Saint Mary’s University

Bayombong, Nueva Vizcaya

SCHOOL OF TEACHER EDUCATION & HUMANITIES
Department 0f Social Sciences and Philosophy

NOTES in ART APPRECIATION

I. Principles of Arts Design
Principles of design is described as the ways that the artists use of the elements of art in a
work of art. It is also the organization of elements that work together to give unity. Making of
design is like making a cake. The Elements are the ingredients and the directions for mixing
them together are the Principles.
These principles are: By Caslib et. al.
1. balance 5. harmony
2. scale and proportion 6. movement
3. emphasis and contrast 7. rhythm, and
4. unity and variety 8. Repetition and pattern

1. Balance – entails the distribution of the visual elements in view of their placement in relation
to each other. It is also the way elements are arranged to create a feeling of stability. Balance
is the concept of visual equilibrium, and relates to our physical sense of balance. It is a
reconciliation of opposing forces in a composition that results in visual stability.
a. Symmetrical (formal balance): the elements used in one side are reflected to the other.
This offers the most stable visual sense to any artwork. It is a design that is made up of
exactly similar parts facing each other or around an axis; showing symmetry. Occurs
when you have two identical sides of a design with a central point of axis – so, if you
cut the design in half, the left and right are mirror images of each other. To be
considered perfectly symmetrical, a design needs to have equally weighted visuals on
either side. Symmetrical design allows you to draw attention to all areas of an image
equally. Since this form of design is usually very structured and rigid in nature, it’s
referred to as formal balance. Example: Leonardo da Vinci’s Last Supper and Taj
Mahal which is aesthetically-pleasing, one reason is its symmetrical balance, which
evokes a sense of traditionalism and stability.
It can also be described as having equal "weight" on equal sides of a centrally placed
fulcrum. When the elements are arranged equally on either side of a central axis, the
result is Bilateral symmetry. This axis may be horizontal or vertical. It is also possible
to build formal balance by arranging elements equally around a central point, resulting
in radial symmetry. There is a variant of symmetrical balance called approximate
symmetry in which equivalent but not identical forms are arranged around the fulcrum
line.
b. Asymmetrical (informal balance) – the two sides of a work of art are not exactly the
same but are still visually balanced. It occurs when you have different visual images on
either side of a design, and yet the image still seems balanced. To be considered
asymmetrical, a design needs to have unequal visual weight on either side, but those
unequal visuals need to balance each other. It can evoke feelings of movement and
seem more modern than symmetrical designs, but it can be more difficult and less
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 straightforward to create relationships between the design’s individual elements. It is
also a more complex and difficult to envisage or figure it out. It involves placement of
objects varying visual weight to balance one another around a fulcrum point. Example:
Van Gogh’s Starry Night, Rainy Day in Paris.
c. Radial – there is a central point in the composition, around which elements and objects
are distributed. It happens when all the elements radiate out a central point or all parts
radiate from the center in all direction. It appears both in the natural and human-made
objects. It also allows all parts to radiate from the center in all directions
2. Scale and Proportion:
Scale – pertains to the size in relation to what is normal for the figure or object in question.
Proportion – the size of the components or of an object in relation to one another when taken
as a composition or unit. It is also the values such as the amounts or number of elements of
objects in the composition. Proportion can be:
➢ Natural – relates to the realistic size of the visual elements in the artwork especially the
figurative artwork. The accuracy in relation to the real world is what the artist is after-
now the principle of scale.
➢ Exaggerated – pertains to the unusual size of the visual elements, deliberately
exaggerating the immensity or minuteness of an object.
➢ Idealized - most common to those that follow canons of perfection, the size-relations of
elements or objects, which achieved the most ideal size-relation.

Proportion – is also understood as the relationship of one part to another or to the whole
with respect to the size, quantity, or degree called ratio. Proportion refers to the relative size
and scale of the various elements in a design. It can be seen in terms of the context or
standard used to determine proportions.

Architectural spaces intended to impress are usually scaled to a size that dwarfs the human
viewer. This is often used in public spaces, such as churches or centers of government and
corporate spaces to impress customers with its power and invincibility. In contrast, the
proportions of a private home are usually more in scale with human measure to appear as
more friendly, comfortable, less intimidating.

A surprising aspect of proportion vary for the human body itself. Styles change in bodies as
they do in clothing. Prior to the 16th century, the female body ideally had large hips and
belly,17th century the ideal body was much heavier but today small waistline is much
accepted and stressed as in fashion models. Sports have provided models for ideal male
body proportions with increasingly exaggerated muscular silhouette, corresponding to that of
the uniformed and padded football player, was presented as the ultimate male form. Only in
this period could Arnold Schwarzenegger have represented the heroic ideal body image then
the emergence of basketball as the predominant American sport has led to a more naturally
proportioned fit body ideal for men.

3. Emphasis and Contrast: Emphasis – allows the attention of the viewer to a focal point(s),
accentuation or drawing attention of these elements or objects. This can be done through
manipulation of the elements or through the assistance of the other principles especially
contrast. Contrast – the disparity between the elements that figure into the composition. One
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object may be made stronger as compared to the other objects (hence emphasis). This can
be done by the use of complementary colors in an artwork. Example: De Goya’s 3rd of May:
Emphasis and Vincent van Gogh (1853-1890) Caféterras bij nacht (place du Forum) Kröller-
Müller Museum Otterlo 23/8/2016_13-35-40, Claude-Monet-Juan-Les-Pins-1888 (Contrast)
4. Unity and Variety: Compositions are intended to imbue a sense of accord or completeness
from the artwork–unity. Variety – the principles that aims to retain the interest by allowing
patches or areas that both excite and allow the eyes to rest.
5. Harmony: unity and variety are related to the principle of harmony; the elements or objects
achieve a sense of flow and interconnectedness. In other words, all parts of a work of art are
interrelated, balanced and organized to achieve a quality of oneness. Example: Monet:
Japanese Bridge: The Water Lily pond 1899 (Harmony)

6. Movement: This pertains to the direction of the viewing eye as it goes through the art work,
often guided by the elements being emphasized. The focal points can be lines, edges, shape,
color with the work of art, among others. This can also either be actual motion or it can be
implied like the arrangement of the parts of an image to create a sense of motion by using
lines, shapes, forms, and textures that cause the eye to move over the work. Linear strokes
cause our eye to move back and forth through the painting e.g. Van Gogh’s Starry Night, in
Claude Monet Fishing Boats on the Coast at éTretat (1884), and Van Gogh’s Field with stacks
of wheat.
7. Rhythm: This is created when an element is repeated, creating an implied movement.
Variety of repetition helps invigorate rhythm as depicted in the art work. This is also the regular
repetition of lines, shapes, or colors that create a movement. Patterns have rhythm. Repetition
of figure like in descending the staircase not only creates movement but rhythm as well.
8. Repetitions and Pattern: Lines, shapes, colors and other elements may appear in an
artwork in a recurring manner (repetition). The images created out of repetition is called
pattern. With repetition, there is a sense of predictability being conveyed, which in turn imbues
the feelings of security and calmness.
1. BALANCE - It is the EQUALITY in attention or attraction of visual elements in the
picture-plane.
Kinds of balance according to the division of picture-plane:
VERTICAL - Suggests Life e.g Van Eyck Arnolfini Marriage (Indicated by the
downward line of the chandelier)
HORIZONTAL – suggest peace and rest e. g. Dali, Apparition of Face and Fruit
Disk on a Beach, and Constable, The Hay Wain; Raphael, The School of
Athens
RADIAL – suggest movement or Implies movement in the painting e.g. Titian,
Bacchus and Ariane; Luna, Spoliarium, 1884; Seurat, Sunday Afternoon in
the Island of Grande Jatte, 1888.
Kinds of balance according to the placement of elements in the picture-plane:
1. SYMMETRICAL - Same elements on both sides or they are identical
2. ASYMMETRICAL - Different elements on both sides.
3. TRIANGULAR COMPOSITION – suggest stability and eternity like the Egyptian
Pyramids. Triangular composition is typical in Florentine paintings of the High
Renaissance period e.g. Raphael: Madonna of the Meadows

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 ➢ Genre and radial balance both indicate movement. e.g. Renoir, Luncheon of the
Boating party.
➢ The vertical division means the social division of people in the ancient Egyptian
Society like the Pharaoh and the servants.
➢ The circular organization implies the rhythmic movement of the dance e.g. Henri
Matisse, Dance 1 & 2.
2. DOMINANCE - It is a way of emphasizing a particular element over the others.
THREE WAYS OF PRODUCING DOMINANCE
➢ CENTRALIZING - Placing at the center of the picture plane the part to be
emphasized e.g. The Last Super
➢ HIGHLIGHTING - Use of standing size or color on the part to be emphasized
e. g. The Last Super; Van Gogh, Wheatfield with Cypress, 1888; The starry
night
➢ FOCUSING - Using elements to create movement directed towards the part to
be emphasized e.g. Seurat, Sunday Afternoon in the Island of Gran Jatte and De
Goya, The Third of May, 1808
NOTE: Landscape paintings usually have no dominance, so that the eyes may feel
relax.
II. PAINTING - is one of the most primitive artworks known to wo/man. It transcended
generations across places and groups of people. Painting as a visual art depicts various
intrinsic values of man through imaginative aggregation of lines and colors. It expresses the
artist’s perceptions and feelings on a particular selected subject. Painting as a form of visual
art- uses color which can be derived from various organic and synthetic substances. Color is
applied to many surfaces to create images: decorative value, representational value or both.
Organic pigments come from different sources like plants and vegetables. Synthetic
substances are manufactured pigments.
Painting as masterpiece (Robert Cumming, 1995)
1. virtuosity – complete mastery of physical skills, knowledge and imagination, makes
‘physical skills deceptively natural and simple’.
2. Innovation – ability of the painter to make changes ‘to the rules of art and coming
out with alternative visual language’.
3. Patronage – means being commissioned by a patron ‘who specified conditions or
played an active role in shaping the subject matter.
4. Artistic vision – artist’s beliefs and commitments, for a painter to express and not
merely decoration and illustration.
5. Role of the Artist - ‘the true worth of an artist bears when the quality of his/her
artworks are tested by the greatest judge and critic of all time’.

Painting Media & Techniques

1. Watercolor (Aquarelle)– are made of pigments suspended in a water-soluble vehicle.
The traditional and most common support for watercolor paintings is paper, other
supports include papyrus, bark papers, plastics vellum or leather, fabric wood and
canvas.
In East Asia, watercolor painting with inks is called brush painting or scroll painting.
This is a dominant medium in monochromatic black or brown in Chinese and
Japanese painting which originated in China.
As a Medium, it is difficult to handle because it is difficult to produce warm and rich
tones. This medium is suitable for rapid and spontaneous expression in painting.
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 2. Fresco (Frescoist) – This painting on a moist plaster surface with colors ground in
water or a lime water mixture. This must be done quickly because it is an exacting
medium. For the moment the paint is applied to the surface, it becomes a part of the
wall.

Kinds of Fresco
1. Buon Fresco (true Fresco) – watercolor paints are applied to fresh plaster. The
technique consists of painting in pigment mixed with water on a thin layer of wet,
fresh, lime mortar or plaster.
➢ Intonaco is an Italian word for plaster, a binder is not required as the pigment
mixed solely with the water sink into the Intonaco in which becomes itself the
medium holding the pigment.
Isaac Master - first painter to use this technique in the Upper Basilica of St.
Francis of Assisi.
2. Fresco secco (secco in Italian means “Dry”) – the paint is applied in dry plaster and
it requires a binding material like gum.
3. Mezzo Fresco – nearly dry intonaco because the pigment only penetrates slightly
into the plaster. By the end of 16th this had largely displaced buon fresco and was
used by Gian Battista Tiepolo.
3. Pastel - this is a stick dried paste made of pigments ground with chalk and
compounded with gum water. Its color is luminous and are very flexible medium. But it
never won a price because it is difficult to preserve the finished product in its original
freshness.
4. Tempera - are mineral pigments mixed with egg yolk or egg white and ore. It is used
as a binder due to its film forming properties and rapid dying rate. Painting is usually done
in wooden panel which must be very smooth together with a plaster (gesso). It is normally
applied in thin, semi-opaque or transparent layers. When dry, it produces a smooth matte
finish. This can’t be applied in thick layers as oil paints can.
5. Oil – pigments are mixed with linseed oil and applied to the canvas. A good quality of
oil painting is its flexibility and a distinct characteristic as compared to other media is, it
dries up slowly. Painting may be changed and worked over a long period of time. A
painter may modify or alter an original or a previously work done.
6. Acrylic – has a transparent and quick-drying characteristic and the flexibility of oil
combined. Acrylic paint is synthetic and water-based paint made from acrylic resins.
Paint is diluted with water or modified with acrylic gels or pastes and the mixture can
resemble a watercolor or oil painting. Its own unique characteristics is not attainable w/
other media.
7. Mosaic – is made of small pieces of inlaid colored stones or glasses called ‘tesserae’.
Cut into squares glued on a surface with plaster cement. Mosaic is usually classified as
painting though the medium is not strictly pigment. Mosaic art is a picture or decoration.
8. Stained glass – is made by combining many small pieces of colored glass held
together by bands of lead. It is a kind of patchwork. Stained glass as an artwork is common
in gothic cathedrals and churches as a means of religious instructions among Christians.
9. Encaustic (hot wax painting) – involves the use of heated beeswax added to colored
pigments. Metal tools and special brushes can be used to shape the paint before it cools,
heated metal tools can be used to manipulate the wax once it cooled onto the surface.
Today, heat lamps, heat guns and other methods of applying heat allow artist to work
longer. Wax is used as pigment binder. Encaustics can be sculpted and painted.

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 10. Mixed media – use more than one medium. Work of visual art that combines various
traditionally distinct visual art media—for example, a work on canvas can be combined with
paint, ink, and collage. Time should be considered since layers require enough drying time
to ensure final work attained its integrity.
Historical Development in Painting
1. Pre-historic times – earliest men living in cave painted animals on cave walls and
ceilings
covering the Aurignacian and Magdalenian periods. The Aurignacian art was seen
in the caves in southwestern France and in the Cantabrian mountains in northern
Spain. Magdalenian art was in Altamira Spain and in glacier rocks of Scandinavia.
Natural colors were used like red ocher, yellow ocher and lampblack.
2. Egyptian Paintings – were hung on tomb’s walls and pyramids depicting gods,
kings,
and men and women from all walks of life. It also includes a bird symbolizing the
soul of the dead.
3. Greek Paintings
Periods of Greek Art
1. Pre-Greek or formative stage –when painting flourished, the subject matter
was based on nature and the sea. The bull was a symbolic animal.
2. First Greek – a time when Greeks had extensive trading relations with the
Egyptians, so Egyptian paintings were apparent in Greek art.
3. Golden age (Age of Pericles) – achieved a complete mastery of anatomical,
technical and aesthetic aspects of life; the ideal body type must be poised,
healthy, strong but detached facial expression.
4. Hellenistic age – tragic mood and contorted faces replaced serenity of spirit;
nude women depicted; vase paintings popularized; reflected the conflict between
the use of formality and natural appearances.
4. Medieval times – church influence as a religious instruction to the believers to
strengthen the faith of the people.
Medieval times can be characterized in three periods
1. Early Christian Art - subject matter were symbolic like the crucifix, human
figure, Christ, the holy family.
2. Byzantine Art – was characterized by very strong linear emphasis and the use
of rigid artistic stereotypes with color ranging from light to dark.
3. Romanesque art - was the combination of classic, the byzantine and eastern
art characteristics.
5. Gothic painting - was a combination of the religious and the grotesque. Gothic
painting was a Germanic influenced. Ex. Madonna, the gargoyles and the annunciation
by Simon Martini
6. Renaissance - painters made changes to the medieval styles of painting.
1. Early Renaissance – painters considered simplicity, religious ardor and piety
with gestures and facial expressions. Cimabue and Giotto emphasize the human
qualities for their subjects.

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 2. High Renaissance – painters made more changes and able to introduce new
techniques. L. da Vinci - Chiaroscuro, Michelangelo – CONTRAPPOSTO is a
twist of the human anatomy and is considered an asymmetrical arrangement of
the human figure in which the line of the arms and shoulders contrasts with, while
balancing, those of the hips and legs. Leonardo da Vinci applied the techniques
of CHIAROSCURO or the application of light and dark, as well as SFUMATO or
the smoky effect which creates a sense of mystery. The application of
chiaroscuro enhances the shape of the figure.
7. Mannerism - characterized by spatial incongruity and excessive elongation of human
figures. Ex. The Slaughter of the innocents
8. Baroque – regarded as pariah or disorder and decadence because of its boldness
of execution, sweeping lines and strong contrast. Famous painters: Caravaggio and
Rembrandt (the death of the virgin, the return of the prodigal son).
9. Rococo – mainly used as interior decoration, furniture, porcelain and tapestry.
Kinds of Rococo
a. Sensual Rococo – expression of voluptuous forms.
b. Academic Rococo – caters on picturesque
c. Genre Rococo – presents the farm and country
10. Romantic Era – painters were influenced by Jean Jacques Rousseau to emphasize
on subjective individualism.
11. Barbizon Period - painters continued the tradition of painting about nature, rural
life particularly peasantry.
12. Modern Period - showed emergence of number of arts movements. They are the
ff:
a. Realism – emerged as a protest against established norms and the ever first
movement.
b. Impressionism – aimed to portray the effects of experience upon the consciousness
of the artist and the audience rather than the objective characteristics of the event.
This is characterized by loose brushwork to present nature in its reality and was
originated in France. Ex. ‘The card players’ of Paul Cezanne.
c. Expressionism – had used of violent of colors to express violent emotional content.
Characteristics: fear loneliness, poverty and suffering. This was originated in Germany.
Ex. “Scream’ by Edward Munch
d. Fauvism – regarded as ‘Les Fauves’ means wild beast since painters used pure and
contrasting color.
e. Dadaism ran contrary to the laws of beauty and social organization. It was based on
deliberate irrationality, anarchy and cynicism.
f. Surrealism – beneath the real. It explored the subconscious trying to search the
hidden motives and intended to analyze the suppressed desires, irrational acts and
dreams.
g. Abstract art – to take away and to summarize as in painting according to Doris van
de Bogart.
h. Cubism - presents fragmentation and the multiple images.
i. Postmodernism - characterizing art in the present times where there is subjectivism,
regional character, interest in social and political issues and their eclectic character.

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III. STYLES OF ART
1. CLASSICISM. Style of the ancient Greek and Roman art. The classical Greek order of
architecture are Doric, Ionic and Corinthian. The Romans added two: Tuscan and
Composite. In sculpture, it presents an idealist imitation and perfection of the human body.
The noted sculptors are Myron, Praxiteles and Polyclitus.
2. MEDIEVAL ART. Style developed during the medieval period. The subject is primarily
religious with flat projection. The church is the patron of art. Art forms art mosaic, stained glass
paintings, illuminated manuscript and calligraphy. Noted are the fresco paintings by Giotto de
Bondone.
3. RENAISSANCE ART. Style developed during the Renaissance period, what is said to be
the height of art in the Western world. It is the revival and development of ancient Greek and
Roman art. The subjects are religious and secular with triangular composition. There is the
application of perspective, chiaroscuro and sfumato. The noted artists are Sandro Botticelli,
John Van Eyck and the Florentine masters Leonardo, Donatello, Michelangelo and Raphael.
4. MANNERISM. Style that is an alternative to Renaissance art. Representations are stylized
with elongated figures, and usually religious subjects. The best representative of this style is
El Greco or Dominikos Theotokopulos.
5. BAROQUE. Style by the noted artists such as Rembrandt van Rijn, Peter Paul Reubens,
Giorgione Castelfranco and Jan Vermeer. The subjects are presented in highly realistic way,
with deep chiaroscuro, and a lot of curve lines to suggest motion.
6. NEOCLASSICISM. Style which is a revival of classical and Renaissance art. The subjects
are usually taken from Greek and Roman history and culture, presented in realistically with
deep chiaroscuro. Noted painters are Jacques Louise David and Jean Auguste Ingres, as well
as Juan Luna and Guillermo Tolentino in the Philippines.
7. IMPRESSIONISM. Considered to be the style that originates modern art. The subjects are
taken from ordinary, everyday life. The surface of the canvas is filled with bursting light of the
sun. It uses pale colors and blur outline to indicate movement and passage of time. The noted
painters are Monet, Cezanne and Renoir.
8. EXPRESSIONISM. Style which asserts that art is the expression of the artist’s emotions.
The representations is unnatural, with symbolic use of colors. It uses a lot of curve lines to
suggest feeling, with heavy impasto paints. The noted representatives are Van Gogh, Gauguin
and Munch.
9. SURREALISM. Style which applies the belief that art is the revelation of the content of
artist’s subconscious mind, based on psychoanalysis. It emphasizes passion and imagination,
with subjects which are weird and dream-like presented in highly realistic way. Noted for this
style are Salvador Dali, Marc Chagall, Giorgio De Chirico and Rene Magritte, as well as the
Filipino Prudencio Lamarozza.
10. FAUVISM. Style of art that uses unnatural color for exciting visual effect. The name if from
a French term that means “beast”. The subjects are taken from everyday ordinary things. Most
noted for this style is Henry Matisse.
11. POINTILISM. Also called divisionism, this style uses points or dots as the main visual
element, basing it on the theory of visual mixing. The subjects are usually taken from everyday
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ordinary experiences that are structurally formal and visually representational. Its main
proponent is George Seurat.
12. ROMANTIC REALISM. Style in Philippine art that shows only aspects of beauty the beauty
of things, disregarding their ugliness. Its subjects are the exotic, idyllic rural sceneries and
people and their activities. The art is used for commercial and tourism purposes. The noted
painters are Fernando Amosolo and Fabian de la Rosa.
13. ART NOUVEAU. Style of painting whose main proponent is Alphonse Ma. Mucha. The
paintings look like poster used for advertisement, with linear composition and flat projection.
The subject are women in sensual postures.
14. CUBISM. The most successful and influential style in the 20th century, invented by Pablo
Picasso and George Braque. The subjects are presented in multi-view to suggest motion. They
are reduced to geometrical shapes and projected flatly on the surface. Noted proponents are
Fernand Legers, as well as Vicente Manansala, Mauro Malang Santos and Ang Kiokuk.
15. CONCRETISM. Also called De Stijl or Plastic Art, this style of painting is purely formal and
non-objective. It uses rectilinear shapes with primary colors, black straight lines and white
empty spaces. The main representative of this style is Piet Mondrian.
16. SUPREMATISM. Purely formal style of painting that is believed to be the highest evolution
of art when the painting finally becomes the reality because it is seen as what it is—a painting.
It represents subjectivity not objects, reducing the forms into their basic shapes and colors.
Proponent of this style is Kasimer Malevich.
17. DADAISM. Style which creates art by destroying art. Its purpose is to shock people. As a
movement, it seeks to annihilate the past histories and traditions to bring about a new social
order. It covers many fields, but is main proponent in the arts is Marcel Duchamp.
18. READY-MADE ART. Style which asserts that anything may be art. An ordinary object
becomes art if it is put in the context of art by the artist’s authority and power play in the
artworld. It is based on the Institutional Theory of the Art. Its best representative is Marcel
Duchamp, and Judy Sibayan in the Philippines.
19. POP ART. Style of art that takes images from popular culture such as commercial label
and mass product, comics and cartoons. Roy Lichtenstein and Andy Warhol are famous in
style of painting.
20. ABSTRACT EXPRESSIONISM. Style based on the Action Theory of Art. Purely non-
objective, it asserts sense of freedom in the act of painting. Noted for this style are Jackson
Pollock and William de Kooning, as well as Jose Joya in the Philippines.
21. COLOR FIELD PAINTING. Style that is a branch of action painting, and uses large masses
of colors on the canvass. Main proponents are Mark Rothko and Joseph Albers, as well as
Gus Albor in the Philippines.
22. OP ART. Purely formal style of art that creates optical illusion. The illusion itself becomes
the reality in art. The famous painters with this style are Bridget Riley and Victor Vassarely.
23. ENVIRONMENTAL ART OR EARTHWORK. Postmodern style of art which uses the
natural environment as its medium. Famous for this style are Christo Javacheff and Robert
Smithson
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24. INSTALLATION ART. Postmodern style that creates art through limitless number of
materials arranged in place. The exhibition space itself is transformed to become the work of
art. Main proponents are Tracy Emin and Damien Hirst, as well as Medio Cruz in the
Philippines.
References:
1. Caslib, B. N., Garing, D, and Casaul, J.A. (2018). Art Appreciation. Quezon City: Rex
Book Store, Inc.
2. Marquez, C.A. (2020). Art Appreciation. Bayombong, Nueva Vizcaya: Saint Mary’s
University Publishing House.
3. Douley, L., Faricy, A., and Rice, J. (1978). The Humanities. Sixth Edition, New York:
McGrawl-Hill Book Company.
4. Private Notes from the members of Pagpapahalaga sa Sining, NGEC Training for
Trainers, Ateneo de Davao, Davao City October 2016.

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