ae PREFACE EEE This textbook on Art Appreciation was prepared to meet the challenges of the general education subjects in the revised General Education Curriculum (GEC) starting 2018. To comply with the demands for developing both intellectual and civic competencies of all undergraduate students, we came up with this textbook, which is a collaboration of Art Appreciation trainers from various regions who had undergone a three-week intensive training. The authors, who are all CHED-certified trainers from the first-and second- generation trainings, have also conducted various trainings in various regions for faculty members and teachers who will be trained and retooled to teach Art Appreciation. Since the new GE course focuses on art as art, which is primarily aesthetics, students in Art Appreciation will be taught how to view a work of art, what to look for, and how to tell if an artwork is good or bad. The course will focus on the relationship of art to the individual students and his or her surroundings. The course also aims then to provide students the opportunity to examine, experience, and even produce works of art to appreciate their roles and purpose in life. Students will be exposed to different art forms, such as visual (from the classical art forms to the modern art installations) by visiting local and national museums available in their locality, the performing arts (music, theater, and dance (from folk to modern), drama and film (from mainstream to indie-films), and access to e-books and multimedia aesthetics. This course will, thus, build upon and hone their skills and understanding, critical appreciations, and expressions of their views. At the end of the semester, students should be able to understand and approach a work of art from a perspective informed by history and tradition and the social environment in, which the work of art is created. Through interdisciplinary and multimodal approaches, this course equips students with a broad knowledge of the practical, historical, philosophical, and social relevance of the arts to hone their ability to articulate their understanding ofthe arts, The teaching of the course will also be multidisciplinary: Students may use tools from various disciplines other than aesthetics to come to terms with the way art influences their personal lives. At the end of each chapter, various creative exercises and assessments will be answered to measure their cognitive learning. Students will be creating artworks inside the classroom and be given opportunities to explain, interpret, or give meanings to their artworks. Reaction or critique papers will also be submitted after watching a cultural or ballet performance, a musical concert, an indie-film, or an actual painting demonstration during a museum or gallery visit. Research and data- collection skills will also be enhanced through library and internet tasks. Individual and group activities will be conducted in class to enhance communication skills and teamwork, In this constant evolving of information technology, students should be trained and tapped to integrate and utilize machineries and computer software for creating artistic works of art, It is our hope that this textbook will guide the students to develop appreciation and appraisal of the various local art forms and the range of the works of art they will be taught and exposed to. We hope, further, that at the end of each chapter of this textbook, they will be able to employ the communicating nature of the various media of arts as catalysts or tools in understanding themselves better; discovering and deepening their identity through art with respect to their nationality, culture, and religion; and deepening their sensitivity to self, their community, and society. The Authors. TABLE OF CONTENTS Chapter 1: The Importance, Meaning, and Assumptions of Art The Importance of Art... Meaning of Art... Assumptions of Art... Functions of Art. Basic Philosophical Perspectives of Art oa Wome Categories/Classifications of Art Chapter 2: Subject and Content of Art The Subject of Art. The Content of Art... Keeping Art Chapter 3: Artists and Artisans Artist... Artisan... Key Components of the Art Market... The Creative Process Three Stages in Art Making... Medium and Technique... Graphic Organizer (Story Map) Recognition and Award for Artist and Artisan. Art ExhibitsChapter 4: Elements and Principles of Art Visual Element oe 3 Artwork Analy: AS The Rule of Thirds. AG Principles of Art.. Elements of Art: Auditory... Chapter 5: Historical Development of Art “ Prehistoric Art (Cave Art)... Philippine Primitive Art.. Alassical Period...... Medieval Period, Renaissance. Baroque Period. “Rococo Period ..! Neoclassical Art Romanticism... Ampressionism <<! Post-impressionism. -Pointillism Art Nouveau Symbolism... Fauvism Expressionism Cubism .. .89 > Dadaism... spr iersenevenseeenvensene ses ssas assess 90 Surrealism... Abstract Expressionism... Constructivism.Minimalism sun Conceptual Art... Installation Art... Performance Art Chapter 6: Soulmaking, Appropriation, and Improvisation Soulmaking.... A Framework for Genius... Appropriation..... Issues on Copyright, Appropriation, and Ownership Amprovisation . Chapter 7: Dreams, Soul, and Space ATextile Art..... Soul and Space.... Allipino Concept of Space ~/The Art of Okir/UkKi Chapter 8: istorical Development of Philippine Art The Art and Culture of the Philippines Pre-Hispanic Period .. Hispanic Perio American Period Philippine Contemporary Arts .. Future of Philippine Arts. References «+.The Importance, Meaning, and Assumptions of Art Learning Outcomes | By the end of this chapter, students should be able to: 1. State the importance of art; 2. Differentiate art history from art appreciation; 3. Clarify misconceptions about 2°! «ifferentiate art from nature; 4. Characterize the assumptions of art; and 5. Categorize works of art citing personal experiences. This chapter introduces the importance of art as part or component of our dynamic civilization and art as an essential form of expression and daily existence. The meaning of art covers its etymological to modern definition and how man sees it variably and communication in our relatively from person, time, and place. The assumptions tackle the principles and sources of appreciating art and establish the margin and boundary of the responsibility and duty in fulfilling what man is capable of doing. THE IMPORTANCE OF ART ‘The arts are indeséribable to define and difficult to gather into a conceptual net, but we would probably agree that the arts enhance daily experiences. Art has touched everyone. Art is all around us, being universal as it can be found in all cultures. We are certain that we do not want to be without the arts, yet we are pushed to define them and sometimes even to understand them. Art has a particular importance in our lives. Alll the art that we receive through our senses have a purpose, as well as expression; they occupy some place in our judgment. ‘These days, art plays a vital part in developing the intellect of the younger generation to build up a positive character and appreciate natural aesthetics. An artistically tending student has a constructive turn of mind and artis ic ways in every work he or she performs. Above all, such a student steadily develops unbiased, responsive and inventive mind full of creativity and dormant talent, Inthis period of advanced technology know-how and modernization, art is of vital magnitude. We fight back to stabilize our lives while trying to maintain the LionArt Appreciation Class (Participants Creating Artworks) swiftness of the frenzied pace of living, Students who rise up with an artistic awareness perceive the world from diverse viewpoints. This understanding shapes their behaviors, interpersonal and intrapersonal communication, and performances. The artistic awareness is above any methodologies or approaches. The milieu in which each child dwells, grows up, and functions is distinctive and cannot be comprehensive. Creative sensibilities are to be developed and encouraged at home, at school, in society, and finally, in the world, which plays a major role. In general, there is no debating the belief that the arts have never been more important to our society and should be fully integrated into our lives, our community and education as a whole. MEANING OF ART The word “art” is rooted in the 13" century French word art, which means skill as a result of learning or practice, and the Latin word ars, meaning ability or practical skills’ ” The word art covers many meanings, 2. Art Appreciation covers including ability, process, and product. As ability, art is the human capacity to make things of beauty and things that stir us; it is creativity. As process, art encompasses acts, such as drawing, painting, sculpting, designing buildings, singing, dancing, and using the camera to create images or memorable works. As product, art is the completed work— an etching, a sculpture, a structure, a musical composition, choreography, or a tapestry. Art itself with the communication of certain ideas and feelings by means of a sensuous medium ~ color, sound, bronze, body; words, and film. This medium is fashioned into a symbolic language marked by beauty of design and coherence of form, It appeals. to our mind, arouses our emotions, kindles our imagination, and enchants our senses (Machlis, 1963). Many known personalities define art in various ways. According to Plato, “Artis that which brings life in harmony with the beauty of the world.” For John Dewey, “Art is an attitude of spirit, a state of mind-one that demands for its own satisfaction and fulfilling, a shaping of matter to new and more significant concernsform.” For Oscar Wilde, “Art is the most intense mode of individualism that the world has known,” and for Elbert Hubbard, “Art is not a thing — it is a way.” From the various definitions above, art has four essentials. Four (4) common essentials of art: 1. Art has to be man-made. 2. Art be imitative. must creative, not 3. Art must benefit and satisfy man. 4. Art is expressed through certain medium or material by which the artist communicates himself to his audiences. Art History It is the study of objects or works of art in their historical development and stylistic contexts, i.e., genre, design, format, and style. This includes the “major” arts of painting, sculpture, and architecture, as well as the “minor” arts of ceramics, furniture, and any other decorative objects. It is in the study of objects of art in their historical development and _ stylistic contents, format, and design that we may able to understand the purpose of the work of art and appreciate it. The humanities course is anchored on a strong foundation in the arts and sciences, which aims to promote an awareness of the interrelationships of all fields of knowledge (Encyclopedia Americana, 1986). Today, we know of the humanities as a loosely defined group of cultural subject areas, which we refer to as the Arts, It is in the study of the humanities where appreciation of the arts is given emphasis, Artists convey their thoughts, beliefs, values, feelings, and relations through the various fields of art, which can be visual, popular, literary, gustatory, decorative, and performing. The humanities and art appreciation offer the basic’knowledge each student needs, be it an academic requirement or merely an experience in life. Just like the artists, we also communicate through our paintings, songs, body movernents, films, and drama to highlight and enhance certain events and keep them memorable and pleasurable. We also build monuments and statues to remind us of the heroic deeds of great men. Artworks. are valuable_sources of inspiration, and aesthetic, and delightful “experiences. We can be mesmerized by a ‘dance we watch, delighted by the books we read, and moved by the music we hear. We also get deep satisfaction from them. We may enjoy a masterpiece of a painting, a sculpture, or a play because it may capture our attention. We are inspired to plan and construct stunning houses when we are inspired by modern architectural designs. trait developed Creativity is an arti: inthe course of one'slife to solve problems -or-express his feelings. His continuing reactions to emerging conditions ofnature and social life gives birth to new idea and new methods. These in turn, he uses to overcome difficulties, which in the process of confrontation with reality, give the solution toa vision, create art, or activate social transformation, The method of creativeness is composed of the artist, being the prime mover, his thoughts, communicated through the performer, and the audience as his judge. Each participates dynamically in the artistic process. Through exposures to the artists’ works, we get a glimpse of the thoughts, feelings, beliefs, and relations of the people in their time and the events that happened in their environment that may have influenced their artworks. Our encounter with the arts may also result in our valuing and appreciation of beautiful things. Out of the aesthetic experiences we derive from the arts, we may be influenced to change our habits and behaviors. They may transform us into highly cultured, dignified, and upright human beings. The arts may beautify our humanity. This explains the modern definition of the humanities, which refers to the Arts that bring out the good and noble in us. Through the arts, we comé to know and understand the changing image of man as he journeys across time, searches for the reality, and strives to achieve the ideals that create the meaning of life. Art appreciation in the humanities is being able to look at a work of art and form a wise opinion of the work. It is also having the knowledge, background, and understanding of the universal and timeless qualities that comprise all works of art. Art appreciation, therefore, deals with the learning or understanding and creating artworks and enjoying them. ASSUMPTIONS OF ART There are principles and bases of appreciating a work of art since it is in art that man can communicate one’s individuality and way of life. Art is Universal. ~ Art is everywhere; wherever men have lived together, art has sprung up among them as a language charged with feelings and significance. The desire to create this language appears to be general, and art as a cultural force can be pervasive and potent. Art has no limit, and it rises above cultures, races, and civilization. It is timeless because it goes beyond the time of our own existence. Art is Not Nature. —~ Art is man-made; it is a creation of man utilizing his thoughtful skill and artistry, which undergoes process and planning. Artisartificial because it isjust an imitation or even an appropriation of feality and nature. It is a representation of ideas, thoughts, and feelings that are communicated in creative and artistic ways. Art that is created by God is divine, and art that is created by man is Superficial or temporary,’ Works of art are made by artists to adore the wonders of life and the beauty of God’s creation.Art can never be natural because it is the constant transformation of change; it does not change by itself unless manipulated by its creator, which is man. Artists could make any work of art, but they definitely vould not form nature. From man’s. experiences, we cannot even compare Art with Nature because it is something mysterious, and it is made by the Divine momentary in Providence whose depth and mystery is beyond human understanding, Art Involves Experience. ~~ Artis a depiction of our experiences. It demands taking part, Art involves laying “of pigments, moulding of clay, chipping of marble, casting of bronze, constructing of buildings, singing of songs, playing roles on stage, acting, and going through rhythmic movements in a dance. Every art does something with some physical material, the body or something outside the body; thus, the only way to find conviction and assertion is through immersion in the Arts, We can only appreciate art if we spend time to look at it, listen to it, touch it, and feel its presence. The majestic Chocolate Hills in Carmen, Bohol (2017) ‘An Art App Class, creating and presenting an Artwork FUNCTIONS OF ART 1. Personal It is being used to provide comfort, happiness, and convenience to human beings. The artist tries to express his personal feelings through the artwork. ‘Mural Artists in Session (La Trinidad, Benguet, 2017) Art Appre2. Social Art is used for public display and celebration; it is used to affect collective behavior. It bridges connection among People. Art conveys sense of family, community, or civilization. Attending the Panagbenga Festival (Baguio City, 2017) _3. Cultural Function Art helps preserve, share, and transmit culture of people from one generation to another. Panagbenga Cultural Parade (Baguio City, 2017) 4. Aesthetic Function Art becomes influential for man to be aware of the beauty of nature. Aesthetic is when there is the real feelings of appreciation to nature’s beauty and are manifested through appreciation and enjoyment when in contact with the artwork, 6 + Art Appreciation Panagbenga Float Parade ( Baguio City, 2017) 5. Spiritual Function An artist may create a work of art to reinforce the religious or spiritual support of a culture. BASIC PHILOSOPHICAL PERSPECTIVES OF ART 1. Art as mimesis (Plato) - According to him, art is an imitation of the real that was an imitation of the ideal. Art is an imitation of an imitation, 2. Art as representation (Aristotle) - According to him, the aim of art is not to represent the outward appearance of things but their inward significance. 3, Artforart’s sake (Kant) - that art has its own reason for being. It implies that an art object is best understood as an autonomous creation to be valued only for its success as it organizes color and line into a formally satisfying and beautiful whole, 4. Art as an escape - The ceremony of doing or creating art touches the deepest realms of the mind and the sacred dimension of the artistic creative process. The sacred level of art not only transforms something into art but also transforms the artist. at the very core of his or her being. a ea ee ee a a ere5. Art as functional - Art serves a function. Art is meant to be used, to enrich lives to be spiritually potent, to educate, to support or protest existing power structures, to entertain, and so on. CATEGORIES/CLASSIFICATIONS OF ART 1. Visual Arts (2D, 3D) a. Painting - Itis the application of pigment (color) on any flat two- dimensional surfaces. b. Sculpture - It is the carving, modelling, casting, constructing, and assembling of materials and objects into primarily three- dimensional works of art c. Architecture - It is the art and science of planning, designing, and constructing _ buildings and nonbuilding structures for human shelter or use (3D). 2, Performing/Combined Arts a. Music - is an art form and cultural activity whose medium is sound organized in time. b. Dance — is the movement of the body in a rhythmic way, usually to music and withina given space for the purpose of expressing an idea or emotion. Film - also called movie or motion picture, is a series of still images that when shown on a screen creates an illusion of moving images. ‘Theater - is a collaborative form of art that uses live performers, typically actors or actresses, to present the experience of a real or imagined event before a live audience in a specific place, often a stage. Literary - is concentrating the . writing, study or content of literature, especially of the kind valued for quality of form. Performance poetry - is poetry specifically composed for or during a performance before an audience rather than on print mostly open to improvisation. It is the art that is made with the assistance of electronic devices, or intended to be displayed on a computer, which is the most important element in digital art. 4. Applied Arts ‘Are the application of design and decoration to everyday objects to make them aesthetically pleasing. a. Fashion design - is the art of applying design, aesthetics, and natural beauty to clothing and its accessories, Furniture design - is a specialized field where function and fashion collide. Interior design - is enhancing the interior of a building to achieve a healthier and more aesthetically pleasing environment for the people using the space. Graphic design - It is an artistic process of effective communication. Designers combine words, images, and symbols to create a visual representation of ideas. Art Appreciation * 7 seen EiLearning Outcomes ubject and Content of Art By the end of this chapter, students should be able to: 1. Classify artworks according to subject; 2. Analyze how artists present their subjects in relation to the real subject; 3, Differentiate content from subject; and 4, Characterize sources and kinds of subjects. The Chapter covers the subject of art, which is as dynamic and forceful as man’s way oflife, culture, and imagination. The subject and content of art never comes to an end and is never fully worn out and exhausted. The clearness and simplicity of the subject is vital since the content of the artwork is the soul of every artistic creation or masterpiece. The subject presented discloses the passion, sincerity, and conviction of every artist and serves as an extension of his emotions, ideas, or beliefs. THE SUBJECT OF ART The subject of art is the matter to be described or to be portrayed by the artist. The subject of art is varied. This may refer to any person, object, scene, or event. In general, the subject of an artwork is anything under the sun. The subject could be make-believe, imaginary, and invented, like Cerberus (a three-headed dog) or Dyesebel (a popular mermaid character made for film and television). Subjects can also be real events, like the devastations brought about by super typhoons entering the Philippines or catastrophic tsunamis hitting many Asian countries. Two Kinds of Art as to Subject: 1. Representational or Objective Art They are those that depict (represent) objects that are commonly recognized by most people. They attempt to copy, even if in a subjective manner, something that is real, They use “form” and are concerned with “what”-is to be depicted int the artwork. They attempt to portray the subject as it is. The artists would try to be as objective as possible. artsMaria van Oosterwijk. Vanitas Still-Life (1668) Oil on canvas 73x88cm Kunsthistorisches, Viena Examples: a. Still life is a work of art depicting ‘mostly inanimate subject matter, typically objects, which may be either natural (food, flowers, plants, rocks, or shells) or man-made (drinking glasses, books, vases, jewelry, toins, pipes, and so on) in an artificial setting, commonplace b. Portrait \is a is a painting, photograph, figure, or any other art forms in which the face and its expression is predominant. The purpose may be to show the resemblance, personality, or disposition of the individual. c._Landscapes, Seascapes, Moonscapes, Cityscapes d. Mythology and Religion, Dreams and Fantasies. 2. Nonrepresentational or Nonobjective Art They are those arts without any reference to anything outside itself (without representation), This kind of art is nonobjective because if has no recognizable objects. It is 22" # Art Appreciation abstract in the sense that it does not “represent real ‘abjects in our world, It uses “content” And is concerned with ow’) the artwork is depicted. The , artist attempts only ta show his ideas and feelings not as objective as the realist or the representational artist, Some contemporary painters have shifted their interest to the work of art as an object itself, an exciting combination of shapes and colors that fulfills the aesthetic needs without having to represent images or tell a story. Many modern paintings have a purely visual appeal, so difficult that _literal-oriented spectators cannot appreciate them. Traditional sculptures and paintings have subjects. When looking at a painting or a sculpture, one expects to recognize the subject to know what it is about — a man, an animal, ora tree, Sources of the Subject of Art 1, Nature ~ Next to animals and people and their activities, nature as landscapes has been the common subject of the arts. It has beensthe most common inspiration subject, and 2. History - All art is conditioned by the historical period in which it is created, Rulers like to have themselves and the great deeds of their time perpetuated, consequently, statues and paintings of the great are found in each civilization.3. Greek and Roman Mythology - This has been a very important source of subjects in the arts. These arts are so famous that they count as a definite part of our inherita During the Renai: period, poets, painters, and sculptors drew largely ce, ance from Greek and Roman sources for subjects. 4, Religion - It has played an enormous role in inspiring works of visual arts, music, architecture, and literature through the ages. It was during the Renaissance that the European became conscious of their role in a way that artisans “artists” and had never been true before. 5. Sacred oriental texts - sacred texts of Hinduism, Buddhism, Taoism, Confucianism, Jainism, and Islam. Zoroastrianism, THE CONTENT OF ART The content of art is the meaning, message, and/or feeling imparted by a work of art. This is not the same thing as the subject matter the work depicts. Content is inextricably linked with form, which refers to the pictorial aspects of art. It is the mass of ideas associated with each artwork and communicated through the following: 1. The Art’s imagery 2. The symbolic meaning 3. Its surroundings where it is used or displayed 4, The customs, beliefs, and values of the culture that uses it Writings that help explain the work In an artwork, the subject matter of an artwork is what the image literally depicts. For example, the subject matter of Magritte’s painting is a pipe. ‘The content of the work is what the image means. This may be far more complicated than the subject matter. ‘The content of Rene Magritte’s painting invites us to think critically about all the representations that we see all around us in daily life. Leet rest pas une pupe. [Link] of images Artist: René Magritte Location: Los Angeles County Museum of Art Period: Surrealism ‘Created: 1928-1929 Medium: Oil paint Support: Canvas For someone to better understand the content of art, there are three levels of meaning, The most common is the “factual meaning, the literal statement or narrative content in the work that can be directly apprehended because the objects presented are easily recognized. Art Appreciation * 13The second meaning, which refers to the + special isthe conventional meaning that the certain object or color has for a particular culture or group of people when it is shown in an artwork. The flag is the agreed upon symbol fora nation, the Cross is the Christian symbol for faith, and the wheel is the Buddhist symbol of the teachings of Gautama Buddha. The third is the fubje which refers to the individual meaning deliberately and instinctively expressed by the artist using a personal symbolism that stems from his own alliance with certain objects, actions, or colors with past experiences. It becomes fully understandable if the artist gives details of what he really means; otherwise, it would be interpreted differently by the viewers, or it would communicate meaning, multiple meanings to its varied audience. KEEPING ART A country, society, and individual may hold on to an artwork often beyond its usefulness, which may involve various considerations, including its meaning Public_and ions, ky museums sna and its economic value. private inst art, and issues around preserving « restoring it. a 4, National Pride and Glory Nations keep art for several reasons, Consider the San Agustin Church built from 1586 - 1607, which was declared a World Heritage Site by UNESCO, or the Spoliarium by Juan Luna. In addition, nations keep art because it is good for the ecc and for business. The presence of major archaeological, religious, or architectural sites stimulates the entire economy, attracts tourists, and generates thousands of local jobs. 2. Museums and Private Collections Art Appreciation Class visiting the National Museum of Fine Artsluseums’ are the repositories of much of the art in most countries and make them available for public viewing through either permanent or temporary exhibitions. A museum does not sell works of art, but it essentially holds them in public trust, and engages in varying levels of education and conservation practices. Private collections are older than muséums. Since the earliest times, “Titers; Tiobles;and priests have collected art and kept it in palaces or temples for aesthetic pleasure, personal or ritual use, or display of power. Museums often reflect the cultural milieu of their founding. Image of the National Museum of Natural History 3. Preservation and Restoration Because art is valuable, enormous human effort and financial resources are devoted to preserving art from the ravages of time, the environment, industrial-by-products, and even any other human being. The Manunggul Jar protected in glass cage Art Appreciation * 15* Artists and Artisans (Learning Outcomes By the end of this chapter, students should be able to: 1. Define an artist’s or artisan’s medium and technique; 2, Define the role of managers, curators, buyers, ¢ art world; 3. Differentiate between artist and artisan's approach/techniqui particular medium; ollectors, and art dealers in the ie toward a 4. Identify National and GAMABA artists’ notable works and their contribution to society; and 5. Explain the three stages in the creative process. This chapter focuses on the most important element and creator in any work of art, which is the artist or the artisan. The artists’ or artisans’ medium, technique, and process in their arts stem from their urge to create, which is universal and widespread. Artists and artisans are driven by their sense of wonder and curiosity. The stages in the creative process would reflect the notable works from the different artists and artisans who were given the highest recognition from our country. ARTIST The word “artist” is generally defined as an art practitioner, such as a painter, sculptor, choreographer, dancer, writer, poet, musicians, and the like, who produces or creates indirectly functional arts with aesthetic value Appreciation 18 An Appres using imagination. Thus, artists provide us with paintings, sculptures, dances, music, literary pieces, and so on, as a means of provoking our thoughts, ideas, and emotions that are necessary to discover ourselves and our being. APainter In Session (Image by Agatha Brenica llagan) Artists are creative individuals who use their imagination and skills to communicate in an art form, They usethe materials of an art to solve visual problems. Artists look to many sources for inspiration. Some look forward to their natural and cultural environment for ideas; others look within themselves for creative motivation, Artists exhibit the courage to take risks. They are able to see their surroundings in new and unusual ways. They are willing to work intensely for Jong periods of time to achieve their goals. Some artists are self-taught and have been called (folk-artists because they are not educated in traditional artistic methods. Just like the artists, the artisans learn skills and techniques from. some other artists but eventually, both artists and artisans, develop their own unique styles, A Sculptor in Session (Image by Agatha Brenica Hagan ARTISAN An artisan is a craftsman, such as carpenter, carver, plumber, blacksmith, weaver, embroiderer, and the like, who produces directly functional and/ or decorative arts. Artisans help us in mecting our basic needs, such as food, clothing, dwelling, furniture, and Kitchen utensils; they craft everything that makes our life easy. The artisan’s works are useful, relevant, and essential in our everyday life. They serve us for a long time, supplying us directly functional arts. ‘The artisan is basically a physical worker who makes objects with his or her hands, and who through skill, experience, and ability can produce things of great beauty, as well as usefulness. The artist, on the otherhand, is someone devoted only to the creative part, making visually pleasant work only for the gratification and appreciation of the viewer but with no practical value Artisans from Bassey, Samar weaving and completing handmacte baskets Art Appi ciation -* 19KEY COMPONENTS OF THE ART MARKET The art market is an economic ecosystem that relies not only on supply and demand but also on the fabrication of a work’s predicted future monetary and/or cultural value, The art market can appear somewhat unclear since artists do not make art with the sole intention of selling it, and buyers often have no idea of the value of their purchase. The following are the important players in the art market: Curator A curator, who is a manager or overseer, and usually a curator or keeper of a cultural heritage institution (e.g, gallery, museum, library, or archive), is a content specialist charged with an institution's collections, selecting art to be displayed ina museum, organizing art exhibitions in galleries or public places, . researching artists, and writing catalogs and involved with the interpretation of heritage. To be successful, a curator should be organized, passionate, knowledgeable, adept at multi-tasking, and proficient at writing, 20 Art Appree ACurator explaining the artworks for the Art Appreciation participants (BulSU, 2018) Art Buyer An art buyer is a professional who is knowledgeable in art, who may scout talents for an advertising agency seeking to employ an art director, or who may Ioak for an art for a collector or a company. A display of artworks for sale to the public during the Annual Art Fair Philippines Art Dealer ~ _An art dealer is a person or a company that buys and sells works of art. ‘Art dealers often study the history of art before starting their careers. They have to understand the business side of the art world. They keep up with the trends in the market and are knowledgeable about the style of art that people want to buy: ‘They figure out how much they should pay for a piece and then estimate the resale price. To determine the artwork’s value, dealers inspect the objects or paintings closely and compare the fine details with similar pieces, i ccPrivate Collection Ramon Orlina’s Glass Sculpture Collection (Orlina Museum, 2018) This is personal owned collection of works, usually a collection of art. In a museum or art-gallery environment, the term signifies that a certain work is not owned by the institution, but is on Joan from an individual or organization, either for temporary exhibition or for the Jong term. The source is usually from an Art Collector, although it could be froma school, church organization, from bank or from other private company or any institution THE CREATIVE PROCESS Robert Fritz, based on his book, enumerated the steps in the creative process, and said that creating is a skill that can be learned and developed. Like any other skill, we Jearn by practice and ) hands-on experience — we can Teatn to create by creating. There are, however, some steps we can follow, notas a formula ‘to adopt, but as indications to guide our actions. Fritz, likewise, presented three stages in the creative process as shown below. 1. Conceive the result you want fo create, Creation starts at the end. We need to have an idea of what we want to create, of what we want to have and manifest. We need a vision—individual or collective—that we want to realize. 2. Know what currently exists. It is difficult to create something novel and/or original in any area of knowledge without being aware of what is being done in that area. 3. Take actions, Havinga wonderful idea or vision is not enough: You have to do something to make it real, to manifest it although sometimes you will have to do things that might generate criticism, sometimes you will serious mistakes and you will have to start again. A. Develop your creativity. Every new creation gives you fresh thoughts and knowledge of your make own creative process. You will then increase your ability to picture what you want and your jet capacity to bring those outcomes into real-life situations. ‘5, Learn the rhythms of the creative [Link] are three fundamental stages in every creative process: germination, assimilation, and completion. Three Stages in the Creative Process 1, Germination (Idea) It is the initial moment when you conceive a new project in yourlife. It is a moment with a lot of energy coming out of the future you envision. It is a powerful time you Will have to use wisely for providing the right steps to move forward. In the germination stage, you are planting the seeds of your creation. The most important and_difficult thing in this stage is/choosing, You tied to be more specific about what you want to do. You have to give to your vision a first shape, from which you decide your next steps. Being more specific means choosing some things and leaving some other things out, It may be a painful process, but it is necessary in any case. You have to learn to choose well, to make good decisions. It is also important to choose what you want to do instead of avoiding what you do not want to do. You will have to take in your own power and not to give it to circumstances. However difficult it seems to be, you should always choose what you want. ‘A student conceptualizing the idea of what subject to be drawn in an Art Appreciation class 22 Art Appree Art App participants internalizing and integrating all the ideas in their artworks (LPU 2017) 2, Assimilation It is a crucial step in the creative process. During this_phase~you will internalize and assimilate or incérporate the idea you want to create, Plan, analyze it, and cultivate it with afl the available resources. ~ Inthis stage, your project, which initially was something external to you or to your group, comes into yout own being, becomes one with you. In this way your creation grows from inside and begins to manifest in everything you do, consciously or unconsciously. Every idea you have, every new connection you establish acts in your vision, making it more tangible, giving it life. The assimilation stage of the creative process follows an organic path, with its own rhythms and needs. Sometimes it will look like everything is working, in order and harmony. Sometimes it will look chaotic and difficult to manage. Do not try to intervene to changethis process or adapt it to your convenience. You will likely be unsuccessful and put the whole project in danger, Art App Participants’ artworks (HAU, 2018) 3. Completion Completion is the time to finish your project, to give it the final shape before you present it to the audience. It is a difficult time because your energy will be small and likely dispersed with a new vision. Put a deadline to your projects and do not get entangled in small and never-ending details. conclude A beautiful your projects is by celebrating them. Celebrating is a great opportunity to share with other people your happiness for what you have done. Afterward you will be ready to start again. way to Art Appreciation Participants exhibiting thelr completed artworks (ISU, 2018) THREE STAGES IN ART MAKING Art making can be associated with art exploration, concept development, and" art production. In the creative process, the artist undergoes three stage of experience, which are popularly known as preproduction, production, and postproduction, 1. Pre-production or subject development - This ends when the planning ends, and the content starts being produced. 2, Production or medium manipulation - This is a method of joining diverse material inputs and unimportant inputs (plans, know-how) to make something consumption (the output). It is the act of creating output, a good or service that has significance and contributes to the utility of individuals. for 3.. Post production (completion) or exhibition - Once an artwork is finished, it will be displayed, circulated, and performed for the audience and public to see or watch, MEDIUM AND TECHNIQUE Medium It refers to the materials that are used by an artist to create a work of art. ‘The plural of medium is media. Withoutthe medium, an idea remains a concept, or it would just dwell in the walls of the artist’s imagination. It is challenging to manipulate medium and transform it from its raw state. Technique - It refers to the artist’s [Link] knowledge or technical know-how in. manipulating the medium. It_is the manner by which the artist controls the medium to achieve the desired effect; ~ thus, it is in the technique that artists differ from one another. Making an artwork technical competence. The ability to manipulate is the driving force in the birthing of a new form or idea. requires GRAPHIC ORGANIZER (STORY MAP) ‘This is a visual and graphic display he relationships among that depicts t 2a and/or ideas within a facts, terms, learning task. It veferred to as knowledge map, concept y map, cognitive organizer, is also sometimes map, stor advance organizer, or concept diagram, Graphic Organizer of Apo Whang. od Oggay, a Filipina tattoo artist from Buscalan, Tinglayan, Kalinga. She is often described as the “last” and oldest mambabatok and is part of the Butbut people of the larger Kalinga ethnic group. She was awarded Dangal ng Haraya Award in 2018, equivalent to National Artist. PROCESS - Tapping into the Skin thru a thorn end of a calamansi or pomelo tree MEDIUM Ink mixture of charcoal and water = Body as human canvass TECHNIQUE Batok (ancient term) Hand tapping PERSONS INVOLVED Whang Od's grand niece (Grace Palicas) » 7 Tourists, Pilgrims, Trekkers_ Strength - Thereis universal appeal “Weakness ] Accessibility and supply of the | Medium ~ Uses organic/indigenous material within the community _ materials | process Indigenous Passion for the art (successor) __|- Uniqueness Might diminish through times |- Traditional/indigenous (+ Tedious Technique - Culture preservation/ (+ Time consuming Empowerment |- Effort (clientele) -__ Aesthetic appeal Proximity of the location Clientele’s preference in terms of design = Unique design of the artist - Stronger popularity and support from local and |- international clients Exclusivity Persons Involved - Consequences of removing/ | changing the tattoo design = Awarded DangalngHaraya | Award in 2018, equivalent to National Artist RECOGNITION AND AWARD FOR ARTIST AND ARTISAN 1. Gawad sa Manlilikhang Bays (GAMABA) National Living Treasures Award Medal given ta GAMABA Awardees The Award was institutionalized in 1992 through Republic Act No. 7335. The National Commission for The award is conferred upon a Filipino citizen or group of Filipino citizens engaged in any Culture and the Arts (NCCA), which is the highest policy-making and coordinating body of the Philippines for culture and the arts, was tasked with the implementation. 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 rt Appreciation * 25by the present generations in his/her comniunity with the same degree of technical and art ic competence. How Does One Become a Manlilikha ng Bayan? To become a Maulilikha ng Bayan, the candidate must possess the following qualifications: a. Hels indigenous/traditional cultural is an inhabitant of an community — anywhere in the Philippines that has preserved beliefs, rituals, and traditions and/or has syncretised whatever external elements that have influenced it, indigenous customs, b. He/she must have engaged in a folk art tradition that has been in existence and documented for at least fifty (50) years, c. He/she must have consistently performed or produced over a significant period, works of superior and distinctive quality, d. 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. e. He/she must have passed on and/or will pass on to the other members pf the community their skills inAhe folk art for which the ‘omni is traditionally known. 26 & Art Appreciation A traditional artist, who possesses all the qualities of a Mantilikha nig Bayan candidate but because of age or infirmity has left him/her incapable of teaching further his/her craft, may stil] be recognized ift a. He/she had — created significant body of works and? or has consistently displayed excellence in the practice of his/her art, thus important contributions for its achieving development. b. He/she has been instrumental in the revitalization of his/her community's artistic tradition, c. He/she has passed on to the other members of the community skills in the folk art for which the community is traditionally known. d. His/her community has recognized him/her as master and teacher of his/her craft. Duties and Responsibilities of Awardees The Manlilikha ng Bayan is a link between the past, in which his/her traditional folk art found fertile for growth, and the future, during which he/she seeks his/her art to be Permanently sustained. — [t his/her responsibility, therefore, to undertake the following: (a) to transfer the skills of his/her traditional folk art to the younger generation through apprenticeship and such other training methods as are found to be soil becomes effective;(b) to cooperate with the implementing, agency, as provided for in Section 7 of this Act, in the promotion and propagation of his/her traditional folk arts; and (c) to donate to the National Museum a sample or copy of his/her work Below are the recipients of the GAMABA Award: 1. . Samaon Ginaw Bilog (d. 2003), artist and poet, Mansalay, Oriental Mindoro Poetry (Ambahan), 1993 Masino Intaray (d. 2013), musician and epic chanter, Brookes Point, Palawan, Poetry (Kulilal and Bagit)Musi¢ (Basal / Gong), 1993 Sulaiman (d, 2011), Musician, Mama sa Pano, Maguindanao Music (Kutyapi), 1993 Lang Dulay, (d.‘2015) textile weaver, Lake Sebu, South Cotabato, Weaving (T’nalak), 1998 Salinta Monon (d. 2009), weaver, Bansalan, Davao del Sur, Weaving (Abaca - ikat/ Inabal), 1998 Alonzo Saclag; musician and dancer, Lubugan, Kalinga Province, Music and Dance (Kalinga), 2000 Frederico Caballero, epic chanter, Sulod- Bukidrion, lloilo, Poetry / Epic Chant (Sugidanon), 2000 national Ahadas, Basilan, 8. Uwang musician, Lamitan, music (Yakan specifically Kulintang, kayu, — gabbang, agung, and tuntungan), 2000 9, Darhata Sawabi, (d. 2005), weaver, Parang, Sulu, weaving (Pis Syabit), 2004 10. Eduardo Mutuc, metalsmith J metal sculptor, — Apalit, Pampanga, Metalwork (Bronze and Silver), 2004 kwitangan 11, Haja Amina Appi (d. 2013), weaver, Tandubas, Tawi-Tawi, Weaving (Mat), 2004 12. Teofilo Garcia, casque maker, San Quintin, Abra, Casque Making (Tabungaw), 2012 13. Magdalena Gamayo, master weaver, Pinili, Ilocos Norte, Weaving (Inabel), 2012 14, Ambalang Ausalin, — master weaver, Lamitan, —_Basilan, Weaving (Yakan tennun), 2016 . Estelita Tumandan Bantilan, master weaver, Malapatan, Sarangani, Weaving (B’laan igem), 2016 16. Yabing Masalon Dulo, master weaver, Polomolok, South Cotabato, Weaving (Ikat), 2016 2. National Artists National Artists of the Philippines The Order of the National Artists to be the highest recognition for individuals considered Art Appreciation * 27who contributed to the development of Philippine arts. The National Commission for Culture and the Arts and the Cultural Center of the Philippines together administer this award. The President of the Philippines grants this award to an artist after both institutions give recommendations for this particular artist. This began in 1972 when Presidential Proclamation No. 1001, s. 1972 was enacted to recognize Filipinos who made exceptional contributions to Philippine arts and letters, Painter Fernando Amorsolo was awarded the same year, making him the first National Artist. The National Commission for Culture and the Arts and the Cultural Center of the Philippines have set criteria for the Order of National Artists. These criteria are as follows: 1 Li Filipino citizens at the time of nomination, as well as. those who died after the establishment of the award in 1972 but were Filipino citizens at the time of their death; 2. Artists who, through the content and form of their works, have contributed in building a Filipino sense of nationhoo ing artists who are 3. Artists who have pioneered in a mode of creative expression or style, thus, earning distinction and making an impact on succeeding generations of artists; 28 # Art Appreciation 4. Artists who have created a substantial and significant body of work and/or consistently displayed _ excellence in the practice of their art form, thus, enriching artistic expression or style; and 5. Artists who acceptance through: enjoy broad prestigious national and/or international recognition, such as the Gawad CCP Para sa Sining, CCP Thirteen Artists Award, and NCCA Alab ng Haraya; and/or «critical acclaim reviews of their works; + respect and esteem from peers. ("Briefer on the Order of National Artists,” n.d.) Truly, the Order of National Artists plays a vital role in the development of Philippine arts in the contemporary setting. This part is divided into three lessons to help understand the roles of each National Artist and their contribution to contemporary arts. To date, there are a total of 66 awardees from the various art forms. Some of them were awarded posthumously (after death) while others were able to receive their award while still living,Emblem of the order of the national artist of the Philippines ART EXHIBITS A mural exhibit from the National Museum, (NM, 2018) In general, an exhibition is aplanned arrangement and display of a collection of items. Actually, exhibitions usually take place within museums, galleries and exhibition halls, and World’s fairs. Exhibitions can include many things, such as art in both major museums smaller interpretive and galleries, ions, natural history museums exhil and history museums, and also varieties, such as more commercially focused exhibitions and trade fairs. The word “exhibition” is usually, but not always, the word used for a collection of items made available to an audience. The term “exhibit” generally refers to a single item being shown within an exhibition. In most cases, exhibits are considered temporary and scheduled to open and close on specific dates. While many exhibitions are shown in usually just one venue, some exhibitions are shown in multiple locations and are called traveling exhibitions, and some are online exhibitions. Even if exhibitions are frequent events, the concept of an exhibition is quite and variables, Exhibitions range from an extraordinarily large event, such as a World’s fair exposition to small one- artist solo shows or a display of just one item. Curators are sometimes as concerned as the people who select the items in an exhibition. Writers and editors are sometimes needed to write texts, labels, and accompanying printed materials, such as catalogs and books. Architects, exhibition designers, graphic designers, and any other designers may be required to shape the exhibition space and give form to the editorial Organizing and _ holding exhibitions also requires effective event wide covers many content. planning, management, and logistics. Student's Creative Artworks on Exhibit (LPU, 2017) ation * 29 Art Apprea CHAPTER 4 of Art Learning Outcomes © Klements and Principle By the end of this chapter, students should be able to: Identity the principles of design; yew > Analyze the various elements present in visual and auditory arts; Identify and differentiate the various planes in art; Define and translate principles of design in an artwork; Create an artwork depicting the various elements and principles of design; and 6. Identify the various elements and genres in music. This chapter tackles how every artist may make use of various visual qualities in creating a work of art. These visual qualities are the (elements. The range of elements includes line, color, value, shape, space, and texture. Together with the principles of design, such as balance, harmony, proportion, —_ emphasis, variety, movement, and rhythm, they will both be utilized to prepare and examine artworks for better outputs, understanding, and appreciation of the art forms. Music as an art form which, is one of the most pervasive and potent arts classified under anditory art, is also discussed. Artwork analysis and the rule of thirds are also included in the chapter. VISUAL ELEMENT The Element of Line We see lines everywhere: along the streets, inside our homes, in all of nature, and in the-many infrastructures that make our cities. Lines...they add to the quality of all visual stimuli. We tse lines fo write words, numbers, and symbols. We read lines of printed words. The lines on the map help us find the best route from one place to another. We stand into a line to get into a movie theater, in boarding the Light Rail and Metro Rail transits, and in waiting for a yan or cab in our daily work to reach our school or office. st Lines make objects stand out ag: 2 a background, they challenge our perception, and arouse emotions, and they may enhance or lessen the aesthetic effects of our surroundings. When actors are studying a new role, they say they are memorizing their lines. We use lines to draw pictures. Artists make use of lines in many ways and how lines are used may mean the difference between a good art composition and a great art composition. { \ jon SSL \ Art Appree32 * ArtAppres Different Lines Horizontal Lines ‘These are parallel to the | Vhen you lie down on a flat surface, your bady forms a horizontal line, They are geometric, hard, and impersonal. Straight lines differ in the directions they take. Some straight lines may move from left to right or vice versa, ‘They are called horizontal lines, ‘Horizontals in artwork usually indicate calmness and rest. Landscapes and seascapes are primarily horizontals. Vertical lines ~~ They start from the ‘hey do not. lean at all. Verticals. show’ strength, balance, and stability,’ Monuments of a country’s heroes are usually depicted as verticals. going up or vice versa. iation Diagonal lines —~ These lines are between a vertical and a horizontal line. Diagonals look as if they are either rising or falling and have both positive and negative implications] On the positive, diagonals indicate movement or action as may be seen in the posture of a runner or a horse in full run. On the adverse side, diagonals may indicate stress, frustration, or defeat as may be seen from the posture of athletes when victory is lost or the posture of soldiers when defeated in battle. NS Zigzag lines ~ These_are completed from. a mixture of diagonal lines. The rm angles and change in suddenly. Zigzags indicate chaos, conflict, and Confusion as can be perceived in pictures of war and pictures of most anime characters {the hairstyles are a give-away),Curved lines More curvilinear; technically, they are they are organic and Natural and adjust direction regularly. When we' illustrate wiggly lines, we are putting together a series of curves that may form spirals and circles. The outlines of the human body particularly, the female form, are curved lines. A curved line that goes around itself forms a spiral When curved lines continuously move in opposite directions, they form wavy oftentimes seen in seashells. lines that show graceful movements, Actual Lines and Implied Lines In art, there also are actual lines and implied lines. | For actual lines, | the intentionally shows the lines ian artwork, a painting for instance, to_ give. the artist viewer an interesting aspect of the composition. ‘The lines drawn add fo the quality of the whole work. [Implied lines) however, [Link] by “the artist to make the viewer feel their involvement in interpreting the composition by seeing and connecting lines where none actually exists, These lines seem to fade, stop, and/or disappear and then reappear as a continuation or extension of an. edge (Ocvirk, 2002). Lines that are not there may suggest movement and will add fluidity to the work. The Element of Color Color is the most expressive element ofart. It shares powerful connection with emotion. Every day from the moment _ Our eyes open, we see all around a world filled with colors. We cannot even imagine an existence without it. Colors enhance the beauty in all things. It has been observed that colors appeal to our emotions and interact with the physiology of the visual system to amaze us into the manner in which it is perceived. Colors are only seen when light surrounds an object. Needless to say, the absence’ ofMight equals no perceived color. Colors, therefore, are a \ property of light.) ‘This discovery was made by_an intelligent_man of science named_Sir dsaac Newton, He found that by passing 1 ‘a beam of light through a triangular piece of glass called alprism, . white light breaks into the visible color spectrum. The colors separate into the various waveléngihs from the longest, which is red, to the shortest, violet, ’Si realized that the ‘colors of the rainbow. come from white light. In art, colors play a vital role. An interesting piece of composition is usually organized based on the artist's understanding of how colors impact the aesthetic and emotional aspect of the viewer. ion * 33 Art \ppreeiPhysical Properties of Color “ To begin our understanding of how color works, we have to learn a few things about it. Colors are endowed with characteristics that /’make each one different. Yue.) This pertains to the name for. which the color is known, The hue is determined by the wavelength of light physically given by the color. Examples of hues are red, orange, yellow, green, violet, indigo, and blue. These are also the colors of the ‘Visible spectrum. ) Value. This characteristic refers to the lightness or darkness of a color. The Value of colors pertains to the absence of white or black. Hues can exist in different degrees of values. When ‘pte a hue, the result is called’a tint. The more quantity of white is added the lighter will be the value of the hue. On the other hand, when. black is mixed with a hue, the result is called a shade, The greater the quantity of black added, the darker is the yalue of the hue. Thus, light blue (tint), has lighter value compared with navy blue (shade), which has a dark value. Intensity or Saturation.| ‘This characteristic refers to how pure the color is. Pure hues pertain to the absence of white, black, or gray. Colors high in saturation (High intensity) tend to be bright, and colors low in saturation (low intensity) tend to be dull. Intensity distinguishes between a brighter appearance of the hue from a/dulle) one of the same hue, is added to... Additive and Subtractive Colors Inreality; two color r systems exist depending onthe source. Colors of Might, Iike what was discovered by Sir Newton, and colors of pigments have different characteristics. They are either additive or subtractive,» Colors of light are additive in the sense that when you combine the colors the result will be white, Colors of pigments (paints) are subtractive, Combining these colors results in black, for each color in this mixture cancels out each other's brightness. Light Yellow These are the primary colors of PIGMENT, when they are mixed together, the r fesulting color is BLACK, EThe Color Wheel \ Sir Isaac Newton] was the first to conceptualize the color wheel to discover relationships between and among colors. Now the color wheel can be described as a circle divided equally into twelve parts representing the twelve colors and how they relate Other versions of the color wheel can now be seen but to one another. basically no matter how the colors are presented, the arrangement will always be the same. Types of Colors Primary Colors) The color wheel is primarily based on pigments making the mixture subtractive. In the color wheel can be seen the three primary colors, which are,red, yellow. and blue. In colors “of light, it it should Ge noted that the primaries are red) Blue, and green) They are called primary colors because these colors ‘aniiot be produced by the mixture of any other colors. Yellow Orange Green Red Blue Violet Secondary Colors) These colors result from the combination of two primary colors in equal amounts. Thus, the secondary colors are orange, which results from a combination of red + yellow;green, which isa combination of yellow + blue; and violet, which is a combination of red + blue. For light, the secondary colors are yellow, which is a combination of’ red + green light; cyan, a combination of blue colors of + green light; and magenta, which is a combination of red + blue light. Notice that secondary colors for pigments and light are really different owing to the subtractive and additive characteristics of the colors. Intermediate Colors. These colors can result from a combination ofa primary anda secondary color, The intermediate colors are:_ red-orange [R + (R + ¥)] , yellow-orange [ Y + (R-4 Y)}, yellow-green LY +(Y + Bs blue-green [B + (¥ + B)],blue-vialet [B+ €R + BY), and red-violet [R + (R +B).Theprimarycolors(3),secondary colors (3), and the intermediate colors (6) are the twelve (12) colors that are properly positioned in the color wheel. Tertiary Colors,’ In most books, intermediate colors and_ tertiary colors are considered to be one and the same. Further research into colors as an element of art suggests that the two are not the same. In the book, Art Fundamentals, by Ocvirk (2002), it was stated that tertiary colors) are created by combining any two secondary colors or by ‘Heutralizing one color by adding its complement or opposite color in the color wheel. Thus, browns and olive greens and a host of some other colors are tertiary colors. Neutrals.) When we look at Pigments, we realize that not all of them show-olor, Black, white, orgray.) do not share the same characteristics ofany color in the spectrum. Because they show [Link] quality, they-are called netitrals) White) for instance, can be described as ihe presence of all colors because it occurs when a surface reflects all of the color wavelengths equally. |Black, on the other hand, is usually described as the absence of color, It was observed to result when the surface absorbs all of the colors and reflects none of them. Grey is described as an impure white. It is created by a Partial reflection of all | wavelengths ¢ of color. 36 * Art Appreciation It is to be emphasized that neutrals are concerned with the quantity of light that is reflected whereas colors are more of the quality of light that is reflected (Ocvirk, 2002). Warm Colors and Cool Colors, Colors also have “temperature” that may be used as another way to organize a composition. All of the colors can be grouped into “warm colors” and “cool colors.” Colors associated with the sun and fire are considered warm. Red, orange, and yellow are warm colors and seem to advance when placed in a composition. Any color containing blue, such as green, violet, and blue- green, are associated with air, sky, earth, and water and are considered tobe cool colors’ These colors recede when placed in a composition. Artists should understand these relationships to augment the harmonious effect of colors when placed side by side in a composition. < Colors and Emotion Studies were conducted regarding the relationship between colors and the individual. It hasbeen discovered that colors appeal to the emotion and enhance the mood. The physiology of the brain reacts to the presence of colors transmitted to it by the visual system. a colors make us happy_and excite “us while cool colors, felax sand encourage us to take it'slow. Reds,, process, a perceptual “totality pinks, and yellows stimulate us, ‘making us feel warm aiid passionate; reens and blues; qn the other hand, suggest calmness and peace. Though the effect of color may be universal, the meaning attached What a particular color is to one culture to it is culture speci may have a different meaning in another. White, which is a favorite for weddings, may not be the most favorite in weddings of some other cultures, The Element of Shape Other than lines and color, the mind through the visual system makes sense of its surrounding by determining what shapes are present. Shape is the next interesting clement o Shapes result from the coming together of lines enclosing an area and separating, he visual arts. it from its surroundings (Fichner, 2013). The interpretation of the enclosed area that is formed presents a challenge to the brain, Aside from lines, color patches, and texture can also give the impression of shape. In a three-dimensional art, like architecture and sculpture, the shape can be discerned by viewing the artwork against its background. arm, bright prganizing objects/stimuli into gro In the process of human perception, German Gestalt psychologists have discovered that the way the human brain processes information is done based on similarity, figure-ground relationships. After nearness, giving the viewer the “who are labelled as shapes, Kinds of Shape There are many kinds shapes. Geometric sha} instance, are-Fegular and and present an industrial f the viewer. These shapes rectilinear or curvilinear. other hand, shapes that natural appearance and re “objects from nature are said a organic.) Organic shapes are said hav a natural appearance and 2: usually curvilinear and irr 3). “qualities of biol whereas amorphous without any basis from eithe or geometry. Square Geometric Shapes: 2D Art Appreciation + 3Otganic Shapes Biomorphic Shapes Shape and the Content of the Composition In the context of presenting an artistic composition, artists use shapes to convey initially what they think, imagine, or feel. The shapes that artists use are an expression of these ideas rather than an objective representation of the world. What shapes are chosen and presented is more of areflection ofthe outside personality of the artist rather than 38 # Art Appreciation arts. what is considered to be objective what is ality. Artists usually Associate reality. s with something consciously ape B shes ly significant in thejp ‘or unconscious psyche. Shapes, of art, Suggs : smmon meanings conveyed like the other element, est certain meanings, Some co by squares: for instance, are stability, symmetry, independence, and monotony; (cifcles )may suggest confinement and self-reliance; ovals stiggest creativity while stars may mean reaching out (Ocvirk, 2002) The meanings associated with the different shapes depend on their character, complexity, and how they are used as part of the whole composition and the perceptive sensitivity of the viewer. The Element of Space , Space is a tricky element of the visual i involves both the physiological capability of the visual system, and the physical manipulation of the two- dimensional surface (picture plane) to give the viewer an illusion -of depth or distance. \~ Physiological Perception of Space On the physiological aspect, two processes should be understood. One involves stereoscopic vision and the other kinesthetic ision (Ocvirk, 2002). Sjéreoscopic vision gi This distance allows the viewer to‘see two Presentations of the object)” one from each eye. This is known as retinal d disparity Retinal disparity | gives the viewer two images of the “object then physiologically merges them into one“image, thus, giving the viewer a perception of depth or distance. Kinesthetic vision, on the other hand, involves the movement of the eyes when looking at or viewing the object. It was observed that more ocular movements occur when the object is neat, and less when the object is far. Thus, physiologically, these two visual processes allow the viewer to perceive depth and distance. The Illusion of Space ~~ Over the years, artists have been endlessly seeking ways to present depth or distance in a two- dimensional artwork. What they have come up with are techniques that allow viewers to perceive space “The following are some ways of presenting depth on a picture plane: Overlapping When objects are grouped, not-all parts of some objects will be seen. The tendency is objects that are near will be seen as complete or whole while objects that are far would be partly covered by objects in front of them. ‘This gives the impression of near and distant objects allowing the viewer to perceive space in the composition. ea Size and Linear Perspective, Objects that are big will be perceived as “near compared with objects that are far, ‘The premise is: The farther the object is Art Appreciation * 39from the viewer, the smaller is the size of the object. Relative size is supported by S PP the concept of linear perspective. Parallel lines that meet at the horizon give the illusion of distance. Objects, therefore, become smaller the nearer they are to the point in the horizon where the two lines converge. a apn ‘Fe » ms Atmospheric Perspective. ‘This is also known asberial perspect of depth is created by techniques known as gradient (a gradual change). This may be a gradient in texture, brightness, color intensity, and combination of warm and cool colors. To understand gradient better, the picture plane is divided into three parts: the fower part is the foreground, which is nearest to the he illusion viewer, the second is the middle ground, ) and the upper part of the picture plane is the background. In applying gradient to give the illusion of depth, objects in the foreground would be bigger, detailed, and brighter. As the eye moves to the middle ground, the objects’ appearance would gradually change: In the middle would be smaller compared with those in the foreground, There would be less detail, and colors are not so bright. When the viewer looks at the background, objects will be smaller, they will have very little detail, and the colors are hazy giving the illusion of ground objects distance. 40 * Art Appreciation The Effect of Space Space as an element of the visual art have fascinated both the artists and the viewers. Artists fascination is based on discovering any other ways to manip ate the picture plane and create the illusion of ‘endless Space, Wiewers, stare in awe at what was achieved by the artists. Artists allowed them to see space with the eye when the mind deems its existence improbable. For according to Ocvirk (2002), “art is “of human creativity and ; dependent on individual interpretations and responses.” The Element of Value (Light and Shadow) The visual arts is known particularly because-OF the element of light. Light kes viewing any artwork possible, atid it is sad to say that without light this cannot be done. On the part of the artist, he does not only make sure that his work is viewed under appropriate lighting but also explores how he may use this characteristic of light to add quality and depth to his composition, When light is discussed, it always follows that its counterpart, which is shadow, will have to be dealt with.‘This gradual change from light to dark and vice versa is what is referred to as value, The focus of the discussion will particularly be on a kind of value known as achromatic value. refers to changes in the amount of reflected light from white to grey to black. and from black to grey to white. fiost significantly results i the illusion ofform and depth in a composition. Achromatic value’ Value Achromatic Value When light falls on an object, the light rays do not shine equally on all parts of the object, and on the area where light is blocked by the object, a cast shadow results. Cast shadows may have different degrees of allies ranging from grey to black. The technique of using light and~ shadow in painting is known a8 chiaroscuro. ) Leonardo da Vinei exploited the effects of chiaroscuro in his masterpieces. He even introduced a technique called ‘fumato in which the gradual blending of light and shadow gave the figures in his composition a more realistic form and depth, which is quite evident in the Mona Lisa. Another renowned artist_of the 16" century named Caravaggio’ went a step further with thiaroscuro and exaggerated the use of shadows in his paintings known as the “dark manner.” This “dark manner” ow what characterized paintings of the Baroque period. “Dark manner” or the of painting was exaggeration of chiaroscuro is known as ihe m. It was the artist Rembrandt ho perfected tenebrism in his paintings. Caravaggio's Conversion of Paul Ant \ppreeThe Element of Texture - A review of all the elements that were discussed would indicate that line, color, shape, space, and value all deal with the sense of sight. The next element, texture, taps into two sensory systems! The sense of touch, which gives rise to tactile Sensations, and the sense of sight, which giv the viewer visual sensations. Hexture is derived from Latin for “weaving” (Fichner, 2013). It usually efers to the feel of the surface of woven fabrics. Presently, textureisanimportant element both for two-dimensional and three-dimensional arts. As an element, texture can be defined as how the surface of the material feels and looks like. It i is, important to note that texture is not only. felt but also seen. Seeing texture without touching, it is what is known as texture. Looking and feeling surfaces can give descriptions, like smooth, rough, soft, hard, cold, and warm, The characteristic of the surface largely depends on the degree to which the surface is broken into its components, This will resdlt in sensations of the appearance and feel of the surface. For instance, when the surface is rough, some light rays are blocked, resulting in light and dark patterns. Shiny surfaces, on the other hand, cause light rays to bounce more evenly giving the viewer a smoother appearance. These are two instances that show how light is affected by characteristic of the surface, thus, allowing the viewer to know texture not only by touch but also by sight. 42 * Art Appreci: isual ‘Types of Texture ‘There ar¢ four basic types of texture: px Texture. This type of texture “fefers to the real feel and look of the silface of the object. This usually j, a-characteristic of three-dimensional artworks. The real feel of the material used for sculpture, for instance, would give the characteristic of how the surface looks and feels like. Some two-dimensional artists, however, can present texture in the Paintings by putting a thick layer of pigment on “hE“Wice Thee e, These are nown as impasto paintings,’ which is a charactéristié oF Van Gogh’s \ work. Other artists “began” ‘adding interesting textures’ to their Paintings by pasting real objects, like paper, strings, leaves, “and any other objects. . This is now what Tr kiow Ne ihag This technique was first introduced by Picasso and Braque in their abstract compositions.¢ Picasso's Collage Simulated Texture. this type of texture \fefers to-a stirface character that Tooks teal but isnot (Ocvirk, 2002). simulated’ “texture is a skill of the artist to exactly decorative and aes ae Ww Abstinct Tex Textured this type of texture, the artist would focus on one aspect of the Yeal-texture-and-emphasizeit; thus, modifying” the féxture of the whole [Link] more for icéffectdepending ob » pein on the particilar needs of the artist. competition. Here there is no attempt to fool the eye, . but modification of texture would enrich the whole composition. po copy reality. This artwork, Because of its Invented Texture. his texture is a py reality. « _ attention to detail, can be mistaken for lesigners use this real objects. “Interior “technique of simulated texture to imitate the surface and appearance, for instance, of real marble, The pu si texture is to “Foal the eye. Imitation of reality 1 the “challenge of simulated texture. ulated duct of the artist's imagination, This “presentation is usually seen in abstract al work, “Though solely “from” the artist’s mind, invented texture may still represent something that is real. Art AppresThe Element of Time and Motion | Motion — occurs through time (Fichiner, 2008). Over the centuries, artists have collaborated to bring to the viewer the concept of movement: and time in their artworks, Motions can show direct actions in which movement is perceived immediately or show an intended path for the viewer to follow to achieve the effect of motion across the visual field. So far, they have experimented with their medium and have come up with two techniques in achieving motion and time in both two- dimensional and three-dimensional art. These techniques are actual motion’and implied motion. Actual Movement. In this type of artwork, the artist incorporates actual movement in “art Known as’kinetic. art. These are particularly observed in modern ‘The actual movements may sculptures. be achieved in several ways: This m: y be through the aid of nature, such asairand water currents or may be ‘mechanically driven either by the characteristic of the medium or some energy source..’ Artists, like Alexander Calder (The Star in 1960), employed changes in air currents to make his sculptiite move. He called his artwork mobiles? In nature- driven artworks, like Calder’s, the artwork presents itself differently each time. 44% Ars Calder’s “The Star” Implied Movements To show implied movement in art, a variety of lines Thay be used together with some degree of repetition, changes in the Position, scale, or size of the objects, and varying proportions that can create the perception of movement or passing time in a two-dimensional piece of static art, ‘An example of this is Marcel Duchamp's “Nude Descending a Staircase.” The effect and imagery created by this work implies motion and passing of time giving-the’viewer the illusion of movement. This technique of creating ‘optical. sensations through repetition and manipulation of color, shape, and line is what is known as Op Arf (Fichner, 2013), Duchump’s Nude Descending a StaircaseOp Art ARTWORK ANALYSIS _- The analytic study of how the various elements and material features of the art work produce meaning should consensual field of meaning leading to a better- understanding of an artwork by an ordinary audience or viewer. The analysis would turn away from erratic, whimsical, purely subjective, and impressionistic readings of the artwork. lead to a more stable and Having taken note of the information provided by the basic documentation of the artwork, one can see three planes of analysis or in reading the image: the semiotic, the iconic, the contextual, a. ieemiotc Name of the artist, ‘title of the work, year the work was created, dimension or size, medium or technique, location of the work, whose collection or gallery). This is like a credit line, which lists important facts t > type, kind, source, and how the artist describes the subject). Contextual (meaning of the work, symbols, ideas, concepts). The work of art may contain references and allusions, direct or indirect, to historical figures and events, as well as to religious, literary, and philosophical ideas and values, which are part of the meaning of the work. Artwork Analysis of a Painting Semiotic Title: A Sunday Afternoon on the Island of La Grande Jatte Artist: Georges-Pierre SEURAT Dimensions: 2.08 m x 3.08 m (81.7 in x 121.25 in) Location: Art Building Institute of Chicago Genre: History painting Medium: Oil on canvas Periods: Pointillism, Neo-impressionism Year: 1884-1886 Subject: People relaxing at la Grande Jatte, Paris Iconic Seurat spent two years working on his most famous work, composed of tiny dots of contrasting or complementary Art Appreciation #45Colors intended to fuse in the viewer's eye a vibrant effect. The artist depicted People, city dwellers, gathered and relaxing in a suburban park on an island in the Seine River called La Grande Jatte. On an enormous canvas, the artist depicted all kinds of people stroll, lounge, sail, and fish in the park. The picture was unusual in showing people belonging to different social classes frequenting the same park on an island in the Seine. The artwork itself highlighted the controlled surface of the painting, the use of aerial perspective, which gives an impression of space, and Seurat’s deeply shadowed foreground that leads into a light, bright distance. Contextual Seurat uses the: technique of optical color mixture, also known as'pointillism. or divisionism, to really accent and express his ideas and originality. When dots of pure color are placed close together, they blend and create the illusion of some other hues. Using newly discovered optical and color theories, Seurat rendered his subject by placing” tiny, precise brushstrokes of different colors close to one another so that they blend at a distance. Over the past several decades, many scholars have attempted to explain the meaning of this great composition. For * some it shows the growing middle class at leisure. Others see it as a representation of social tensions between modern city dwellers of different social classes, who gather in the same public space but do not communicate or interact. THE RULE OF THIRDS One of the most useful composition techniques in photography is the rule of thirds. This is commonly known as the pasic knowledge in composition {hat most photographers use when they are placing items within the frame for their masterpiece. It is considered to be an important concept to learn as it catv be used in all types of photography oduce images, which are more to. pri vhicl engaging and better balanced. Palawan, Philippines (Ctto Enolueno T. Barona) What is the Rule of Thirds? In its simplest form, the rule of thirds suggests that you should imagine a tic-tac-toe or a pick-pack-boom board on the frame of the picture. It involves mentally dividing up your image using two horizontal lines and two. vertical lines. You then position the important elements in your scene at the points where they meet along those lines.[Link] top-photography-composition-rules/ Mt. Apo, Davao, Philippines. Photo by Arfel John Bilbao How to Use the Rule of Thirds When you are framing a photo, you just have to imagine that the scene is divided into three. By using the rule of thirds, the couple is placed on the left intersection of the frame, the picture contains’ a fisual mass, a9 what the viewer’s eyes istdrawm'to, When you see the portrait of this couple, your eye is immediately drawn at their back, they have visual mass. Kapurpurawan Rock Formation, Ilocos, Philippines Image by Sophia Kryss Alexandrova. Image by EnoT. Barona Try to include another interesting object, the vehicle, which is commonly used in the Philippines as means of transportation, such as the tricycle in the photo above, and position it according to the rule of thirds. This provides an “anchor,” a natural focal point for the scene. The rule of third works here, and it adds interest to the scene by balancing an object with visual mass with the other larger area of the negative space. Art Appreciation 47Batanes, Philippines Image by Eno T. Barona This image shows vertical subjects, such as this lighthouse, which can split a photo in two, in much the same way as a horizon can do horizontally. To avoid this, position them off-centre in your composition. Clearly then, the rule, of thirds assists the artist in harmonizing areas of greater visual mass with areas of, negative space. Woman Riding a Horse in Ilocos, Philippines Image by Wendell Geyrozaga When subjects, such as the woman riding a photographing — moving horse, position them as normal, but pay attention to the direction th moving. As a general rule, leave more space in front of them than behind, to show where they are going. The negative space leads them to the place where they are going, 48 * Art Appre PRINCIPLES OF ART Principles of Design refer to the visua| strategies used by artists, in conjunction With the visual elements of arts ~ fo, expressive purposes. 1. Balance Tt is one of the principles of it is classified into three design; asymmetrical, and symmetrical, radial. Symmetrica also known as formal balance, as two equal parts of the pictorial plane of an artwork placed like mirror images of each other. The similarity is so precise that each halfis seen one and the same. SYMMETRIC , ASYMMETRIC cb. ‘Asymmetrical also known as informal balance, whereelements on either side of a composition do not reflect one another or when several smaller items on one side are balanced by a large item on the other side, or smaller items are placed further away from the center of the screen than larger items. Radial a Symmetry: balance where all clements radiate out from a center point ina circular fashion to all four quadrants of the shape’s constraining plane. 2. Harmony the principles of design, this can be described as samieness, the belonging ~of one thing with another. ~ Sean Scully, White Robe, 1990 Oil on Canvas 3. Proportion. ‘This isthe size relationship of forms and shapes. Good proportion causes a sense of unity and harmony, ’ ' t 1 a : tie Se a 4, Dominance/Emphasis This happens when the artist creates an area of the composition that is visually dominant and commands the viewer's attention. This is often achieved by contrast. 5. Variety This is a principle of design that refers to a way of combining visual achieve intricate and complex relationships. It is a technique elements to used by artists who wish to increase the visual interest of their work. Art Appie6. Movement This is the result of using the elements of art such that they move the viewer's eye around and within the image. A sense of movement can be created by diagonal or curvy lines, either real or implied, by edges, by the illusion of space, by repetition, by energetic mark-making, 7. Rhythm In the principles of design, this is a continuance, a flow, or a feeling of movement achieved by the repetition of regulated visual information. 4 ELEMENTS OF ART: AUDITORY Music is considered to be the least tangible of the arts. It is defined as an arrangement of sounds to create a continuous and unified composition. 50 * Art Appreciation Currently, there are two dominant aditions: popular music and Popular music often musical tr classical music. involves the use of electric instruments to enhance instrumental and vocal sounds It also involves lyrics, which is the probable reason we frequently associate popular music with music with a person or a group of persons singing. Popular songs also tend to involve repetition. In addition to the fact that these are usually short, the use of repetition makes these songs memorable. It usually has a strong beat, which is the reason we tend to move at the same time with it. Aside from this, when we say a title of a popular song, to whom do we associate it with? Usually, we associate it with the performer or performers who popularized it. On the other hand, classical music is more frequently essentially instrumental although there are some classical compositions that involve the human voice, such as opera. Nevertheless, the expression of meaning involves the use of pure sound. It also uses instruments that generate sounds in a natural way. In contrast to popular music, classical music usually has a duration of 30-40 minutes, and there is more variation within a classical composition. Unlike in popular music, which is usually performed by memory, classical. music is originally produced from a written score, and it normally has one acceptable way of interpreting it. The beat is not generally obvious in classical music. Aside from this, we associate a certain composition with its composer, not with the performer, ah lean