Module 06: The National Artist Of The Philippines
THE INSIGNIA OF THE ORDER OF NATIONAL ARTISTS
 The insignia of the Order of the National
Artists is composed of a Grand Collar featuring
circular links portraying the arts, and an
eight-pointed conventionalized sunburst
suspended from a sampaguita wreath in green
and white enamel.
 The central badge is a medallion divided into three
equal portions, red, white, and blue, recalling
the Philippine flag, with three stylized letter Ks—
the “KKK” stands forthe CCP’s motto:
“katotohanan, kabutihan, at kagandahan” (“the
true, the good, and the beautiful”), as coined by
then first lady Mrs. Imelda Romualdez Marcos, the
CCP’s founder.
 The composition of the Grand Collar is silver gilt
bronze. In place of a rosette there is an enameled
pin in the form of the insignia of the order.
MODULE 07: GAWAD SA MANLILIKHA NG BAYAN
GAMABA
 In April 1992, the Gawad sa Manlilikha ng Bayan
or the National Living Treasures Award was
institutionalized through Republic Act No. 7355.
 Tasked with the administration and
implementation of the Award is the National
Commission for Culture and the Arts (NCCA),
the highest policy-making and coordinating
body for culture and the arts of the State.
 As envisioned under R.A. 7355, “Manlilikha ng
Bayan” shall mean a citizen engaged in any
traditional art uniquely Filipino whose
distinctive skills have reached such a high level
of technical and artistic excellence and have
been passed on to and widely practiced by the
present generation in his/her community with
the same degree of technical and artistic
competence.
BACKGROUND OF GAMABA
 has its roots in the 1988 National Folk Artists
Award organized by the Rotary Club of Makati-
Ayala.
 first awarded in 1993 to three outstanding
artists in music and poetry.
 these folk and traditional artists reflect the
diverse heritage and cultural traditions that
transcend their beginnings to become part of
our national character.
 they bring age-old customs, crafts and ways of
living to the attention and appreciation of
Filipino life.
 they provide us with a vision of ourselves and
of our nation, a vision we might be able to
realize someday, once we are given the
opportunity to be true to ourselves as these
artists have remained truthful to their art.
CATEGORIES OF GAMABA
The Award shall be given in each, but not limited
to the following categories of traditional folk arts, folk
architecture, maritime transport, weaving, carving,
performing arts, literature, graphic and plastic arts,
ornament, textile or fiber art, pottery and other
artistic expressions of traditional culture.
Consideration shall be given to geographical
distribution and balance of artistic categories.
To become a “Manlilikha ng Bayan”, the
candidate must possess the following qualifications:
1. He/she is an inhabitant of an
indigenous/traditional cultural community
anywhere in the Philippines that has
preserved indigenous customs, beliefs, rituals
and traditions and/or has syncretized
whatever external elements that have
influenced it.
2. He/she must have engaged in a folk art
tradition that has been in existence and
documented for at least fifty (50) years.
3. He/she must have consistently performed or
produced over a significant period, works of
superior and distinctive quality.
4. He/she must possess a mastery of tools and
materials needed by the art, and must have
an established reputation in the art as master
and maker of works of extraordinary
technical quality.
5. He/she must have passed on and/or will pass
on to other members of the community their
skills in the folk art for which the community
is traditionally known.
HOW DOES ONE BECOME A MANLILIKHA NG BAYAN?
A traditional artist who possesses all the qualities of a
Manlilikha ng Bayan candidate, but due to age or
infirmity has left him/her incapable of teaching further
his/her craft, may still be recognized if:
1) He/she had created a significant body of works
and/or has consistently displayed excellence in
the practice of his/her art, thus achieving
important contributions for its development.
2) He/she has been instrumental in the
revitalization of his/her community’s artistic
tradition.
3) He/she has passed on to the other members of
the community skills in the folk art for which the
community is traditionally known
4) His/her community has recognized him/her as
master and teacher of his/her craft.
INCENTIVESRECEIVED BY THE GAMABA AWARDEE
 a specially designed gold medallion
 an initial grant of P100,000
 P10,000 monthly stipend for life
In consonance with the provision of Republic Act
No. 7355, which states that “the monetary grant may
be increased whenever circumstances so warrant,”
the NCCA board approved:
 an additional monthly personal allowance of
P14,000 for the awardees
 a maximum cumulative amount of P750,000
medical and hospitalization benefits annually
similar to that received by the National Artists
 funeral assistance/tribute fit for a National
Living Treasure.
MODULE 08: THE NATIONAL LIVING TREASURES
 NCCA described the national living treasures as
artists who “reflect the diverse heritage and
cultural traditions that transcend their
beginnings to become part of our national
character.”
LITERATURE
1. GINAW BILOG (1993)
OCCUPATION: Poet
CULTURAL GROUP: Hanunuo Mangyan
PLACE OF ORIGIN: Panaytayan, Oriental Mindoro
 He is steeped in the wisdom that the ambahan
is a key to the understanding of the Mangyan
soul
 Ginaw took it upon himself to continually keep
scores of ambahan poetry recorded, not only on
bamboo tubes but on old, dog-eared notebooks
passed on to him by friends.
 To this day, Ginaw shares old and new
ambahans with his fellow Mangyans and
promotes this poetic form in every occasion.
2. FEDERICO CABALLERO (2000)
OCCUPATION: epic chanter
CULTURAL GROUP: Sulod-Bukidnon
PLACE OF ORIGIN: Calinog, Iloilo
 He is known for his work on the documentation
of the oral literature, particularly the ten epics.
These epics are rendered in an extinct language
related to Kinaray-a.
 Also called Nong Pedring, he learned about
epics from his mother and his grandmother,
Anggoy Omil who would chant these to him
and his siblings as a lullaby.
 When Anggoy and his mother died, he went on
to continue the traditions and documented
these epics which are referred to as the Labaw
Dunggon and Humadapnon epics with
researchers.
 He worked with the Bureau of Nonformal
Education, to teach people how to read and
write and would promote the tradition of epic
chanting despite the initial objection of his
children.
 He also worked as the manughusay in his local
community, an arbiter who helps resolves
disputes and conflicts in the community.
PERFORMANCE
3. MASINO INTARAY (1993)
OCCUPATION: musician and storyteller
CULTURAL GROUP: Pala’wan
PLACE OF ORIGIN: Brookes Point, Palawan
 He is an outstanding master of the basal, kulilal
and bagit, a gifted poet, bard artist, and
musician.
  He is not only well-versed in the instruments
and traditions of the basal, kulilal and bagit but
also plays the aroding (mouth harp) and
babarak (ring flute) and above all is a prolific
and pre-eminent epic chanter and story teller.
 He has the creative memory, endurance, clarity
of intellect and spiritual purpose that enable
him to chant all through the night, for
successive nights, countless tultul (epics),
sudsungit (narratives), and tuturan (myths of
origin and teachings of ancestors).
 Masino and the basal and kulilal ensemble of
Makagwa valley are creative, traditional artists
of the highest order of merit.
4. SAMAON SULAIMAN (1993)
OCCUPATION: musician
CULTURAL GROUP: Magindanao
PLACE OF ORIGIN: Mama sa Pano, Maguindanao
 Samaon Sulaiman achieved the highest level of
excellence in the art of kutyapi playing.
 His extensive repertoire of dinaladay, linapu,
minuna, binalig, and other forms and styles fully
demonstrate and creative and expressive
possibilities of his instrument.
 At 35, he has become the most acclaimed
kutyapi master and teacher of his instrument in
Libutan and other barangays of Maganoy
 Aside from kutyapi, Samaon is also proficient in
kulintang, agong (suspended bossed gong with
wide rim), gandingan (bossed gong with narrow
rim), palendag (lip-valley flute), and tambul.
 Samaon was a popular barber in his community
and serve as an Imam in the Libutan mosque.
5. ALONZO SACLAG (2000)
OCCUPATION: musician and dancer
CULTURAL GROUP: Kalinga
PLACE OF ORIGIN: Lubuagan, Kalinga
 He learned how to play traditional Kalinga
musical instruments and Kalinga ritual dance
movements without formal or informal
instruction.
 As an effort to revive the dying tradition of
playing the gangsa, a type of Kalinga gong, he
lobbied for two years to the provincial
government to grant funds to convert the
abandoned Capitol Building into a museum.
6. UWANG AHADAS (2000)
OCCUPATION: musician
CULTURAL GROUP: Yakan
PLACE OF ORIGIN: Lamitan, Basilan
 Ahadas, along with his siblings, were taught
how to play Yakan traditional instruments as
children.
 He first learned how to play the gabbang, a
wooden bamboo instrument similar to the
xylophone then learned how to play the agung,
an instrument traditionally played by Yakan
men.
 By age 20, Ahadas had already mastered the
kwintangan which is considered as the most
important Yakan musical instrument despite the
instrument traditionally reserved for women.
 He can also play the tuntungan.
 He taught his children how to play Yakan
traditional instruments, including Darna who
would later become a teacher of these
traditions herself. Ahadas went on to promote
these traditions outside his native town of
Lamitan, Basilan.
CRAFTS
7. LANG DULAY (1998)
OCCUPATION: textile weaver
CULTURAL GROUP: T’boli
PLACE OF ORIGIN: Lake Sebu, South Cotabato
 She is credited with preserving her people's
tradition of weaving T'nalak, a dyed fabric made
from refined abaca fibre.
 She first learnt weaving at the age of 12 from
her mother, Luan Senig.
 She is known for maintaining the use of
traditional motifs in T'nalak weaving amidst
commercialization of the craft
 She notably had a mental repertoire of around
100 patterns and designs: some of these were
based on her dreams, hence her description as
a "dreamweaver".
 Lang Dulay set up the Manlilikha ng Bayan
Center workshop in her hometown to promote
 the traditional art of T'nalak weaving and by
2014, five of her grandchildren had become
weavers.
8. SALINTA MONON (1998)
OCCUPATION: textile weaver
CULTURAL GROUP: Tagabawa Bagobo
PLACE OF ORIGIN: Bansalan, Davao del Sur
 She watched her mother weave ikat a
traditional abaca fabric when she was a child.
 She asked her mother how to use the loom at
age 12 and learned how to weave within a few
months.
 Her favorite design is the binuwaya or crocodile
which is said to be among the most difficult to
weave.
 Salinta maintains a pragmatic attitude towards
the fact that she and her younger sister may be
the only Bagobo weavers left, the last links to a
colorful tradition among their ancestors that
had endured throughout the Spanish and
American colonization periods, and survived
with a certain vigor up to the late 1950s.
9. DARHATA SAWABI (2004)
OCCUPATION: textile weaver
CULTURAL GROUP: Tausug
PLACE OF ORIGIN: Parang Sulu
 Darhata Sawabi is one of those who took to
heart the art of making pis syabit, the
traditional cloth tapestry worn as a head
covering by the Tausug of Jolo.
 She was forced to abandon her weaving which
was very painful experience as it was impossible
for her to bring the loom along with her to the
forest where they sought refuge because of an
armed struggle in the 1970’s.
 Because of the conflict, she and her family had
been forced to relocate twice finally
establishing their residence in Parang. During
this time, Sawabi supported her family by
weaving and selling her pieces to the
participants in the conflict who passed through
her village.
 Because of her dedication to her art,
generations of traditional Tausug designs have
been preserved and are available for
contemporary appreciation and future study.
10. EDUARDO MUTUC (2004)
OCCUPATION: metalsmith
CULTURAL GROUP: Kapampangan
PLACE OF ORIGIN: Apalit Pampanga
 Eduardo Mutuc is an artist who has dedicated
his life to creating religious and secular art in
silver, bronze, and wood.
 He was 29 when he decided to supplement his
income from farming for the relatively more
secure job of woodcarving. He spent his first
year as an apprentice to carvers of household
furniture.
 Things began to change after his fifth or sixth
year as a furniture maker when a colleague
taught him the art of silver plating which is
often used to emulate gold and silver leaf in the
decoration of saints and religious screens found
in colonial churches.
 One of his first commissions came from
Monsignor Fidelis Limcauco, who asked him to
create a tabernacle for the parish of Fairview,
Quezon City.
11. HAJA AMINA APPI (2004)
OCCUPATION: mat weaver
CULTURAL GROUP: Sama
PLACE OF ORIGIN: Tandubas, Tawi-Tawi
 Haja Amina Appi is recognized as the master
mat weaver among the Sama indigenous
community of Ungos Matata.
 Her colorful mats with their complex geometric
patterns exhibit her precise sense of design,
proportion and symmetry and sensitivity to
color.
 The art of mat weaving is handed down the
matrilateral line, as men in the Sama culture do
not take up the craft.
 The whole process is exclusive to women.
 It is a long and tedious process, which requires
much patience and stamina and an eye for
detail, an unerring color instinct, and a genius
for applied mathematics.
  Although the techniques used to make the mats
are traditional, she has come up with some of
her own modern designs.
12. TEOFILO GARCIA (2012)
OCCUPATION: casque maker
CULTURAL GROUP: Sama
PLACE OF ORIGIN: San Quintin, Abra
 Teofilo Garcia is recognized for his craft in
making tabungaw, a casque made of the native
gourd, hollowed out, polished, and varnished to
a bright orange sheen to improve its weather
resistance and with the inside is lined with
finely woven rattan matting, and the brim
sports a subtle bamboo weave for accent.
 Although he has been a master artisan since he
learned how to make gourd casques and weave
baskets from his grandfather at the age of 15,
Teofilo is still principally a farmer.
 Crafting the tabungaw from planting and
harvesting the upo, refining the uway (rattan)
that make up the lining of the tabungaw,
weaving the puser (bamboo) that serves as the
accent for the work, and finishing the work
takes at least seven days.
 He innovated with the materials using bamboo
as an alternative to nito.
13. MAGDALENA GAMAYO (2012)
OCCUPATION: textile weaver
CULTURAL GROUP: Ilocano
PLACE OF ORIGIN: Pinili, Ilocos Norte
 Magdalena Gamayo is an Ilocano textile weaver
of the abel, the traditional blanket.
 At the age 16, she learned the art of weaving
from her aunt.
 She uses a sturdy wooden frame with three-
foot pedals with wide horizontal beams to
support the warp and an even longer
lengthwise frame to keep the threads in place.
 Magdalena has taught herself the traditional
patterns of binakol, inuritan (geometric design),
kusikos (spiral forms similar to oranges), and
sinan-sabong (flowers), which is the most
challenging pattern.
 She has also taught herself to recreate designs,
which is a useful skill particularly when she is
only able to see the design but does not have a
sample of how it is done.
14. AMBALANG AUSALIN (2016)
OCCUPATION: textile weaver
CULTURAL GROUP: Yakan
PLACE OF ORIGIN: Lamitan City, Basilan
 Apuh Ambalang, as she is called by her
community of weavers, is highly esteemed in all
of Lamitan.
 Her skill is deemed incomparable: she is able to
bring forth all designs and actualize all textile
categories typical to the Yakan.
 She can execute the suwah bekkat (cross-stitch-
like embellishment) and suwah pendan
(embroidery-like embellishment) techniques of
the bunga sama category.
 As a young girl, her mother, who was the best
weaver of her time, mentored Ambalang. She
practiced with strips of lugus and coconut
leaves (mat-making material).
 Ambalang has mastered all these, although her
artistry and craftsmanship are best expressed in
the bunga sama, sinalu’an, and seputangan.
15. ESTELITA BANTILAN (2016)
OCCUPATION: mat weaver
CULTURAL GROUP: B’laan
PLACE OF ORIGIN: Malapatan, Sarangani
 Bantilan, who was born Labnai Tumandan
but later chose Estelita as her first name
and gained her last name through marriage,
started her craft at a young age, weaving
intricate mats using a pandan variety called
romblon.
 Manlilikha ng Bayan Center will serve as a
showcase of what the community is known
for—the igem weaving – including the
works of Bantilan and her students.
16. YABING MASALON DULO (2016)
OCCUPATION: Ikat weaver
CULTURAL GROUP: B’laan
PLACE OF ORIGIN: Malapatan, Sarangani
  She is an active Blaan weaver who is a
master of the Mabal Tabih technique.
 Her works are prized by textile collectors
and has been featured in the 2004 WOW
Mindanao Tourism Expo in Davao and in the
Second ASEAN Traditional Textiles
Symposium on 1-3 February 2009 at the
Cultural Center of the Philippines.
 She is an active Blaan weaver who served as
the Cultural Master for the Blaan Weaving
School of Living Tradition Project
implemented back in 2005 at Sitio Lamlifew,
Datal Tampal, Malungon, Sarangani
Province. This SLT was funded by National
Commission for Culture and the Arts
(NCCA).
 She became a partner for the cultural
preservation in Sarangani under the
Indigenous Peoples Development Program
(IPDP) of former Governor Migs Dominguez.
MODULE 09: ART SERVICE AGENCIES: PROMOTING
AND PRESERVING ARTS.
ART SERVICE AGENCIES
“a non-profit organization that furthers the
interests of artists, creators, arts organizations
and elements of the arts community. The
organization's activities can include policy
development, advocacy, provision of
professional services, and production of
collective projects." (-CANADA COUNCIL FOR
THE ARTS)
In the Philippines, there are government agencies
that serve the same purpose of providing service
towards artists for the promotion and preservation of
arts. These include:
1) National Commission for Culture and the Arts
(NCCA)
2) Cultural Center of the Philippines (CCP)
3) National Historical Commission of the
Philippines (NHCP)
4) National Museum of the Philippines
5) National Library of the Philippines (NLP)
6) National Archives of the Philippines
7) Komisyon sa Wikang Filipino (KWF)
1) NATIONAL COMMISSION FOR CULTURE AND THE
ARTS
 the overall policy making body, coordinating,
and grants giving agency for the preservation,
development and promotion of Philippine
arts and culture
 an executing agency for the policies it
formulates; and task to administering the
National Endowment Fund for Culture and
the Arts (NEFCA) — fund exclusively for the
implementation of culture and arts programs
and projects.
 6 Arts and Cultural Government Agencies
under NCCA:
1. Cultural Center of the Philippines
2. National Historical Commission of
the Philippines
3. National Museum of the Philippines
4. National Library of the Philippines
5. National Archives of the Philippines
6. Komisyon sa Wikang Filipino
 LOGO
a. The NCCA logo is the Alab ng Haraya
(The Flame of Imagination), which
symbolizes the spring of Filipino art and
culture. It is composed of two basic
elements – the fire and the censer. The
fire is a stylized character "ka" of the
Philippine indigenous script Baybayin,
that stands for kadakilaan or greatness.
The fire represents the highest level of
imagination and emanates from a
three-tiered censer.
b. The three tiers stand for organization,
economic support, and an orientation
rooted on a thorough grasp of tradition
and history, which the NCCA provides.
It is done in gold to symbolize the
immense wealth of Philippine culture.
2) CULTURAL CENTER OF THE PHILIPPINES
 the premiere showcase of the arts in the
Philippines.
 has been producing and presenting music,
dance, theater, visual arts, literary, cinematic
 and design events from the Philippines and all
over the world for more than forty years.
 LOGO
a. derived from the Baybayin character Ka
and styled based on a Katipunan design,
represents Katotohanan, Kagandahan at
Kabutihan (Truth, Beauty and Goodness).
Nine Resident Companies
1. Ballet Philippines
2. Philippine Ballet Theater,
3. Tanghalang Pilipino
4. Ramon Obusan Folkloric Group
5. Bayanihan Philippine National Folk Dance
Company
6. Philippine Philharmonic Orchestra
7. UST Symphony Orchestra
8. Philippine Madrigal Singers
9. National Music Competition for Young Artists
Foundation (NAMCYA)
3) NATIONAL HISTORICAL COMMISSION OF THE
PHILIPPINES
 is responsible for the conservation and
preservation of the country’s historical
legacies.
 undertakes the commemoration of significant
events and personages in Philippine history
and safeguard the blazoning of the national
government and its political divisions and
instrumentalities.
 has major thrusts that encompass an ambitious
cultural program on historical studies,
curatorial works, architectural conservation,
Philippine heraldry, historical information
dissemination activities, restoration and
preservation of relics and memorabilia of
heroes and other renowned Filipinos
 LOGO
a. The Baybayin “Ka” and “Pa” which
means “Kasaysayan ng Pilipinas”.
4) NATIONAL MUSEUM OF THE PHILIPPINES
 the country’s repository of archaeological
artifacts, national treasures and rare
specimens found and produced in the
country.
 main task: to solicit, document, preserve,
exhibit, and promote the natural and
artificial wonders of the Philippines.
 responsible for putting up a network of
museums around the country to serve as a
local destination of the diverse natural and
cultural heritage of the country.
 has two main divisions:
a. Natural History Museum
b. National Art Gallery
 LOGO
a. “Pa” = country’s heritage
5) NATIONAL LIBRARY OF THE PHILIPPINES (NLP)
 established in 1901
 was then called American Circulating Library
to serve as “memorial to American
servicemen who died in Philippine soil.”
 home to rare books and documents such as
Acta de la Proclamacion de la
Independencia del Pueblo Filipino and the
manuscript of the trial of Andres Bonifacio.
 has the mandate of:
a. serving as a “repository of the printed
and recorded cultural heritage of the
country and other intellectual literary
and information sources”
b. providing “access to these resources
for our people’s intellectual growth,
citizenship building, lifelong learning
and enlightenment.”
 LOGO
a. Shield- coat of arms of the Republic of
the Philippines
b. Book, Quill pen, & document–
collection of Library
c. Lamp- Enlightenment
d. Baybayin- Karunungan
6) NATIONAL ARCHIVES OF THE PHILIPPINES
 History: Treaty of Paris in 1898 “which
stipulated the relinquishment or cession of
documents from Spanish to American
authorities and provided for the
preservations of documents.
  a guardian to over 400 documents from the
Spanish era dating 1552- 1900 and various
records from the American period to the
Republic.
7) NATIONAL LIBRARY OF THE PHILIPPINES (NLP)
 Commission on the Filipino Language
 was created via Republic Act No.7104:
 “Congress shall establish a national
language commission composed of
representatives of various regions and
disciplines which shall undertake,
coordinate and promote researches for
the development, propagation, and
preservation of Filipino and other
Philippine languages.”
 promote and develop national
language, the KWF has annually given
the Talaang Ginto: Makata ng Taon for
Filipino poetry, Aklat ng Bayan, and
other grants or programs on fundings,
awards, and projects.
MODULE 10: CONTEMPORARY ART PRACTICES
 Contemporary art practices refer to “the wide
spectrum of creative practices of artists currently
working in the art gallery, museum, public space,
online, and multiple other contexts of art making
and exhibition.” ( -SRISHTI INSTITUTE OF ART,
DESIGN AND TECHNOLOGY)
CONTEMPORARY ART
 Artists are not limited on the conventionalized
Forms of art; they explore the transition From
the traditional to contemporary art practices
with the use of varying mediums and
techniques From the past and new generations.
 With contemporary art practices, artists now
challenge the existing traditional social systems
and boundaries to go beyond the boundaries of
the discipline.
CONTEMPORARY ART PRACTICES
According to Michelle Watts as cited by Mendez, Jr.
(2016), the following are the characteristics of
contemporary art practices:
1. Changes To Accepted Tradition And Accepted
Taste
Contemporary art tries to challenge age-old
practices that hinder personal growth and
development. For contemporary artists, art
should not be bound by traditional approaches
in the creation of art.
Many visual artists are now expanding their
expression in using mixed media From unlikely
materials. Contemporary artists are also not
afraid to create art that goes against personal
beliefs and public taste.
2. Understanding of a Multiplicity of Viewpoints
Contemporary art bridges the gap of
geography, ethnicity, gender and beliefs.
Contemporary artists are conscious of the
diverse, multicultural nature of today’s
global society.
The artworks that they create are not
anymore ignorant of the complexities of
history, politics, and economics.
Artists are becoming more exposed to the
interconnectedness of people and realities
and these become part of their work.
3. Issues and Ideas about the Role of Objects in Space
and Relationships between Objects
Contemporary art works with existing
objects of structure to maintain balance and
harmony. Space has become an integral
part of the contemporary artworks limited
to museums and galleries.
Public spaces are now considered by
contemporary artists in the display and
installation of their artwork.
4. Use of Everyday Materials
Contemporary art transforms simple objects
and brings them to life. Everyday objects
such as Furniture, car parts, electronics, and
kitchen appliances are being transformed
by contemporary artists into beautiful
artworks.
 Recycle art has become a trend For
contemporary artists. The mass array of
materials From disposals gives artists room
For wild imagination.
5. Employment of Contemporary technology
Contemporary art makes use of available
technology in the process of creating an
artwork. Technology has revolutionized the
way the contemporary artists produce art.
The process involved in some art production
has become less tedious. An independent
Filmmaker can now shoot a Film using a
powerful camera phone. Musicians can now
compose music using tablet computers.
MODULE 11: MEDIUM AND TECHNIQUE IN
CONTEMPORARY ART
The process of producing art is a careful
deliberation of materials and the manner of using these.
The transformation of materials involves the use of
different media and techniques which is very essential
in contextualizing meaning.
MEDIUM
Artistic medium is a term that is used by artists and
art critics to refer to that out of which a work of art is
made (Wack, Internet Encyclopedia of Philosophy and
its Authors).
Specifically, it may mean:
1. the material out of which a work of art is made
(physical materials)
Works of art in museums or galleries will often
have the medium listed along with the title and the
artist's name on the display card. For example, a
sculpture in the medium of bronze or marble; a painting
in the medium of oil paint on canvas, or watercolor on
paper; a drawing in the medium of pencil or crayon; a
print in the medium of etching or lithography.
2. The way a work of art organizes its audience's
experience in space and time
An actor might talk about the differences in
performing on television and on film as performing in
two different artistic media. Or a critic might describe
television as a "writer's medium" and movies as a
"director's medium."
TECHNIQUE
 Technique, according to Datuin, et.al (2018),
refers to "the manner in which artists use and
manipulate materials to achieve the desired
formal effect, and communicate the desired
concept, meaning, according to his or her style."
 The totality of the different factors in the
production of an art work that includes the
choice and use of materials, the intent of the
artist, and the form of the art work make up
what we call as technique. Artists explore the
ways by which they can reflect their own unique
artistic expression through their distinct styles.
 Technique involves the use of tools - whether
traditional or contemporary. It may range from
the most traditional (such as carving, silkscreen,
analog photography, etc. to the most
contemporary (digital photography, digital
filmmaking, industrial design, robotics, etc.)
MODULE 12: ELEMENTS OF ART AND PRINCIPLES OF
COMPOSITION
WHAT ARE THE DIFFERENT ELEMENTS OF ART?
The elements of art are components of a work of art
that can be isolated and defined. They are the building
blocks used to create a work of art. The principles of art
are combinations of two or more of the elements of art.
The elements and principles of art help artists to plan
their compositions to have an impact on the expressive
content, meaning, and viewer's reaction to the image.
According to J. Paul Getty Museum (2011), the
following are the different elements of art:
1. Line
is an identifiable path created by a point moving
in space. It is one-dimensional and can vary in
width, direction, and length. Lines often define
the edges of a form. Lines can be horizontal,
vertical, or diagonal, straight or curved, thick or
thin. They lead your eye around the composition
 can communicate information through their
character and direction.
2. Shape
is a closed line. Shapes can be geometric, like
squares and circles: or organic, like free-form or
natural shapes. Shapes are flat and can express
length and width. Shape has only height and
width. Shape is usually, though not always,
defined by line, which can prove its contour.
3. Forms
are three-dimensional shapes expressing length,
width, and depth. Balls, cylinders, boxes, and
pyramids are forms. Three-dimensional form is
the basis of sculpture, furniture, and decorative
arts.
4. Space
in a work of art refers to a feeling of depth or
three dimensions. It can also refer to the artist's
use of the area within the picture plane. The
area around the primary objects in a work of art
is known as negative space, while the space
occupied by the primary objects is known as
positive space.
5. Color
is light reflected off of objects. Color has three
main characteristics: hue (red, green, blue, etc.),
value (how light or dark it is), and intensity (how
bright or dull it is). Colors can be dascribed as
warm (red, yellow) or cool (blue, gray),
depending on which end of the color spectrum
they fall.
Value describes the brightness of color. Artists
use color value to create different moods. Dark
colors in a composition suggest a lack of light, as
in a night or interior scene. Dark colors can often
convey a sense of mystery or foreboding.
Intensity describes the purity or strength of a
color. Bright colors are undiluted and are often
associated with positive energy and heightened
emotions. Dull colors have been diluted by
mixing with other colors and create a sedate or
serious mood.
6. Texture
is the surface quality of an object that we sense
through touch. All objects have a physical
texture. Artists can also convey texture visually
in two dimensions. In a two-dimensional work of
art, texture gives a visual sense of how an object
depicted would feel in real lite if touched: hard.
suft, rough, smooth, hairy, leathery, sharp, etc.
In three-dimensional works, artists use actual
texture to add a tactile quality to the work.
WHAT ARE THE PRINCIPLES OF COMPOSITION?
(Visual Art)
The principles of composition describe the
ways that artists use the elements of art in a work
of art.
1. Balance
is the distribution of visual weight in an artwork.
The three types of balance are symmetrical (two
sides are the same), asymmetrical (two sides are
different but visually weighted equally) and
radical (design emerges from center point).
2. Contrast
the difference between elements in a
composition. This can happen through a variety
of elements such as value change, size
difference, etc.,
3. Emphasis
is the creation of a focal point in an artwork.
Emphasis draws the viewer's eye to particular
areas of the artwork first.
4. Pattern
decorates the artwork with regularly repeated
elements such as shapes or color. (repeatition)
5. Unity
means that all elements within the artwork are
in harmony. Variety within elements adds
interest to the composition.
6. Movement
is how the eye travels through an artwork.
Movement can lead the viewer from one aspect
to another within the composition.
7. Rhythm
is the regular repetition of elements such as line,
shape and forms to create interest and
consistency. (sequence)