HUMANITIES I
ARTS APPRECIATION
“Who am I?”
“What is the meaning of my life?”
“What is it to be truly human?”
ETYMOLOGY | Humanities
Humanities came from the Latin word –
HUMANUS which means to be truly human.
 To be human is to be culturally
enhanced and refined.
 Culture comes from the Latin terms:
Cultus-Colere, which means to
cultivate, to develop. Culture is the
general way of life of a society,
including ways of thinking, beliefs,
customs, language, art and traditions. It
is cumulative creations of man, the
totality of human heritage. It refers to all
those things which mean the refining
and development of all man’s powers
and natural endowments.
 As regards its historical development,
during the MEDIEVAL Period,
Humanities refers to anything that have
something to do with the cultivation of
man’s spirituality. In the
RENAISSANCE Period, it refers to a
set of disciplines being taught in
colleges and universities. Lastly, in the
MODERN Period, Humanities is
referred to as ARTS. Humanities is art
itself.
ETYMOLOGY & EVOLUTION of ART
Originally ART comes from:
Aryan root AR meaning “join” or “put
together.”
Greek verbs:
a. Artizein – to prepare
b. Arkiskein – to put together
Latin words ARS, ARTIS meaning everything
that is artificially made or composed of by
man.
ARTS: ITS IMPORTANCE/IMPACT TO
HUMAN EXISTENCE
There are times that we encountered certain
dilemma regarding the use of the concept “art“
that pertains to beauty, with the concept “craft“
that refers to anything that is being useful.
According to Aristotle, “Art is the right reason
of making things.”
Art is very important in our lives and it is
considered as a “language of feeling,” aside
from the consideration that it is one of the oldest
and most important means of expression
developed by man.
Art is a formal expression of human experience
that focuses on two distinct ideas:
1. FORM – pertains to expression
2. SUBSTANCE – refers to man’s
experiences in life.
 Art is making or composing any object
useful for human needs that is, for the
contemplation and enjoyment of its
meaning or beauty.
 Art is concerned with objects and
human expressions as beautiful or not
beautiful
 Art is the skillful arrangement or
composition of some common qualities
of nature (colors, sounds, lines,
movements, words, etc.) to express
human feelings, emotions, or thoughts,
in a meaningful and enjoyable way.
 Therefore, ART IS THE
SUBJECTIVE EXPRESSION OF
MAN’S THOUGHTS AND
FEELINGS.
ART HISTORY
Art history is the study of objects of art in their
historical development and stylistic contexts, i.e.
genre, design, format, and style.
As a term, art history (its product being history
of art) encompasses several methods of studying
the visual arts; in common usage referring to
works of art and architecture.
Through the arts, we come to know the and
understand the changing image of man as he
journeys across time, searches for the reality and
strives to achieve the ideals that creates the
meaning of life.
In art history, the work of art is seen as an
embodiment of the values, goals, and aspirations
of its time and place of origin. It is part of
culture.
ART APPRECIATION
Art appreciation is the knowledge and
understanding of the universal and timeless
qualities that identify all great art, the more you
appreciate and understand the art of different
eras, movements, styles, and techniques, the
better you can develop, evaluate and improve
your own artwork.
Its simplest definition is being able to look at a
work of art and then being able to form an
opinion of the work.
Another definition of art appreciation is having
the knowledge, background, and understanding
of the universal and timeless qualities that
comprise all works of arts.
Art appreciation simply means being able to
look at works and form your own opinion.
FUNCTIONS OF ART
PHYSICAL
1. Utility
2. Instructional
3. Historical
4. Representational
SOCIAL
1. Influential media
2. Interaction (communication)
PSYCHOLOGICAL
1. Inspirational
2. Relaxation
3. Gratification
ART: OTHER FUNCTIONS TO HUMAN
EXISTENCE
1. Aesthetic function
2. Cultural function
3. Utilitarian function
ASSUMPTIONS OF THE ARTS
1. ART is UNIVERSAL
a. Art as means of communication
b. Art as timeless
c. Art addresses human needs
2. ART is not NATURE.
 Art is not nature because art is man-made. It
is a creation of man that may reflect a
profound skillfulness and craftsmanship.
 Art is artificial because it is just an imitation
or even appropriation of reality or nature.
 Art is not nature because it is limited.
 Nature can provide the model elements such
line, color, texture, form as we craft our own
artwork.
 Art can never be compete with nature.
 Art and nature are related in the sense that
they have mutual “give and take”
relationship. Nature provides medium,
resources, and models to create an artwork,
while art confers recognition and
appreciation that would facilitate the call for
responsible stewardship of mankind towards
nature.
AREAS OF THE ARTS
VISUAL ARTS (2D, 3D)
The Visual Arts are those that we perceive with
our eyes. These art forms are very common and
extremely diverse, from the artwork that hangs
on your wall to the move that you watched.
The visual arts include media such as drawing,
painting, sculpture, architecture, photography,
film, and printmaking.
Definitions of visual art usually encompass the
following:
1. Fine Arts
All fine art belongs to the general
category of visual arts. These include
activities such as drawing, painting,
printmaking, sculpture, along with
associated activities like graphic art,
manuscript illumination, book
illustration, calligraphy, and
architecture.
2. Contemporary Arts
The visual arts also include a number of
modern art forms such as: assemblage,
collage, mixed-media, conceptual art,
installation, happenings and
performance art, along with film-based
disciplines such as photography, video
art and animation, or any combination
thereof.
3. Decorative Arts and Craft
In addition, the general category of
visual arts encompasses a number of
decorative art disciplines and crafts
including: ceramics and studio pottery,
mosaic art, mobiles, tapestry, glass art
(including stained glass), and others.
4. Other
Wider definitions of visual arts
sometimes include applied art areas such
as graphic design, fashion design and
interior design. In addition, new types of
Body art may also fall under the general
heading of visual arts. These include:
tattoo art, face painting, and body
painting.
PERFORMANCE ART
The performing arts differ from the visual arts in
so far as the former uses the artist’s own body,
face, and presence as a medium, and the latter
uses materials such as clay, metal, or paint,
which can be molded or transformed to create
some art object. Performance art include
acrobatics, busking, comedy, dance, film, magic,
music, opera, juggling, marching arts, such as - printing
brass bands, and theatre. - photography
- drawing/ sketching
Artists who participate in these arts in front of  3 Dimensional (seen in several angle)
an audience are called performers, including - sculpture
actors, comedians, dancers, musicians, and - architecture
singers. 2. Time arts – auditory arts
- music
APPLIED ARTS - dance
- combination: Musical Theatre/ Opera
The applied arts are the application of design
and decoration to everyday, functional, objects PHILOSOPHICAL IMPORT OF THE
to make them aesthetically pleasing. The applied ARTS
arts include fields such as: industrial design,
illustration, and commercial art. The term PLATO
applied arts is used in distinction to the fine arts, Art imitates nature. Art imitates life.
where the latter is defined as arts that aims to ARISTOTLE
produce objects which are beautiful which are Art imitates men and nature in action.
beautiful or provide intellectual stimulation but OSCAR WILDE
have no primary everyday function. It is life that imitates art.
HENRI-LOUIS BERGSON
DIVISIONS OF ARTS It is not reason that enables us to imitate. Art is
not imitation. Art is made from intuition
A. WITH RESPECT TO PURPOSE (immediate sensation and intense feeling).
G.E. MOORE
a. Practical Arts – directed to produce artifacts Art is both imitation and intuition.
and utensils which cope with human needs. SIGMUND FREUD
b. Liberal Arts – intellectual efforts are Art is a wish fulfillment, an excellent work of art
considered; take for the cases of AB Courses results from frustration.
like Philosophy, Psychology, Social Sciences, JOSE ORTEGA Y GASSET
and Journalism. Art is a form of escape, escape from human
c. Fine Arts – products of the human creativity negative elements.
in so far as they express beauty in different ways LEO TOLSTOY
and different media like drawing, painting. Art is communication; it infects our feelings.
d. Major Arts – characterized by their actual BENEDETTO CROCE
and potential expressiveness like music, poetry, Art is merely an expression regardless if it is
sculpture. understood or not.
e. Minor Arts – connected with practical uses ALBERT CAMUS
and purposes like interior design, landscape, Art is rebellion.
porcelain making. JOHN DEWEY
Art is not limited in the gallery and museum.
B. WITH RESPECT TO MEDIA AND DANTE LEONCINI
FORMS When man beautifies himself, he becomes a
human art.
a. Plastic arts –perceived by sense of sight like MARGARETTE MACDONALD
painting, sculpture, and architecture. Art is esoteric. It is mysterious. It is indefinable.
b. Phonetic arts – based on sounds and words It is trans intelligible. It is only describable.
like music, poetry, drama, and literature.
c. Kinetic arts – rhythmic movement like the SUBJECTS OF ARTS
different kinds of dances.
d. Pure arts – which only take one medium of An artwork that has a subject is classified as a
expression as sound in music and color in representational art. It is also known as
painting. objective art because you can easily objectify
e. Mixed arts – which use two or more media the subject.
like opera is a combination of music, poetry and
drama. An artwork that has no subject is classified as
non-representational art. It is also known as
CLASSIFICATION OF ARTS non-objective art because it doesn’t represent
anything.1`
1. Space arts – visual arts
 2 Dimensional (seen only in one angle) SOURCES OF SUBJECTS
- painting
The subject depicted in works of art, particularly
the visual arts can be grouped into:
1. Landscape, seascapes, and cityscapes
2. Still Life
3. Animals
4. Portrait
5. Figures
6. Everyday Life
WAYS OF PRESENTING ART SUBJECTS
1. REALISM
Object depicted in the way they normally
appear. What you see is what you get.
2. ABSTRACTION
In painting and sculpture, it magnifies one phase
of reality without representational intentions
having little or no resemblance to natural
appearance. It does not show the subject as a
whole but only his idea or his feeling about it.
Kinds of abstraction are as follows:
a. Elongation – it refers to that which being
lengthened.
b. Shortening – it refers to that which being
shortened.
c. Distortion – dramatization of figure to create
emotional effects.
d. Mangling – showing of subjects or objects
that are cut, lacerated, mutilated, and hacked.
e. Cubism – originated by Picasso, which
transposed natural forms into overlapping
transparent planes.
3. SURREALISM (“Super-realism”)
It is the combination of realism and distortion. It
emphasized the omnipotence of the dream and
the sub-conscious mind. Indebted to Dadaism. It
was founded by poet-painter Andre Breton in
1924 in Paris, France.
4. DADAISM
In literature and painting, it literally means “the
killing of the arts.” Originated by Marcel
Duchamp in 1916 in Zurich, Switzerland. It is
characterized to be “non-sensical”.
5. EXPRESSIONISM
The emphasis is on the “inner world” of
subjective feeling rather than on descriptions of
the outer world.
6. FAUVISM
In painting, led by Henri Matisse in 1903-1907
in France, this school showed distorted form and
employed vivid spontaneous color effects.
Characterized by the used of extremely bright
colors in order to express joy, pleasure and
comfort.
7. FUTURISM
It attempts to capture the movement and the
dynamism of the modern world.
8. IMPRESSIONISM
It is a method in painting with small vibrant dots
of color. This gave rise to the later method
called pointillism.
9. SYMBOLISM
It uses something invisible such as an idea or a
quality to represent another thing.
MEDIUM OF ART
PAINTING
Painting is the art of creating meaningful effects
on a flat surface by the use of pigments. The
materials of the painter are pigments applied to
wet plaster, canvas, wood, or paper.
Media used in Painting:
a. Watercolor - the most common yet the most
difficult medium. An opaque watercolor is
known as “gouache”.
b. Fresco – painting on a moist plaster surface
with color ground in water or a limewater
mixture. Example is Michaelangelo’s “The
Creation of Adam” in the Sistine Chapel ceiling.
c. Tempera – are mineral pigments mixed with
egg yolk or egg white and ore.
d. Pastel – this is a stick of dried paste made of
pigment round chalk and compounded with gum
water.
e. Encaustic – this is used by Ancient Egyptians
to painted portrait on mummy cases. This is
done by painting with wax colors fixed with
heat.
f. Oil – pigments are mixed with linseed oil and
applied to the canvas. It can be direct or indirect
method of oil painting.
g. Acrylic – this synthetic paint is mixed with
acrylic emulsion as binder for coating the
surface of the artwork. Contemporary painters
use this medium a lot.
h. Mosaic – is a picture or decoration made of
small pieces of inlaid colored stones or glass
called “tesserae”, which most often are cut into
squares and glued on a surface with plaster or
cement. This art is an important feature of
Byzantine churches.
i. Stained Glass – this is made by combining
many small pieces of colored glass which are
held together by bands of lead. In large
windows, the lead is reinforced by heavy iron
bars. This is an artwork in Gothic cathedrals and
churches. An example of this is Notre Dame
Cathedral in France.
j. Bistre – is a brown pigment extracted from
the soot of wood, and often used in pen and
wash drawings.
k. Crayons – are pigments bound by wax and
compressed into painted sticks.
l. Charcoal – are carbonaceous materials
obtained by heating wood or other organic
substances in the absence of oxygen.
m. Relief – involves cutting away from a block
of wood or linoleum the parts of the design that
the artist wants to be seen, leaving the portion of
the third dimension.
SCULPTURE
In the choice for the subject in sculpture, the
material is given utmost consideration. The
materials available are limitless and each of
these materials presents interesting motivation to
challenge the sculptor’s creativity.
TWO MAJOR SCULPTURE PROCESSES:
1. SUBTRACTIVE - the unwanted material is
cut away.
2. ADDITIVE - construction of a figure by
putting together bits of clay or by welding
together parts of metal.
TWO TYPES OF SCULPTURE:
1. RELIEF - figures which are attached to a
ground.
2. FREE-STANDING - can be seen from all
sides.
Media used in Sculpture
a. Stone – is a hard and brittle substance formed
from mineral and earth material.
b. Jade – is a fine, colorful stone, usually green
and widely used in Ancient China.
c. Ivory – which comes from the main parts of
tusks of elephants.
d. Metals – gold, silver, copper, brass, bronze,
lead, aluminum
e. Plaster – is a composition of lime, sand and
water.
f. Clay – earthly material that has the nature of
plasticity when wet.
g. Glass - is hard, brittle, non-crystalline, more
or less transparent substances produced by
fusion of dissolved silica and silicates, soda and
lime.
h. Wood - easier to carve than any other
mediums. It is cheap, readily available, and easy
to cut.
i. Terra cotta – is the tenderest of sculptural
materials. Most oriental sculpture deals in this
medium. This is used in vases, figurines, and in
small thins.
ELEMENTS OF VISUAL ARTS
 Whenever we see an art object, we cannot
fail to notice several things: shape or form,
texture, space, and lines. These are called
elements.
 Like medium, elements are present in every
art form. All arts have certain elements of
their own.
 The building blocks or ingredients of art.
1. LINE
 Line is an important element at the
disposal of every artist. Through the
lines of a painting or sculpture, the artist
can make us know what the work is
about.
 Lines have always direction. They are
always moving. Lines, as used in any
work of art, may be straight or curve.
 Horizontal lines are lines of repose and
serenity. They express ideas of calmness
and quiescence.
 Vertical lines are lines poised for
action. They are poised, balanced,
forceful and dynamic. Examples are
person standing, a tall tree, statues of
Saints and heroes.
 Diagonal lines suggest action and
movement. They give animation to any
composition in which they appear. The
degree of action is shown by the angle
of the diagonal.
 Curved lines suggest grace, movement,
flexibility, joyousness, and grace.
2. COLOR
 Delight in colors is a universal human
characteristic.
 Colors are a property of light. When
light goes out, color goes out with it.
Take for instance a prism being put
under the light.
 The white light of the sun contains all
the colors of the spectrum; violet,
indigo, blue, green, yellow, orange, and
red. White, gray, and black have no
color quantity. They are called neutral
colors. Gray is due to the partial
reflection of the color rays.
 Color has three dimensions or attributes:
hue, value and intensity.
 Hue is the dimension of color that gives
color its name. When we are saying the
flower is yellow, we are naming its hue.
Color names such as red, green, violet,
and yellow indicate the color
characteristics called hue.
  Value refers to the lightness or darkness
of a color. It is a quality which depends
on the amount of light and dark in color.
It is also known as “chiaroscuro”.
 Tints are values above the normal and
shades are values below the normal.
Pink is a tint of red, and maroon is a
shade of red. Sky-blue is a tint, navy
blue is a shade.
 Intensity refers to the brightness or
darkness of color. It gives color
strength. Colors differ in intensity.
Intensity differences may be described
as full intensity, two-thirds intensity,
two-thirds neutral and neutral. Two
colors may be both blue but one is more
intense than the other.
 Color plays an important role in the
work of an artist. Although painting is
known as the art of color, color is also
important in architecture and sculpture.
PSYCHOLOGY OF COLORS
Black – despair, gloom, death, and mourning.
The darkest and dullest of the colors. It is only
considered a color when mixed with other
colors.
Blue – tranquility, calmness, and peace.
It is the color of the sky and gives the
impression of vastness and infinity.
Red – fire, blood, danger, festivity, bravery.
War. Passion, energy, and warmth.
It is a basic color.
Gray – weight, solidity, and neutrality.
The combination of black and white or the three
primary colors.
Violet – shadows, mourning, penance, royalty,
and power.
A mixture of red and blue.
Green – growth, freshness, and hope.
The color of the still water and vegetation.
White – simplicity, clarity, purity, and
innocence.
Orange – deliciousness and sweetness and
being assertive.
A combination of red and yellow.
Yellow – life, joy, sunshine, cheerfulness,
warmth, splendor, freedom and hospitality.
It is the color of light.
Pink – sympathy and gratitude
The combination of red and white.
Brown – wholesomeness, stability, reliability,
approachability, connection with the earth.
3. TEXTURE
 Texture is the element that deals more
directly with the sense of touch. It has to
do with the characteristic of surfaces
which can be rough or smooth, fine or
coarse, shiny or dull, plain or irregular.
Texture is best appreciated when an
object is felt with the hands.
 Texture is found in all visual arts.
 The aesthetic value of texture lies first
of all in the fact that it makes the
gradation of color possible. Flat colors
are never beautiful. Texture gives a
surface unevenness which causes the
color of the surface to be broken into
gradation of light and shade, giving it a
charm of its own.
4. PERSPECTIVE
 Perspective deals with the effect of
distance upon the appearance of objects,
by means of which the eye judges
spatial relationships.
 It enables us to perceive distance and to
see the position of objects in space.
 There are two kinds of perspective:
linear perspective and aerial perspective.
 Linear perspective is the representation
of an appearance of distance by means
of converging lines. It has to do with the
direction of lines and with the size of the
objects.
 Aerial perspective is the representation
of relative distances of objects by
gradation of tone and color.
5. SPACE
 In painting as in architecture, space
is of great importance. The exterior
of a building is seen as it appears in
space while the interior is seen by
one who is inside as enclosing
space.
 Distance of area between, around,
above, below or within shapes
 Usually related to showing
foreground, middle ground, and
background on a flat surface.
6. FORM/SHAPE
 Form applies to all the overall
design of a work of art. It describes
the structure or shape of an object.
 All the visual arts are concerned
with form. Sculpture and
architecture deal with three-
dimensional forms.
7. VOLUME
 This refers to the amount of space
occupied in three dimensions. It
therefore refers to solidity or
thickness.
  It has width, height and depth.
 The sculptor is concerned also with
volume because his figures actually
occupy space and can be observed
from direction.
PRINCIPLES OF DESIGN
 The organization of the various elements
of the visual arts is governed by
different principles of design.
 Design makes it easier for an artist to
express his ideas in such a way that the
observer becomes interested in his work.
 The design of an art object makes it
possible for an observer to tell its
function.
 The Principles are concepts used to
organize or arrange the structural
elements of design. They are the objects
to be arranged…
Making a design is like making a cake…The
ELEMENTS are the ingredients…The
directions for mixing them together are the
PRINCIPLES.
1. HARMONY
 Harmony is essential to beauty. In
visual arts, it is achieved by
establishing a pleasing relationship
between the various elements.
 There is harmony if the various
parts of a design will give an
appearance of belonging together. In
other words, there must be unity.
 Repetitions in angles and curves,
shapes, lines, and colors will give a
harmonious effect. If overdone,
though, repetition may become
monotonous and it may fail to hold
the attention and interest and
observers. To relieve monotony,
there must be variety.
2. BALANCE
 A pleasing relationship between the
various elements of a work of art is not
the only requirement for beauty. These
elements must also be so arranged that a
feeling of balance and equilibrium exists
between them.
 Balance gives a feeling of stability and
rest.
 We see many examples of balance in
nature. The human body for example is
well-balanced.
 Balance may be formal, informal and
radial.
 Formal balance is also called
symmetrical balance. This is achieved
by making both sides exactly alike.
 This balance gives an atmosphere of
dignity and formality.
 Informal balance or asymmetrical is
sometimes called occult balance. It is
more difficult to achieve than formal
balance, however, the results are more
interesting.
 It is achieved when objects of unequal
weights or unequal attractions are placed
at the correct distances.
 Informal balance is generally used when
we want to attract the attention of
observers and set them thinking about
the object under observation.
 Radial balance occurs when elements
are positioned around a central point.
3. PROPORTION
 Proportion is determined by a
comparison of the size of different parts
of an object or of an arrangement.
 Harmonious proportion is achieved
when one part of an object does not
seem too big or small for the other parts.
 In painting, the principle of good
proportion is useful in combining colors
successfully and in determining the
margins for mounting.
 In sculpture, the comparative size of the
different size of the different parts of the
object should be considered. The
relation of the size of the statue and the
background, space and surrounding is
also important.
4. RHYTHM
 In the visual arts, rhythm is achieved by
the regular or harmonious recurrence of
lines, forms and colors.
 Rhythm is organized movement, a beat,
a repetition.
5. EMPHASIS/SUBORDINATION
 Emphasis is produced by the design or
form that catches our attention while the
rest are subordinated.
 It is important in all art forms. This is
most noticeable in the art of advertising.
The aim of advertising is to call
attention to a particular product or
object.
 Emphasis is also important because it
relieves monotony. It can also be used to
call attention to pleasing centers of
interest.

6. MOVEMENT
 Visual flow through the composition…
 How we get around in a work of art.
 Suggestion of motion in a design as you
move from object to object by way of
placement and position
7. CONTRAST
 An effect created by placing or
arranging very different things next to
each other.
PHOTOGRAPHY
Photography is a chemical-mechanical process
by which images are produced on sensitized
surfaces by action of light.
Photography is an expansive art form that
includes more than just portraiture, landscape or
glamour photography.
TEN REASONS TO LEARN TO TAKE
GOOD PHOTOS
1. Photographs are personal.
2. Photographs provide a historical record.
3. Taking photographs will kick your brain into
a creative mode.
4. Photography is a great therapy.
5. Photography is a great way to make new
friends.
6. Photography is a way to share your life with
others.
7. Photography is a gift you can give others.
8. Photography will improve your website
and/or your blog.
9. Photography brings accolades.
10. Photography can bring in money.
KINDS OF PHOTOGRAPHY
a. Photojournalism
Shots maintain the integrity of the original
scene. No alteration should be done. The strong
images engage the viewer on the news story.
This is used in newspapers, magazines and
books.
b. Documentary Photography
It tells story with the photograph. The difference
with photojournalism is documentary
photographs are for historical documents of a
political or social era.
c. Action Photography
The subject is an object in motion or action.
Examples are pictures of a basketball player
jumping, a plane during take-off, a running tiger.
d. Macrophotography
It describes the field of photography in which
picture is taken at a close range. The subjects
may be insect, flower, texture of a woven cloth,
or any object where close-up photography
reveals interesting details.
e. Microphotography
Microphotography uses specialized cameras and
microscopes to capture images of extremely
small subjects. Most applications of
microphotography are best suited for the
scientific world. For example,
microphotography is used in disciplines as
diverse as astronomy, biology and medicine.
f. Glamour Photography
Glamour photography seeks to capture its
subject in suggestive poses that emphasize
curves and shadows. As the name implies, the
goal of glamour photography is to depict the
model in a glamorous light. Consequently, many
glamour shots carry mysterious and playful
tones.
g. Aerial Photography
An aerial photographer specializes in taking
photos from the air. Photos may be used for
surveying or construction, to capture birds or
weather on film or for military purposes. Aerial
photographers have used planes, ultralights,
parachutes, balloons and remote controlled
aircraft to take pictures from the air.
h. Underwater Photography
Underwater photography is usually employed by
scuba divers or snorkelers. However, the cost of
scuba diving, coupled with often expensive and
unwieldy underwater photography equipment,
makes this one of the less common types of
photography.
i. Portraiture
Portraiture is one of the oldest types of
photography. Whether the subject is your family
or your pet, the goal of portraiture is to capture
the personality of the subject of portraiture is to
capture the personality of the subject or group of
subjects on film.
j. Wedding Photography
Wedding photography is a blend of different
types of photography. Although the wedding
album is a documentary of the wedding day,
wedding photos can be retouched and edited to
produce a variety of effects. In addition, a
wedding photographer must have portrait and
glamour photography skills.
k. Advertising Photography
The need for unique and eye-catching
advertising copy means the photographer may
work with multiple types of photography,
including macrophotography and glamour
photography. Photos taken are usually in the ads
and billboards.
l. Travel Photography
Travel photography may span several categories
of photography, including advertising,
documentary or vernacular photography that
depicts a particularly local or historical flavor. A
travel photographer can capture the feel of a
location with both landscapes and portraiture
BASIC PHOTOGRAPHY CONCEPTS
1. Lighting and Exposure
How the lighting of a scene affects the exposure
of the film is one of the most basic photography
concepts.
2. Composition and Camera Angles
Composition is the technique of setting up the
subject within the camera’s frame. The proper
composition of a shot is directly related to the
angle at which the photographer takes the
picture. With a particular camera angle and a
planned composition, a photo can draw in the
viewer’s eye, add meaning to the image or add a
sense of movement and dynamism to the scene.
3. Aperture
Aperture refers to the lens diaphragm on a
camera that controls the amount of light that
touches the film when the shutter opens. Settings
for an aperture opening are measured in f-
numbers, also known as the F-Stop. F-numbers
are calculated by dividing the length of the lens’
diameter by the focal length. Aperture settings
are generally located or adjusted on the outer
edge of a camera’s lens.
4. Shutter Speed
Shutter Speed, measured in seconds, refers to
the length of time that the camera’s shutter
remains open to let light in through the lens to
record a given image onto the film. The standard
shutter speed that a photographer generally uses
on a sunny day is 1/125th of a second. A
photographer will adjust the shutter speed
according to a few of the following factors: a.
aperture opening b. available light in the scene c.
desired effect
5. Depth of Field
Depth of Field refers to the distance around an
object that appears in focus in the frame or
photograph. The depth of field that a
photographer chooses to enhance a given picture
is an entirely subjective choice, depending on
the aspects he wishes to enhance within the
given frame.
6. Angle of View
Angle of View is the amount of a scene a
photograph captures and can be measured
vertically, horizontally or diagonally. Also
known as angle of coverage or field of view,
angle of view.
ARCHITECTURE
Architecture, from latin, ARCHITECTURA,
means builder or carpenter.
Architecture, also means:
a. A general term to describe buildings and other
physical structures
b. The art and science of designing and erecting
buildings and other physical structures.
c. The style and method of design and
construction of buildings and other physical
structures.
- In its strictest meaning, it is an art of designing
a building and supervising its construction.
- In its broader meaning, architecture is shelter
to serve as protection to all activities of men –
recreation, work and sleep.
MEDIA IN ARCHITECTURE
a. Materials of Nature (direct product of
nature)
1. Stone
a. Lime stones
b. Granite
c. Marble
d. Sandstone
2. Wood
b. Materials Manufactured by Man
 • Egyptian architecture is impressive by its
1. Ceramic materials solemnity and gloom, as well as by its solidity,
a. Glass which suggest that the buildings were intended
2. Metals to last eternally.
a. Bronze
b. Wrought iron 2. MESOPOTAMIAN ARCHITECTURE
c. Copper (6th Century BC)
d. Chrome-nickel steel
e. Aluminum • The story of Mesopotamian Architecture
f. Monel metal begins in South eastern Turkey, when the first
g. Nickel silvers permanent structures were built, with the
3. Concrete materials erection of large monoliths at the site of Gobekli
a. Plastics Tepe. It is overwhelmingly one of clay masonry
and of increasingly complex forms of stacked
c. Indigenous Materials mudbrick.

1. sawali • Mesopotamian Architecture is evident in its

2. coco air palaces and temples. The distinguishing
3. bagasse – sugarcane waste used for insulation characteristic is the Ziggurat, or tower, built at
or cement backing successive levels with ramps leading from one
4. abaca platform to the next. In many respects, the
5. bamboo Ziggurat is like the modern building with
6. palm frond stems setbacks.
7. mud bricks
• Ziggurat- are massive structures built in the
THREE TYPES OF ARCHITECTURAL form of terraced step pyramid of successively
CONSTRUCTION receding stories or levels.

1. POST-AND-LINTEL- it consists of two • One best example of Mesopotamian

vertical posts for support (post) and a horizontal
one (lintel). Parthenon in Athens, Greece and
Stonehenge is an example.
2. ARCH- is an architectural form built from
pieces of wood called “voussoirs” with joints
between them and are arranged in a semi-circle.
It is dominant in Roman Architecture.
Architecture is the Temple of Babylon built by
Nebuchadnezzar, where the stones where
differently colored from bottom to top. The
effect may have been garish, but at the base, it
was striking.
3. GREEK ARCHITECTURE
(1100-100 B.C.)

3. CANTILEVER- is any structural part • Greek architecture in its most characteristic

projecting horizontally and anchored at one end
only. The cantilever is used in the construction
of skyscrapers.
ORGANIZATION IN ARCHITECTURE
1. EGYPTIAN ARCHITECTURE
(4000-2280 B.C.)
• Art in Ancient Egypt continued strangely
unchanged through the various phases of foreign
influence. The close connection between
religious rites and architecture is everywhere
manifested, both of tombs and temples.
• Egyptian monumental architecture , which is
essentially a columnar and trabeated style, is
expressed mainly in pyramids and in temples.
Egyptian temples approached by impressive
avenues of sphinxes- mythical monsters, each
with the body of a lion and the head of a man,
hawk, ram or woman.
form is found in the temple, a low building of
post-and-lintel construction. In this type of
construction, two upright posts are surmounted
by a horizontal piece, the lintel, long enough to
reach one to the other. A typical example of
post-and-lintel construction is found in the ruins
of the Temple of Apollo at old Corinth.
Three Types of Greek Architecture
a. Doric
Is seen in the Temple of Apollo at old Corinth,
and in the Parthenon, one of the greatest temples
ever built. The Doric column has no base; the
bottom of the column rests on the top step. The
Doric order can be identified by the low
cushion-like shape of part of its capital. The
frieze is divided into triglyphs and metopes.
b. Ionic
The ionic column is taller and more slender than
the Doric. It has a base, and a the capital is
ornamented with scrolls on each side. The frieze
is continuous instead of being divided. The
architecture below the frieze is stepped; that is,
it is divided horizontally into three parts. Some
features of the Ionic order trace the ancestry to
Asia Minor.
c. Corinthian
The Corinthian column, with the base and shaft
resembling the Ionic, tended to be much more
slender. The distinctive feature is the capital.
4. ROMAN ARCHITECTURE
(1000 B.C.E.-C.E. 4000)
• The Romans adopted the Columnar and
trabeated style of the Greeks and developed also
the arch and vault from the beginnings made by
the Etruscans (the early inhabitants of west-
central Italy). The combined used of column,
beam, and arch is the keynote of the Roman
style in the earliest stages.
• The Romans developed the stone arch of the
Etruscans. Above all, the use of concrete
allowed the Romans to build vaults of a
magnitude never equalled toll the introduction of
steel for buildings in the 19th century. The art of
buttressing was developed in the course of early
engineering works, which frequently required
the retaining of masses of the earth.
5. BYZANTINE ARCHITECTURE
(C.E. 200-1453)
• Byzantine take its name from Byzantium, later
called Constantinople, and now called Istanbul.
Byzantine architecture is characterized by a
great central dome which had always been a
traditional feature in the east. The grouping of
small domes or semi-domes round the large
central dome was effective. One of the
characteristic features of the Byzantine churches
was the forms of the vaults and domes were
visible externally, undisguised by any timbered
roof; thus in the byzantine style, the exterior
closely corresponds with the interior.
6. WESTERN ARCHITECTURE IN THE
MIDDLE AGES
(C.E. 400-1500)
Western architecture passed through three stages
of development during the middle ages.
These are the Early Christian, Romanesque, and
Gothic. These three styles developed one out of
another: the Romanesque was an outgrowth of
the Early Christian, and the Gothic from the
Romanesque.
Stages of Western Architecture
a. Early Christian (C.E 400-700)
The early Christian Basilica has grown in part
from the Roman house where the earliest
Christians met for worship, and in part from
pagan basilicas.
In the classic temples, the emphasis lay on the
exterior; in the Christian Church, on the inside.
A second form of building, known as the central
type, was designed around a central vertical axis
instead of a longitudinal one. The long, internal
lines of the basilica carried the eye of the visitor
from the door to the altar as their ritualistic
climax of the structure. The interiors of early
Christian churches were often decorated with
mosaics, as in St. Apollinare.
b. Romanesque Architecture (11th and 12th
century)
Romanesque architecture is an extension and
development of the Early Christian Basilica
exemplified by St. Apollinare in Classe.
Where the Early Christian style is structurally
light, with a simple lightweight, flat wooden
roof, the Romanesque has very heavy walls with
small window openings and a heavy stone
arched or vaulted roof inside. In this respect, it
resembles the Roman style.
c. Gothic Architecture (12th to 16th century)
Gothic architecture is a style of architecture that
flourished during the high and late medieval
period. It evolved from Romanesque
architecture and was succeeded by Renaissance
architecture.
Gothic architecture is most familiar as the
architecture of many of the great cathedrals,
abbeys and churches of Europe. It is also the
architecture of many castles, palaces, town halls,
guild halls, universities and to a less prominent
extent, private dwellings.
It is in the great churches and cathedrals and in a
number of civic buildings that the Gothic style
was expressed most powerfully, its
characteristics lending themselves to appeal to
the emotions. A great number of ecclesiastical
buildings remain from this period, of which even
the smallest are often structures of architectural
distinction while many of the larger churches are
considered priceless works of art.
In Gothic architecture, a unique combination of
existing technologies established the emergence
of a new building style. Those technologies were
the ogival or pointed arch, the ribbed vault, and
the flying buttress.
The Gothic style, when applied to an
ecclesiastical building, emphasizes verticality
and light. This appearance was achieved by the
development of certain architectural features,
which together provided an engineering
solution. The structural parts of the building
ceased to be its solid walls, and became a stone
skeleton comprising clustered columns, pointed
ribbed vaults and flying buttresses.
d. Renaissance Architecture (15th and 16th
century)
In Renaissance architecture, the cathedral or
temple is no longer the typical building; secular
architecture comes to the fore, as in Roman
times. Although Renaissance architecture is a
return to the ideals of the Greeks and Romans, it
is not a slavish imitation, but rather a free use of
materials found in classic architecture.
Renaissance style places emphasis on symmetry,
proportion, geometry and the regularity of parts
as they are demonstrated in the architecture of
classical antiquity. Orderly arrangements of
columns, pilasters and lintels, as well as the use
of semicircular arches and hemispherical domes
replaced the more complex proportional systems
and irregular profiles of medieval buildings.
Dome is also a mark of a renaissance
architecture.
Developed first in Florence, with Filippo
Brunelleschi as one of its innovators, the
Renaissance style quickly spread to other Italian
cities.
e. Baroque Architecture (1600-1750)
Baroque architecture flourished in the 17th
century and in the opening years of the 18th
century. It is characterized primarily as a period
of elaborate sculptural ornamentation. The
architectural framework remained close to that
of the Renaissance, although often it was more
spacious, but had a profusion of carved
decoration.
Some distinctive features of Baroque
architecture:
1. In churches, broader naves and sometimes
given oval forms
2. Fragmentary or deliberately incomplete
architectural elements
3. Dramatic use of light; either strong light-and-
shade contrasts (chiaroscuro effects) as at the
church of Weltenburg Abbey, or uniform
lighting by means of several windows (e.g.
church of Weingarten Abbey)
4. Opulent use of colour and ornaments (putti or
figures made of wood (often gilded), plaster or
stucco, marble or faux finishing)
5. Large-scale ceiling frescoes
6. An external façade often characterized by a
dramatic central projection
7. The interior is a shell for painting, sculpture
and stucco (especially in the late Baroque)
8. Illusory effects like trompe l'oeil (is an art
technique involving extremely realistic imagery
in order to create the optical illusion that the
depicted objects appear in three dimensions) and
the blending of painting and architecture
9. Pear-shaped domes in the Bavarian, Czech,
Polish and Ukrainian Baroque
10. Marian and Holy Trinity columns erected in
Catholic countries, often in thanksgiving for
ending a plague
7. The 19th Century Architecture
• The 19th century architecture is known as a
period of Eclecticism. Eclecticism in
architecture implies freedom on the part of the
architect or client to choose among the styles of
the past that seems to him most appropriate.
• Modern eclecticism was not only purer in
style; it understood something out of the flavor
of the past as well as its forms. At best, modern
eclecticism was marked by scholarship, taste,
and sympathy for the forms of the past and
remarkable ingenuity.
• The result, however, was the chaos of
American suburb, where a single street might
show examples of Gothic half-timbered houses,
French chateaux , colonial cottages, Spanish
patios and Renaissance palaces.
8. Modern Architecture
• Modern architecture is an attempt to interpret
one’s purpose through building in a style
independent of fix symmetries. New materials
came to be utilized –pre-stressed steel in tension,
high-pressure concrete, glass block, wood,
metal, chromium, plastics, copper, cork, steel,
gympsum lumber, real and artificial stone, and
all varieties of synthetic and compressed
materials, and the versatile plywood.
• Strength is no longer synonymous with
massiveness, for more efficient new structural
materials are used in varying forms,
scientifically calculated to avoid waste. The
supporting function is created by a light, cage-
like skeleton of steel and reinforced Concrete,
which is faster and easier to build.

• Characterized by simplification of form and

creation of ornament from the structure and
theme of the building. It is a term applied to an
overarching movement, with its exact definition
and scope varying widely. In a broader sense,
early modern architecture began at the turn of
the 20th century with efforts to reconcile the
principles underlying architectural design with
rapid technological advancement and the
modernization of society. It would take the form
of numerous movements, schools of design, and
architectural styles, some in tension with one
another, and often equally defying such
classification.