MODULE 1 Week 5

Artist and Artisans
Subject and Content

(week 5)
Dr. Aurelio Mendoza Memorial Colleges

Art Appreciation Module for First Semester 2021-2022
Learning outcomes:
By the end of this lesson, you should be able to:
1. outline the history of the emergence of artists and artisans;
2. recognize and critically discuss the function of state

sponsorship in the field of arts and culture through the
National Anists Award and the Gawad sa Manliliikha ng
Bayan (GAMABA);
3. identify and define the different individuals and groups who take on varied roles in the world of
art and culture; and
4. classify the practices of artists in terms of form, medium, and technique.
LET’S GET STARTED!
The arts is one of the most significant ways in which we try to grapple with how the present unfolds. In
Robert Henri’s The Art Spirit (1923), he stated that “Art when really understood is the province of
every human being. It is simply a question of doing things, anything, well. It is not an outside, extra

thing. When the artist is alive in any person, whatever his kind of work may be, he becomes an
inventive, searching, daring, self-expressing creature. He becomes interesting to other people. He
disturbs, upsets, enlightens, and he opens ways for a better understanding. Where those who are
not artists are trying to close the book he opens it, shows there are more pages possible.”
 There is a gap when one continues to persist with the idea that art is something that is detached
from the every day. In what has been reduced to a blur, it became more integral that man pursues
a better understanding of the world where he lives.
 One of the avenues that makes this both possible and exciting is the engagement with art and
culture.
Let's Get Down to Business
In Peter Drucker’s seminal book Post-Capitalist Society (1993), he stated that “the real controlling
resource and the absolutely decisive factor of production is neither capital not land nor labor. It is
knowledge. Instead of capitalists and proletarians, the classes of the post capitalist society are the
knowledge workers and the service workers.”
 Arguably, one type of knowledge that fuels the twenty-first century is creativity. This is evident
in the recognition that professionals in the creative sector are integral drivers and movers in
society and an integral segment of this sector are artists. But who are they?
 Artists have treaded a long history. Their roots can likewise be traced in one of the major
milestones in human civilization. In the first episode of the video series “New Ways of Seeing,” a
project by The New York Times’ T Brand Studio and jewelry giant Tiffany & Co., art critic
Jerry Saltz (2016) underscored the significance of not only the discovery of the cave paintings,
but also the paintings themselves.
 He asserted that “these first artists invented a way to get the three-dimensional world into
two dimensions and attach value to their own ideas. And all of the history of art flows forth
from this invention.” He is apparently referring to the drawings and painted images of animals,
hunting scenes, and a variety of symbolic figures created during the Stone Age.
 Examples of these are scattered all around the world, from France, Spain, Namibia, Australia,
and Argentina to name a few. Of course, these works were not yet subsumed in the highly
systematized art world, let alone considered as “art.”
Out of the shadows of these caves, astounding headway was seen moving down history from Bronze
Age down to the Middle Ages in terms of how man continued to utilize his surroundings to create
varying expressions of his ideas and feelings. Through the exploration of his immediate environs,
trade, and other experimentations, new modes, media, and techniques brought to light a wide array
of artworks that instantiate the wealth that can be done when the artist’s vision is tapped,
harnessed, and realized. But the most integral development that allowed this identity of an “artist”
to fully emerge is the systematization and sophistication that his world—the art world has become.
 Artists even created places and spaces where communities may gather. There are numerous
monuments and memorials that are plotted over the world such as the infamous Vietnam
Veterans Memorial in Washington DC. There are others like the cave paintings that have an aura
of mystery like the Pyramids of Giza, or have alluded comprehension like the Stonehenge.

The Artisan and the Guilds
Have you ever wondered why some examples of artistic and creative
production have survived to this day?
Museums are packed with numerous artifacts and interesting objects from all over the world that have
survived centuries for us all to see.
 Magnificent structures that are often appreciated not only for their historica; significance but
more so for their aesthetic characteristics that render them unique, become tourist destinations for
those who wish to explore and see the remarkable facade, interior, and even the minutest of
details up close. Perhaps what made the difference was the materials, medium, and the principles
behind the process of their creation.
 Another contributory factor is the emergence of technology and knowledge in managing and
conserving all of these objects and structures, enabling the retention of the integrity of the
artwork and the intention of the artist in terms of the design and overall aesthetic.
 Consider the Gothic cathedrals and other megastructures that were built all over Europe during
the Middle Ages. Craftsmen and builders in the past did not have sophisticated terminologies and
principles that architects and engineers abide by today. Yet, they fulfilled overlapping roles such
as the draftsman, architect, engineer, and even as the builder.

 What they had was a sense on how materials behaved, how the environment, light, and
weather patterns affected structures, and other more intuitive principles of creation.
Experimentation and luck must not also be forgotten. Gothic cathedrals along with other
structures inspired by -its architectural tenets have survived through time, not only by their
sheer durability, but more so through the articulation of the processes that they followed.
An example of this would be the Cologne Cathedral. In Germany, it is but one of the many
examples of early Gothic architecture. The account was that master mason Gerhard Ryle
started the project in 1248 but was only completed roughly 600 years later, claiming the
record as one of the longest construction projects to date.
What is meant here is a kind of formalization of craft education in which regulation was set in place.
Here, skills qualification was needed for an apprentice to
register under a particular craft guild. These guilds were
prevalent during the Middle Ages particularly during the
thirteenth to fifteenth century, where towns had formalized
groups of artisans or craftsmen who took on a particular
specialization or trade: shoemakers, textile and glass workers,
carpenters, Carvers, masons, armorers, and weapon-makers,
among others.
One example of a Spanish architecture that has been

documented is the Church of the Most Holy Trinity in Loay,
Bohol. Built in 1822, the ceiling paintings were rendered trompe
l'oeil style depicting biblical scenes. In 2003, it became a
National Historical Landmark. It was therefore unfortunate
that this church was one of those heavily damaged during the devastating earthquake that rattled
Bohol in 2013.

The only section of the structure that remained erected was the bell tower. Although it is but a fragment
of the real thing, the photos taken by Project Kisame were able to document the beauty of the ceiling
paintings prior to its destruction.
The Guild niche under the Four Crowned

Saints. (circa 1416)
The Artist and His Studio
Artists claiming authorship for their works by affixing their mark onto the surfaces of their paintings were
a big milestone in the history of the artist. Combined, these resulted in a wider variety of artworks, not
just in form, but more so in style and technique. The site that saw this shift was a very personal space for
the artist himself, which is the studio.
 Today, artist studios have been a place of interest for the public. It is interesting “ to see and
learn where creativity manifests itself, especially since an artist’s studio is an extension of the
artist himself. The studio model dates back from the Renaissance.
 Therein, artists flexed their relationship with their patron as a site where negotiations and works
were made. There were those whose work stations were segmented into two, the studio and the
bottega; the latter is where the work usually happened.
 Apprentices studied under masters, assisting with menial tasks or the preparation of the painting
surfaces. In the seventeenth century, these demarcations became lose, eventually merging
together. This was especially true with artists who explored oil painting techniques whose long
process can be described by cycles of mixing, layering, and drying of paint. This format remained
throughout the latter part of the 1800s.
Other Players in the World of Art
In Howard S. Becker’s Art Worlds (1982), he asserted that all artistic work, like all human activity,
involves the joint activity of a number, often a large number, of people.
 Through their cooperation, the artwork we eventually see or hear comes to be and continues to be.
The work always shows signs of that cooperation. The forms of cooperation may be ephemeral,
but often become more or less routine; producing patterns of collective activity we can call an art
world.
 The existence of art worlds, as well as the way their existence affects both the production and
consumption of artworks, suggests a sociological approach to the arts. It is not an approach that
produces aesthetic judgments; although that is a task many sociologists of art have set for
themselves.”
 But the task at hand is not to christen a specific group of people in the art world as its focus. What
must be recognized is that, as Becker contended, there are numerous people who either work in
consent or dissension, and in doing so, continuously (re)define, (in)validate, maintain (or
abolish), reproduce, and circulate the “cultural category of art, and to produce the consent of the
entire society in the legitimacy of the art world’s authority to do so” (Irvine, 2013). The terrain
where art is distributed is a global network comprised of individuals, groups, and institutions such
as schools, museums, galleries, art spaces, auction houses, and other commercial market
platforms, and professions. The last aspect-is very important because this implies that the art
world does not only rely on ideas, sentiments, and aesthetic values, but also on skills that are
professionalized, stratified, and more importantly, monetized.
 An example of a multi-level platform, where different players in what we call an art world can
engage, interact, and flex their art muscles, is the international art fair like the Art Basel in
Hong Kong. " .

Awards and Citations
 After an artist has spent considerable time in honing his skills, establishing the relevance of the
body of his works, and even gaining respect from his colleagues in the art world, he may be
considered or nominated for awards and citations.
 In history, support for the arts and culture is not limited to the allocation of funding or
patroonship. One of the most common measures in which artists and other creative producers are
given incentives and honor for their work is through state-initiated and given awards and
citations.
 The two major awards given to artists in the Philippines are the Orden ng Pambansang
Alagad ng Sining (Order of National Artists) and Gawad sa Manlilikha ng Bayan (National
Living Treasures Award).
The conferment of the Order of National Artists is the “highest national recognition given to Filipino
individuals who have made significant contributions to the development of Philippine arts; namely,
music, dance, theater, visual arts, literature, film, broadcast arts, and architecture and allied arts. The order
is jointly administered by the National Commission for Culture and the Arts (NCCA) and the Cultural
Center of the Philippines (CCP) and conferred by the President of the Philippines upon recommendation
by both institutions” (NCCA, 2015). The very first recipient of this award was painter Fernando
Amorsolo, who was touted as the “Grand Old Man of Philippine Art.” He was the sole awardee in the
year 1972, a National Artist for Visual Arts.
At present, there are 66 awardees of this prestigious honor across different art forms. Some of them
were given the award posthumously, while others were fortunate enough to receive the award themselves.
Some of the honors and privileges that a national artist awardee receives are the following:
 the rank and title, as proclaimed by the President of the Philippines;
 a medallion or insignia and a citation that will be read during the conferment;
 cash awards and a host of benefits (monthly life pension, medical, and hospitalization benefits,
life insurance coverage); (4) a state funeral and burial at the Libingan ng Mga Bayani (Heroes’
Cemetery); and (5) a place of honor or designated area during national state functions, along with
recognition or acknowledgment at cultural events. The most recent conferment was in 2016.
The Gawad sa Manlilikha ng Bayan or the National Living Treasures Award was created in 1992
under the Republic Act No. 7355. Also under the jurisdiction of the National Commission for Culture
and the Arts (NCCA), the NCCA (2015) “through the Gawad sa Manlilikha ng Bayan Committee and
an Ad Hoc Panel of Experts, conducts the search for the finest traditional artists of the land, adopts a
program that will ensure the transfer of their skills to others and undertakes measures to promote a
genuine appreciation of and instill pride among our people about the genius of the Manlilikha ng Bayan.”
It was first conferred to three outstanding artists in music and poetry back in 1993. They are Ginaw Bilog,
a master of the Ambahan poetry; Masino Intaray, a master of various traditional musical instruments of
the Palawan people; and Samaon Sulaiman, a master of the Kutyapi and other instruments.

The recipients of the GAMABA are sought under the qualification of a “Manlilikha ng Bayan” who is a
“citizen engaged in any traditional art uniquely Filipino whose distinctive skills have reached such a high
level of technical and artistic excellence and have been passed on to and widely practiced by the present
generation in his/ her community with the same degree of technical and artistic competence” (NCCA,
2015). This artists’ practice may fall under the following categories: folk, architecture, maritime transport,
weaving, carving, performing arts, literature, graphic and plastic arts, ornament, textile or fiber art,
pottery and other artistic expressions of traditional culture.

Some of the incentives accorded to the awardee are the following:
 a specially designed gold medallion;
 an initial grant of 100,000 and a 10,000 monthly stipend for life (this was later increased to
P14,000);
 benefits such as a maximum cumulative amount of 750,000 medical and hospitalization benefits;
and
 funeral assistance or tribute fit for a National Living Treasure.

ELEMENTS AND PRINCIPLES OF ART
Let's Get Down to Business Elements of Art: Visual
Taking off from the scientific reference, elements of art are akin to the atoms that are defined as the units
or “building blocks” of matter. Together, in a variety of combinations and formations, they have the
ability to create molecules such as water, or the more complex sucrose. These formulations are almost the
same with elements of art when they are joined together, in a variety of ways. In the same line of
reasoning, the elements of art are the aspects of an artwork that can be isolated from each other.

These elements of art are generally produced when something is done to the medium after the technique
is carried out. It must be underscored, however, that all works of art require all elements to be present.
Some art forms also necessitate some of the elements as they are inherent in the very nature of them. For
example, sculptures
automatically have the following elements with or without the decision of the artist to include them:
shape, form, and space. Without these elements, there is no sculpture to begin with. Elements are the
necessary preconditions for the creation of art.
To enumerate, the elements of art and design are the following: line, shape and form, space, color,
and texture.
1. Line
Aline refers to a point moving at an identifiable path—

it has length and direction. It also has width. It is one-
dimensional, however, it has the capacity to either
define the perimeters of the artwork (edges) and/or
become a substantial component of the composition.
Although a line is “simple,” it has variations in view
of its orientation/direction, shape, and thickness. These
Variations import not only the visual elements into the
artwork, but suggest meaning or message being
conveyed by the artist.
 Horizontal lines are normally associated with

rest or calm. Landscapes often contain these
elements as works like these often connote a
visual sense of being parallel to the ground. It also alludes to position of the reclined body at rest.
Vertical lines, on the other hand, connote elevation or height, which is usually taken to mean
exaltation or aspiration for action. Together, these lines communicate stability and firmness.
 Diagonal and crooked lines —

diagonal lines convey movement and
instability, although the progression
can be seen. Crooked or jagged lines,
on the other hand, are reminiscent of
violence, conflict, or struggle:
 Curved lines — these are lines that bend

or coil. They allude to softness: grace,
flexibility, or even sensuality.
One of the most important Spanish

artists is Francisco de Goya.
Known for his prints, he is a
master of etched works and use of
aquatint. He made use of this medium
to articulate his political views about
the ills of society, war scenes, and even
the dreamlike and grotesque while still

engaging with what was happening around him. As with most etchings and other types of prints, lines are
dominant visual components.
 Lines may not necessarily be explicit or literally shown.

 As what man examples will portray, implied lines may be just as powerful, if not more. "The Raft
of Medusa,” the position and orientation of the bodies that are aboard the raft are predominantly
diagonal in direction. This creates not only movement but also tension in the scene. Based on an
actual event, the painting depicts the 1816 wreckage of the French government ship called
Medusa.
2-3. Shape and Form
These two are related to each other in the sense that they define the space occupied by the object of art.
Shape refers to two dimensions: height and width, while form refers to three dimensions: height, width,
and depth. Even if shapes are part of a bigger picture, each can be identified by breaking the visual
components apart and making distinctions based on what we know and what we have seen. Two
categories can be used as a broad distinction:
 Geometric — these shapes find origin in mathematical propositions. As such, its translation
and use are often man-made. These include shapes such as squares, triangles, cubes, circles,
spheres, and cones, among others.

 Organic — Organic shapes are those readily
occurring in nature, often irregular and
asymmetrical. The design of the vase in
Figure 55 is foliage, a sample from a
series that made use of morning glories.
Shapes may also be implied. For

instance, Raphael's famous painting
"The Madonna of the Meadows"
depicts three figures: Mary, the young
Jesus (right), and the young John the
Baptist (left). The positions in which the
group takes allude to a triangular shape reinforced by the
garb of Mary.
4. Space
Related to shape and form is space. It is usually inferred
from a sense of depth, whether it is real or simulated. Real
space is three-dimensional. Like what has been previously
mentioned, sculptures are a perfect example of artworks
that bear this element.
 In the middle of the AT&T Plaza at the Millennium Park in the Loop Community area in
Chicago, the iconic "Cloud Gate" occupies a considerable space. Shaped like a bean, hence its

other referent, the public sculpture was unveiled in 2004. The dent in the middle offers a gap in
which people can pass through and gaze at the sculpture in a different perspective.
However, not all works are sculptures. In two-dimensional artworks, they may be implied.
 positive and negative space — usually identified with the white space is the
negative space. the positive space, on the other hand, is the space where shadow is heavily used.
 three-dimensional space — can be simulated through a variety of techniques such as
shading. an illusion of three-dimensionality can be achieved in a two-dimensional work.
5. Color
Color is perhaps one of the élements that enhances the appeal of an artwork. Its effect has range, allowing
the viewer to make responses based on memory, emotion, and instinct, among others. This element is a
propertyof light, as it is reflected off the object.
 Color is not intrinsic to an object and without light, one cannot perceive color. Much of what we
know about colors begins with the notion of a Color Theory that was first unraveled by the
experiments undertaken by Sir Isaac Newton in 1666. A ray of sunlight passing through a prism
reveals an array of colors akin to that of a rainbow. An upshot of this color theory is the creation
of a color wheel.

The color wheel corresponds to the first property of color, hue.
 Hue — this dimension of color gives its name. It can be subdivided into:
 Primary colors — red, yellow, and blue
 Secondary colors — green, orange, and violet
 Tertiary colors — six in total, these hues are achieved when primary and secondary colors are
mixed
 Value — this refers to the brightness or darkness of color. Often, this is used by artists to
create the illusion of depth and solidity, a particular mood, communicate a feeling, or in
establishing a scene (e.g., day and night).
 Light colors — taken as the source of light in the composition

 Dark colors — the lack or even absence of light
Each primary color has a range of values based on the addition and diminishing quantity and quality of
light.
 Tint — this is a lighter color than the normal value (e.g., pink for red)
 Shade — this is a darker color than the normal value (e.g., maroon for red)
 Intensity — this is the color’s brightness or dullness. It is identified as the strength of

color, whether it is vivid or muted. To achieve a specific intensity of a color, one may add either
gray or its complementary color.
 Bright or warm colors — positive energy

 Dull or cool colors — sedate/soothing, seriousness or calm
 To better understand intensity of color, color harmonies are to be considered. In interior design,
we often hear designers refer to color schemes—a guide for selecting not only wall paint but also
furniture and decor. However, color harmonies are also integral considerations not only for
pictorial arts but also for other art forms.
 Monochromatic harmonies- use the variations of a hue. An example is - Claud Monet's "Houses
of Parliament."

 Complementary harmonies — involve two colors opposite each other in the color wheel: Since
they are at contrary positions, the reaction is most intense

Notice the altar piece featuring Saint Anthony Abbot and Saint Roch along with them is Saint
Lucy, patron of the blind, whose red and green garb beautifully showcases an example of
complementary ‘harmonies.
 Analogous harmonies — make use of two colors beside each other in the color wheel.
 Other harmonies have emerged such as triadic harmonies, which make use of three colors from
equidistant sites within the color wheel.
This, however, does not mean that artists
will limit themselves to these kinds of
harmonies. These are but jump-off points
that artists and other creatives use.
 All in all, color presents a multitude of

possibilities that affects how works of art
are taken in by the viewer. Just taking a
look at fiery and passionate reds of the
clouds and the sky in Edvard Munch’s
"The Scream," would bring oneself to ask:
Did Munch depict a romantic sunset or a
warning of coming horrors? A clue is not in
the colors alone, but rather, in the face of
the man himself that is prominent in the
painting. His shriek would point to the
latter. What is illustrated is that colors and
imagery work together to deliver a
message, whether the one intended by the
artist, or what is facilitated by our own
experiences.
6. Texture
Like space, texture can be either real or implied. This element in an artwork is experienced through the
sense of touch (and sight). This element renders the art object tactile.

 Often, texture is commonly associated with textiles. In the portrait rendered by court painter
Frans Pourbus the Younger, Princess Margherita’s garb is adorned in opulent bead and stitch
work that are befitting her rank. This was achieved using the techniques employed by the artist in
creating the work.
 Textures in the two-dimensional plane — texture can be implied using one technique or a
combination of other elements of art. By creating this visual quality in the artwork, one can
imagine how the surface will feel if it was to be touched. Some of the words used to describe
texture are the following: rough or smooth, hard or soft, hairy, leathery, sharp or dull, etc. To be
able to simulate the texture of a surface in a flat, twodimensional plan is one important skill that
an artist must be familiar with, especially if his idea or concept necessitates it.
 Surface texture — refers to the texture of the three-dimensional art object.
Planes and Perspective
Some art forms work with actual spaces, such as sculptors, architects, and stage designers. However, with
pictorial art that is two-dimensional, notions of depth and hence perspective requires the implementation
of principles and techniques in creating an illusion that will fool the eye to three-dimensionality when in
reality there is none.
 Picture plane is the actual surface of the painting or drawing, where no illusion of a third
dimension exists. Here, the elements lay flat, as if one was looking through a window into what
lies on the other side of the glass.
 During the Renaissance, specifically in the fifteenth century, chiaroscuro was developed. It made
use of light and dark contrasts and tones in which paintings not only looked three-dimensional,
but also more dramatic. Aside from this technique, linear perspective changed the way pictorial
representation was done.
 Credited to Renaissance artists, its early proponents include Leon Battista Alberti, Paolo Uccello,
and architect Filippo Brunelleschi in the early fifteenth century, who were published in Alberti’s
On Painting in 1435.
Its use was based on the following observations:

a. As forms and objects recede, the smaller they become.
b. We were taught that parallel lines never meet. However, when they, too, seem to converge when they
recede into a distance, at a point, they both disappear. This point of disappearance is called the vanishing
point.
 An example often used to illustrate linear perspective is the railroad where tracks disappear off at
a distance.
 A viewpoint may also be construed as normal (view standing up), low (view from a lower angle),
or high (view looking down on a scene) depending on the position the viewer takes.

There are three types of perspective, grounded on the number of vanishing points used by the
artist:
a. One-point perspective — often used in

depicting roads, tracks, hallways, or rows of
trees; this type of perspective shows parallel
lines that seem to converge at a specific and
lone vanishing point, along the horizon line.
b. Two-point perspective — pertains to a

painting or drawing that makes use of two
vanishing points, which can be placed
anywhere along the horizon line. It is often
used in depicting structures such as houses
or buildings in the landscape that are
viewed from a specific corner.
c. Three-point perspective — in
this type of perspective, the viewer
is looking at a scene from above or
below. As the name suggests, it
makes use of the | three vanishing
points, each corresponding to each
axis of the scene.
Elements of Art:
Auditory
Together with literature, music as
an art form is classified as auditory
art. However, some would argue
that it is under the broad category
of performance art. Either way,
music, much like the visual arts,
has its own building blocks or
elements.
Some are adept with the skill and

sense to produce music, while
others consume it as listeners,
audiences, and even performers.
Different demographics, groups,

and individuals may have specific
preferences as to the genre of
music. However, in order to
establish this preference, listeners
often take to its elements for its
evaluation. Some of the common
elements of music are the
following: rhythm, dynamics,
melody, harmony, timbre, and
texture.
1. Rhythm
Often associated to the
terms beat, meter, and tempo, rhythm is the element of music that situates it in time. It is the pulse

of the music. Beat is the basic unit of music while tempo refers to its speed (beats/second). Beats
can be organized into a recognizable recurrent pattern, which is called the meter.
Classical terms are used to refer to the variations in tempo, some of

which are:
 Largo — slowly and broadly

 Andante — walking pace
 Moderato - at moderate speed
 Allegro — fast
 Vivace - lively
 Accelerando — gradually speeding up Rallentado — gradually slowing down
 Allargando — getting slower, broadening
 Rubato — literally “robbed time,” rhythm is played freely for expressive effect
2. Dynamics
The element of music that refers to the loudness or quietness of music is dynamics. Classical
terms are used to refer to the different levels pertaining to this: Pianissimo [pp] ~ very quiet
 Piano [p] — quiet
 Mezzo-piano [mp] — moderately quiet Mezzo-forte [mf] — moderately loud
 Forte [f] — loud
 Fortissimo [ff] — very loud
When composers indicate

an increase, or decrease
in loudness, they use the
terms crescendo for the
former; and decrescendo
or diminuendo for the
latter.
3. Melody
Melody refers to
the linear
presentation
(horizontal) of
pitch. By
horizontal, it
means that in
musical notation,
it is read in
succession from
left to right. Pitch
is the highness or
lowness of
musical sound.
4. Harmony
If melody is
horizontal,
harmony is
vertical. It arises
when pitches are
combined to form
chords. When
several notes are
simultaneously
played, this refers
to a chord.
Harmony can be
described in terms
of its “harshness”:
dissonance is the harsh-sounding combination while consonance is the smooth-sounding
combination. -
5. Timbre

Timbre is often likened to the color of music. It is a quality that distinguishes a voice or an
instrument from another. Dependent on the technique, the timbre may give a certain tone or
characteristic to music much like how a painter evokes different effects or impressions onto the
canvas.
6. Texture
The number of melodies, the type of layers, and their relatedness ina composition is the texture of
music. It may be:
 Monophonic — single melodic line
 Polyphonic — two or more melodic lines Homophonic — main melody accompanied by
chords
Akin to artworks whose style, medium, and technique emphasize some of the elements in visual arts, a
composition and genre of music may emphasize the elements of music previously outlined. Some elements
may even be de-emphasized or omitted altogether. Like what was mentioned, these elements may be
isolated from each other. However, as visual or musical compositions, the combination of these elements
in art is what we initially engage with.
Most often, elements do not only coexist in the artwork, but are fused together or overlap with each
other. In visual arts, most artworks have overlapping elements.
Principles of Art
These principles will provide explicit ways in which these elements are used, how they are manipulated,
how they interact, and how they inform the overall composition of the artwork to assist the artist in
conveying his intention. It is the principles of art that influence the effect achieved by the elements, and
the linkages of other principles. These principles are: balance, scale and proportion, emphasis and
contrast, unity and variety, harmony, movement, rhythm, and repetition and pattern.
1. Balance
This principle refers to the
distribution of the visual
elements in view of their
placement in relation to
each other.
There are three forms of
balance:
a. Symmetrical —
the elements used
on one side are
reflected to the
other. This offers
the most stable
visual sense to
any artwork.
b. Asymmetrical —
the elements are
not the same (or
of the same
weight) on each side, putting the
heaviness on one side.
c. Radial — there is a central point in
the composition, around which
elements and objects are distributed.

2. Scale and Proportion
Scale pertains to the size in relation to what is normal for the figure of object in question.
Sculptures of exaggerate scale are common all over the world as many artists - are taken by the whimsical
quality of these objects. One cannot help but smile upon seeing them in public spaces. In the Philippines,
Arturo Luz has created enormous sculptural versions of the paper clip. For a long time, it occupied a
prominent spot at the entrance of the Ayala Museum.
One of the most common cannons asserted relates to the proportion of the body. This varies from one
culture or tradition to another. For the Egyptian artists, the human form follows a square grid and is
informed by the palm of the hand as a unit of measure. To complete a standing human figure, 18 units
(squares) are needed from head to foot. On the other hand, Greeks held that numerical relationships—the
golden ratio—was the key to beauty or to perfection. In the golden ratio, the figure is divided into two
unequal segments wherein the smaller is the same ratio to the larger segment, and that the longer segment
is the same ratio in relation to the
whole. In figures, it can be valued at
1:1.618.
Leonardo da Vinci’s "Vitruvian

Man" is an exploration on the ideas of the
Roman architect Vitruvius, in which the
human body is an example of a
classical proportion in architecture. For
da Vinci, man’s body can be used to
better understand the symmetry that
exists in nature and the universe.
Proportion can be:

a. Natural — relates to the realistic size of the visual elements in the artwork, especially for
figurative artworks. When it is the accuracy in relation to the real world that the artist is
after, this is now referred to as the principle of scale.
b. Exaggerated — refers
to the unusual size
relations of visual
elements, deliberately
exaggerating the
immensity or
minuteness of an
object.
In relation to this, there are

notions in scale that
differentiate when an
element is smaller than
expected (diminutive),
and when something
appears to be larger
than what is presumed
(monumental).
c.
Idealized — most
common to those that
follow canons of
perfection, the size-
relations of elements
or objects, which
achieve the most
ideal size-relations.
3-4. Emphasis and
Contrast
 Emphasis allows the attention of the viewer to a focal point(s), accentuating or drawing attention
to these elements or objects. This can be done through the manipulation of the elements or
through the assistance of other principles, especially that of contrast.
 Contrast is the disparity between the elements that figure into the composition. One object may
be made stronger compared to other objects (hence, emphasis). This can be done in many ways
using the elements of art. For instance, space, specifically the use of negative and positive space,
is an example of contrast. Another example is the use of complementary colors in a work of art.

5-6. Unity and Variety
Unless intended to be otherwise, compositions are intended to imbue a sense of accord or completeness
from the artwork. This is unity.
Variety, on the other hand, is the principle that aims to retain the interest by allowing patches or areas that
both excite and allow the eye to rest.

7. Harmony
Like what is hinted above, unity and variety is related to the principle of harmony, in which the elements
or objects achieve a sense of flow and interconnectedness.
8. Movement
This refers to the direction of the viewing eye as it goes through the artwork, often guided by areas or
elements that are emphasized. These focal points can be lines, edges, shape, and color within the work of
art, among others.

9. Rhythm
This is created when an element is repeated, creating implied movement.
Variety of repetition helps invigorate rhythm as depicted in the artwork.
10-11. Repetition and Pattern
Lines, shapes, colors, and other elements may appear in an artwork in a recurring manner. This is called
repetition. In addition, the image created out of repetition is called pattern. With repetition, there is a
sense of predictability that is conveyed, which in turn imbues the feelings of security and calmness.
GENERALIZATION
MAKE A RECAP OF YOUR LESSON FOR THE MIDTERM EXAMINATION!

GOODLUCK AND GODBLESS!


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Artist and Artisans

Subject and Content

Dr. Aurelio Mendoza Memorial Colleges

By the end of this lesson, you should be able to:

1. outline the history of the emergence of artists and artisans;

2. recognize and critically discuss the function of state

4. classify the practices of artists in terms of form, medium, and technique.

LET’S GET STARTED!

Dr. Aurelio Mendoza Memorial Colleges

Let's Get Down to Business

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Dr. Aurelio Mendoza Memorial Colleges

One example of a Spanish architecture that has been

Dr. Aurelio Mendoza Memorial Colleges

The Guild niche under the Four Crowned

The Artist and His Studio

Other Players in the World of Art

Dr. Aurelio Mendoza Memorial Colleges

Dr. Aurelio Mendoza Memorial Colleges

Dr. Aurelio Mendoza Memorial Colleges

Dr. Aurelio Mendoza Memorial Colleges

Dr. Aurelio Mendoza Memorial Colleges

Aline refers to a point moving at an identifiable path—

 Horizontal lines are normally associated with

 Diagonal and crooked lines —

 Curved lines — these are lines that bend

One of the most important Spanish

Dr. Aurelio Mendoza Memorial Colleges

 Lines may not necessarily be explicit or literally shown.

2-3. Shape and Form

Dr. Aurelio Mendoza Memorial Colleges

Shapes may also be implied. For

Dr. Aurelio Mendoza Memorial Colleges

Dr. Aurelio Mendoza Memorial Colleges

 Light colors — taken as the source of light in the composition

 Intensity — this is the color’s brightness or dullness. It is identified as the strength of

 Bright or warm colors — positive energy

Dr. Aurelio Mendoza Memorial Colleges

Dr. Aurelio Mendoza Memorial Colleges

 All in all, color presents a multitude of

Dr. Aurelio Mendoza Memorial Colleges

 Surface texture — refers to the texture of the three-dimensional art object.

Planes and Perspective

Its use was based on the following observations:

Dr. Aurelio Mendoza Memorial Colleges

a. One-point perspective — often used in

b. Two-point perspective — pertains to a

Some are adept with the skill and

Different demographics, groups,

Dr. Aurelio Mendoza Memorial Colleges

Classical terms are used to refer to the variations in tempo, some of

 Largo — slowly and broadly

When composers indicate

Dr. Aurelio Mendoza Memorial Colleges

Dr. Aurelio Mendoza Memorial Colleges

Leonardo da Vinci’s "Vitruvian

Proportion can be:

Dr. Aurelio Mendoza Memorial Colleges

In relation to this, there are

Dr. Aurelio Mendoza Memorial Colleges

Dr. Aurelio Mendoza Memorial Colleges

Dr. Aurelio Mendoza Memorial Colleges

10-11. Repetition and Pattern