little or

no change from 2018 to 2028. Employment growth for artists depends largely on the overall

state of the economy and whether people are willing to spend money on art and craft works,

because people usually buy the same when they can afford to do so.

29
 Assessment Task 2

Discuss scholarly the following:

1. What do you understand of art concepts in term of theory and appreciation by

pinpointing similarities and differences between them?

2. How to you apply art concepts based on theory and appreciation for your actual

engagement in in artistic activities in enhancing further your creative skill and imagination in

school, at home and in your respective workplaces?

3. What historical considerations do you give much credence in the history behind

ancient and modern arts and crafts, and the influences made for commercialization of the

same both local and global by pinpointing the impact made on artists and craftsmen for their

survival in the 21st century high-tech informational advancement?

30
 Summary

Art concepts are not only used to develop the work, but also to show the project's

progress to directors, clients and investors. Once the development of the work is complete by

concept artist who generates by bringing about a visual design for an item, character, or area

that does not yet exist, such art concepts may be reworked and used for advertising materials.
Art concepts as related to theory and application in terms of which works of art, are interpreted

and evaluated by addressing the nature of modern aesthetics and its underlying theoretical

principles and concerned application. Thus, criticizing, evaluating, and explaining works of art

as bases for problem solving and scathing analysis normally use the castigatory of thinking

skills to evaluate and means of effectively dealing with difficult situation in order to zero down

drawback and obstacle to hurdle in the achievement and enhancement of the ability to be

creative and innovative in the field of competitive visual artistry. Somehow in the course of

time, ancient arts refer to the many types of art produced by the advanced cultures of ancient

societies with some form of writing, such as those of ancient China, India, Mesopotamia,

Persia, Palestine, Egypt, Greece, and Rome, and eventually Philippine arts. So that within the

midst of historical art development, emerged the craft which generally denotes a skill, usually

employed in branches of the decorative arts, or in an associated artistic practice by leaving

behind a high degree of "hands-on" craftsmanship.

31
 References

Art Term (n.d.). Conceptual Art. Retrieved from https://www.tate.org.uk/art/art-

terms/c/conceptual-

art#:~:text=When%20an%20artist%20uses%20a,execution%20is%20a%20perfuncto

ry%20affair.&text=In%201973%20a%20pioneering%20record,the%20American%20

critic%20Lucy%20Lippard.

Caslib Jr., B. N., Garing, D. C., Casaul, J. A. (2018). Art Appreciation. Rex Bookstore –First

Edition
Devilles, G. C, Malquez, R. R. & Tolentino, R. B.. (2018). Art Sense: Sensing the Arts in the

Everyday. Quezon City: C & E Publishing.

Munro. T. (n.d.). Aesthetics. Retrieved from https://www.britannica.com/topic/aesthetics

National Commission for Culture and the Arts (NCAA). (2015). National Living Treasures
Guidelines.
Occupational Outlook Handbook (2020). Crafts and Fine Artists. https://www.bls.gov/ooh/arts-

and-design/craft-and-fine-artists.htm

Sanchez, C. A., Abad, P. F., Jao, L. V.,& Sanchez, R. A. (2012). Introduction to the

Humanities, Sixth Ed. Manila: Rex Book Store

Smithrim, K., & Upitis, R. (2005). Learning through the Arts: Lessons of Engagement. Canada:

Canadian Journal of Education

32
 MODULE 3
LEARNING VISUAL ARTS

Introduction

Learning visual arts is eventually planned and managed as the stratagem for aspiration
among students in their helm to deal efficiently the human creative activities by giving essence
and expressiveness to their respective urban, rural and far flung communities. The foregoing
art planning and management can only be realized by means of working out with earth’s
physical sculptural materials, towards a deeper relationship to systems through the ecological
approaches developed as an ethical, restorative stance emerging as a consequence of human
activities by befouling foulness and dirtiness causing climate change, thus making theplanet
earth no longer fit for humanoid habitation. Thus, it is therefore apparent that teachingand
learning processes are anchored on instructional competency in providing information on a
subject by assisting students in creatively expressing themselves in the arts along their line of
interest ranging from visual arts to dance and movement, and drama. Toward this end,
displaying arts in the midst of covid-19 pandemic wipe out the human race without exception
from the planet earth as compounded by critical resources stretching down to the zero level
for people to become hungry and die without mercy due to Phil health corruptions by crooks
in the government, the very essence of our freedom is shrinking – and yet we are moved
inward, to the vast inner space of our thoughts and imagination, in rising up to the higher apex
of promising potentials among local, national and international artists coming from the four
corners of globe.

33
 Learning Outcomes

At the end of the module, students should be able to:

1. Plan and manage their interests in arts as the stratagem of aspiration for them to
oversee the helm of their human creative activities by giving essence and
expressiveness to social life in their respective communities;
2. Deal closely the physical environment as the part of their human milieu as a backdrop
location that includes purely physical factors;
3. Enhance their learning process by means of teachers’ instructional competency in
attending to artworks depicting people’s needs, experiences, feelings, and
interventions so that they learn particular things, and go beyond the given classroom
art theories;
4. Take the form of questioning, listening, giving information, explaining some
phenomenon, demonstrating a skill or process, testing, understanding, and capacity
geared toward facilitating their learning visual artistry and craftsmanship.
5. Apply the unique wall art display of ideas by means of artistic exhibition as traditionally
done in antiquity to modernity;
6. Distinguish between commercial and non-commercial arts as done in the various
creative ways;
7. Integrate the fine and performing arts as primary pathways to learning in order to
increase their knowledge of a general subject area; and
8. Assess their arts and crafts subsequent to their learning experiences infused in them
by their teachers with due consideration to steps, evaluation, elements, principles,
drawing techniques, mode of styles, variety of subject matters, and new media art; and
9. Scrutinize the art works of established local, national and international artists in the
midst of covid-19 pandemic.

34
Lesson 1. Planning and Managing Arts

The query on how arts are planned and managed is the prelude in order to give light
on how visual arts become the stratagem as aspiration for students to oversee the helm in
dealing efficiently the human creative activity by giving essence and expressiveness to social
life in their respective communities.

No less than Latta (2020), Director of Individual Development at the Center for the
Performing Arts in Dallas, Texas in planning arts of whatever nature without affecting your
current lifestyle, and you will be able to reduce your estate taxes, too by leaving behind
suggestions as to: establish an endowment fund to ensure our efforts in perpetuity in engaging
and inspiring the community through enriching art experiences; schedule a shoot for senior
pictures of whatever emerging artistic events that may take place; and give back to make a
difference in the lives of families in need during holiday season through annual Christmas
Adopt-a-Family Campaign. And thus, with a strong financial base, the Center for the
Performing Arts can fulfill its mission and vision to serve Central Indiana as a cultural and
educational resource. At the end, leave behind your footprint on the sand by thanking those
donors for their transformational gift to provide a legacy in the performing of arts of whatever
nature.

As put across between lines by Dr. Magretta (2020), a former top editor at the Harvard
Business Review of Harvard University in Brighton, Massachusetts distils the wisdom of a
bewildering sea of books and articles into one simple, clear volume. She explains both the
logic of what management as simply both a beginner’s guide and a bible for one of the greatest
social innovations of modern times. The discipline of management identifies the driving force
behind key innovations of the past century and presents a jargon-free look at the way its core
principles work with the end in view in designing to promote "managerial literacy" up and down
the business food chain, as well as among those who simply want better communities as
enshrined by art lovers.

Apparently, those who claimed as masters in arts of whatever sort, train professionals
for a career in management in the performing arts and cultural industries sectors. Students
gain insight to the evolving demands of the cultural marketplace in a globalized context
through the study of the structures of the cultural industries, history of performance, cultural
economics, and design and digital studies. Core courses in finance, management techniques,

35
digital marketing and communication provide students with a successful skill set to work in
cultural sectors and cross-disciplinary settings.

Varela (2019), Assistant Professor/Director of the Arts Administration Program at the

University of North Carolina, explains the curricular contents of Master of Arts in Arts
Administration program. The program will prepare you for leadership roles in organizations
such as arts centers, choruses, government, museums, opera companies, symphony
orchestras, private arts agencies, arts councils, community arts programs, and more. With this
graduate degree as innovative combination of courses in business and the arts, as well as
internships and intensive experience with arts organizations, you will prepare you to hold
leadership positions in arts, entertainment, education and non-profit organizations around the
world.

And for those who wish to pursue the online bachelor's degree with a focus in arts
management along custom-built for arts managers, artists, civic leaders and those just
entering the field, this degree will help you advance your career in non-profit arts
administration, gallery management as the owner/manager in the very near future (American
University, n.d.).

Arts management is purely dealing with people in terms of man as manager, and men
as subordinates, as can be seen from its acronym management. It is along this line of
discourse that managing people is much more of an art than it is a science. There is no secret
formula or set of rules to follow. Like any true art it takes personal style and a relentless
commitment to developing that art through 14 steps (JobsDB.com, n.d.).

Step 1: Rid your mind of the word “manager” and replace it with “leader”. Leaders don’t
require titles or promotions, they are people that inspire and motivate without regard to the
setting or the team.

Step 2: Keep a good sense of humor. It makes you approachable and it helps you
maintain perspective. Don't take yourself too seriously. Everyone puts his or her pants on one
leg at a time.

Step 3: Remember that your direct reports are people. They are not resources and
they are not human capitol. They are people with families, feelings, and problems. It is not
possible to separate work from home life. Be aware that people have personal lives and do

36
the best you can to be sensitive to them. Treat everyone as your equal regardless of their title
or position. Remember to smile a lot and always maintain a pleasant demeanor.

Step 4: Know your strengths and weakness. Know the strengths of your team as well
as the weakness and allow for improvement.

Step 5: Have a clear plan of what needs to be done. “By failing to plan you plan to fail.”
Set long and short term goals.

Step 6: Be decisive. When asked for your opinion, you should have it well thought out
and present it persuasively. You should not waffle or stall by failing to make up one's mind by
speaking or writing, especially at great length, without saying anything important or useful. For
big decisions, set a deadline, and have the decision by that time. If someone offers an
argument that convinces you to change a decision, acknowledge it and embrace the new idea
completely.

Step 7: Communicate your expectations. Put them in writing whenever possible. Solicit
feedback from the people you are leading. Know what they expect from you. Address any
discrepancies immediately and clearly.

Step 8: Have a clear understanding in your own mind of things that you can change
and the things that you cannot. Simply accept the things you cannot change and do not apply
any energy to them what-so-ever. Then, focus all of your efforts on the things you can change.
Action oriented people are always sought after and successful.

Step 9: Remember that different things motivate different people and that people will
do what they have incentive to do. It is your job to make sure that their incentives match your
goals. For example, if you pay a bonus for people to produce a higher number of pieces, don’t
be surprised if quality starts to suffer in favor of volume.

Step 10: Maintain the confidence of everyone in the organization. Managers frequently
have access to more information than other employees. It is imperative that you never betray
the confidence of the company, your manager, your peers, or your employees. Be sure that
people can confide in you.

Step 11: Be Consistent. Your actions and reactions must be consistent. You don’t want
to be the type of manager that everyone asks what kind of mood you are in before they
approach you with an issue.

37
 Step 12: Being flexible is very important and it does not conflict with being consistent.
You must remain flexible to change directions, change rules, and change resources to remain
competitive.

Step 13: Focus only on solutions and not on problems. People gravitate toward
solutions oriented individuals.

Step 14: Hire slowly and fire quickly. Take your time hiring good quality people. Have
several people interview and do thorough background checking. But, when you have a
disruptive personality or person who fails to perform you need to take all steps to get rid of
them as quickly as possible.

38
Lesson 2. Physical Environment
Lee (2020), an American actress, producer, martial artist, businesswoman and the
daughter of legendary martial artist Bruce Lee has this to say that: “the environmental art has
arguably existed since our Paleolithic ancestors began painting their favorite hunting exploits
on the craggy stone walls of their cave abodes, the current climate of environmental precocity
by showing condition of existence without predictability or security ranging from pending
ecological collapse to complete nuclear annihilation. With the foregoing precariousness,
possibly placed on top of the plinth by befitting the state of being uncertain or dependent on
chance which tantamount to the demands for some innovation on the part of artists to provide
a new lexicon to tackle these apocalyptic terrains. Apparently, artists who are creating an
expanded discourse on the environment; one befitting our current stage in the Anthropocene
epoch characterized by a proposed geological era marked by the impact of human activity on
earth, daring to use its arsenal of critical and poetic devices to intrepidly go where no artwork
has gone before.”

Denes (2007), a Hungarian-born American conceptual artist based in New York, and
widely considered the godmother of the eco-art movement conceived as sub-movement of
environmental art, pioneered the practice of creating land art pieces that involved functional
ecological systems-restoration, as well as socially engaged, activist, community-based
interventions. She is known for works in a wide range of media—from poetry and philosophical
writings to extremely detailed drawings, sculptures, and iconic land art works, such as
Wheatfield—A Confrontation, a two-acre field of wheat in downtown Manhattan, commissioned
by the Public Art Fund, and Tree Mountain—A Living Time Capsule in Ylojärvi, Finland
(Artspace, 2017).

Physical environmental art is a range of artistic practices encompassing both historical

approaches to nature in art and more recent ecological and politically motivated types of
works. Environmental art has evolved away from formal concerns, worked out with earth’s
physical sculptural materials, towards a deeper relationship to systems, processes and
phenomena in relationship to social concerns. Integrated social and ecological approaches
developed as an ethical, restorative stance emerged in the 1990s. Over the past ten years
environmental art has become a focal point of exhibitions around the world as the social and
cultural aspects of climate change come to the forefront.

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 The term "environmental art" often encompasses "ecological" concerns but is not
specific to artists hence primarily celebrates their connection with nature using natural
materials. The concept is best understood in relationship to historic earth land art and the
evolving field of ecological art. The field is interdisciplinary the fact that environmental artists
embrace ideas from science and philosophy. The practice encompasses traditional media,
new media and critical social forms of production. The work embraces a full range oflandscape
involving environmental conditions from the rural, to the suburban and urban as well as urban
and rural industrial surroundings.

Physical environment is the part of the human milieu as a backdrop location that
includes purely physical factors as soil, climate and water supply as in this state of modernity
due to high-tech informational advancement, now being smeared by various pollutantscausing
horrible natural calamities, believed to have been contaminated with harmful substances as a
consequence of human activities by befouling foulness and dirtiness causingclimate change,
thus making the planet earth no longer fit for humanoid habitation (Kastner and Wallis,1998).

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Lesson 3. Teaching and Learning Processes
It is of common knowledge that physical environmental classroom setting affects our
mood. Stepping into a dimly little room, we feel scared as scary night befalls. An entry into a
flower garden filled with sunshine, we feel happy and certainly glorified. And, a short or easily
walked distance into a classroom where the teacher is able to effectively lead her students
through a lesson, they feel inspired. Both art students and teachers benefit from a classroom
setting that is organized, productive, and supportive. Classroom rules, arrangement, and
teaching methods create an environment that encourages students to enjoy and appreciate
visual artworks (Taylor, n.d).

Teaching is the process of attending to people’s needs, experiences and feelings, and
intervening so that they learn particular things, and go beyond the given interventions
commonly take the form of questioning, listening, giving information, explaining some
phenomenon, demonstrating a skill or process, testing understanding and capacity, and
facilitating learning activities (Infed.org, n.d.).

Dr. Bruner (2012), an American psychologist and educator who developed theories on
perception, learning, memory, and other aspects of cognition in young children that had a
strong influence on the American educational system and helped launch the field of cognitive
in the formulation of constructivist theory as a general framework for instruction based upon
the study of cognition. Much of the theory is linked to child development research especially
by Piaget. Relatively, in the classic argument for curriculum reform in early education, Bruner
(2012) shows that the basic concepts of science and humanities can be grasped intuitively at
a very early age. He argues persuasively that curricula should he designed to foster such early
intuitions and then build on them in increasingly formal and abstract ways as education
progresses (Encyclopedia Britannica, n.d.). Toward this end, process art is a contemporary
artistic movement recognized within the world’s art communities. The Guggenheim states
“process art emphasizes the ‘processes of making art”. The MOCA (Museum of Contemporary
Art) points out that “in process art, the means count for more than the ends. “These definitions
apply directly to process art for kids too! Process art is all about the experience the children
have while they’re creating. Process art is developmentally appropriate for young children
because it meets them where they are as sensory explorers. Through process art, children
will think creatively, independently, and imaginatively; and they will learn about the physical
limitations and possibilities of materials (Mary Catherine, n.d.).

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Lesson 4. Displaying the Arts
“Due to covid-19 pandemic, people are dying, critical resources are stretched, the very
essence of our freedom is shrinking – and yet we are moved inward, to the vast inner space
of our thoughts and imagination, a place we have perhaps neglected. Of all the necessities
we now feel so keenly aware of, the arts and their contribution to our wellbeing is evident and,
in some ways, central to coronavirus confinement for those of us locked in at home. For some,
there are more pressing needs. But momentary joys, even in dire circumstances, often come
through the arts and collective expression. In this time of crisis and isolation, the role of art
becomes more central to our lives, whether we realize it or not. We can easily take for granted
the grand buffet of media that is available to us – and I can be guilty of a lack of patience when
students find it difficult discerning quality amid a sea of memes and amateur artistic indulgence
which, to the unsuspecting, can appear to be worthy. The lack of curation on the internet
frustrates people like me who value culture and its contribution and equally, are quickly
becoming grumpy old men and women. Whether we like it or not our consumption habits –
including media – form who we are, our values, and our inclinations. In this time of restriction,
TV, film, books and video games offer us a chance to be mobile. To move around freely in a
fictional world in a way that is now impossible in reality. Art connects us to the foreign, the
exotic and the impossible – but in our current context, it also connects us to a world where
anything is possible. They are a patchwork of beliefs that are also tested in these difficult times
where the killer covid-19 by making a world out of our grasp for now, as it wipes out worldwide
human beings from the surface of the planet earth” (Netter, 2020).

There are indeed 10 unique wall art displays of ideas that aren’t another Gallery Wall
according to Wang (2020):

1. Layer them over multi-size shelves. These Minted artful shelves, available in natural
wood, copper, black, white and whitewash, are an elegant way to display photos and prints,
making it easy to interchange them with the season or your mood.

2. Hang them on a clothesline. There's something so simple (and affordable) about

hanging your favorite art prints on a clothesline. As your collection progresses, easily upgrade
your decor by clothes-pinning something new.

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 3. Stack them. Take your love of all things green up a notch by flanking houseplants
with DIY framed palm fronds and leaves. Pressed between pieces of glass, foliage has an
ultra-modern look and frames layered over each other add a twist to the typical gallery wall.

4. Lean them on the floor. For that cool, laid-back look, lean art vertically against the
wall. The undone effect gives your home a nonchalant, lived-in touch and is the perfect
solution for renters who have to follow a “no nails" rule.

5. Make an art mobile. There are tons of ways to display art, but this one takes the
cake for its cool DIY angle. With a branch and some string, you can create an art or photo
mobile for a unique display that has a handmade touch and loads of personality.

6. Use skirt hangers. Not sure what to hang up? No problem. Skirt hangers give you
the flexibility of switching things up as your art collection evolves. Plus, you can paint skirt
hangers in a variety of colors to match your decor.

7. Lay them on a stack of books. The leaning look is the ultimate cool way to display
your art. Use stacks of books on the floor to add another layer of the undone look to your
home.

8. Surround yourself with shelves of art. For a full-fledged art display, add lots of
shelves behind the couch or in a reading nook. Lots of framed pieces in a limited color palette
help give your bold showcase a unified look.

9. Use picture rail moldings. Traditional molding in your home actually creates an easy
way to hang up art. Simply hook a picture or gallery rod to hang up framed pieces for a vintage-
inspired display.

10. Let it float. Simple floating shelves give plain walls a mountain of decorating
opportunities. An eye-catching art display like this is so simple to pull off — just place framed
pieces in scattering heights, and voilà.

An art exhibition is traditionally the space in which art objects meet an audience. The
exhibit is universally understood to be for some temporary period unless, as is rarely true, it
is stated to be a "permanent exhibition". In American English, they may be called "exhibit",
"exposition" or "show". In UK English, they are always called "exhibitions" or "shows", and an
individual item in the show is an "exhibit".

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 There are different kinds of art exhibitions, in particular there is a distinction between
commercial and non-commercial exhibitions. A commercial exhibition or trade fair is often
referred to as an art fair that shows the work of artists or art dealers where participants
generally have to pay a fee. A vanity gallery is an exhibition space of works in a gallery that
charges the artist for use of the space. Temporary museum exhibitions typically display items
from the museum's own collection of artworks collected b both local and global.

Hanging a collection of art in a tight grid creates the feel of one singular piece of work.
Here, colorful travel photography creates a central theme for the wall, yet each piece is its own
stunning work of art. This art display idea is perfect for a large blank through 20 creativeways
as recommended by Dohle, M. & McIntosh, M. (2019) from BH&G Editors (2019):

1. A Gallery of Assorted Frame. Living room with photographs hanging behind couch
by stumping on how to hang your favorite works of art. With ideas for gallery walls, symmetrical
arrangements, and mixed media displays, our roundup of creative art arrangements has a
solution for every blank space in your home. To fill a wall with beautiful art, head to your local
salvage store to find an assortment of old frames. Give them a quick makeover by painting
them the same color or coordinating color scheme, then hang them in a gallery on your wall.
Using a variety of sizes which creates a gathered-over-time vibe. Wide white mats unify the
colorful mix of prints.

2. Prop Out Picture Ledges. Picture ledges are a stylish way to organize framed and
matted photographs. Mix them into your gallery wall display to add dimension as well as
function. Not only can the shallow shelves host artwork, but they’re also perfect for show
casing small mementos, sculptural objects, and even houseplants. Lean and overlap frames
to avoid blank spaces; fill in with edited accessories in unique shapes.

3. Odd Numbers. Learn the "rule of threes" to apply to your home decorating projects.
In general, odd numbers of objects are more interesting to the eye. You can arrange odd
numbers of objects symmetrically for an ordered approach, or go for a more creative, casual
look with an asymmetrical arrangement. Hanging in odd numbers is also a good technique to
use when hanging diverse items such as plates, platters, and other collectibles.

4. Go Vertical. Work with the shape of the hanging surface. On a narrow wall, for
example, hang one tall picture or painting. Or arrange a number of smaller items, such as

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these vintage silhouettes, in a vertical pattern along a door frame where you can find your
decorating personality.

5. Stair step it. Although this type of stair step arrangement can be more difficult to
measure and hang, it has a huge impact on a stairwell area. Artwork in a variety of sizes helps
fill the space without the arrangement feeling too angular. Black frames with white mats unify
the design.

6. Fit Art. Although you might be tempted to ignore a small patch of wall, like the one
above this chair, correctly sized artwork can be a great addition. The key is to hang art that is
the correct size and scale for the available wall area. Partner it with a chair, bench, or small
table for a polished look.

7. Create a Grid. Hanging a collection of art in a tight grid creates the feel of one
singular piece of work. Here, colorful travel photography creates a central theme for the wall,
yet each piece is its own stunning work of art. This art display idea is perfect for a large blank
space, such as above a sofa, bed frame, or entryway.

8. Hang Artifacts. Expand your art selection to include three-dimensional items with
visual appeal. Vintage iron pieces, decorative windows, China dishware, plaques, baskets,
and trays are just a few pieces that can hang on walls to personalize your home. Junk markets
and antique shops are the perfect places to hunt for a one-of-a-kind piece for your wall.

9. Strength of Symmetry. A symmetrical arrangement is created when each half of a

display is the mirror image of the opposite side. For example, one mirror flanked by a pair of
lamps or a trio of prints over a centered bowl. Here, the symmetry of the framed art pieces is
echoed by the pair of chairs on either side of a side table.

10. Shine a Light. Sometimes less is more when it comes to displaying artwork. Create
a high-end look with a single piece of artwork and a picture light that provides low-wattage
lighting. This invites viewers to get a closer look and showcases a beloved photo or painting.

11. Oversized Prints. Make a statement with a collection of extra-large prints. These
simple botanicals are eye-catching on white canvases and a serene blue wall color. When
displaying oversized artwork, steer clear of colors or patterns that could overpower the rest of
the room.

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 12. Kitchen Shelves. Dress up open shelving in the kitchen with colorful prints that
lean against the wall. Wood serving bowls and cutting boards add interest to the display. Pair
with small stacks of simple white dishware to keep the area functional while maintaining a
streamlined look with colorful artwork.

13. Offset Artwork. Relax traditional art rules with an innovative display. Instead of
being perfectly centered over the bench, this arrangement of black and white photography
leans to the left. This arrangement is welcoming and friendly, a wonderful way to greet guests
in your home.

14. All Lined Up. Six prints hung in a line over a table could be a recipe for boring, yet
the throw pillows below the artwork make the difference with interesting texture and patterns.
Silhouettes are a clever way to personalize art without relying solely on photography. When
hanging art above a dining area, be mindful of where the bottom of the frames rest so that no
one bumps their heads on the artwork.

15. Mix Shapes. Unify assorted prints, photographs, and sculptural pieces with a
neutral color scheme. Begin experimenting with the arrangement on the floor and start in the
center. Trace shapes on Kraft paper and tape to the wall before nailing your art display in
place.

16. Skip the Frames. If you’re constantly inspired by new things, opt for a flexible wall
art solution. Hang a series of clipboards to the wall, then print and cut phrases or graphics to
fit the boards. Easily swap prints and graphic quotes to match the season—or your mood.

17. Floor-to-Ceiling Installation. Bedroom walls are the perfect destination for a collage
of artwork that speaks to you and your interests. Pair souvenir art from a beloved vacation with
stylish prints and inspirational graphic art. For a high-impact look, install the personalized
pictures from the floor to the ceiling.

18. Utilize a Bookshelf. Go beyond walls for your art display. Add interest to a
bookshelf with framed prints, small plants, and sculptural pieces. Keep the mats and frames
consistent to keep eyes on the artwork. This casual look is easy to update at any time.

19. Emphasize a Mantel. Your fireplace is a natural focal point, so dress up the area
with a large print or a series of framed artwork. Carry color from the display throughout the

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room in accessories and fabrics. Here, a bold floral print immediately draws attention over a
traditional white mantel and soft pink walls.

20. Pop with Color. Contrast artwork with a bold wall color to highlight treasured
objects. Here, saturated aborigine walls frame the contemporary look of abstract watercolor
prints. Sepia-tone photography and gold accents pull this warm yet sophisticated look
together.

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Lesson 5. Integration
Arts integration is an approach to teaching that integrates the fine and performing arts
as primary pathways to learning. Arts integration differs from traditional education by its
inclusion of both the arts discipline and a traditional subject as part of learning the goal of arts
integration is to increase knowledge of a general subject area while concurrently fostering a
greater understanding and appreciation of the fine and performing arts.

Arts integration is related to arts education in schools. Arts education, while existing in
different forms during the 19th century, gained popularity as part of John Dewey's Progressive
Education Theory. The first publication that describes a seamless interplay between the arts
and other subjects (arts integration) taught in American schools was Leon Winslow's The
Integrated School Art Program (1939). For the remainder of the 20th century, arts education's
role in public schools ebbed and flowed with the country's political leanings and financial well-
being (Wikipedia, n.d.).

Dr. Bresler (2007), a Professor at the University of Illinois, gives much credence on the
impetus for the arts integration as a growing body of research that demonstrates how learners
experience success when taught why and how to use music, visual art, drama/dance,theatre
and the literary arts to both express and understand ideas, thoughts and feelings. That’s why
she raised an issue commonly brought is that “not all teachers are artists,” meaningthat there
aren’t enough teachers capable of doing art to teach in every classroom. However, this is not
the case, as any teacher can become an arts teacher. While art is, to its core, incredibly
subjective, there is a basis for every practice. In the fine arts there are the elements and
principles of design, the color wheel, etc. In music there is basic music theory. In drama, there
is basic play structure, acting theory, etc. Whether or not a teacher can do these things is
irrelevant; if they can be taught, that information can be passed on from the teacher to the
student. The goal is not to create master artists, but rather teach basic arts skills, processes,
and aesthetic quality, and encourage creative teaching techniques. Thus at the end, this basic
understanding can then be passed on to the students, who then learn by doing. These skills
are simple and easy to learn and teach, and will be infinitely useful in creating lesson plans
and in practice. Once an arts-integrated environment is established, techniques, examples,
and information can be shared amongst colleagues.

In addendum to the foregoing arts integration, Dr. Hoffmann (2012), a developmental

psychologist and founder of the Arts in Education program at the Harvard Graduate School of

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Education, boldly stands up for the intrinsic benefits of the arts. Her book pushes past a myopic
approach to arts education advocacy that attempts to establish the value of the arts for
enhancing whatever subjects or skills are educationally en vogue by presenting 8 different
frameworks in considering the role of the arts in education. Her categories and methods for
integration of arts to other disciplines are as follows (Wikipedia, n.d.):

1. Arts-Based - Art is at the core of learning, providing a lens through which students
can understand other subjects. Art serves as the basic threshold for general learning.

2. Arts-Injected (or Infused) - Art is "injected" from the outside as a matter of

enrichment (e.g., a period of music, visiting artists, etc.)

3. Arts-Included - Art is offered alongside traditional curriculum, not necessarily for

interdisciplinary purposes but rather as its own course of study.

4. Arts-Expansion - Art is an exploratory adventure that takes students outside of

school (e.g., field trips to a museum, concert hall, etc.)

5. Arts-Professional - This approach treats art training as a means for a professional

career in the arts, and turning students into artists is the primary goal.

6. Arts-Extras - Art is sometimes offered as an additional commitment outside of

regular school curriculum (e.g., school newspaper, after-school dance clubs, etc.).

7. Arts-Education - Referred to by some as aesthetic education, this approach uses

art as a way of knowing, turning its study more philosophical to interpret and apply to
experiences.

8. Arts-Cultura - Art connects individual students' "culture" to collective community

"cultures" to more structured racial/national "Cultures" to the ultimate universal "Culture." It is
through this interplay that art encourages students to take risks, think critically, and make
meaning.

Arts Technology Integration

As technology continually advances, arts integration evolves to match. The challenge

in integrating arts in today's technology-first education lies not in implementing production labs
on school campuses or accessing the latest computer software, but rather in effectively
managing the sheer amount of information that technology makes available. Students must

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learn to select relevant data, assess these data, and draw critically from them in order to make
meaning, answer questions, or form new ones. Technology also presents more channels of
expression, whether through digital art or artificial intelligence, which, if supported by arts-
technology integration, can cultivate the experimentation and inquiry that arts education
champions (Wikipedia, n.d.)..

Ten (10) ways technology can enhance the art room as puts across between lines by
Dr. Harmon (2019) as associate professor, instructional coach and art educator for the past
13 years at Cambridge University in England in order to provide authentic and meaningful
experiences for students in promoting innovation, creativity, and collaboration that challenge
them to use problem-solving and critical thinking skills by means of the technology arts-base
(TAB) and provide a safe place that allows students the freedom to express themselves and
grow through trial and error (Harmon, 2019):

1. Technology gives students a new way to create art. Technology in the art studio is
a great way to get your students using a different type of medium. There are several apps with
which students can create their own art as well as manipulate the traditional art they havemade.

2. Technology offers many apps that allow for the transformation of traditional art.
Students have the opportunity to transform art they have created with a variety of apps. There
is also a term called “app smashing” in which students can use two or more apps to transform
their artwork. For example, students can take a photo of a drawing and edit it with Aviary. From
there, the student could take it into another app, such as PicsArt, to add different edits. This
works well with photography projects, too.

3. Technology allows for flipped learning. Flipped learning can be a great way to share
information with your students without continuously repeating yourself. If a student is late or
absent, they can watch video demonstrations created using technology such as Chromebooks
or iPads. Many art teachers have begun to use the flipped model to cut down on time spent
reteaching concepts, when they are absent, or for student-directed learning. Flipped learning
works in all types of art rooms and can be very helpful.

4. Technology can transform your teaching strategies. Resources like projectors,

document cameras, iPads, Chromebooks, and SMART boards can take teaching to the next
level. We are past the times of “sit and get” where students are following a book word for word

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or listening to lectures. Technology allows educators to transform education and present
information in new, effective ways. There are even websites available to take students on
virtual tours of museums like the Louvre.

5. Technology increases opportunities for research. Students love technology! They

often spend countless hours on their smartphones, tablets, and laptops. Using these tools to
benefit students educationally can be a fantastic way to get them engaged in research for
class projects. For example, the article, How to Plan an Art Career Research Unit, shares
ways to use technology in the classroom to get students researching art careers.

6. Technology provides ways to easily track student progress. Digital portfolios have
become popular in many art rooms. They are effective ways to see what your students are
working on as well as a place for them to organize their work—and they don’t take up any
space. A few popular apps for digital portfolios include Creatubbles, SeeSaw, and Artsonia.
Some art teachers even use Google Classroom as a way for older students to document their
work.

7. Technology makes learning fun. Finding ways to make learning more fun is
essential. Learning new ways to share information, promote student collaboration, and
promote 21st-century skills can not only be beneficial for developing critical thinking,
communication, creativity, and collaboration but it can also be fun.

8. Technology offers a variety of opportunities to integrate formative assessments.

Assessment in the art room can be overwhelming depending on the number of students you
have in your class. Technology can help ease this burden by creating fun, easy, effective ways
to conduct organized formative assessments in your class. Depending on the app or platform
you choose, you can cut down on paper and consolidate data in one easily accessibleplace.

9. Technology promotes collaboration. Collaboration allows students the opportunity

to practice working well with others. There are a variety of ways to promote this skill through
technology.

10. Technology promotes engagement. A key concern in classrooms is student

engagement. In order to reach your students, the learning activities should be engaging.
Technology is a great way to get your students engaged and interested in discussion topics.
Whether it is viewing a Google Slide presentation of famous art or being assessed using

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Plickers, both can grab students’ attention easily. They are interactive ways of learning that
promote student engagement. At the end, whether you use loads of technology or are just
getting started, the fact that you are implementing forms of technology in your class is a step
in the right direction. As you can see, there are a variety of benefits helpful to both you and
your students.

Three Approaches to Arts-Integrated Curriculum

Integrating the visual arts across the curriculum can be done according to Dr. Julia
Marshall, a professor of art education at San Francisco State University; and Dr. David M.
Donahue then a professor of education and associate provost at Mills College, Oakland,
California as both co-authored the book on Art Centered Learning Across the Curriculum
(2014) by way of the 3 approaches (Educator Insights, 2018):

1. Connect Arts to Key Concepts. One of the simplest ways to begin making connections
between arts and core subjects is to recognize where vocabulary and key concepts overlap.
“Value” in art, for example, refers to the relative lightness or darkness of a color; baby blue
has a lighter value than navy blue. This concept can become a “dot” that can be connected to
math, where “value” also has to do with the notion of how much or how little. It is along this
line that color value and place value can be studied together, therefore, with one reinforcing
the other. Note value in music, which refers to how long a note is held, could also be
addressed: four quarter notes have the same value as a whole note, so music could help
introduce, reinforce, or assess a student’s understanding of fractions.

2. Interdisciplinary Arts Projects. As stated earlier, arts integration is not about doing an
unrelated hands-on project or singing a fun song. Instead, there needs to be a strategic
presentation of an art form that makes a strong connection to the standards of learning.
Interdisciplinary arts projects that use an art form as a base are ideal because they allow
students to learn new material and then demonstrate what they’re learning in more than one
modality.

3. Fostering Healthy, Resilient Mindsets with Arts. While the first two elements of arts
integration focus on the transfer of concepts and skills between the arts curriculum and
academic standards, this third element is about the mindset of artists and the social,
emotional, and developmental benefits of exploring the arts. It may be more difficult for
teachers to carry out because it requires a deeper, more abstract understanding of artists and

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their role in art history, but it is an essential part of true arts integration and takes advantage
of “teachable moments.”

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Lesson 6. Assessing Students’ Arts and Crafts
Assessment - By over assessing meticulously all you succeed in doing is reinforcing
long held personal belief about who can and who can't do art. Assessment does as much, if
not more damage than it does well. Assessment is a record of an individual 'journey' through
art. Everyone will progress and improve from the first time they pick up a pen, so all YOU
should be doing is recognizing that progression and performance with offers of advice on how
to improve, highlighting the strengths and weaknesses and encouraging (Paul Carney, n.d.).

Silent Assessment - Assessment isn’t just a grade or comment on a piece of work, it’s
holding up an exemplar piece of art to the class, it’s praising the same people every lesson as
being the best, it’s having favorites, it’s putting most of the class’s work up in the hall but
leaving the worst ones out, it’s printing the gifted pupil’s work in the school newsletter, it’s
announcing the winner of the art competition in assembly or giving out stickers and certificates
to the best pupils, it's even your tone of voice or your body language. Your behavior can
confirm or change your pupil's existing opinions of their ability (Paul Carney, n.d.).

Carney (2017), a registered primary and secondary art and design education
consultant from Newcastle, United Kingdom, claims that art assessment should never be a
judgement passed from teacher to pupil, it should be positive guidance for improvement. Art
assessment should promote and improve learning and the most important aspect of the
assessment process is creativity itself.

He went on by saying that creative process should be the brain of the assessment
model because creation and critical judgements go hand in hand. When an artist stands back
and looks at their own art work they are analyzing, trying to establish what is working and what
isn't, what they need to develop and what their next steps should be:

1. Creative inspiration
2. Creative development
3. Creative analysis and evaluation
4. Creative decisions
This process is usually cyclical as the artist moves through it again and again but at
any moment, the creative process can end: ‘its gone wrong, go straight to the bin, do not pass
Go and do not collect £200.' This process should form the basis for all assessment. Students
need to understand that it is perfectly normal to feel frustrated and yet be able to give

54
themselves credit and move on. They should not only learn how to develop technique but also
how to analyze their own work fairly and make good choices, Assessment should become a
positive, healthy experience where pupils take creative decisions comfortably and learn from
their mistakes (Paul Carney, n.d.).

And thus, Carney (2017) looks into point of consideration when assessing art as
follows:

1. Quantity and quality of participation - Have the pupils gained experience of the
activities you have provided? If they have, regardless of their attitude, effort or skill they have
participated. But you might want to measure how the quality of that participation. Be careful
here, because some pupils may be wary or even frightened of using clay etc. and so it’s easy
for some to be penalized unfairly. But clearly, if some have not made any effort at all whilst
some have tried really hard then you want to recognize this. This might be assessed as an
effort grade on a numerical scale from 1-10 or 1-5.

2. Progression - You need to make it clear to everyone what their basic starting point
is; high ability for age, the class standard or working towards the class standard. Then when
assessing progress you should be highlighting how much the person has progressed from
where they began. This is fundamentally different to assessing quality of outcomes and makes
for a very different art room because often, you realize that high ability students aren’t making
as much progress as the less able. This is actually quite normal, because it’s harder to make
big learning steps when you already possess the skills being taught, but it really helps the less
able to feel more confident.

This might be assessed as simply; has made outstanding progress, has made good
progress, progress is in-line with class/age expectations, slower progress than expected,
minimal or no progress.

3. Attainment and ability - It is important to recognize what ability level the pupils are
and what they have learned and achieved. I would assess the pupils’ outcomes as one of the
strands; high ability, class standard (good), working towards the class standard. There are two
other strands to mention; Students with special education needs and those who are Talented.
By understanding pupils individual needs you can make more informative assessment
decisions based on their needs or abilities. What I would suggest is that you may wish to
separate both of these extremes from any whole class assessment activities you do.

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It is a sensitive issue and needs careful handling but I try to take the needs and the opinions
of the pupils into consideration when assessing these extremes in front of the whole class.

Recapitulating what learning has taken place in the course of the work and reminding
pupils what they have done, you are strengthening their knowledge and understanding,
placing this learning more firmly in their memory and improving confidence. Ask the pupils to
highlight which work they like and say why, make a fuss of pupils who overcame adversity and
mention those who made good progress (Paul Carney, n.d.).

Art Evaluation (Paul Carney, n.d.)

These are used to emphasize the fundamental or intrinsic nature of a person, thing, or
situation as you need to be successful in evaluating or examining art. So it makes sense
therefore to have a baseline test that looks at levels in skills, imagination, literacy and
independent learning ability. If you test to these three areas at the start of the year you can
more accurately show what progress has been made.

Whenever you are teaching art there will always be some distinctive areas that
emerge:

1. There will be 3 main areas of attainment in your outcomes; High, Middle and Low
ability.

2. There will occasionally be some students who will demonstrate ability way higher
than that of their peers (Gifted & Talented).

3. There will be students who will struggle to produce anything of quality and find it
very difficult to assess your lessons (often, but not always SEN)

At the outset, high ability artists will already be able to draw, shade and color skillfully
without much input from you. High ability thinkers will create unusual and interesting colors,
shapes and patterns and have more imaginative outcomes that are not necessarily skillfully
produced. Often, some students who are very skillful at drawing and/or painting have little or
no imagination. So you need to know if you have high ability thinkers, high ability creators of
art or both. To extend your students work they should be challenged to push the boundaries
and branch out into their own, creative outcomes.

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Elements of Arts (Goorevich, 2019)

Elements of art are stylistic features that are included within an art piece to help the art
it’s communicate in guiding the viewer towards a deeper understanding of the works in arts.

Thus, Brommer (2010), a renowned artist, author, educator, and juror puts in place 7
the elements of art as essential integrand with the significance of feeling or abstract quality as
follows:

1. Line. Take a look around and you’ll find examples of lines everywhere. The 'line' is
one of the seven elements of art and some would argue that it is the most important. In reality,
you know what a line is, but when it comes to art and drawing, the definition can be a little
more complicated. Line art may tend towards realism (as in much of Gustave Doré's work),
or it may be a caricature, cartoon, ideograph, or glyph. Before the development of photography
and of halftones, line art was the standard format for illustrations to be used in print
publications, using black ink on white paper. Using either stippling or hatching, shades

Apparently lines can be classified as:

1.1. Byline - a secondary line such as sideline: a line at the beginning of a news story,
magazine article, or book giving the writer's name. Typically, bylines are commonly placed
between the headline and the text of the article, although some magazines place bylines at
the bottom of the page to leave more room for graphical elements around the headline.

1.2. Bottom line - is commonly used in reference to any actions that may increase or
decrease net earnings or a company's overall profit.

1.3. Straight line-A line that goes straight across (horizontal) has a gradient of zero,
whereas a straight up and down (vertical) line's gradient is undefined just simply rise and run.

1.4. Command line -also called the Windows command line, command screen, or text
interface, is a user interface that's navigated by typing commands at prompts, instead of using
a mouse. For example, the Windows folder in a Windows command line is "C:\Windows>" (as
shown in the picture). In UNIX or Linux, it may be "%" or ">" depending on the shell.

1.5. Florida Georgia line-a formation within the Continental Army. The term "Georgia
Line" referred to the quota of one infantry regiment which was assigned to Georgia at various

57
times by the Continental Congress. The term also included the three infantry regiments in
excess of Georgia's quota that were raised outside the state.

1.6. Command line arguments-are handled using main function which points diverging
or opposite views, typically a heated or angry one. Following is a simple example which checks
if there is any argument supplied from the command line and take action accordingly.

1.7. Timeline - a schedule of activities or events; a timetable; a chronology; a

representation or exhibit of key events within a particular historical period, often consisting of
illustrative visual material accompanied by written commentary, arranged chronologically.

1.8. For a Line - check out for a line on eBay. Looking for a line as almost everything
on eBay.

2. Shape. Shapes, just as with lines, are all around us. From a young age you learn
how a pizza resembles a triangle and a circle mirrors the shape. A shape is an enclosed space,
a bounded two-dimensional form that has both length and width. Shapes are one of the seven
elements of art, the building blocks that artists use to create images on canvas and in our minds.
A shape's boundaries are defined by other elements of art such as lines, values,colors, and
textures; and by adding value you can turn a shape into an illusion of its three- dimensional
cousin, form. As an artist or someone who appreciates art, it's important to fully understand
how shapes are used. In the study of art, a shape is an enclosed space, a bounded two-
dimensional form that has both length and width (Shelley, 2019).

3. Color. Thus, color is the element of art that is produced when light, striking an object,
is reflected back to the eye: that's the objective definition. But in art design, color has a slew
of attributes which are primarily subjective. Those include characteristics such as harmony —
when two or more colors are brought together and produce a satisfying effective response;
and temperature. A color may have a general meaning, but lighter shades can vary
dramatically compared to darker shades, while more natural, muted shades will differ from
artificial neon colors. Make sure that you look at the specific associations of the different
shades and tones. Thus the hidden meaning of color can be used as a powerful tool in art.
Once the simple principles are understood, the artist can use color to enchant the viewer. In
fact, research shows that color can play a major role in our overall state of well-being.

4. Texture. Texture refers to the way an object feels to the touch or looks as it may feel
if it were touched. Texture as one of the seven elements of art leads into understanding

58
it fully about drawings and paintings as you can feel by touching or looking in order to visualize
the tactile quality of an object's surface. It appeals to our sense of touch, which can evoke
feelings of pleasure, discomfort, or familiarity. Artists use this knowledge to elicit emotional
responses from people who view their work. The reasons for doing so vary greatly, but texture
is a fundamental element in many pieces of art. Take rocks, for example. A real rock might
feel rough or smooth and it definitely feels hard when touched or picked up. That’s why, texture
means in art as roughly compartmentalized in tactile, visual, natural, artificial and hyper
texture. From choosing different materials to optical illusions created through their
manipulation, and artificial production.

5. Form. Art form refers to the elements of art that are independent of its interpretation
or significance. It covers the methods adopted by the artist and the physical composition of
the artwork, primarily non-semantic aspects of the work (i.e., figure ranging from color down
the line to contour such the case of curves, dimension refers to measurement, medium
denotes method or way, melody meaning tune in music, space which refers to room for
expansion, texture simply refers to feeling or touching its appearance, and value by virtue of
art worth for usefulness. So that at the end, art form is a medium of expression recognized as
fine art.

6. Value. Value in art is essentially how light or dark something is on a scale of white
to black (with white being the highest value and black being the lowest value). It is widely
considered to be one of the most important variables to the success of a painting, even more
so than your selection of color (hue).

7. Space. In art, space refers to how a piece of artwork is organized – the area above,
below, and within components of a piece. The relationship between these areas — foreground,
background, and middle ground — is strategically utilized by artists to give the illusion of depth
to a flat surface. It can be seen therefore that space can be positive or negative and the
relationship between the two is important for artists to successfully communicate meaning
within their composition. Positive space can be described as the subject, while negative space
is the area around and within it. One you have too much of either positive or negative space,
it can throw off the balance and rhythm of a piece of art. The contrast between positive and
negative space will create balance. To create rhythm, artists will alternate between positive
and negative spaces through the repetition of shapes within the composition.

59
Principles of Art (Jordan, n.d.)

The principles of art represent how the artists use the elements of art to create an effect
and to help convey their intent. There are principles of art which serve as tools by putting them
into work where art style manipulates its substance in determining whether a painting is
successful, and whether or not the painting is finished.

Linden Meyer, M. (2015), as cited by Jordan (n.d.), a self-taught artist from the
Northwest in Portland, Oregon and book author of Art’s Principles advanced the 9 principles
of arts which serve as tools to create an effect in helping artists’ intention in determining as to
whether or not, they incur success in their imaginative and creative activities in displaying their
flair gift of artistry and craftsmanship:

1. Rhythm. This principle of art describes the movement in or of an artwork. Rhythm

is created by the variety and repetition of elements in a work of art that come together to create
a visual tempo or beat.

2. Harmony. This is achieved when the elements of an artwork come together in a

unified way. Certain elements are repeated yet still look and feel similar. Not monotony and
not chaos, harmony is that perfectly honed combination of both.

3. Balance. Artists combine elements to add a feeling of equilibrium or stability to a

work of art as manifested by symmetry verily known as regularity and evenness for the
pleasantness of artworks, and asymmetry indicative of contortion resulting from deformity of
artistic work depiction.

4. Contrast. Areas of contrast are where a viewer’s eye are usually first drawn wherein
dissimilarity or disparity is eminent showing contradistinction or divergence which ultimately
tantamount to opposition or disagreement as often ended into clash with one another. Artists
will combine elements to stress the differences between those elemental components in order
to determine integrands between and among them.

5. Design. It is essentially a set of criteria which are used to explain how the visual
elements are arranged by describing the ways that artists use the elements of art in a work of
art. Thus, if the design is a scale, it should be balanced to make this configuration stable.

6. Proportion. Proportion in art is the relationship of two or more elements in a

composition and how they compare to one another with respect to size, color, quantity,

60
degree, setting, etc.; i.e. ratio. When two or more elements are put together in a painting a
relationship is created. This relationship is said to be harmonious when a correct or desirable
association exists between the elements.

7. Dominance. It has bearing on control, authority, rule and supreme influence.

Typically, shop for dominance art from the world's greatest living artists. All dominance artwork
ships within 48 hours and includes a 30-day money-back guarantee. Choose your favorite
dominance designs and purchase them as wall art, home decor, phone cases, tote bags, and
more! Dominance in art is therefore the clear prevalence of a single element in the overall
design. First, though, a quick primer on what is an element in art. An element, often called a
design element, is a characteristic or trait.

8. Variety. Variety in art refers to the use of different qualities or instances of the visual
elements. It is the opposite of repetitive or monotonous use of the elements. A great
demonstration of variety by Thomson (August 5, 1877 – July 8, 1917) was a Canadian artist
active in the early 20th century. During his short career he produced roughly 400 oil sketches
on small wood panels along with around 50 larger works on canvas. His works consist almost
entirely of landscapes depicting trees, skies, lakes, and rivers. His paintings use broad brush
strokes and a liberal application of the different colors, lines, shapes, and brushwork. In so
doing, variety is the principle of art that adds interest to an artwork. Variety works through
juxtaposition and contrast. When an artist places different visual elements next to one another,
he/she is using variety. Straight lines next to curvy lines add variety. Thus it is along this line
of thinking that variety makes an artwork interesting and invoking by incorporating different
elements of art that contrast each other within the composition.

9. Movement. Visual art uses movement too – but in a different way. Visual movement
is the principle of art used to create the impression of action in a work of art. Movement can
apply to a single component in a composition or to the whole composition at once. Visual
movement is dependent on the other elements and principles of art. Apparently, movement is
the principle of good design which gives the artist control over what the viewer sees next.
Using this principle, the artist can create the path our eyes will travel as we look at a work of
art. For example, our attention is first captured by the main focal point and then it proceeds to
move around the composition as one element after another catches our attention.

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Variety of Drawing Techniques

Drawing Techniques

Drawing was etymologically originated from Old English Dragan "to drag, to draw,
protract" as enlivened by Proto-Germanic draganan "to draw, pull" whereas the Middle Dutch
version is draghen "to carry, bring, throw," and thus whatever etymological sources does the
word drawing come from, it has the same connotation as "carry, bring, lead."

From the general concept, when used as noun, drawing is the line by which a figure or
object is defined or bounded such the case of contour; when applied to sketch as restricted to
line without shading or modelling of form; and thus normally as a rule, it is a general sketch,
account, or report, indicating only the main features, as of a book, subject, or project
(Dictionary.com, n.d.).

When used as a verb with an object, drawing is an outline seemingly connotes a figure
or object.

In the field of modern technology, drawing is a metalworking process which uses

tensile forces to stretch metal, glass, or plastic. As the metal is drawn (pulled), it stretches
thinner, into a desired shape and thickness. Drawing is classified in two types: sheet metal
drawing and wire-bar, and tube drawing. The specific definition for sheet metal drawing is that
it involves plastic deformation over a curved axis (Evans, n.d.).

Technique is of Ancient Greek etymological origin of a word as tekhnikós, “of or

pertaining to art, artistic, skillful”, from τέχνη (tékhnē, “art, handicraft” to bring forth, produce),
and thus brightened up by French as a branch of knowledge to show skillfulness indicative of
ability, capability or proficiency along the line of artistry and craftsmanship (Wiktionary, n.d.).

Connecting the foregoing words to form drawing technique means a line by which a
figure or object is defined or bounded by contour in manifesting appearance to produce
something for scrutiny by way of assessment for appraisal or evaluation in examining the
bravura of artistry and craftsmanship.

When drawing, the following instruments are available: point, line, area, and the tonal
values in terms of light and dark. These drawing instruments are used to create a drawing
using the appropriate drawing technique and the appropriate drawing tool. The most common
drawing tools are graphite pencil, ink pen, charcoal and crayons in learning more about the

62
different portrayal of artists’ and craftsmen’s mode of styles as recommended by Coron (2020)
as stipulated in her book on Portrait Drawing Techniques:

• The Line is considered as a moving dot. It has an endless number of uses in the
creation of art. Line can control viewer's eye. It can describe edges. It can indicate form as
well as movement.

• Hatching is an artistic technique used to create tonal or shading effects by drawing

closely spaced parallel lines. When lines are placed at an angle to one another, it is called
cross-hatching. Hatching is especially important in essentially linear media, such as drawing,
and many forms of printmaking, such as engraving, etching and woodcut. In Western art,
hatching originated in the middle Ages, and developed further into cross-hatching, especially
in the old master prints of the fifteenth century.

• Smudging is a way of connecting the material plane to the realm of the spirits in
carrying prayers up to heaven in order to provide a calming and soothing energy in a chaotic
situation. In the period of antiquity until modernity, smudging is the ritualistic burning of herbs
and plant resins in a shell or clay bowl while prayers of gratitude and wellbeing are said aloud.
In the field of artistry and craftsmanship, another technique in shading is smudging or
smearing the graphite on the paper by first creating basic shading, and then you take your
finger and smudge or smear the graphite of the shading. The smudging of the shading will blur
the shading, make it less crisp.

• Washes in drawing, artwork in which a fine layer of color—usually diluted ink, bistro,
or watercolor—is spread with a brush over a broad surface evenly enough so that no brush
marks are visible in the finished product. Usually the technique is used in conjunction with
lines made by a pen or pencil that define and outline, while the wash provides color, depth,
and volume. A wash is a term for a visual arts technique resulting in a semi-transparent layer
of color. A wash of diluted ink or watercolor paint applied in combination with drawing is called
pen and wash, wash drawing, or ink and wash. Normally only one or two colors of wash are
used; if more colors are used the result is likely to be classified as a full watercolor painting.

• Combined Techniques as applied in artworks that incorporate various objects into a

painted canvas surface, creating a sort of hybrid between painting and sculpture. Items
attached to paintings might include photographic images, clothing, newspaper clippings,
ephemera or any number of three-dimensional objects. The term is most closely associated

63
with the artwork of American painter and graphic artist Milton Ernest "Robert" Rauschenberg
(October 22, 1925 – May 12, 2008) whose early works anticipated the pop art movement.

• Sgraffito is a technique either of wall decor, produced by applying layers of plaster

tinted in contrasting colors to a moistened surface, or in pottery, by applying to an unfired
ceramic body two successive layers of contrasting slip or glaze, and then in either case
scratching so as to reveal parts of the underlying layer. The Italian past participle "sgraffiato"
is also used, especially of pottery.

Upon exposures to the aforementioned artists’ and craftsmen’s mode of styles,

students in visual art classes will verily know the following (Coron 2020):

1. Contour in outlining the shape or form of something;

2. Shading in darkening or coloring of an illustration or diagram with parallel lines or a

block of color;

3. Stippling in using dots in one color to create a texture, detail, or complete picture;
and

4. Crosshatching an artistic technique to create tonal or shading effects by drawing

closely spaced parallel lines as essentially deemed important in linear media, such as
drawing, and many forms of printmaking, such as engraving, etching and woodcut. In Western
art, hatching originated in the middle Ages, and developed further into cross-hatching,
especially in the old master prints of the fifteenth century.

Variety of Subject Matters

According to Shen (2019), an international bestselling author has this to say that the
infusion of effective instructional methods, techniques and strategies by art teachers surely
redound for students’ learning enhancement of the following:

1. Still life - is a work of art depicting mostly inanimate subject matter, typically
commonplace objects which are either natural or man-made. With origins in the Middle Ages
and Ancient Greco-Roman art, still-life painting emerged as a distinct genre and professional
specialization in Western painting by the late 16th century, and has remained significant since
then. One advantage of the still-life art form is that it allows an artist much freedom to
experiment with the arrangement of elements of wit (Watercolor4u, n.d.).

64
 2. Human figure - a nude, as a form of visual art that focuses on the unclothed human
figure, conceived as an enduring tradition in Western art. It was a preoccupation of Ancient
Greek art, and after a semi-dormant period in the middle Ages returned to a central position
with the Renaissance. Unclothed figures often also play a part in other types of art, such as
history painting, including allegorical and religious art, portraiture, or the decorative.

3. Geometric drawings – It’s related to the geometric shapes/forms found in the

structure a painting. In Art Terms (of design or ornamentation), composed predominantly of
simple geometric forms, such as circles, rectangles, triangles, etc. Along with the “Golden
Mean” & Fibonacci curve, its use to be aesthetically appealing to the viewer and hopeful
collector (Harman, 2019)

4. Architectural drawings - originated out of pieces of art rather than the detail oriented
blueprints they have become today. In Europe's Italian Renaissance, famous painters,
sculptors, and artists created vivid drawings of buildings and structures they imagined. Many
of these depictions (such as a Sistine Chapel) where then turned into an actual structure. It is
within this line of concept that architectural drawings provide a guideline for how a structure
should be built. Architects for this matter ensure that a structure can operate as intended and
also be durable for years to come. Without architectural drawings it would be up to the builders
to decide how a building should be designed. This would inevitably lead to much rework in the
building process if one method was later proven to be unsuccessful. Architectural drawings
allow issues to be resolved prior to the start of actual construction.

A technical drawing of a building (or building project) that falls within the definition of
architecture. Architectural drawings are used by architects and others for a number of
purposes: to develop a design idea into a coherent proposal, to communicate ideas and
concepts, to convince clients of the merits of a design, to assist a building contractor to
construct it based on design intent, as a record of the design and planned development, or to
make a record of a building that already exists (Johnson, 2019).

5. Gestures - gesture drawing is a lying in of the action, form, and poses of a model or
figure. Typical situations involve an artist drawing a series of poses taken by a model in a short
amount of time, often as little as 10 seconds, or as long as 5 minutes. Gesture drawing is often
performed as a warm-up for a life drawing session, but is a skill that must be cultivatedfor its
own sake (Gray, 2020).

65
 6. Nature of art - is a British museum devoted entirely to artwork inspired by nature.
They have an extensive collection of artwork covering a 1500 year time period, representing
over 60 countries and cultures. The nature of art is a reflection of the state of society at any
given point in history by simply gauging its health. If you want to know the state of any society,
find what is widely considered art in that society and you will be able to gauge its health. Thus,
the essential nature of art is that it is a largely non-symbolic form of communication and a
primary counterpoint to language. While almost any language requires considerable
education in the manner in which information is encoded into the symbols it uses, art is
communicative with very little prior indoctrination. The languages used by the artists of
Chauvet Cave (more than 32,000 years ago) are long since unrecoverable, but the bison they
painted are unmistakably bison and the lions are unmistakably lions. As such, art is able to do
things language can’t do very well, such as communicate across language barriers (Art is fun,
n.d.).

New Media Art

As disclosed by Hodge (2018), a senior lecturer and postgraduate convener at the

University of Cape Town’s School as well as a senior researcher at UCT’s Development Policy
Research Unit, new media art refers to artworks created with new media technologies,
including digital art, computer graphics, computer animation, virtual art, Internet art, interactive
art, sound art, video games, computer robotics, 3D printing, cyborg art and art as
biotechnology. The term differentiates itself by its resulting cultural objects and social events,
which can be seen in opposition or a departure from old visual arts. This concern with medium
as a key feature of much contemporary art which can be seen in opposition to those deriving
from old visual arts (i.e. traditional painting, sculpture, etc.). This concern with medium is a
key feature of much contemporary art and indeed many art schools and major universities now
offer majors in "New Genres" or "New Media" and a growing number of graduate programs
have emerged internationally. New media art often involves interaction between artist and
observer or between observers and the artwork, which responds to them. Yet, as several
theorists and curators have noted, such forms of interaction, social exchange, participation,
and transformation do not distinguish new media art but rather serve as a common ground that
has parallels in other strands of contemporary art practice. Such insightsemphasize the forms
of cultural practice that arise concurrently with emerging technological platforms, and question
the focus on technological media, per se. Toward this end, new media

66
art concerns are often derived from the telecommunications, mass media and digital electronic
modes of delivering the artworks by involving practices ranging from conceptual to virtual art,
and down the line from performance to installation.

Art Works of Established Local, National and International Artists

No less than Armin (2020), a renowned art historian, curator, and author, and
ultimately served as director of a number of museums, including the Lenbachhaus,
Kunstsammlung Nordrhein-Westfalen in Munich, Germany who made strivings that the
initiative is a help to many local, national and international artists and galleries during the time
of covid-19 pandemic which resulted into the total lockdown of artwork and craft exhibitions
worldwide. However in the midst of coved pandemic crisis, no blunder to stop the RISING as
a surge of art, music and ceremony in the heart of Melbourne, Australia in order to celebrate
the International Arts Festival and White Night Melbourne, rooted from its acronym rising in
going up as well as in grazing for promising potentials as a major cultural event for the Asia
Pacific Region created by a diverse team of local, national and international artists coming
from the four corners of globe (White night Melbourne, 2019).

67
 Assessment Task 3

Discuss scholarly the following:

1. How planning and management of arts are made possible as the stratagem of

aspiration for you to oversee the helm of the human creative activities by giving

essence and expressiveness to social life in your respective communities?

2. When and how the physical environment as the part of human milieu conceived then

as the playground for humanoid pollutants causing horrible natural calamities, believed
to have been contaminated with harmful substances as a consequence of people’s

activities by befouling foulness and dirtiness causing climate change, thus making the

planet earth no longer fit for humanoid habitation, and interlink the said malady

artworks?

3. How your learning proficiency is enhanced by your teachers’ instructional competency

in attending to artworks in depicting people’s needs, experiences, feelings, and

interventions so you learn particular things, and go beyond the given classroom art

theories by commonly take the form of questioning, listening, giving information,

explaining some phenomenon, demonstrating a skill or process, testing,

understanding, and capacity geared toward facilitating your learning visual artistry and

craftsmanship within the four walls of the classroom?

4. Apply the unique wall art display of ideas by means of artistic exhibition as traditionally

done in antiquity to modernity by distinguishing between commercial and non-

commercial arts as done in the various creative ways?

5. By what means fine and performing arts can be integrated to learning in order to

increase your knowledge of a general subject area in fostering further your greater

understanding and appreciation between the foregoing artistic disciplines?

6. What judgmental assessment can you make regarding the visual arts and crafts

subsequent to your learning experiences infused in you by teachers by deliberating

68
briefly the steps, evaluation, elements, principles, drawing techniques, mode of styles,

variety of subject matters, and new media art? How do you scrutinize and appreciate

the art works of established local, national and international artists in the midst of covid-

19 pandemic?

69
 Summary

The art of planning and management in the enhancement of teaching-learning process

by teachers and students can be consummated through the actual contact with the ecological

surroundings as basis for the development of ethical and restorative stance emerging as a

consequence of human activities by befouling foulness and dirtiness causing climate change,

thus making the planet earth no longer fit for humanoid habitation. With the foregoing scenery,

teaching and learning processes are the moorages of teachers’ instructional competency and

students’ wisdom in providing them information in creatively expressing themselves in visual

arts along their line of interest ranging from optical and perceivable skill down the line to
performance as they become dexterous in dance, movement and drama. Toward this end,

displaying arts in the midst of covid-19 pandemic wipe out the human race without exception

from the planet earth as compounded by critical resources stretching down to the zero level
for people to become hungry and die without mercy due to Phil health corruptions by crooks

in the government, the very essence of our freedom is shrinking – and yet we are moved

inward, to the vast inner space of our thoughts and imagination, in rising up to the higher apex

of promising potentials among local, national and international artists coming from the four

corners of globe at times when we bid goodbye during our last trip to the great beyond.

70
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Jordan, C. (n.d.). The Elements and Principles of Art. Retrieved from
https://www.artistsnetwork.com/art-techniques/composition/15-elements-and-
principles-of-art/
Johnson, M. (2019 February 19). What is Architectural Engineering?
https://careertrend.com/about-4687129-architectural-drawing.html
Kastner, J. and Wallis, B. Eds. (1998). Land and Environmental Art. London: Phaidon Press
Lee, S. (2020). Artists Changing the Way We Think About the Environment. New York,
N.Y.: Kirkus Media LLC
Mary Catherine (n.d.). What is process art for kids and why is it important? Retrieved from
https://fun-a-day.com/process-art-for-kids/

Netter, Louis (2020). Coronavirus: Five Musicals Chosen by a Musicologist to keep you going
During Lockdown. Hampshire, England: University of Portsmouth.

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https://thereaderwiki.com/en/Nude_ (art)

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 MODULE 4
TWO-DIMENSIONAL EXPRESSIVE FORMS

Introduction

The days of antiquity had evolved into graphics were rough pictures and animations
built of few pixels as represented in limited numbers of colors served as the anchorage of
more sophisticated and revolutionized digital photographs and computerized software
technologies in boosting the new and modern and elaborative visual manipulations. By then,
the emergence of the arrival of communication design geared towards the development in
linking the designers and viewers on how to strategically engage in capturing attentions,
common associations, and the psychology behind how elements affect their mood; and thus
redound into fusion of the two-dimensional expressive forms by helping students to develop
intellectually and seek to refine their critical thinking skills and judgments through research
and the making the visual art as their chosen career for advancement in life in helping those
suffering from hand-to-mouth existence in the midst of covid-19 pandemic in wiping out the
human race without exception, from the surface of the planet earth.

Learning Outcomes

At the end of the module, students should be able to:

1. Decipher the concepts of graphic and communication design from the etymological
and general perspectives as applied to various types;
2. Create the voluminous processes of artworks by printmaking down the line to cutting,
etching, stamping, marking, branding, punching, inscribing, engraving, and the
inclusionary applications of main types on the different mediums; and

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3. Apply in to the personality traits of great designers in the manipulation of textile designs
in order to end up into visual artists for their advancement in life in helping those
suffering from hand-to-mouth existence in midst of covid-19 pandemic, and thus put a
stop to the malady of wiping out the human race from the surface of the planet earth

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Lesson 1: Graphic and Communication Design

The etymological origins of graphic from Latin graphicus; whereas from German,
praphikos and the from Greek of the same spelling from the foregoing graphikos as well,
wherein the three derivations denote the same connotation to “write” refers to visual
representation of an object, scene, person or abstraction produced on a surface.

No point of delineation, can be seen from the above racial etymological origins as term
graphic generally refers to images generated by a computer or similar technological device.
In the most fundamental sense, graphics are images. Over time, there have been radical
changes in computer graphics and the ways they are generated. Apparently, as the high-
informational advancement is taking shape in the four corners of the globe, major difference
between categories of graphics is raster graphics or images that use bitmaps versus newer
vector graphics. Most types of computer graphics or images use bitmaps, where a single pixel
or other unit corresponds to a memory bit. These images are limited in how they can be
rescaled or suited appropriately to serve the purpose as so advanced therein. In contrast,
vector graphics are made up of scalable parts and provide more versatility (Cheney &
McAllister 2020).

In the early days of computing, graphics were rough pictures and animations built of
few pixels and were represented in limited numbers of colors. Later, as technology began to
support more diverse colors and better rendering, graphics became more sophisticated, partly
through greater memory capacity. Digital photographs revolutionized computer graphics, as
did software technologies like AutoCAD and other similar drafting tools. Gradually, a new and
more modern graphics' world took shape, where animations became more elaborate for visual
manipulation, unlike traditional graphics, which were always static indicative of blocky
creations (Techopedia, 2017).

The Types of Graphic Design (Mila Jones Cann, 2018)

Graphic design uses visual compositions to solve problems and communicate ideas
through typography, imagery, color and form. There’s no one way to do that, and that’s why
there are several types of graphic design, each with their own area of specialization.
Uncontrollable situations may emerge as often overlap, each type of graphic design requires
specific set of skills and design techniques. Many designers specialize in a single type; others

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focus on a set of related, similar types. But because the industry is constantly changing,
designers must be adaptable and lifelong learners so they can change or add specializations
throughout their careers as categorizes the 8 types of graphic design as follows:

1. Visual identity graphic design:

A brand is a relationship between a business or organization and its audience. A brand

identity is how the organization communicates its personality, tone and essence, as well as
memories, emotions and experiences. Visual identity graphic design is exactly that the visual
elements of brand identity that act as the face of a brand to communicate those intangible
qualities through images, shapes and color.

Designers that specialize in visual identity graphic design collaborate with brand
stakeholders to create assets like logos, typography, color palettes and image libraries that
represent a brand’s personality. In addendum, visual identity graphic designers must possess
a general knowledge of all types of graphic design in order to create design elements that are
suitable across all visual media. They also need excellent communication, conceptual and
creative skills, and a passion for researching industries, organizations, trends and
competitors. In addition to the standard business cards and corporate stationary, designers
often develop a set of visual brand guidelines (style guides) that describe best practices and
provide examples of visual branding applied across various media. These guidelines help to
ensure brand consistency throughout future applications. Examples: modern logo and brand
design.

2. Marketing & advertising graphic design:

Graphic designers must think of designs created for marketing and advertising. This
is so, as rationalized by companies that their successful marketing efforts should tap into their
target audience’s decision-making process. Great marketing engages people based on the
wants, needs, awareness and satisfaction they have about a product, service or brand. Since
people will always find visual content more engaging, graphic design helps organizations
promote and communicate more effectively.

In most cases, marketing designers work with company owners, directors, managers
or marketing professionals to create assets for marketing strategies. They might work alone
or as part of an in-house or creative team. Designers can specialize in a specific type of media
(vehicle wraps or magazine ads, for example) or create a broad assortment of collateral for

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print, digital, and beyond. While traditionally print-centered, this type of design has grown to
include more digital assets, especially for use in content marketing and digital advertising.
Examples: truck ad design, banner ad design, postcards and flyers, magazine and newspaper
ads, posters, banners and billboards, infographics, brochures (print and digital), vehicle wraps,
trade show displays, email marketing templates, PowerPoint presentations, menus, social
media ads, banners and graphics, banner and retargeting ads, images for websites andblogs,
and poster design

3. User interface graphic design:

A user interface (UI) is how a user interacts with a device or application. UI design is
the process of designing interfaces to make them easy to use and provide a user-friendly
experience. Thus a UI includes all of the things a user interacts with—the screen, keyboard
and mouse—but in the context of graphic design, UI design focuses on the user’s visual
experience and the design of on-screen graphic elements like buttons, menus, micro-
interactions, and more, hence designers of this type specialize in desktop apps, mobile apps,
web apps and games.

They work closely with UX (user experience) designers (who determine how the app
works) and UI developers (who write code to make it work). It’s a UI designer’s job to balance
aesthetic appeal with technical functionality.

Toward this end, UI designers must be team players backed by both serious graphic
design skills and an excellent understanding of UI/UX principles, responsive design and web
development. In addition to graphics apps, they need knowledge of programming languages
like HTML, CSS and JavaScript. Examples: app interface design, app design web page
design, theme design, game interfaces, and web interface design

4. Publication graphic design:

Publications are long-form pieces that communicate with an audience through public
distribution. They have traditionally been a print medium. Publication design is a classic type
of design—think books, newspapers, magazines and catalogs. However, there’s recently been
a significant rise in digital publishing.

Apparently, Graphic designers that specialize in publications work with editors and
publishers to create layouts with carefully selected typography and accompanying artwork,

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which includes photography, graphics and illustrations. Publication designers may work as
freelancers, as creative agency members or in-house as part of a publishing company.

Publication designers must possess excellent communication, layout and

organizational skills. In addition to graphic design expertise, they need to understand color
management, printing and digital publishing. Examples: book cover design, magazine cover
design, layout design, books, newspapers, newsletters, directories, annual reports,
magazines, and catalogs

5. Packaging graphic design:

Most products require some form of packaging to protect and prepare them for
storage, distribution, and sale. But packaging design can also communicate directly to
consumers, which makes it an extremely valuable marketing tool. Every box, bottle and bag,
every can, container, or canister is a chance tell the story of a brand.

Packaging designers create concepts, develop mockups and create the print-ready
files for a product. This requires expert knowledge of print processes and a keen
understanding of industrial design and manufacturing. Because packaging design touches so
many disciplines, it’s not uncommon for designers to find themselves creating other assets for
a product such as photography, illustrations and visual identity. By all means, packaging
designers may be a jack-of-all-trades or specialize in a specific type of packaging (like labels
or beverage cans) or a specific industry (like food or children’s toys). Their work
requires top-notch conceptual and problem-solving skills in addition to a strong working
knowledge of print and industrial design. They must be flexible to meet the demands of clients,
marketers and manufacturers and be aware of current trends. Examples: packaging design,
label design, packaging box design, gold wine label design.

6. Motion graphic design:

It is of common knowledge that motion graphics are graphics that are in motion. This
can include animation, audio, typography, imagery, video and other effects that are used in
online media, television and film. The medium’s popularity has skyrocketed in recent years as
technology improved and video content became king.

Motion graphics designers are neophyte as they are new specialty for designers.
Formally reserved for TV and film, technological advances have reduced production time and

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costs, making the art form more accessible and affordable. Now, motion graphics is one of the
newest types of design and can be found across all digital platforms, which has created all
sorts of new areas and opportunities.

Motion graphics designers begin by developing storyboards and then bring their
concepts to life with animation, video and traditional art. Depending on the industry, a strong
working knowledge of marketing, coding and 3D modelling can be definite assets. Examples:
title sequences and end credits, advertisements, animated logos, trailers, presentations,
promotional videos, tutorial videos, websites, apps, video games, banners, GIFs, and motion
graphics design./

7. Environmental graphic design:

This visually connects people to places to improve their overall experience by

making spaces more memorable, interesting, informative or easier to navigate. Environmental
graphic design is a multidisciplinary practice that merges graphic, architectural, interior,
landscape and industrial design. Designers collaborate with people in any number of these
fields to plan and implement their designs. Because of that, designers typically have education
and experience in both graphic design and architecture. They must be familiar with industrial
design concepts and able to read and sketch architectural plans.

Wayfinding is a specific type of environmental graphic design that consists of strategic

signage, landmarks and visual cues that help people identify where they are and where they
need to go so they can get there without confusion.

In the classical days as tradition demanded, environmental graphic design has

produced static print pieces, but digital interactive displays continue to rise in popularity as a
means of creating a more engaging experience. However, as high-tech informational
advancement is taking shape in the four corners of world, environmental design becomes
broader in its constructional configuration. Examples: signage, wall murals, museum
exhibitions, office branding, public transportation navigation, retail store interiors, stadium
branding, event and conference spaces, stage design, building design, coffee shop design,
and restaurant design

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8. Art and illustration graphic designs:

Graphic art and illustration are often seen as being the same as graphic design,
however they’re each very different. Designers create compositions to communicate and solve
problems, graphic artists and illustrators create original artwork. Their art takes a number of
forms, from fine art to decoration to storytelling illustrations.

It can be seen that though graphic art and illustration are not technically types of
graphic design, so much is created for commercial use within the context of graphic design
that you can’t talk about one by discarding it without the others. Examples: illustration design,
t-shirt design, graphic patterns for textiles, motion graphics, stock images, graphic novels,
video games, websites, comic books, album art, book covers, picture books, infographics,
technical illustration, concept art.

Graphic artists use any combination of media and techniques to create their work as
they collaborate with writers, editors, managers, marketers and art directors across all graphic
design types. They’ll often have a foundation in fine arts, animation or architecture.
Overlapping skills and apps make it possible to find graphic designers who also work as
graphic artists and illustrators and vice versa. From the foregoing vantage point, graphic
design is an ever-growing field, and the demand for specialized and skilled designers is on
the rise. When you’re looking for the right person to take on a design job, knowing the different
types of graphic design will help you identify the specialist you need (Natalia Maca, 2020).

At this juncture, the query emerges why communication design makes entry into the
world of high-tech graphical development as no stoppage for its advancement. Foremost of
which interweaves between and among graphic, communication, and design.

Thus, delving deeper into the etymological origins of communication and design brings
light into the crisscross entangling linkage between the aforementioned terminologies and the
arena of the graphical milieu.

Communication has its etymological derivative from the Latin two words communis as
noun denoting a flexible procedure-oriented programing language that manipulates
symbols; and communicate frontlines as verb and thus connotes the cautionary vision of
works which means commonality and to make the day-to-day · quotidian as basis for standard
typical of conventional stock of human races sweeping universally in the four corners of the
planet earth fit for humanoid habitation. From the viewpoint of etymological depth,

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communication refers to sharing of something. Something means information or knowledge
or meaning. Ergo, it is along this line of line of thought in viewing the judgmental outlook the
mission of communication (Fernandez, 2013).

Those verses in communication have a fairly broad perception of the subject, based
on their experiences. Below, definitions of communication are presented by some experts in
the field:

Martinez (1998) defines communication as a process by means of which a person is

in contact with another through a message, and expects the latter of a response, be an opinion,
activity or behavior.

In other words, communication is a way to establish contact with others through ideas,
facts, thoughts and behaviors, looking for a reaction to the statement that has been sent
(Nosnik, 2009).

To Thomson (2008) communication is a complex process oriented towards the action

of informing, generating the understanding in the counterpart and inducing some types of
responses on the part of the receiver.

It is a process of social interaction, through signs and sign systems, product of human
activities. Men in the communication process express their needs, aspirations, criteria,
emotions, and the like (Gonzalez, 1999).

It is the process of passing information and understanding from one person to another.
Therefore, all communications influence at least two people: the one who sends the message
and the one who receives it (Chiavenato, 2006).

According to Del Fonseca (2000), to communicate is to come to share something of

ourselves. It is a specific rational and emotional quality of man that arises from the need to get
in touch with others, exchanging ideas that acquire meaning or eloquent expressiveness for
insinuations according to common previous experiences.

Communication is a process of social interaction of a verbal or non-verbal nature, with

intentionality of transmission and that can influence, with and without intention, in the behavior
of the people who are in the coverage of said emission (Hernández, 2005).

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Seven elements of communication

Giving hindsight for recollection, communication spotted the following 7 elements as

mottled by Hernández (2005):

1 Issuer: The sender is defined as the subject or source that shares the information
with direct bearing on particular factual figurative details, or message as the piece of
information for notification or announcement.

2 Receiver: receiver is understood as the individual or device in charge of receiving

the message shared by the issuer in sending out the foregoing notification or announcement.

3 Message: the message is defined as the information that is intended to be

communicated between the sender and the receiver.

4 Context: it is the environment that surrounds the emitter and the receiver, that is,
the environment where the exchange of information takes place.

5 Code: they are the signs and rules that, when combined, structure the message;
the spoken or written language, sounds, symbols, signs, notices, etc.

6 Channel: the channel is defined as the means by which a message is transmitted.

The information always requires traveling through a channel to be issued or received.

7 Noise: noise is understood as any signal that interferes with the regular
transmission of a message between sender and receiver.

Design

Anchored on the foregoing concepts and elements, it is worthwhile to understand how

communication fits into design as the bigger context of divulgation for configuration of
expressive startling realism in the graphical world.

Identifies its very etymological sources rooted from Middle French desseign, desseing
which literally means “purpose" especially "an intention to act in some particular way," geared
towards "adoption of means to an end".

In art, design refers to "a drawing, especially an outline," as enlivened by Latin

designare denoting "mark out, devise, choose, designate, appoint"; and thus at the end, the

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source of the English verb, from de "out" + signare "to mark," combining it to form "identifying
mark " (Briggs-Good, 2013).

Generally, design is an elucidation of an exact statement or description of the nature,

scope, or meaning of something with outline of non-scheming as a plan for the practical
application of artistic principles detailed to make up an edifice, artistic creation, or decorative
work.

Thus combining Latin communis and French desseign is the emergence of the arrival
of communication design to develop the relationship between the designers and viewers by
considering the message they want to communicate and how to strategically engage in
capturing attentions, common associations, and the psychology behind how elements affect
their mood with the end in view that the piece of information is intelligently dispatched so clear
and compelling (Garanzo, 2007).

Communication design is specifically used when discussing the strategy involved in

expressing information through visual design. For communication designers, this can become
the foundation for how they think about visuals and is, then, the real definition of what they do.
Those who work in communication design may work in fields like branding, advertising, orweb
and app design. Their job isn’t just about the craft of creating stunning graphics, but about
realizing the power of what their work can communicate and then using that to its fullest extent.
If a graphic designer was hired to handle one visual element, a communication designer would
be hired to both create visuals and to handle communicating a company’s message to their
audience. They would see the whole picture of the campaign from start to finish (Cao, 2015).

To recapitulate, communication design is a mixed discipline between design and

information-development which is concerned with how media intervention such as printed,
crafted, electronic media or presentations communicate with people. A communication design
approach is not only concerned with developing the message aside from the aesthetics in
media, but also with creating new media channels to ensure the message reaches the target
audience. Some designers use graphic design and communication design by covering things
that express information, data, emotion, culture and aesthetics. This includes any design effort
that has communication objectives in areas such as media, software, games, publications,
advertising, public relations, internal communications and knowledge processes. On one
hand, communication design seeks to attract, inspire, create desires and motivate people to
respond to messages, with a view to making a favorable impact. This impact can be to the

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bottom line of the commissioning body, which can be either to build a brand or move sales. It
can also range from changing behaviors, to promoting a message, to disseminating
information. The process of communication design involves strategic business thinking, using
market research, creativity, problem-solving and technical skills and knowledge such as color
theory, page layout, and typography and creating visual hierarchies. Thus, it is apparent that
communications designers translate ideas and information through a variety of media. Their
particular talents lie not only in the traditional skills of the hand, but also in their ability to think
strategically in design and marketing terms, in order to establish credibility and influence
audiences through spreading dissemination by this scheme model in the high-tech
informational advancement in the four corners of the globe (Fernandez, 2013).

Types of Communication Design (Spacey, 2017)

Communication design is the design of things that expresses information, data,

emotion, culture and aesthetics. This includes any design effort that has communication
objectives in areas such as media, software, games, publications, advertising, public relations,
internal communications and knowledge processes. The following are common types of
communication design by John Spacey (2017), a technologist living in Singapore as updated
by Anna Mar (2020):

1. Art & Illustration: Creating visual elements such as pictographs.

2. Typography: Arranging type including typefaces, sizes, and line lengths, line-
spacing, letter-spacing and kerning.

3. Graphic Design: Complete visual designs including considerations such as layout &
composition.

4. Writing & Editing: Journalism, documenting knowledge, writing fiction or composing

promotional copy.

5. Interaction Design: Design of interactive media such as apps.

6. Information Architecture: The structural design of information products. For

example, organizing thousands of items of information into a coherent document or website.

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 7. Visual Identity: Using visual elements to communicate an identity that is easy to
recognize. For example, the design of a brand trademark.

8. Data Visualization: Displaying data in intuitive formats such as graphs.

9. Information & Knowledge: Visual communication of information and knowledge such

as a map or information graphic. It is along this line that the term visual communication is
largely interchangeable with communication design and is, again, about strategically telling a
story to an audience. If communication designers are working on a billboard, they could use
keywords, graphics, and design choices to visually communicate a specific message to the
audience as they drive by.

Somehow, finer point definitions draw lines between those playing the roles of graphic
designers and communication designers. Thus to avoid blunder in understanding between
them, graphic designers are more specifically working to create visuals of various uses;
whereas communication designers create strategic visuals that express a specific message.

Examples of Communication Design (Terry, 2019)

Corporate Design and Branding: Communication designers who understand the

nuances of successfully branding a business are in high demand. Every company wants to
establish a unique identity in their respective fields and stands out from their competitors in
order to develop strong relationships with their audience base. A company’s ability to get
noticed by more people leads to a more profitable business, so if a communication designer
can showcase how they understand the relationship between design and branding — visuals
and storytelling — they become an asset to a company wanting to expand.

Branding is largely about logos, colors, and typography, but it’s also more than that.
Whatever design element you’re creating for a brand, it needs to be purposeful. Even color
choice can have a serious impact. Studies show that color is directly linked to the purchasing
decisions of most consumers — and these same consumers know that the right color choice
or combination increases brand recognition. A perfect example of this? Target. Their bull’s
eye is not only one of the most nationally recognized logos, the red color also exemplifies
passion and action and nudges consumers to make more urgent purchases. Based on the
internet’s obsession with Target memes, it’s clear that their strategy is working.

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Advertising Campaigns:

Many communication designers work in advertising. This can mean online video and
static image campaigns, billboards, television commercials, and marketing materials like
brochures, stationery, and business cards. While every designer working in advertising isn’t
handling all of these types of projects, many take on work in multiple areas.

Advertising, just like branding, is a crucial part of any business. This demands a high
level of creativity to create something truly unique and eye-catching, all while ensuring the
entire message of the campaign isn’t lost. Some designers chose humor, like when Schick
created a series of men sporting literal ‘beastly’ beards of animals to encourage men to shave.
Or they can be weird yet practical, like when Ikea designed an ad for a new crib that also
doubled as a pregnancy test. Or they can be inspirational, like when Shanghai General Motors
created a campaign raising awareness for car safety by using real accident victims to get
the earnestness of the message across.

Book Cover Design:

Apparently, people do judge books by their covers. It’s important that a book cover
design appeals to a certain audience, exemplifies a specific genre, and can communicate plot
details all at the same time. Every design should reflect the book’s purpose. Dark Horse
Comics, Inc. won an award for their colorful, chaotic design of Fight Club 2 (Library Edition),
an homage to the dysfunctional characters featured in the book. Whereas the award-winning
design for A Vicious Example featured dark, sinister, and ghostly depictions of buildings to
give reference to the author’s time spent as a nocturnal security guard.

Photojournalist:

While many may assume that a photojournalist would study photography, a degree in
communications design would be useful as a photojournalist today. When you publish photos
in major publications, you need to both understand the technical elements of visual design
and the story you are conveying to your audience, which are the basis of what communication
design is all about.

Web Design:

The internet has become an essential part of many people’s lives, and as such, new
websites are created every day. Designers are needed to build effective sites that flow well,

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have visuals that communicate specific messages, and function on many different devices. As
is true for most graphic design fields today, web design changes rapidly and is an excitingand
competitive field. You could be hired to work as the designer for one company, be part ofa
design agency, or work independently and take on clients as a freelancer.

Mobile App Design:

We continue to see a steady increase in the number of people who rely on their
smartphones as part of their everyday lives, whether it’s for social connection, news, shopping,
or work. Technology isn’t going anywhere, so it’s important that mobile web and app design
continues to evolve. Mobile app designers may be hired by a company to create and manage
their app, or they may create their own products and sell them through their owncompany.

This type of design work requires a lot of technical skills and an understanding of how
visuals appear on various screens, paying close attention to user experience. An app must be
visually appealing, but also easy to use. Shillington Education student Theodora Lamprinaki
designed a cycling app called Cymplify as part of her coursework where residentsof Oxford city
could combine cycling with sight-seeing.

Packaging and Label Creation:

People shop with their eyes. A great designer knows this and will carefully design
packages and labels to stand out, either on the shelves of a store or on an online store. You
may be hired to design a label for a bottle of wine, the information tag for a new clothing line,
or the packaging materials for an online retailer. When it comes to packaging and label
creation, there are so many opportunities for designers.

A communication designer needs to think about the visual presence of the package or
label, but they must also think about how to make it practical as well. If you were creating a
design that wraps around a bottle, you’ll need to think about the space and movement of the
package and how it will need to change for a wine bottle versus a soda can. If you were
designing the packaging for an online retailer, you would want to think about the customer
experience from the moment it arrives in the mail to when they open it to what’s inside the box.
Shillington student Majo Crespo (2020) uses color to tell a story for this new (pretend) candle
brand, drawing on botanical elements to create a unique product. Majo describes it is:“A brand
inspired by nature for the empowerment of women.

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Lesson 2: Printmaking
Printmaking is the process of creating artworks by printing, normally on paper, wherein
covers only the process of creating prints that have an element of originality, rather than just
being a photographic reproduction of a painting according to Sylvie Covey (2016) a
printmaker, photographer and painter, working in Times Square, and teaching in New York
City.

Relief printing is an art printmaking process consisting of cutting or etching a printing

surface in such a way that all that remains of the original surface is the design to be printed.
Examples of relief-printing processes include woodcut, anastatic printing (also relief etching),
printmaking handbooks (Westley, 2007).

Based on Yeates (2018), Linocut printing made from a sheet of linoleum into which a
design has been cut in relief. This process of printmaking is similar to woodcut, but, since
linoleum lacks a grain, linocuts can yield a greater variety of effects than woodcuts can. Linocut
designs can be cut in large masses.

Four Main Types of Printmaking (Mulder-Slater, n.d.)

The four main types of printmaking are identifies as follows:

1. Linoblocksm:

This is printing from a raised surface, simple example of relief printing wherein a
rubber stamp pressed into a stamp pad and pressed onto a piece of paper. Thus this is a
typical relief printing plate made from flat sheets of material such as wood, linoleum, metal,
Styrofoam etc. After drawing a picture on the surface, the artist uses tools to cut away the
areas that will not print. A roller – called a brayer – is used to spread ink on the plate. A sheet
of paper is placed on top of the plate and the image is transferred by rubbing with the hand or
a block of wood, or by being run through a printing press. The completed print is a mirror image
of the original plate.

Woodcut – Historical Artists use textiles and other decorative purposes, playing cards,
calendars and book illustrations.

Woodcut – Artists study: Holbein the Younger, Fred Hagen, Vincent Van Gogh, James
Whistler, any Japanese printmaker.

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 2. Intaglio:

Intaglio print plate describes prints that are made by cutting the picture into the surface
of the printing plate by using a sharp V-shaped tool – called a burin wherein the printmaker
gouges the lines of an image into the surface of a smooth polished sheet of metal or in some
cases a piece of Plexiglas. To make a print, ink is pushed into the lines of the design. The
surface is then wiped clean so that the only areas with ink are the lines. A sheet of paper which
has been soaked in water is then placed on the plate which is run through a printing press.
The paper is literally forced into the small lines that have been cut into the plate. A variation of
this technique is known as etching. With etching, acids are used to eat into the metal plate.

Artists worth studying: Francisco Goya, Pablo Picasso, Thomas Gainsborough,

Rembrandt van Ryn, Albrecht Durer

3. Planography (Lithography):

This is typically known as pulling a litho print wherein the planography artists print the
flat surface. The same version of which is lithography as an art of printing from a flat stone
(limestone) or metal plate by a method based on the simple printing by using grease as it
repels water. A design or image is drawn on the surface with a greasy material – grease
crayon, pencil or ink – and then water and printing ink are applied. The greasy parts absorb
the ink and the wet parts do not. Acids are often used with this type of printmaking to etch the
stone and prevent grease from traveling where it should not. For example, if a finger is placed
on the surface, enough grease is transferred and as such, the fingerprint will attract the ink.
Unfortunately, lithography is a printing process which requires the use of proper facilities and
materials. In the empirical usage, showing your students examples of lithography will help
them to appreciate the fine art of printmaking by learning even more after doing by constant
and correct practice.

Historical print artists use: Lithography invented in 1798. Its main advantage is the
great number of prints that can be pulled.

Artists worth studying: Eugene Delacroix, Edouard Manet, Henri de Toulouse-Lautrec,

Edvard Munch

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 4. Silk-screening:

This can be made possible wherein a stencil is a sheet of paper, fabric, plastic, metal
or other material with designs cut, perforated or punched from it. Ink is forced through the
openings onto the surface (paper, fabric etc.) to be printed. Sometimes called silk screening,
serigraphy (Seri means silk) is a type of stencil printing. A stencil is fastened to a sheet of silk
which is tightly stretched across a wooden frame. Or, an area of the silk is “blocked out” using
glue, gum Arabic or shellac. The frame is placed against the material to be printed. A squeegee
(rubber mounted in wooden handle) is used to push the ink through the open areasonto the
material or paper below.

Stencil & Serigraphy – History: A long time ago in the Fiji Islands, stencils made of
banana leaves were used to apply patterns to bark cloth. The idea of using silk fabric as a
screen was developed in 1907 by Samuel Simon of Manchester England.

Stencil & Serigraphy Uses: Signs and posters, decorating furniture, textiles (t-shirts)

Silkscreen Artists worth studying: Andy Warhol, Ben Shahn, Robert Guathmey

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Lesson 3: Textile Design and Manipulation
Textile design is the creative process leading to structures, patterns and colors in
textile materials, implemented to achieve aesthetic appeal, function and cost targets is known
as textile design. In another words, textile design is the developed specification for a textile
material or product as advanced by Amanda Briggs Good (2013) who is the course leader for
BA Textile Design at Nottingham Trent University in UK, and currently a printed textile designer
herself as she has worked in the commercial sector focused on practice-based research into
digital textile design, which has been exhibited internationally (Designamid, n.d.).

Hodakel (2020), the founder and CEO of Sewport, an online marketplace connecting
brands and manufacturers, and former founder of various clothing manufacturing services
recommended the 4 things to know in order to achieve best results in textile design:

1. Producing sketches and concepts:

A fabric designer will pull together your initial ideas and inspirations and build a picture
of your design. They will often ask questions about colors, fabrics and printing methods to get
an idea of how the design will work in reality. Once this artwork has been completed, a first
draft will be submitted to give you a chance to make alterations and provide feedback on the
design. When you are happy, the final design will be drawn up using digital software, so this
can be shared with your manufacturing partner with ease.

2. First samples:
At this point, you’ll be eager to see how your design will look on the finished product.
The next stage is to send your artwork to your printing or manufacturing company and obtain
some initial samples to assess. This process is called Strike Off and involves printing a small
sample to see how the colors and scale look before committing to a larger order. If there are
some adjustments to be made, your designer can modify at this point to avoid a costly printing
mistake.
3. Design delivery:
When the work has been signed off and is ready for delivery, you will often need to
make the final payment before the design copies are handed over. This again is to protect
the textile designer in case of any disputes with payment. It will often be written into a
contract that the design copyright does not transfer to you until full payment has

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 been made. This is particularly prevalent for exclusive use work, as the rights will also
have to be paid for before being signed over.

4. Working with fabric producers:

Fabric in production during printing textile design, as mentioned above, is vital to get
your print correct before committing to the printing stage. Once this is finalized, you can work
with a fabric supplier to print your design for your clothing.

In most cases, it is cost-effective to produce prints that have a technical or seamless

repeat by simply putting the design which can be printed continuously or seamlessly without
lines or gaps in the fabric. To achieve this, you will need to check the limitations on certain
materials such as width and type of print.

However for some products, you may require placement or engineered design by
effectively placing a print on a garment and which requires special printing. This method is
often used in t-shirt production.

A textile designer has many qualities and can contribute a host of expertise to your
brand. Some of the main elements include:

•Creating sketches and samples for presentation

•Liaising with different teams or suppliers such as manufacturers and buyers

•Interpreting brand ideas and concepts

•Using specialist software to assist the process

•Advising best practice and design elements for chosen fabrics

•Sourcing suitable textiles based on brand requirements

•Up to date knowledge of the industry and trends

Seven personality traits (Cao, 2015)

Seven personality traits of great designers:

1. Empathetic: Empathy is arguably the most important trait of a designer. You won’t
get very far in design if you don’t understand your users, and you won’t get very far in business
if you don’t understand your teammates. On one hand, empathy serves a dual purpose and

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the first part is emphasizing your users, which is pretty self-explanatory. If you understand
what your user wants versus needs (and how they think), you’re in a much better position to
design intuitive and desirable interfaces – which is especially important since people make
decisions emotionally rather than rationally. On the other hand, in empathizing with users,
usability testing can open the most doors into their mind-sets. Reliable datum takes a lot of
the risky guesswork out of design, especially considering that the designer is rarely the target
audience, so there’s always an element of uncertainty. Try to understand your users as much
as possible, and fill in the remaining blanks with user research. Toward this end, empathy also
improves collaboration. Designers are trained very well in empathizing with users, but don’t
forget to empathize within your team by studying the culture and processes of your own
company as though you were an outsider. Why are things done the way they are, and what
are the processes that have created the existing design artifacts? If the company struggles
with being design-focused, some internal ethnography helps give you a better understanding
of cultural issues and realistic workarounds. Certainly by doing so, the emergence of empathy
is particularly helpful during critiquing sessions: phrasing a criticism in the proper way will
spare feelings, and also increases the likelihood of you winning over advocates in the
company.

2. Business-Savvy: With all the visual details involved, it can be easy to forget that
design is a business, ergo as a designer, your own personal preferences and opinions come
second to the business and user goals of a project. Being business-savvy means making only
the decisions that are good for users, and therefore the business you are indulged therein–
and eventually starts with knowing how.

3. Empirical: The best designers can think like scientists as they do actual concrete
research backed by quantitative and qualitative users’ data by means of Web analytics,
usability tests, and contextual interviews by lending credibility to your intuition (or prevent you
from making irreversible mistakes). Not only will these make your designs better, it will also
be a great aid when defending your design choices in a review. If someone challenges your
decisions, let the user data speak for themselves.

4. Meticulous: In a medium based in visual minutiae and the intangibles of

psychology, an eye for detail is crucial for consistent UI and UX design. With the
foregoing milieu comes to the greatest stronghold that great designers pay attention to the
details. No aspect of the site’s interface is too small, too insignificant. For example, the art of

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interaction design requires that you pay attention to how each micro interaction (which lasts
milliseconds) affects an overall experience (which can span minutes or hours). It might seem
nitpicky to deliberate over a hover-to-reveal versus click-to-reveal, but usability testing usually
reveals otherwise. Therefore, it along those lines of psychological parlance that eventually
part of being meticulous means maintaining consistency, as explained in Consistency in UI
Design. Grids, layout patterns, color palettes, editorial styles – these must all remain
consistent across all the pages of a website, or else you risk users relearning functionalities
(which increases friction). So that at the end, once you finalize these decisions – color codes,
and typography specifics, etc. – try organizing them with a style guide. A quick reference guide
(best created in HTML with reusable code) helps relieve a lot of the strain of ensuring site-
wide consistencies.

5. Patient: Forbearing as indication of patience for composure and calming certainly

will liberate you from iteration, it’s easy to just cave in and say “good enough”. Deadlines loom
and sometimes compromise is the path of least resistance. Just as we described
inconsistency in UI Design, always take the time to verify that your designs are first externally
consistent (match what users expect) and internally consistent with itself. Some clients might
not notice, but others may require stringent reviews where they will ask uncomfortable
questions about why certain fonts in a wireframe aren’t consistent, or the spacing looks off
from page to page. You can try pre-empting those comments by explaining that it’s just a
wireframe, but you’re better off just putting in some extra effort to avoid the conversation
completely and eliminate squabbles later on.

Patience is equally important when testing and interviewing users. Don’t just write up
a list of questions, run through them with users like a script, and call it a day. Many times,
you’ll find the best user insights are hidden in the pauses between questions.

6. Perceptive: Perceptive as outlook in making strong stance for positive attitude in

framing of mind to solve problems is an everyday responsibility for the designer. Finding the
right problems to solve, after all, is at least half the job. That’s why, you need to be able to see
outside the design. It’s easy to just get on the grind when you’ve been working on the same
project for months, so you start treating the end-date as a light at the end of the tunnel. But
great designers have the uncanny ability to still see their design as if it were the first time, even
if they’ve worked on it for what seems like forever.

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 Always leave behind a footprint on the sand that some designers are born with that
skill, others can build up that strong perspective through user-focused exercises like empathy
mapping and usability testing. In fact, try moderating a few usability testing sessions for rare
glimpses into candid user behavior. You’ll naturally internalize their reactions for fresh
perspectives on future iterations.

7. Grounded: The final trait that ties everything together is being grounded as
seemingly the finishing endmost chapter in culminating your chosen profession as a designer
is a firm sense of reality as the key to effectively applying all of the above traits. By seeing the
problems at hand and resisting the temptation to sugar-coat them, you’ll develop a better
understanding of how to legitimately solve them in the midst of manmade and natural
calamities such as the case of covid-19 pandemic which seems to terminate all kinds of races
without exception from the earth as the only planet good for human habitation.

Textile Design Surface Manipulation

Textile design surface manipulation is about developing a diverse variety of textile

surface design techniques from personal visual inspiration sources, and applying them to your
projects. The techniques covered are an assortment of traditional and unconventional
methods, from smocking to soldering, and the end products might range from fashion to
interiors to textile art (Cheney & McAllister, 2020).

Cheney & McAllister (2020) both are lecturers on textiles and fashion at the National
College of Art and Design in Dublin. The former interests focused on embroidered textiles,
and he is researching the potential of industrial CAD technology for embroidery; and whereas
the latter possibly centered on binary forces and oppositions, also with an emphasis on
embroidered textiles wherein the two of them ended into the co-authorship of the book entitled
Media of Textile Surface Manipulation which ultimately delved deeper into the full exploration
of visual sources to discover students’ potential for imagery, texture, structure and
manipulation by supporting them in the development and creation of their own unique pieces.
The purpose of the book is to inspire artists to explore alternative possibilities, to manipulate
existing textile surfaces or to create new ones.

There are numerous established and enduring printed styles and designs that can be
broken down into four major categories due to the manipulations by the textile designers:

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 1. Floral designs include flowers, plants, or any botanical theme.
2. Geometric designs feature themes both inorganic and abstract such as
tessellations.
3. World culture designs may be traced to a specific geographic, ethnic, or
anthropological source.
4. Conversational designs fit less easily into the other categories: they may be
described as presenting "imagery that references popular icons of a particular time period or
season, or which is unique and challenges our perceptions in some way.

The advent of computer-aided design software, such as Adobe Photoshop or

Illustrator, has allowed each discipline of textile design to evolve and innovate new practices
and processes, but has most influenced the production of printed textile designs. Most
prominently, digital tools have made the process of creating repeating patterns or motifs, or
repeats, much more effective and simple. Repeats are used to create patterns both visible and
invisible to the eye: geometric patterns are intended to depict clear, intentional patterns,
whereas floral or organic designs, for instance, are intended to create unbroken repeats that
are ideally undetectable. Poorly constructed repeats draw the eye to portions of the textile that
expose the pattern and break the illusion of continuity, an issue called "tracking," which is
easily remedied in a digital environment. These tools, alongside the innovation of digital inkjet
printing, have allowed the textile printing process to become faster, more scalable, and
sustainable by resulting into the following textile manipulated designs (Cheney & McAllister,
2020):

Woven Textile Design(Wikivisually, n.d.)

Woven textile design emanates from the practice of weaving which produces fabric by
interlacing a vertical yarn (warp) and a horizontal yarn (weft), most often at right angles. Woven
textile designs are created by various types of looms and are now predominantly produced
using a mechanized or computerized jacquard loom, and typical examples of which take the
forms of a woven in Navajo saddle blanket from the Philbrook Museum in Tulsa, Oklahoma.

Designs within the context of weaving are created using various types of yarns, utilizing
variance in texture, size, and color to construct a stylized patterned or monochromatic fabric.
There are a large range of yarn types available to the designer, including but not limited to
cotton, twill, linen, and synthetic fibers. In order to produce the woven fabric, the designer

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first delineates and visualizes the sequence of threading which is traditionally drawn out on
graph paper known as a point paper.

The designer also will choose a weave structure which governs the aesthetic design
that will be produced. The most common process is a plain weave, in which the yarns interlace
in an alternating, tight formation producing a strong and flexible multi-use fabric. Twill weaves,
which are also common, alternatively utilize diagonal lines created by floating the warp or the
weft to the left or the right. This process creates a softer fabric favored by designers in the
fashion and clothing design industries. Common and recognizable twill styles include patterns
like hounds tooth or herringbone.

Beyond weave structure, color is another dominant aspect governing woven textile
design. Typically, designers choose two or more contrasting colors that will be woven into
patterns based on the designer's chosen threading sequence. Color is also dependent on the
size of the yarn: fine yarns will produce a fabric that may change colors when it receives light
from different angles whereas larger yarns will generally produce a more monochromatic
surface.

Mixed Media Textile Design(Wikivisually, n.d.)

Mixed media textiles designs are produced utilizing embroidery or other various fabric
manipulation processes such as pleating, appliqué, quilting, and laser cutting.

Embroidery is traditionally performed by hand, applying myriad stitches of thread to

construct designs and patterns on the textile surface. Similar to printed textile design,
embroidery affords the designer a vast amount of artistic and aesthetic control. Typical stitches
include but are not limited to the cross stitch, the chain stitch, and couching. Although industrial
and mechanized embroidery has become the standard, hand stitching still remains a fixture
for fine arts textiles.

Quilting, traditionally used to enhance the insulation and warmth of a textile, also
provides the designer the opportunity to apply aesthetic properties. Most commonly quilts
feature geometric and collage designs formed from a various textiles of different textures and
colors. Quilting also frequently employs the use of recycled scrap or heirloom fabrics. Quilts
are also often used as medium for an artist to depict a personal or communal narrative: for
example, the Hmong people have a tradition of creating story quilts or cloths illustrating their

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experiences with immigration to the United States from Eastern and Southeastern Asia (Maca,
2020).

Textile Design and the Environment(Zulfiqar, n.d.)

The practice and industry of textile design present environmental concerns from the
production of cloth from raw material, to dyeing and finishing, and finally the ultimate disposal
of products, each step of the process produces environmental implications that have
proliferated with the emergence of fast fashion and other modern industrial practices.

Predominantly stress that these environmental impacts stem from the heavy use of
hazardous chemicals involved in each step of the textile creation process which must be
properly disposed of. Other considerations involve the amount of waste created by the
disposal of textile design products and the reclamation and re-use of recyclable textiles. The
Environmental Protection Agency reported that over 15 million tons of textile waste is created
annually. This consists of some 5% of all municipal waste generated and only 15% of that
waste is recovered and reused.

Since the thrust of these modular lessons is fused into the two-dimensional expressive
forms ranging from drawing down the line to painting and mixed-media, graphic and
communication design, printmaking, textile design and manipulation, much knowledge and
information are communicated through images and spectacle and the visual arts which by all
possibilities serving to interpret this information and build bridges to understanding the role of
art in interpreting our contemporary, historical, cultural and visual world. It is therefore given
much weight that the aforementioned two-dimensional expressive forms, will certainly help to
promote and encourage tolerance and diversity among students of different ethnic
backgrounds, cultures and points of view in the region, with the end in view in helping them
to develop intellectually and seek to refine their critical thinking skills and judgments through
research and the making of visual art their chosen career for advancement in life in helping
those suffering from hand-to-mouth existence in the midst of covid-19 pandemic in wiping out
the human race from the surface of the planet earth.

99
 Assessment Task 4

Answer the following scholarly:

1. How do you create the voluminous processes of artworks by printmaking down the line to
cutting, etching, stamping, marking, branding, punching, inscribing, engraving, and
the inclusionary applications of main types on the different mediums?
2. When and how the personality traits of great designers can be manipulated in the textile
designs for you to end up into a successful visual artist for your advancement in life
in helping those suffering from hand-to-mouth existence in the midst of covid-19
pandemic, and thus put a stop to the malady of wiping out the human race from the
surface of the planet earth.

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 Summary

The days of antiques are just but the passing glances serving then as the anchorage
of more sophisticated and revolutionized digital photographs and computerized software
technologies in boosting the new and modern and elaborative visual manipulations in the four
corners of the globe by giving leeway to the entry of high-tech communication design.
Apparently, with the foregoing high-tech entry, ultimately redound into fusion of the two-
dimensional expressive forms by helping students to develop intellectually and seek to refine
their critical thinking skills and judgments through research, and making visual art as their
chosen career for advancement in life in helping those suffering from hand-to-mouth existence
in the midst of covid-19 pandemic in wiping out the human race without exception, from the
surface of the planet earth.

101
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