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Abstract: Graphic designs in this era have made it imperative that integration of uli motifs into
teaching and learning for graphic arts should be given a high priority in Nigeria. This should
make for effective and efficient teaching and learning process especially in using uli motifs in
graphic arts. This study was designed to explored the use of symbols embedded in CorelDraw for
graphic arts instructions in South East colleges of education and the research questions were on
the: availability of uli motifs in CorelDraw Application Software for graphic instructions and
problems encountered in scanning of uli motifs in computer. Fifteen lecturers and fifty five students
were selected for the study. Questionnaire and checklist were used to elicit vital information from
the respondents. The findings revealed that majority of the uli motifs are not available in
CorelDraw Application Software for designs and graphic art instructions. Lecturers and students
experience some technical problems in the use of scanner. The paper recommended that the Igbo
motifs uli should be integrated in newer versions of CorelDraw Application Software and other
design software like Print Artist, Instant Artist, Adobe Photoshop and Adobe Illustrator.
INTRODUCTION
Symbols constitute the basic elements of design in both traditional and modern world
graphics. These elements are made up of geometric shapes such as circles, triangles, rectangles
and squares. The organizations of these elements or Forms exhibit the graphic designers’ ideas.
Examples of these organizations could be seen in both traditional and contemporary designs that
are often in use today. The analysis of the design draws claim from the socio-cultural significance
of the forms. This is shown by the content and meaning of the elements that make up the symbol.
The ideas and images transformed into symbols reflect the most prominent and accepted aspects
of the situation that presents such ideas (Dunu, 2005).
These ideas and natural elements combine to frame the design symbols used on works. In Igbo
cosmology, sun for instance, which scares evil doing is used as a metaphorical title for honest and
straight-forward citizens. The python, with its body marks, is regarded as an epitome of beauty
and an assistant to the creator, hence a messenger of fertility. These ideas are extended to man’s
activity and participation in the ongoing events around him.
Themes are developed from the context in which these symbols and motifs are found and their
relevance in the rituals and lures of the people (Okeke, 1982). In Igbo setting, the snail for instance
is regarded as a peaceful animal and passes through thorns without damage to its tongue. This feat
is expressed by the saying ile oma ka ejune ji aga na ogwu (the snail passes through thorns with
its righteous tongue). In this way snail shells are attached to heads of masqueraders to remind the
masqueraders of the need for peace and humility. In some cases, symbols find their ways into
figurative speeches and folktales and touches of embellishment determine their usage. The lizard
for instance, in a figurative speech, fell down from a considerable height, lands on its belly without
damage to its intestines and said to itself, ‘If any one does not praise me, I will praise myself’. The
Afo Ngwele (lizard’s belly) symbol motif is derived from this. This symbol is applied on the joints
and abdomen of the body during decoration with the belief that this will make somebody powerful
and ability to invoke strength and absorb shock. Odu Agwo (snake’s tail) symbol is abstracted from
the snake which means that snake is a didactic visual that warns of the sinister of the tail of the
snake.
As well as being aesthetic, the design symbols are also functional and structural. The functional
level amplifies traits of the natural forms that inspire the concretization of the formal elements.
Under this perspective, dots, stripes and checker boards cease to be mere geometrical forms but
abstracted images could be seen in the ‘Nwa obogwu’ (Duckling), ‘Akpi’ (Scorpion) symbols to
mention a few. The abstracted images as much as possible re-sound the essential attributes of the
natural source.
Structurally, the design symbols are both patterns embossed, incised or linear when seen on planes
or surfaces of art forms. These are seen as dots, lines, triangles, circular and four sided patterns.
These design symbols are regarded as Uli motifs in Igbos of Nigeria (Willis, 1997).
Uli is the name given to the traditional designs drawn by the Igbo people of Nigeria. Uli
drawings are strongly linear and do not have deep perspective; they do, however, balance positive
and negative space. Designs are frequently asymmetrical, and are often painted spontaneously. Uli
generally is not sacred, apart from those images painted on the walls of shrines and created in
conjunction with some community rituals (Cole & Aniakor, 1985).
The drawing of uli was once practiced throughout most of Igbo land, although by 1970 it had lost
much of its popularity, and was being kept alive by a handful of contemporary artists (Ottenberg,
2002). It was usually practiced by women, who would decorate each other's bodies with dark dyes
to prepare for village events, such as marriage, title taking, and funerals; designs would sometimes
be produced for the most important market days as well. Designs would last about a week.
The use of uli was not limited to the human body. Igbo women also paint murals of designs on the
walls of compounds and houses. These generally used four colours which could be created from
natural bases easily found in the area; black was made from charcoal, reddish brown from the
camwood tree, yellow from either soil or tree bark, and white from clay. When the British arrived
in the area at the turn of the twentieth century, they brought with them a commercial laundry
additive which some painters used to create blue pigment. Uli was not only meant to express a
specific message. It was also meant to beautify the female body and buildings to which it was
applied, as beauty is equated with morality in Igbo culture.
The forms attached represent mythical creatures such as the python and lizard that may not be
realistically portrayed. They are however, attached in such a way as to make the audience
understand the figures with case.
These motifs, whether derived from the people’s myths, lures and figurative speeches are got from
various sources such as plant, animal, man-made objects, cosmic elements, numerical units or from
the artist’s intuition. These sources are discussed as follows:
Numerical Units
Ofu Mkpulu (One Unit)
Mkpulu nabo (Two units)
Mkpulu ato (Three units)
Mkpulu ano (Four units): This motif is a symbol of the four market days in the native week of
Igbos, namely: Eke, Oye, Afo and Nkwo.
Mkpulu ise (Five units): The number symbolizes the needs of man-life, wealth, children, love and
peace. Ise is verbally used as ‘Amen’ by the Igbo people. These mkpulu ise motifs and others under
the numerical units are found on body decoration, mural painting.
Mkpulu isaa (Seven units): It is regarded as a wish-proposing unit which calls for success and
maturity. It is found on body decoration.
Research Questions
1. What are the available uli motifs in CorelDraw Application Software?
2. What are the problems encountered in the scanning uli motifs in computer?
Research Method
This is an exploratory survey study. A survey research is a study in which the
interrelationships of sociological or psychological variables are determined and summarized
(William, 1991).
Area of the Study
The area of this study is South East geo-political zone of Nigeria
Sample and Sampling Technique
All the 7 colleges of education in the South East Geo-Political Zone were used for the study.
However, 55 out of 122 students were randomly selected and 15 out of 31lecturers were also
randomly selected through simple random sampling technique and used for the study.
Instrument for Data Collection
The instruments for data collection were checklist and questionnaire. The checklist consists
of 65 different symbols and motifs which the respondents were expected to tick the items that are
available in CorelDraw Software, while the questionnaire consists of items in which the
respondents were expected to indicate the problems they encounter in scanning uli motifs in
computer and the extent of use of uli motifs in instructions. Two experts in Education Fine and
Applied Arts and Computer Education validated the instrument.
Administration of the Instrument
The researcher with help of research assistants administered the questionnaire and checklist
to respondents which comprised of 15 lecturers and 55 students and collected on the spot. Seventy
copies of questionnaire and checklist were completed by students and lecturers and they were used
for data analysis.
Method of Data Analysis
Data was analyzed descriptively using mean, frequency and percentages. Means were used
to answer research questions two. Items that have Mean score from 2.50 to 3.49 were considered
High Extent, 1.50 to 2.49 Less Extent and 0.50 to 1.49 No Extent respectively. Percentage was
used to answer question one. Items that have percentages of 40 to 100 were considered Available
while those that are less than 40 were considered Not Available.
Results
Table 1: Descriptive Availability of Uli Motifs in CorelDraw software for Graphics Instructions
and Designs (n = 70)
S/No Uli Motifs/Symbols F % RESPONSE
1. Ofu Mkpulu (One Unit) 0 0 NA
2. Mkpulu nabo (Two units) 0 0 NA
3. Mkpulu ato (Three units) 0 0 NA
4. Mkpulu ano (Four units) 0 0 NA
5. Mkpulu ise (Five units) 0 0 NA
6. Mkpulu isaa (Seven units) 0 0 NA
7. Ududo (Spider) 0 0 NA
8. Odu Agwo (Snake Tail) 0 0 NA
9. Odu Agwo (Snake Tail) 0 0 NA
10. Eke (Python) 0 0 NA
11. Uli Chukwu Delu Eke (Uli painted on the
python by God) 0 0 NA
12. Odu Okike (Elephant Tusk) 0 0 NA
13. Ije Nwugo (The Eagles Movement) 0 0 NA
14. Oji Ugo (The Eagle’s Kolanut) 0 0 NA
15. Ije Eke (The Python’s Movement) 0 0 NA
16. Nwa Obogwu (Duckling) 0 0 NA
17. Afo Ngwele (Lizard’s Belly) 0 0 NA
18. Akpi (Scorpion) 0 0 NA
19. Mbo Agu (Leopard’s Claw) 0 0 NA
20. Agwaka Agu (Leopard’s Marks) 0 0 NA
21. Ejune (Snail) 0 0 NA
22. Onu Apia (Stork’s Beak) 0 0 NA
23. Uli Ochokomma (Looking for Beauty) 0 0 NA
24. Ebilebi Iku (Trimmed Eye Brow) 0 0 NA
25. Okpa Okuko (Hen’s Claws) 0 0 NA
26. Uli Onu (Uli Mouth Pattern) 0 0 NA
27. Onu Nwa Okuko (The Hen’s Beak) 0 0 NA
28. Okpa Obogwu (Duckling’s Feet) 0 0 NA
29. Ogbe Nduko (Potato Tuber) 0 0 NA
30. Ukwu Ji (Yam Tendril) 0 0 NA
31. Okosisi Dachili Ezi (Great Trunk on a Path) 0 0 NA
32. Mkpulu Oka (Maize Grain) 0 0 NA
33. Ekpili (Crotal) 0 0 NA
34. Isi Unele (Banana Bunch) 0 0 NA
35. Omu Nkwu (Palm Frond) 0 0 NA
36 Abuba Akpu (Cassava Leaf) 0 0 NA
37. Ogbe Oji (Kolanut Pod) 0 0 NA
38. Ododo (Flower) 0 0 NA
39. Aka Ngwe Ose (Hand of a Grinding Stone) 0 0 NA
40. Mkpulu Mgbo (Cannon Balls) 0 0 NA
41. Akpala Uli (Uli Palette Knife) 0 0 NA
42. Okwa uli (Uli Bowl) 0 0 NA
43. Jigida (Waist Beads) 0 0 NA
44. Ikwe (Mortar) 0 0 NA
45. Ego Ayolo (Cowries Shell) 0 0 NA
46. Ogene (Metal Gong) 0 0 NA
47. Ego Igwe (Metal Money) 0 0 NA
48. Mgbudamgbu (Manilla) 0 0 NA
49. Okwa Nzu (Chalk Bowl) 0 0 NA
50. Mma Nkpa (Scissors) 0 0 NA
51. Okpa Ite Igwe (Tripod Leg) 0 0 NA
52. Mkpisi Igwe (Metal Needle) 0 0 NA
53. Abuba Ute (Mat) 0 0 NA
54. Mma Nwuli (Uli Knife) 0 0 NA
55. Uli Opipia (Striking) 0 0 NA
56. Onwa (Moon) 65 92.86 AV
57. Kpakpando (Star) 67 95.71 AV
58. Uli Olilo (Concentric Circle) 58 82.86 AV
59. Uli Mbodo (Large Uli) 0 0 NA
60. Akalete (Outline and fill in) 66 94.29 AV
61. Onwakalibata (Accidental) 0 0 NA
62. Uche Akutaonu (Divided Attention) 0 0 NA
63. Etiwelu (Broken) 0 0 NA
64. Ntupo (Dots) 68 97.14 AV
65. Asulesu(Pod-like) 0 0 NA
Key:AV = Available; NA = Not Available
Result in table 1 indicates that out of 65 Uli motifs listed only 5 uli motifs were available
in CorelDraw Software for Fine and Applied Arts instructions and Designs. These are: Ntupo
(Dots), Kpakpando (Star); Akalete (Outline & fill in); Onwa (Moon) and Uli olilo (Concentric
circle). These showed that it is only these 5 uli motifs that are used for designs in CorelDraw
Software by students and lecturers in Fine and Applied Arts in Colleges of Education.
Table 2: A Descriptive Mean Analysis of Problems encountered in the scanning uli motifs in
computer (n= 70)
S/No. PROBLEMS MEAN DECISION
1. Using inappropriate settings in scanning the motif 3.91 HE
2. Power Supply (inadequate) 3.88 HE
3. Inefficient manipulation of the scanner 3.72 HE
4. Retouching of the scanned motif 3.65 HE
5. Poor editing of the scanned motif 3.52 HE
6. Erasing of the background of the scanned motif 3.44 HE
7. Technical problems (Poor handling of the Scanner) 3.41 HE
Key: HE =High Extent
Result in table 2 indicates that in the scanning of uli motifs students encounter major
problems such as technical, power, manipulation, editing, erasing, retouching and use of
appropriate settings in scanning motif in computer.
Conclusion
The contemporary design practices today needs that cultural undertones of the people be
integrated in modern design software. And this can be attributed to advancement in world
technology. There is need for cultural exchange since the world is now a global village. People
should produce designs that should reflect their culture for the benefit of other people living in
other countries of the world. This calls for serious awareness and education in integrating motifs
and symbols of different cultures by programmers in design software like CorelDraw in graphic
arts in all levels of education in Nigeria. Nigeria educational system has not done much in this
area. This may hamper their survival in technological competitive world today. To ensure that
lecturers and students have the knowledge of these motifs and skills required to integrate
technology in graphic arts instruction, there is need to emphasize practical skills in training them
in computer operations and CorelDraw Design Software that will contain Igbo uli motifs. This will
expose the lecturers and students to the broad spectrum of uli motifs in teaching and learning of
graphic arts in Nigeria colleges of education.
Recommendations
Mastering basic skills in CorelDraw design software should be integrated in curriculum to
reflect the contemporary visual Africa arts and its cultural undertones. If these motifs can be
integrated in the CorelDraw Software, this will help other countries of the world to understand and
appreciate the rich cultural motifs of Igbos and this can also influence their own graphic designs.
Igbo motifs should be integrated in newer versions of CorelDraw Application Software and other
design software like Print Artist, Instant Artist, Adobe Photoshop and Adobe Illustrator. This
should be made available for teaching graphic arts in colleges of education. Also Graphic art
instructions should contain activities that has cultural orientations and be integrated as core
curriculum content in the teacher training programmes at all levels of education.
References
Chastain, S. (2011). How to fill text with a pattern in CorelDraw 8 or higher. Retrieved
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http://www.about.comguide
Cole, H. M. & Aniakor, C. C. (1998). Igbo arts: Community and cosmos. Los Angeles: Museum
of Cultural History, University of California.
Dunu, C. M. (2005). Uli design: A case study of Nnobi Murals and body decorations. An
Unpublished B. A. Project, University of Nigeria, Nsukka.
Ottenberg, S. (2002). The Nsukka artists and Nigerian contemporary art. Washington, D.C.:
Smithsonian National Museum of African Art.
Salomon, G. (1978). The "Languages" of media and the cultivation of mental skills. Retrieved
from http://www.ERICdatabase.com
Salomon, G. (1985). Information technologies: What you see is not (Always) what you get.
Retrieved from http://www.ERICdatabase.com
William, W. (1991). Research methods in education: An introduction. London: Allyn and Bacon.
Willis, E. A. (1997). Uli painting and identity: Twentieth-century developments in art in the
Igbo speaking region of Nigeria. Ph.D. Thesis, Yale University.