IVY ZANTUA

CLAY
Clay mineral, any of a group of important hydrous aluminum silicates with a layer
(sheetlike) structure and very small particle size. They may contain significant amounts
of iron, alkali metals, or alkaline earths.

History of clay

The term clay is generally applied to (1) a natural material with plastic properties, (2)
particles of very fine size, customarily those defined as particles smaller than two
micrometres (7.9 × 10−5 inch), and (3) very fine mineral fragments or particles
composed mostly of hydrous-layer silicates of aluminum, though occasionally containing
magnesium and iron. Although, in a broader sense, clay minerals can include virtually
any mineral of the above-cited particle size, the definition adapted here is restricted to
represent hydrous-layer silicates and some related short-range ordered
aluminosilicates, both of which occur either exclusively or frequently in very fine-size
grades.

Pottery is our oldest handicraft. In prehistoric times, most likely water was carried in
woven baskets lined with river clay. After the water was poured out of the container the
layer of clay dried. The loss of moisture caused the shape to shrink and separate from
the sides of the basket. When the clay, now shaped like a pot, was removed, and dried
in the sun on hot sand, it retained the basket pattern. Early men and women then
discovered that they could harden the molded pottery in hot ashes and make sturdy
containers to transport and store food. From these would have been extended the pots
formed by hand and decorated with crude tools.

From a very early date in history, some say at least 400 B. C., earthenware pottery was
produced on a mass scale by a potter's wheel in many parts of the world.

The Egyptians made kilns to place their clay pots in for firing. The kiln was lined with a
kind of insulation brick that was made from a mixture of straw and clay which had been
dried in the sun. Later, the ancient Egyptians used a finer clay with a high quartz
content for their delicate pottery. They rubbed the pieces with a smooth stone to give
the a dull sheen or coated them with a fine layer of another color of clay.
Further experimentation lead the Egyptians to coat their clay objects with a bluish-green
substance to make them non-porous. This was a glaze composed of quartz, soda, and
a mineral containing copper which when fired covered the clay bowls and vases with a
glass-like surface.

Egyptian pottery making illustration

Ancient Greek pottery

Ancient Greek vases are highly valued for form and decoration. The graceful lines an
perfect balance speak to our desire for beauty. The pottery was decorated with pictures
of the daily lives of the people and stories of their gods, goddesses and heroes. On the
red figure vases the background was painted black and the figures were left the natural
red color of the clay. The color was reversed on the black-figured vases

In medieval times sand was mixed with clay to make cooking pots strong enough to be
placed over an open fire. Today, for the same reason, casseroles used for baking are
made from clay mixed with grog which is a ground-up fired pottery. The openness of
grog clay allows water to evaporate more evenly as it dries and prevents cracking and
warping during the firing. Grog clay eases the problem of heat expansion which can
cause large thick pieces of pottery or sculpture to blow up in the kiln.

Where Clay Comes From

Clay comes from the ground, usually in areas where streams or rivers once flowed. It is
made from minerals, plant life, and animals—all the ingredients of soil. Over time, water
pressure breaks up the remains of flora, fauna, and minerals, pulverizing them into fine
particles. Larger particles are filtered out through rocks and sand, leaving silt to settle
into beds of clay. How far silt travels from its source and how pure the silt is determines
the type of clay it becomes.

Kinds of Clay

The three most common types of clay are earthenware, stoneware, and kaolin.
Earthenware, or common clay, contains many minerals, such as iron oxide (rust), and in
its raw state may contain some sand or small bits of rock. Earthenware is a secondary
clay that has been transported by moving water some distance, picking up minerals and
other materials before settling in a river bed. Because of its many impurities,
earthenware melts at a cooler temperature than other clays. Called a low-fire clay,
earthenware fires (or bakes) in a temperature range of 1700 to 2100°F (926–1150°C).
After firing, it is still porous and—unless glazed—is often white or gray. Earthenware is
commonly used in the making of terra cotta pots, roofing tiles, and other low-fire ware.

COLLAGE

GERALYN UBANA
COLOR
Color is the aspect of things that is caused by differing qualities of light being reflected
or emitted by them.

To see color, you have to have light. When light shines on an object some colors
bounce off the object and others are absorbed by it. Our eyes only see the colors that
are bounced off or reflected.

The sun’s rays contain all the colors of the rainbow mixed together. This mixture
is known as white light. When white light strikes a white crayon or marker barrel, it
appears white to us because it absorbs no color and reflects all color equally. A black
crayon or marker cap absorbs all colors equally and reflects none, so it looks black to
us. While artists consider black a color, scientists do not because black is the absence
of all color.

Color is the element of art that is produced when light, striking an object, is
reflected back to the eye: that's the objective definition. But in art design, color has a
slew of attributes which are primarily subjective. Those include characteristics such as
harmony — when two or more colors are brought together and produce a satisfying
effective response; and temperature — a blue is considered warm or cool depending on
whether it leans towards purple or green and a red whether it leans towards yellow or
blue.

Complementary color- are colors that are across from each other on the color
wheel. Violet and yellow are complementary, blue and orange are complimentary and
red and green are complementary.
Intermediate colors- there are six intermediate colors, red-orange, red-violet,
blue -violet, blue -green, yellow-green, yellow-orange. These colors are created by
mixing a secondary colors with a primary colors.
Warm colors- Warm colors express warmth: they are red, yellow and orange
Cool colors- cool colors have the feel of being cold or cool; they are blue, violet
and green.

GLENAMEL SANTILLAN
Drawing
What is Drawing?
  It is a form of visual arts referring mainly to an artist's use of line to make a
picture with the use of color, shading, and other elements in addition to line.
History of drawing

Early History

 Earliest known drawing date from 30,000 to 10,000B.C. is found on the wall
caves in France and Spain.
 Ancient Egyptians beginning about 3000 BC decorated their temples and tombs
with scens of daily life
Middle Age (400-1400)

 Drawing and painting merged in the illustration of Bibles and prayer books
produced by monks.
 Were used in the preparatory stages of work of art during this time.
Renaissance

 Drawing is more presice and control.

 A special love of drawing was born at this period and the production of drawing
also increased steadily.
 Drawing considered to be the foundation for work in all arts.
Baroque (1600’s)

 Livelier forms and by bolder use of materials which is chalk and pen where
become freer and more flowing.
 Washes of ink and watercolor were used.
Rococo (1700’s)

 Dominated by French taste and culture.

1800’s and 1900’s

 Many different styles are developed.

 Pencil is the most preferred drawing materials of many artists during this time.
 Artist continue to express themselves through drawing,justas our ancestors felt
the impluse to draw on their cave walls so many years ago.
Types of drawing
The different type of drawing range from more representational to more abstract. They
can be broken down into three different types: realistic, symbolic, and expressive modes
of drawing.  

Realistic drawing

 Capturing what we see with our eyes and representing the three-dimensional
world onto a two-dimensional surface using the elements of art such as line,
shape, color, value, texture, space, and form.
Symbolic Drawing

 "Symbolic drawing is about communication, expressing the self, and language

development.
 -Mona Brooke’s in her book “Drawing with Children”
 Symbolic drawings can still be recognizable as the object or event they represent
but in a simplified, more graphic form.
Expressive drawing

 Expressive drawing often communicate ideas and emotions that are not visible or
tangible.
 Expressive drawing may capture movements and energy, feelings, memories, or
even the spiritual realm.

JAIZEILL YAGO
MASKS
A mask is an object normally worn on the face, typically for protection, disguise,
performance, or entertainment. Masks have been used since antiquity for both
ceremonial and practical purposes, as well as in the performing arts and for
entertainment. They are usually worn on the face, although they may also be positioned
for effect elsewhere on the wearer's body.

This stone mask from the pre-ceramic neolithic period dates to 7000 BC and is probably
the oldest mask in the world (Musée "Bible et Terre Sainte")

Papierkrattler masks at the Narrensprung 2005 Carnival parade, Ravensburg, Germany

The word "mask" appeared in English in the 1530s, from Middle French masque
"covering to hide or guard the face", derived in turn from Italian maschera, from
Medieval Latin masca "mask, specter, nightmare"

The so-called 'Mask of Agamemnon', a 16th-century BC mask discovered by Heinrich

Schliemann in 1876 at Mycenae, Greece. National Archaeological Museum, Athens.

Replica of the funeral mask of K'inich Janaab' Pakal at the Museo Nacional de la
Máscara in Mexico

The oldest masks that have been discovered are 9,000 years old, being held by the
Musée "Bible et Terre Sainte" (Paris), and the Israel Museum (Jerusalem).

Throughout the world, masks are used for their expressive power as a feature of
masked performance - both ritually and in various theatre traditions. The ritual and
theatrical

Theatrical masks of Tragedy and Comedy. Mosaic, Roman mosaic, 2nd century AD.

Batak mask dance at a funeral feast in the Dutch East Indies, 1930s.

Ritual masks

Ritual masks occur throughout the world, and although they tend to share many
characteristics, highly distinctive forms have developed. The function of the masks may
be magical or religious; they may appear in rites of passage or as a make-up for a form
of theatre. Equally masks may disguise a penitent or preside over important
ceremonies; they may help mediate with spirits, or offer a protective role to the society
who utilise their powers.

Biologist Jeremy Griffith has suggested that ritual masks, as representations of the
human face, are extremely revealing of the two fundamental aspects of the human
psychological condition: firstly, the repression of a cooperative, instinctive self or soul;
and secondly, the extremely angry state of the unjustly condemned conscious thinking
egocentric intellect.

Masks in theatre/Theatrical

In many cultural traditions, the masked performer is a central concept and is highly
valued. In the western tradition, actors in Ancient Greek theatre wore masks, as they do
in traditional Japanese Noh drama. In some Greek masks, the wide and open mouth of
the mask contained a brass megaphone enabling the voice of the wearer to be
projected into the large auditoria.
 MERLINDA RODRIGO
MOBILE ART
PEOPLE ALSO ASK

What is a mobile in art?

At this point, "mobile" was synonymous with the term "kinetic art", describing sculptural
works in which motion is a defining property. While motor or crank-driven moving
sculptures may have initially prompted it, the word "mobile" later came to refer more
specifically to Calder's free-moving creations.

Who invented mobile art?

Alexander Calder

Alexander Calder, born 113 years ago today in 1898, may not have invented the baby
mobile, but his large sculptures, dubbed mobile art because of the use of moving parts
and wires, were the inspiration for the genre.

What are mobiles and Stabiles?

Stabiles and Mobiles. Mobiles and Stabiles are constructed from many different
materials. Metal is traditional, but wood, paper, and plastic are some of the other
materials employed. Stabiles and hanging mobiles were fisrt created by American artist,
Alexander Calder (1898 - 1976).

mobile (UK: /ˈmoʊbaɪl/,[1]US: /ˈmoʊbiːl/)[2] is a type of kinetic sculpture constructed to

take advantage of the principle of equilibrium. It consists of a number of rods, from
which weighted objects or further rods hang. The objects hanging from the rods balance
each other, so that the rods remain more or less horizontal. Each rod hangs from only
one string, which gives it freedom to rotate about the string. An ensemble of these
balanced parts hang freely in space, by design without coming into contact with each
other.

Mobiles are popular in the nursery, where they hang over cribs to give infants
entertainment and visual stimulation. Mobiles have inspired many composers, including
Morton Feldman and Earle Brown who were inspired by Alexander Calder's mobiles to
create mobile-like indeterminate pieces.[3] John Cage wrote the music for the short film
Works of Calder that focused on Calder's mobiles. Frank Zappa also claimed that his
compositions were modelled on Calder mobiles.[4]
Origin

Edit

The meaning of the term "mobile" as applied to sculpture has evolved since it was first
suggested by Marcel Duchamp in 1931 to describe the early, mechanized creations of
Alexander Calder.[5] At this point, "mobile" was synonymous with the term "kinetic art",
describing sculptural works in which motion is a defining property. While motor or crank-
driven moving sculptures may have initially prompted it, the word "mobile" later came to
refer more specifically to Calder's free-moving creations. Influenced by the abstract
work of Piet Mondrian, Joan Miró and Sophie Taeuber-Arp, Calder in many respects
invented an art form where objects (typically brightly coloured, abstract shapes
fashioned from sheet metal) are connected by wire much like a balance scale. By the
sequential attachment of additional objects, the final creation consists of many balanced
parts joined by lengths of wire whose individual elements are capable of moving
independently or as a whole when prompted by air movement or direct contact. Thus,
"mobile" has become a more well-defined term with its origin in the many such hanging
constructs Calder produced in a prolific manner between the 1930s and his death in
1976.

IBITA
Mosaic Art
The history of mosaic art - Mosaics in the ancient world

 The history of mosaic goes back some 4,000 years or more, with the use of
terracotta cones pushed point-first into a background to give decoration.
 By the eighth century BC, there were pebble pavements, using different coloured
stones to create patterns, although these tended to be unstructured decoration. It
was the Greeks, in the four centuries BC, who raised the pebble technique to an
art form, with precise geometric patterns and detailed scenes of people and
animals.
Byzantine mosaics

 With the rise of the Byzantine Empire from the 5th century onwards, centred on
Byzantium (now Istanbul, Turkey), the art form took on new characteristics.
These included Eastern influences in style and the use of special glass tesserae
called smalti, manufactured in northern Italy. These were made from thick sheets
of coloured glass. Smalti have a rough surface and contain tiny air bubbles. They
are sometimes backed with reflective silver or gold leaf.
In the 5th century, the city of Ravenna became known as the city of mosaics.  The best
known building in the city is the mausoleum of Theodoric, a king of Byzantium.  

Islamic mosaic art

 In the west of Europe, the Moors brought Islamic mosaic and tile art into the
Iberian peninsula in the 8th century, while elsewhere in the Muslim world, stone,
glass and ceramic were all used in mosaics. In contrast to the figurative
representations in Byzantine art, Islamic motifs are mainly geometric and
mathematical. Examples can be seen in Spain at the Great Mosque at Cordoba
and the Alhambra Palace. In Arabic countries a distinctive decorative style called
zillij uses purpose-made ceramic shapes that are further worked by hand to allow
them to tessellate (fit together perfectly to cover a surface).
 A Collage is a picture made by sticking other pictures onto surface.
 Mosaic is a piece of artwork created by placing colored squares in a pattern so
as to create a picture. It is made from assembling of small pieces of colored
glass stones or other materials. Often used in decorative art or as interior.
Types of MOSAIC:

 Classical Mosaic Art- Anything that is made the old fashioned way takes longer,
and that includes mosaic art. Classical mosaic art is made on commission basis
using such stone as granite and marble.
 Pebble Mosaic Art- Rustic Look, type of art that is faster to create but costly type.
 Hand- Cut Mosaic Art- It is time consuming form of mosaic art but faster than the
classical method. Usually done with ceramic and glass style.
 Industrial Mosaic Art- Fastest and least expensive type of mosaic art. With the
use of tiles which are arranged into simple types of pattern with various effect.
 Custom Ceramic Inserts- combination of other types of mosaic art for something
truly unique.
Mosaic Art in Elementary Level:

1. Eggshell Mosaic
2. Paper Mosaic
3. Seed Mosaic
 ZABALA
MURAL
WHAT IS MURAL ?

The word mural originates from the Latin word “murus”, meaning “wall”.

Today, we can define murals as any piece of artwork painted or applied directly onto a
wall, ceiling or other larger permanent surfaces, flat, concave or convex, to be precise.

History 

 Murals have been around as long as people, as a form of valuable testimony of

life from the prehistoric time to today. From the cave paintings to the street art
murals of today, people have been leaving signs of their own existence in many
places around the world.
 Over the course of time, murals have covered the interiors and exteriors of many
public buildings, such as palaces, temples, tombs, museums, libraries, churches
and the houses of rich art patrons, spreading onto the streets and architectural
elements more recently, all the while keeping their initial meaning and
purpose: to paint a picture of society, created from stories, values, dreams,
change.
 A favorite technique of many artists, including masters like Leonardo Da
Vinci and Michelangelo Buonarroti, the art of muralism flourished during the
1920s, after the Mexican revolution.
 Through the large paintings of “the great three”: Diego Rivera, José Clemente
Orozco and David Alfaro Siqueiros, murals became the most important form of
expression, often the subject of controversy and always a symbol of solidarity,
freedom and hope. 
 Today, in many places around the world and mostly in South America, mural art
is used to speak in the name of and depict communities, nations and cultures.
 At the same time, murals represent an aesthetic element which helps them
integrate into their environments and turns them into true cultural artifacts and
even monumental works. 
 Murals are also created with other purposes, such as advertising or simply for
the sake of a beautiful image on a wall.
EXAMPLE OF MURAL PAINTING.

 “FRESCOES ON THE CEILING OF THE SISTINE CHAPEL” BY:

MICHELANGELO
  “ KATIPUNAN” BY:BONTONG FRANCISCO
 “GUERNICA” BY: PABLO PICASSO
 “THE LAST SUPPER” BY: LEONARDO DA VINCI
 “THE LAST SUPPER” BY: LEONARDO DA VINCI
 “PROMETHEUS” BY: JOSE CLEMENTE OROZCO
 “THE NEW DEMOCRACY” BY: DAVID ALFARO SIQUEIROS

DECORATION
 In some cases mural painting assumes a decorative function.
CATECHISM
 The mural painting inside the churches constituted a privileged vehicle of
communication with the believers and of catechesis. In times when illiteracy
dominated, mural painting assumed the function of transmitting biblical episodes
and the life of the saints. It was also a way of lending grandeur to the interiors of
the churches.
  Cathedral of Saint Climent del Taull in Catalonia.
REPLACEMENT
 Mural painting requires relatively low media and materials, and the execution
techniques are cheaper than other types of decorative techniques.
 It was thus widely used as a decorative form of substitution, for example, in the
case of faux marble that we can find widely in Portuguese architecture.
 In Churches
 Such is the case of the Church of St. Louis of the French, in Lisbon.
PROTEST
 Contemporary mural painting has Graffiti as its most striking example,  in the
form of political protest. At this moment it assumes the expression of art having
the artist Bansky as one of the most respected names.
 Mona Lisa – Bazooka, Bansky

HABLA
PAINTING
Painting is the art of creating pictures by applying color to a surface. Paintings
can record events; capture a likeness of a person, place, or object; tell stories; decorate
walls; and illustrate texts. Paintings can express emotions and ideas, or simply be
enjoyed for their beauty.
7 Major Painting Styles
Realism
in which the subject of the painting looks much like the real thing rather than being
stylized or abstracted, is the style many people think of as "true art." Only when
examined close up do what appear to be solid colors reveal themselves as a series of
brushstrokes of many colors and values.
Painterly
• As its name suggests, the emphasis is on the act of painting: the character of the
brushwork and pigments themselves. Artists working in this style don't try to hide
 what was used to create the painting by smoothing out texture or marks left in the
paint by a brush or other tool, such as a palette knife. The paintings of Henri
Matisse are excellent examples of this style.
Impressionism
• emerged in the 1880s in Europe, where artists such as Claude Monet sought to
capture light, not through the detail of realism, but with gesture and illusion. You
don't need to get too close to Monet's water lilies or Vincent Van Gogh's
sunflowers to see the bold strokes of color, however, there's no doubt what
you're looking at.
EXPRESSIONISM AND FAUVISM
• The two styles differ in some ways. Expressionists, including Edvard Munch,
sought to convey the grotesque and horror in everyday life, often with hyper-
stylized brushwork and horrific images, such as he used to great effect in his
painting "The Scream." 
• Fauvism was a style of painting in the early 1900s that emphasized bright,
expressive color, ordinary subject matter, and simplified forms. The term, fauve,
actually means "wild beast" in French.
Abstraction
• is about painting the essence of a subject as the artist interprets it, rather than
the visible details. A painter may reduce the subject to its dominant colors,
shapes, or patterns, as Pablo Picasso did with his famous mural of three
musicians. The performers, all sharp lines and angles, don't look the least bit
real, yet there's no doubt who they are.
ABSTRACT
• The subject or point of the painting is the colors used, the textures in the artwork,
and the materials employed to create it.
• Other abstract artists, such as Mark Rothko, simplified their subject to colors
themselves. Color-field works like his 1961 masterwork "Orange, Red, and
Yellow" are just that: three blocks of pigment in which you can lose yourself.
PHOTOREALISM
• Photorealism developed in the late 1960s and '70s in reaction to Abstract
Expressionism, which had dominated art since the 1940s. This style often seems
more real than reality, where no detail is left out and no flaw is insignificant.
• Types of Painting Techniques
• Oil painting
• Watercolor painting
• Pastel painting
• Acrylic painting
• Digital painting
• Ink wash Painting or Literati painting - Chinese black ink
• Hot wax painting or Encaustic painting
• Spray Painting
• Fresco secco paintings - wall painting technique
• Gouache - opaque watercolor medium
• Enamel paintings
• Tempera paintings (are very long lasting)
 • Sand Painting
OIL PAINTING
• This slow drying medium is made from color pigments suspended in oil. Due to
its long drying time artist can take their time producing work.
Graffiti Art
• Graffiti art is mostly done on public buildings with/without permissions. Graffiti is
not meant to be understood by the general public, it's a style of writing or
drawing/scribbling which has no absolute meaning .The first graffiti artist was a
highschool student in 1967, who used to write on walls to get his lady love's
attention. Graffiti became a full fledged known painting technique in 1980, were
many artists resorted to public walls to showcase their talent.
Digital painting
• Digital painting is the art of creating artwork on a computer, which makes it
resemble a watercolor painting, oil painting or even an acrylic painting. A digitally
prepared oil painting and manually done oil painting will have plenty of
differences, since you have access to plenty of other textures and instruments
which are easily available on the system. Yes, you don't have to worry about
paint spills a standing for long hours. You can do the same art in a relaxed
manner, at the comfort of your homes.
WATER COLOR
• TYPICAL PAINTED ON PAPER, WATER COLORS ARE MADE FROM
PIGMENTS SUSPENDED IN A WATER-BASED SOLUTION. KNOWN FOR THE
TRANSPARENT LAYERS THYEY CREATE, PAINT REMAINS SOLUBLE EVEN
WHEN DRY.
Sand painting
• Painting on sand can be quite messy and it's a temporary art. The sand painting
can be captured on video using speed motion, to understand how the artist works
on them. It's normally done with minimal light, but has a focus light under the
table where the sand painting is being created. Sand painting is created using
coloured sands, which is moved around on a fixed surface using hands. It is
practised in many countries and is known by several names, in India it's known
as kolam or rangoli.

MAGO
PAPER
 Paper
 A thin, flat material made from crushed wood or cloth, used for writing, printing,
or drawing.
Cai Lun
 Cai Lun, Wade-Giles romanization  Ts’ai Lun, courtesy name (zi) Jingzhong,
Chinese court official who is traditionally credited with the invention of paper.
 About the year 105 Cai conceived the idea of forming sheets of paper from the
macerated bark of trees, hemp waste, old rags, and fishnets. The paper thus
obtained was found to be superior in writing quality to cloth made of pure silk (the
principal writing surface of the time), as well as being much less expensive to
produce and having more abundant sources.
  Cai reported his discovery to the emperor, who commended him for it. Important
improvements were subsequently made to Cai’s papermaking process by his
apprentice, Zuo Bo, and the process was rapidly adopted throughout China, from
which it eventually spread to the rest of the world. Cai himself was named a
marquess in 114.
How is paper made?
 Paper is made from the raw material called Pulp. Cotton and other fibers are also
used to create paper. Most paper today is produced from wood pulp.
Pulp (non wood)
 Some pulp consists of vegetable (cellulose) fibers with various additives to
control the physical characteristics, printability and esthetics of the finished
product.
 The choice of fiber was important.
 High-quality papers (some still being made by hand) utilized cotton, linen, or
hemp fibers, all of which were high strength yielding and very durable materials.
These raw materials gave strength and stiffness.

 Straw, bamboo, and esparto grass are other materials used to produce fibers,
some of which, due to their shape and lack of flexibility, yielded a weaker paper
but one with even texture, softness, elasticity, good opacity, and bulk.
 Quality book papers were usually made from esparto, but this is replaced by the
bulky hardwood, eucalyptus.
Wood Pulp
 Most paper today (more than 90%) is now made from wood pulp, largely from
softwood coniferous trees such as spruce or pine.
 Mechanical wood pulp: grinding logs under a stream of water. A cheaper way
that produces low quality paper such as newsprint
 Chemical wood pulp: chemicals cook and separate wood fibers making it higher
quality
Here are the cool things you can do with your Scouts with just some paper (or card).
 AIRPLANE
 PAPER FAN
 BOOK MARKS
 PAPER CAP
 PUPPETS
 LANTERNS

QUIBRAL
PRINT MAKING
WHAT IS PRINTMAKING?

- A FORM OF ART THAT INVOLVES TRANSFERRING INK TO PAPER

- THE PROCESS IS CAPABLE OF MAKING MULTIPLE COPIES OF THE SAME

ARTWORK
- EACH INDIVIDUAL COPY IS CALLED A "PRINT" OR AN "IMPRESSION."

- THE SET OF PRINTS IS CALLED "AN EDITION."

- A SIGNED AND NUMBERED SET OF PRINTS IS CALLED "A LIMITED EDITION."

A BRIEF HISTORY OF PRINTMAKING

 PRINTMAKING ORIGINATED IN CHINA AROUND 105 C.E

 DURING THE GOTHIC AND RENAISSANCE PERIODS OF ART, RELIEF
PRINTING BECAME VERY POPULAR IN EUROPE.
HOW ARE PRINTS MADE?

 PRINTS ARE MADE FROM A "MATRIX" (ALSO KNOWS AS A ("MAT") WHICH

CAN BE MADE FROM MANY DIFFERENT MATERIALS.
 PRINTS ARE MADE BY TRANSFERRING INK FROM THE MATRIX TO.
PAPER OR ANOTHER MATERIAL.
TYPES OF PRINTMAKING

THERE ARE 3 BASIC CATEGORIES OF PRINTMAKING:

 RELIEF - INK IS APPLIED TO THE SURFACE OF THE MATRIX.

 NTAGLIO - INK IS APPLIED BENEATH THE SURFACE OF THE MATRIX
 STENCIL- INK IS PRESSED THROUGH A PREPARED SCREEN AND MORE!!
Relief Printing

• Making prints by creating a raised design on a flat surface where ink is pressed
onto paper.
Intaglio

• Printing the areas where ink is in the crevices, by wiping away the top layer.
Stencil

 produces an image or pattern by applying pigment 

 to a surface over an intermediate object with designed gaps in it which create the
pattern or image by only allowing the pigment to reach some parts of the surface.
Collagraph

• A print made from an image that was built up using objects or materials.
Screen Print

• Forcing ink through a stencil made on woven mesh.

MonoPrint

• A print pulled in an edition of one. It is a one of a kind and cannot be recreated

Lithography

• The printing is from a stone (lithographic limestone) or a metal plate with a

smooth surface. ... Lithography can be used to print text or artwork onto paper
or other suitable material.
Etching

• printing. Etching, a method of making prints from a metal plate, usually copper,

into which the design has been incised by acid. The copperplate is first coated
with an acid-resistant substance, called the etching ground, through which the
design is drawn with a sharp tool.

Puppets
 Puppets are artificial figures whose movements are controlled by a person.
 They are inanimate objects that are manipulated so as to appear to be moving or
A puppet is a manipulative doll dressed as a character and the performer is a
person termed as puppeteer.
 A good puppeteer has to blend his arts with dramatization to produce the
desired effects.
PURPOSE:

It develops:

 Effective listening and looking skills

 Improve group cooperation.
 Enhances feelings of security and confidence
 Maintains self-control
 Understand the subject content.
 Developmental learning in language and in the fine arts
 Creative ability
 Self expression.
TYPES OF THE PUPPETS

 Hand puppets
 Finger puppets
 Shadow puppets
 Marinettes or string puppets
HAND PUPPETS

 They can be stiff ,made from a hard plastic or may be more often flexible, made
from fabric with some stuffing and attached decorations for eyes, nose and so
on.
 The simple hand puppets are those with few or no moving parts.
 A sock puppet is a particular simple type of hand puppet made of sock and the
glove puppet is slightly complex with an internal division for fingers
 The mouth may be a mere decoration that doesnot open and close or the thumb
may enter a seprate pocket from the rest of the fabric and so simulate a
mandible, fingers. allowing the puppet to talk
FINGER PUPPET:

 Finger puppets are simple puppets those are which are not hand puppets as
 they are used only on a finger.
 These are round balls painted as heads with overflowing colourful costumes,
which they are worn over fingers, which control their movements these are
operated below the stage
SHADOW PUPPETS:

 These are a special type of flat pictures in which the shadow is seen through a
translucent screen
 They may be cut from leather or some other opaque material as in the traditional
theatres of Java,Bali,and Thailand,in the so called ombres chinoises (French
literally" chinese shadow") of 18th centuary.

MARIONETTES OR STRING

PUPPETS

 These are full length figures controlled from above.

 Normally they are moved by strings or more often threads,.leading from the limbs
to a control held by the manipulator
 Movement is imparted to a large extent by tilting the control,but individual strings
are plucked when a decided movement is required.
A simple marionette may have nine strings-

 one to each leg,

 one to each hand,
 one to each shoulder,
 one to each ear(for head movements) and
 one to the base of spine(for bowing)
 NAESA
STITCHERY ART
STITCHES

It is a single turn or loop of thread or yarn, it is the fundamental elements of

sewing, embroidery, crochet and needle lace-making whether by hand or machine.

TOOLS

THREAD/YARN HOOP

NEEDLE FABRIC

BASIC TYPES OF STITCHES

1. Running Stitch- it is the basic stitch in hand-sewing and embroidery. The stitch
is worked by passing the needle in and out of the fabric.
2. Back Stitch- are a class of embroidery and sewing stitches in which individual
stitches are made backward to the general direction of sewing.

3. Blanket Stitch- is a stitch used to reinforce the edge of thick materials. It may
also be called a "cable stitch" or a "crochet stitch".

4. Cross Stitch- is a form of sewing and a popular form of counted-thread

embroidery in which X-shaped stitches in a tiled, raster-like pattern are used to form a
picture.

5. Top Stitch- is a sewing technique where the line of stitching is designed to be

seen from the outside of the garment, either decorative or functional.

6. Chain Stitch- is a sewing and embroidery technique in which a series of looped

stitches form a chain-like pattern.

7. Whip Stitch- a simple embroidery or hand sewing stitch in which the needle is

passed in and out of the fabric in a series of stitches that circle an edge of the fabric.

8. Catch Stitch- a large cross-stitch of uneven proportions used especially on bulky

materials for finishing and hemming.
 9. Zigzag Stitch-  It is a back-and-forth stitch used where a straight stitch will not
suffice

10. Stem Stitch- is one of the most common and basic embroidery stitches.
This stitch creates a thin line and can be used to outline embroidered shapes.

USES OF STITCHES

EMBROIDERY

is the art or handicraft of decorating fabric or other materials with needle and
thread or yarn.

CROCHET

is a process of creating fabric by interlocking loops of yarn, thread, or strands of

other materials using a crochet hook.

SEWING

is the craft of fastening or attaching objects using stitches made with a needle
and thread. Sewing is one of the oldest of the textile arts.

3D ART
3D ARTis perceived to have height, width and depth, and having these three makes it a
form; meaning all 3D arts have form. It is not flat like paintings, drawings and
photographs.

HISTORY

• The early interest in 3-D can be seen even in the caves that were home to
primitive Upper Paleolithic Europeans. These hunter-gatherers painted stick-
figure hunters and their abstract images of prey on cave walls.
• In the Byzantine Period and Middle Ages, most western art reverted to flat
images with little or no perspective. 
• Art became more colorful and secular in the 11 th and 12th centuries, but the
depiction of depth remained minimal.
• The Renaissance artists became more and more interested in providing a
humanistic experience in their artwork by developing new tools and vocabularies
for these improvements.
• The progression of art from Byzantine to 3-D now makes walls of the chapel a
textbook of perspective.
• By the 19th century, realism was thoroughly entrenched in European art. Painters
worked to bring the details of life to the canvas, but the appeal of realism.

Kurt Wenner is a Master Artist and Master Architect famous for

inventing three-dimensional pastel drawings. Also known as: 3D Street
Painting, 3D Pavement Art,3D Chalk Art, or 3D Sidewalk Art, they are a form of
Anamorphic Perspective.

ELEMENTS OF 3D ART

Space, Line, Plane, Mass, Shape, Texture, Value, Color

PRINCIPLES OF 3D ART

Harmony, Contrast, Rhythm, Emphasis, Balance, Proportion

USES OF 3D ART

Sculpture

Architecture

Drawing

Painting

Murals

IAN LANDICHO

WEAVING HISTORY

• Weaving is acknowledged as one of the oldest surviving crafts in the world. The
tradition of weaving traces back to Neolithic times – approximately 12,000 years
ago. Even before the actual process of weaving was discovered, the basic
principle of weaving was applied to interlace branches and twigs to create
fences, shelters and baskets for protection.
• Weaving is one of the primary methods of textile production and it involves
interlinking a set of vertical threads with a set of horizontal threads. The set of
vertical threads are known as wrap and the set of horizontal threads are known
as weft.

• Weaving can be done by hand or by using machines. Machines used for weaving
are called looms.
Loom originated from crude wooden frame and gradually transformed into the
modern sophisticated electronic weaving machine. Nowadays weaving has
become a mechanized process, though hand weaving is still in practice.

• 20,000 – 30,000 years ago early man developed the first string by twisting
together plant fibers. Preparing thin bundles of plant material and stretching them
out while twisting them together produced a fine string or thread.

• The ability to produce string and thread was the starting place for the
development of weaving, spinning, and sewing.

• Stone Age Man’s early experiments with string and thread lead to the first woven
textiles. Threads and strings of different sizes were knotted and laced together to
make many useful things.

• Finger weaving, lacing and knotting together of threads by hand, is still used
today by many weavers.

• During the Neolithic Era mankind developed great skill in weaving cloth. Every
household produced cloth for their own needs.

• Weaving cloth remained an activity associated with the family unit for thousands
of years.

• By the 11th century many of the weaving patterns used today had been invented.
Skilled weavers developed highly specialized cloth.

• During this time the task of weaving cloth began slowly to move away from the
family unit into specialized work places.
• Cloth weaving became a mechanized industry with the development of steam
and water powered looms during the Industrial Revolution (1760 – 1815). The
invention of the fly shuttle removed the need to have a weaver place the weft
thread into the warp by hand.

• John Kay of Bury, England, first discovered flying shuffle in 1733 which speeded
the process of weaving and the production was almost doubled. A fly shuttle is a
long, narrow canoe-shaped instrument, usually made of wood, which holds the
bobbin.

• The Jacquard Machine was developed in the early 1800s. This revolutionary
machine used a punch card mechanism to operate the loom and is credited as
the basis of modern computer science. A textile woven on a loom with a
Jacquard Machine can have very complicated patterns.

• The technological innovations in cloth production made during the Industrial

Revolution dramatically changed the role of the weaver. Large volumes of
inexpensive cloth were now readily available. Weaving had been changed to a
manufacturing industry. Textile workers were among the founders of the modern
labor movements.

• Today most of our textile needs are supplied by commercially woven cloth. A
large and complex cloth making industry uses automated machines to produce
our textiles.

• However, there are artisans making cloth on hand looms, in home studios or
small weaving businesses, who keep alive the skills and traditions of the early

weavers.

FORMULAS
 LARGO
The ART OF DISPLAY
 Artist Claes Oldenburg describes art as a technique of communication. “The image is the
most complete form of communicating,” he says.
 This is also an apt description of the practice of retail display. Visual images convey
information, mood and ideas to the customer. For new store owners and seasoned
veterans alike, visual merchandising is a vital component of retailing and one that must
be planned and updated continually to obtain the best results. You don’t need to be a
professional artist to understand how art works, though! Harnessing the power of art to
communicate creatively with customers begins with the basics.
 When you approach an art museum, most likely some type of kinetic sculpture is
positioned outside the entrance: a fountain that splashes and gurgles or a metal and fabric
pinwheel that springs to life with the barest breeze. The sculpture serves a definite
purpose: It builds awareness, energy and anticipation for what lies ahead. Movement,
color, sound and texture work together to prepare you for a new and exciting experience.
You can use this concept in your store by incorporating such kinetic elements outside
your business’s doorway. Add a flag, a wind chime, a fountain or another attention-
 getting piece to welcome customers with energy. Outdoor music is another great tool for
setting a mood.
 Once inside a museum, you sit on a bench or walk up and view paintings hung on the
wall in front of you. The optimum viewing point for most pieces of art is 6 feet to 10 feet
straight in front of the piece, either standing or sitting. This is similar but not identical to
the perspective for window displays. The caveat here is that people don’t see your
window displays straight-on: In a car, they whiz by at 35 miles per hour and glance over
at an angle, and on the sidewalk, they rarely turn 45 degrees to view a display. Most
pedestrians view window displays when approaching them, which is at a 25-degree angle.
So, angle your window display at 25 degrees, facing out to oncoming traffic. The
displays closest to your door should angle toward the doorway, thus leading customers
into your shop. Lighting window displays is as important as lighting a museum’s
paintings—visibility of the displays’ contents is your goal, even in the daytime.
 As you leave the museum, you might pass through the museum gallery, where you would
be invited to attend a lecture or a tour. In a retail store, the gallery translates to the cash-
wrap area. Here, you should provide your customers interactive opportunities before they
check out. Advertise upcoming events and sales. If you are having a garden party, make a
flier and stick it in the prongs of a lawn rake that stands in a potted plant. If your sale is
on coastal items, stand the fliers in a sand pail.
 Designing and building a display is like painting a still life—you must include a focal
point (your product), fixtures (whatever holds the product), props (accents that bring the
product to life) and various other design components. If this sounds overwhelming, be
assured that it isn’t. Study works of art in books, museums or online, and you will
discover how artists combine the basics with their own style to create varied looks,
themes and moods. You can do the same thing in your displays. Remember, you aren’t
just selling product—you’re selling your unique ideas and inspiration!
BASIC MATERIALS IN ART

Make your mark:

 crayons
 markers
 colored pencils
 oil pastels
 colored chalk
Paints:

• watercolors
• tempera paint
 • acrylic paint
Textiles:

• yarn
• craft felt
• fabric scraps
• thread
• embroidery floss
• muslin
• burlap
• wool felt
Three Dimensional:

 homemade dough
 air dry clay
 aluminum foil
 chenille stems
 toothpicks
 scrap wood
 craft/popsicle sticks
 wood shapes
 polymer clay
 clay
Papers:

 copy paper
 construction paper
 tag board/card stock
 wax paper
 colored tissue paper
 coffee filters
  paper towels
 clear contact paper
 freezer paper
 roll of white paper (i.e. butcher paper, wrapping paper)
 brown paper bags
 newspaper
 crepe paper
 bleeding tissue paper