Ejusa Hum1 Midterm Module Bsa 1bcbsba1abc

COLLEGE OF SCIENCE AND TECHNOLOGY
Cagamutan Norte, Leganes, Iloilo - 5003

Tel. # (033) 396-2291 ; Fax : (033) 5248081
Email Address : svcst_leganes@yahoo.com
COO – FORM 12
SUBJECT TITLE: ART APPRECIATION

INSTRUCTOR: CINDY ANNE S. EJUSA, LPT
SUBJECT CODE: HUM1
MIDTERM MODULE
Topic 1: PRINCIPLES OF DESIGN
LEARNING OBJECTIVES:
At the end of this topic, the students are expected to:

1. Define design.
2. Differentiate the kinds of design.
3. Identify the principles of design.
NOTES:
1.1. PRINCIPLES OF DESIGN

Definition of Design
DESIGN – the overall organizational visual structure of the formal elements in
a work of art. The proper arrangement of the different art elements in order to produce
something beautiful.
1. STRUCTURAL DESIGN – shows strength and durability of materials. This kind of

design should meet such requirements as simplicity, proportionality and suitability
of materials to the purpose. Examples are monument, buildings, bridges and
towers.
2. DECORATIVE DESIGN – the surface enrichment of a structural design. Its
principal function is to enhance beauty, so it is called “luxury of the design”.
Variety of Decorative Design

 Naturalistic Design is one which is the exact replica of natural form.
 Conventional Design is one which is a result of the impression of natural
form.
 Geometric Design is produced with the aid of mechanical instruments.
 Abstract Design is one which uses suggestions of natural objects.
Design is all around us. As human beings, we interact with design on a daily
basis whether we realize it or not. From your favorite band’s album cover, to the poster
of that movie you can’t wait to see. Everything man-made you touch has been
designed.
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What makes good design? Aesthetically, design can be just as subjective as art
hanging in a museum gallery, but looks aren’t everything. Yes, beauty draws the
viewer in and can retain some attention, but design’s main purpose is to serve a
function, solve a problem, or both. The messaging and functionality are what’s
important – the aesthetics merely drive the point home.
These principles of design highlight the fundamental aspects of what makes

design not only appealing to the eye, but functional and useful for our everyday use.
PRINCIPLES OF DESIGN
A. Unity
The way elements are arranged so

that the image is seen as a whole and overall,
creates a visually compelling composition is
unity.
Unity is the feeling of harmony
between all parts of the work of art, which
creates a sense of completeness.
B. Variety
1Variety is the use of several

elements of design to hold the
viewer’s attention and to guide the
viewer’s eye through and around
the work of art.
Creating visual interest will keep
viewers engaged with your design.
Holding their attention and guiding
them through the composition will create a powerful user experience. Variety adds
something interesting to the composition to create contrast and tension. For instance,
mixing organic shapes with geometric shapes adds variety. This concept should
reinforce the message you are trying to communicate in your design—otherwise, it can
look pointless.
C. Emphasis
Emphasis is the art principle

by which the eye is carried first to
the most important thing in any
arrangement, and from that point to
every other detail in order of its
importance.
Emphasis is the part of the
design that catches the viewer’s
attention. Usually the artist will make one area stand out by contrasting it with other
areas. The area could be different in size, color, texture, shape, etc.
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D. Focal Point
Focal points are also elements

or areas of dominance, just not to
the same degree as your one
dominant element, which could be
defined as your most dominant focal
point. Focal points are areas of interest, emphasis or difference within a composition
that capture and hold the viewer’s attention.
The focal points in a design should stand out but should be noticed after the
element with the most dominance. The graphic below shows a lone circle amid a sea
of mostly gray squares. The circle is not only a different shape, but is larger and bright
red. It’s likely the first thing your eye notices in the graphic.
E. Balance
Balance is a feeling of equality in

weight, attention, or attraction of the
various elements of design. It is the
quality of two contrasting forces having
two opposite directions. In this
principles, the law of rest is always
applied. It suggest stability, security,
satisfaction, rest and peace.
Balance is the distribution of the
visual weight of objects, colors, texture, and space. If the design was a scale, these
elements should be balanced to make a design feel stable. In symmetrical balance,
the elements used on one side of the design are similar to those on the other side; in
asymmetrical balance, the sides are different but still look balanced. In radial balance,
the elements are arranged around a central point and may be similar.
F. Proportion
Proportion is the feeling of

unity created when all parts (sizes,
amounts, or number) relate well
with each other. When drawing the
human figure, proportion can refer
to the size of the head compared to
the rest of the body. In art and
drawing, proportion is important for
the elements to look realistic.
Proportion doesn’t necessarily refer to the size of one element but to the relationship
of two or more elements.
Proportion is the relationship of two or more elements in a design and how they
compare with one another. Proportion is said to be harmonious when a correct
relationship exists between the elements with respect to size or quantity
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G. Rhythm
Rhythm is created when one or

more elements of design are used
repeatedly to create a feeling of
organized movement. Rhythm creates a
mood like music or dancing. To keep
rhythm exciting and active, variety is
essential.
Rhythm is the visual tempo of a

combination of elements when used repeatedly, and with variation, it gives the feeling
of organized movement.
Rhythm is usually hidden in works of art and is not as obvious as the design
principles of repetition and pattern.
H. Harmony
Harmony is the sense of cohesiveness

between the elements in a composition. The
elements shouldn’t be exactly the same or
completely different but related in some way.
Color palettes or similar textures can create a
sense of unity between different components.
Using similarly shaped items will create
harmony because they will seem related.
Not enough or too much harmony can
make a design dull; there needs to be some
kind of variety for it to be visually interesting.
Exercises for Topic 1

DIRECTION: Identify what principle of design each picture below.
1. 2.
3. 4.
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5.
Topic 2: THE MEDIUMS OF THE ARTS
LEARNING OBJECTIVES
1. Understand what medium is.
2. Appreciate the importance of mediums in arts.
3. Identify the Mediums of Music.
4. Differentiate the Mediums of Visual Arts.
5. Recognize the mediums of performance arts.
6. Know what the medium of literature is.
NOTES:
2.1. Definition of Medium

Medium comes from the Latin word medium, denotes by which an artist
communicates his idea.
It is the stuff out which he creates a work of art.
These are the materials which the artist uses to translate his feelings or thought
into a beautiful reality.
2.2. The Mediums of Visual Arts

VISUAL OR SPACE ARTS – are those whose mediums can be seen and which occupy
space.
A. Classes of Visual or Space Art
Dimensional or two - dimensional – arts which include painting, drawing,

printmaking, and photography
Three – dimensional – arts include sculpture, architecture, landscape,
community planning, industrial design, and the crafts like ceramics and furniture-
making.
 WATERCOLOR – artists’ paint made with a water-soluble binder such as gum

Arabic, and thinned with water rather than oil, giving a transparent color.
 FRESCO – this is painting on a moist plaster surface with colors ground in water
or a lime water mixture. It must be done quickly because it is an exacting
medium - the moment the paint is applied to the surface, it becomes an integral
part of the wall.
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 TEMPERA – are mineral pigments mixed with egg yolk or egg white or ore.
They are often used as binder due to its film forming properties and rapid drying
rate. * It is a medium well designed for careful detail.
 PASTEL – this is a stick of dried paste made of pigments ground with chalk
and compounded with gum water.
 ENCAUSTIC – this is one of the early mediums used by the Egyptians for the
painted portrait on mummy cases. This is done by painting with wax colors
fixed with heat.
 OIL – oil painting is one of the most expensive art activities today because of
the prohibitive cost of materials. In oil painting, pigments are mixed with
linseed oil and applied to the canvas. * Painting done in oil is glossy and lasts
long.
 ACRYLIC – this medium is used popularly by contemporary painters because

of the transparency and quick drying characteristics of water color and the
flexibility of oil combined. This synthetic paint is mixed with acrylic emulsion as
binder for coating the surface of the artwork.
 MOSAIC – mosaic art is a picture or decoration made of small pieces of inlaid

colored stones or glass called “tesserae”, which most often are cut into squares
glued on a surface with plaster or cement.
 STAINED GLASS – common in Gothic cathedrals and churches. This is made

by combining many small pieces of colored glass which are held together by
bands of lead. It is also a kind of patchwork.
 TAPESTRY – this is a fabric consisting of a warp upon which colored threads

are woven by hand to produce a design, often pictorial and for wall hangings
and furniture covering.
 DRAWING – usually done on paper, using pencil, pen and ink, or charcoal. It
is the most fundamental of all skills necessary in the arts.
 BISTRE – is a brown pigment extracted from the soot of wood, and often used
in pen and wash drawings.
 CRAYONS – are pigments bound by wax and compressed into painted sticks
used for drawing especially among children in the elementary grades
 CHARCOAL – these are carbonaceous materials obtained by heating wood or

other organic substances in the absence of air. Charcoal is used in representing
broad masses of light and shadow. Like drawing pencils, soft charcoal produces
the darkest value while the darkest produces the lightest tone.
 SILVERPOINT – in this medium, the artist has technique of drawing with a

silvers stylus on specially prepared paper to produce a thin grayish line that
was popular during the renaissance period.
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 PRINTMAKING – a print is anything printed on a surface that is a direct result

from a duplicating process. Ordinarily, the painting or graphic image is done in
black ink on white paper and becomes the artist’s plate.
2.3. The Mediums of Music

Music is the art of arranging sounds in time to produce a composition through
the elements of melody, harmony, rhythm, and timbre.
It is one of the universal cultural aspects of all human societies.
A. Stringed Instruments
 VIOLIN – is the smallest of the stringed instruments and has the highest pitch.
The cello is much larger than the violin and has longer thicker and heavier
strings. The viola and the violin are played by tucking the instruments under
the chin of the musicians when they are playing. The cello is bigger than the
violin and the viola. It rests on the floor when is played. The large protruding
pin at its base holds it firmly on the floor.
 DOUBLE BASS - is the longest of the string instruments and has the lowest
pitch. The distinguishing feature of the string instruments is that the smallest
the size, the higher is pitch; and the larger it is, lower is pitch.
 HARP - is one of the oldest string instruments consisting of a triangular frame

formed by a sound box, a pillar and a curved neck, and having strings that are
stretched between the sound box and the neck and are plucked with fingers.
 GUITAR - is a stringed musical instrument with along fretted neck, a flat

somewhat violin – like body and has six strings which are plucked with the
fingers. This is a part of jazz bands and very seldom used in orchestras.
Woodwinds
 FLUTE – is a musical instrument consisting of a tube with a series of finger
holes or keys in which the wind is directed against a sharp edge. The flute
produces a melodious sound, and so it often plays solo parts in orchestral
compositions in a concert.
 CLARINET – is a woodwind instrument in the form of a cylindrical tube with a

single reed attached to its mouthpiece. It has a wide range and usually plays
the alto part when the flute plays the melody.
 PICCOLO – is a small flute, sounding an octave higher than the ordinary flute.
 OBOE - is a woodwind instrument having a slender conical body and a double-

reed mouthpiece. The tone of the oboe is nasal.
 BASSOON - is a larger woodwind instrument of low range with a double tube

and a curved metal crook o which a double reed is attached.
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 SAXOPHONE – is a musical wind instrument consisting of a conical, usually

brass tube with keys or valves and a mouthpiece with one reed. This musical
instrument is not a regular member of the orchestra.
B. Brass Instruments
 TRUMPET – is a brass instrument with a powerful, penetrating tone consisting
of a tub commonly curved once or twice around on itself and having a cup
shape, mouthpiece at one end and bell at the other. Because of its piercing
tone when played, it is associated with a martial pomp.
 HORN – is a wind instrument originally formed from the hallow horn of an
animal but now usually made of brass or other metals. It is the most expressive
of the brass choir.
 TROMBONE – is a musical wind instrument consisting of a cylindrical metal
tube expanding into a bell and bent twice in U-shape, usually equipped with a
slide. The sliding U-shape tube changes the length of the vibrating column of
air inside the tube, so the pitch of its tone are either raised or lowered.
 TUBA – is the bass of the brass choir. It is also a valued brass wind instrument
having a long range.
 *Other brass instrument like the cornet and bugle are played in military and
outdoor bands.
C. Percussion Instruments
 CHIMES – is a musical instrument consisting of a set of slabs of metals which
produce musical tones when struck.
 GLOCKENSPIEL – is a musical instrument composed of a set of a graduated

steel bars mounted in a frame and struck with hammers and used especially in
bands.
 CYMBAL – is a concave plate of brass or bronze that produces a sharp, ranging

sound when struck played either in pairs, by being struck together, or simply
by being struck by a drum stick.
 XYLOPHONE – is a musical instrument consisting of a graduated series of

wooden bars, usually sounded by striking with small wooden hammers. The
marimba is a type of xylophone which originated from Africa. It is associated
with lovely exotic dance music.
 KETTLEDRUM – is a drum consisting of a hallow hemisphere of brass or copper

over which is stretched a skin.
D. Keyboard Instruments
 PIANO – is the most familiar keyboard instrument. It is a musical instrument
in which hammers, operated from keyboards, strike upon metal strings. It is
used to accompany solo or choral singing.
 HARPSICHORD – is a keyboard instrument, precursor of the piano, in which
the strings are plucked by leather or quill points.
 CELESTA – is another keyboard instrument consisting principally of a set of
graduated steel plates struck with hammers. The range of this musical
instrument is only one-half that of a piano, but it produces a celestial or
heavenly sound.
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 ORGAN - is a wind musical instrument consisting of one or more sets of pipes

sounded by means of compressed air, played by one or more keyboards and
capable of producing a wide range of musical effects. Modern organs today,
have no pipes or reeds at all; they produce sounds electronically.
E. Instrumental Group
 BAND - is a musical group, usually employing brass, and percussion and
woodwind instruments. This is a popular group of musicians performing during
town fiestas and parades.
 RONDALLA - as an instrumental grouping in the Philippines is made up mostly
of stringed instruments.
2.4. The Medium of Literature

Literature, in its broadest sense, is any written work. Etymologically, the term derives
from Latin litaritura/litteratura “writing formed with letters,” although some definitions include
spoken or sung texts. More restrictively, it is writing that possesses literary merit. Literature
can be classified according to whether it is fiction or non-fiction and whether it is poetry or
prose. It can be further distinguished according to major forms such as the novel, short story
or drama, and works are often categorized according to historical periods or their adherence
to certain aesthetic features or expectations (genre)
 FICTION – a short story or a novel is presented through narration. The short
story writer includes ideas or incidents that contribute to a single effect which
he aims to achieve. The existence of complex relationships are presented in a
highly condensed portrayal of character and situation.
 NOVEL – is a more extended work which may have more charffacters in a more
complicated situation shown through several chapters.
 STYLE – is the characteristic manner of expression, the habitual manner in
which a writer expresses himself.
Point of view is how the story is narrated, the vantage point from which the character
actions and events are seen:
 The first person point of view uses the “I” who narrates the events and
describes the characters and the relationships which they have with one
another.
 The objective point of view lets the reader watch the events as they unfold on
a stage.
 The omniscient point of view gives the reader a chance to know the hidden
thoughts, unexpressed feelings and reactions of the characters.
The medium of literature is language, that is, the writer uses words with which to “build”
his composition in the same manner that a builder uses stone, bricks, or wood to construct
an edifice. Each word has its particular sound and meaning. These words are not used singly,
however, but in combination with other words and arranged according to certain patterns or
structures to suggest images and feelings.
While all writings use language, not everything that is written or communicated in a
language can be called literature. The term is more exclusively used to refer to works that
exploit the suggestive power of language. Other writings, like scientific treatises, journals and
the like, use words merely on the literal level as definite symbols of ideas. Literature uses
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words which have fairly definite meanings in their context, but are capable of connoting or
suggesting other meanings besides, so that a reader of a short story may go beyond simple
“story line,” for instance, to other levels of meanings.
The writer chooses his words for their expressive potential as well as for their sound, and
arranges them into a definite shape through his imaginative power.
Since every language is the vehicle that a particular group of people use to express their
particular sensibility, it is limited in its appeal. It would be incomprehensible to those who do
not speak it. Thus, the beauty of a literary piece can only be appreciated by one who
understands the language in which it was written.
For instance, we cannot appreciate Chinese literature or Japanese literature in the original
if we do not know Chinese or Japanese.
2.5. The Mediums of Performing Arts

Performance arts are artworks that are created through actions performed by the
artist or other participants, which may be live or recorded, spontaneous or scripted.
A. Dance
The dancer uses his body to communicate an idea or feeling to his audience. His
movements may involve only parts of his body – his arms, legs, or head – or the whole
body itself may move from one space to another to the accompaniment of music. He may
move rapidly or slowly accordingly.
B. Theatre Arts
Theatrical productions, such as drama and the opera, combine several mediums. There
is the play itself, which is a literary form. The plot is rendered by actors and actresses
emoting and speaking or singing their parts as demanded by their roles. They are dressed
in proper costumes and they move about in a stage setting where the scenery, props, and
lighting have been so arranged as to provide the illusion of reality. Music may serve as a
part of the plot or as background to set the mood.
Exercises for Topic 2:

Direction: Encircle the letter of the correct answer.
1. It is an instrumental grouping in the Philippines is made up mostly of stringed
instruments.
a. Band c. Choir
b. Rondalla d. Glee Club
2. The materials which the artist uses to translate his feelings or thought into a beautiful
reality.
a. Technique c. Materials
b. Instrument d. Mediums
3. It is an artworks that are created through actions performed by the artist or other
participants, which may be live or recorded, spontaneous or scripted.
a. Performance Arts c. Festivals
b. Theatre Arts d. Opera
4. What is the most familiar keyboard instrument?
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a. Ukulele c. Harpsichord
b. Guitar d. Piano
5. What is the medium of literature?

a. Experience of the writer c. Plot
b. Language d. Characters
Topic 3: Artists and Artisans

1. Differentiate an artist and an artisan.
2. Relate the nature of the work of an artist and an artisan.
3. Elaborate the important people in an art market.
4. Elaborate the process of art production.
5. Elaborate different artists and their awards.
NOTES:
3.1. Artist vs. Artisans
A. Artist
The word “artist is generally defined as an
art practitioner, such as a painter, sculptor,
choreographer, dancer, writer poet, musicians
and the like, who produces or creates indirectly
functional arts with aesthetic value using
imagination.
Artists are creative individuals who use

their imagination and skills to communicate in an
art form. They use the materials of an art to
solve visual problems. Artists look to many
sources for inspiration. Some look forward to
their natural and cultural environment for ideas;
others look within themselves for creative
motivation.
Artist exhibit the courage to take risks. They are able to see their surroundings
in new and unusual ways. They are willing to work intensely for long periods of time
to achieve their goals. Sone artists are self-taught and have been called folk artists
because they are not educated in traditional artistic methods.
B. Artisan
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An artisan is a craftsman, such as carpenter,

carver, plumber, embroiderer, and the like, who
produces directly functional and/or decorative arts.
Artisans help us in meeting our basic needs, such
utensils and furniture. They serve us for a long time,
supplying us directly functional arts.
C. Similarities and Differences of An Artist and An Artisan
Artists and Artisans learn skills and techniques from some other artists but eventually,
both artists and artisans, develop their own unique styles.
The artisan is basically a physical worker who makes objects with their hands, and
who through skill, experience and ability can produce things of great beauty, as well as
usefulness. The artist, on the other hand, is someone devoted only to the creative part,
making visually pleasant work only for the gratification and appreciation of the viewer but
with no practical value.
3.2. Key Components of Art Market

The Art market is an economic ecosystem that relies not only on supply and demand
but also on the fabrication of a work’s predicted future monetary and/or cultural value. The
art market can appear somewhat unclear since artists do not make art with the sole intention
of selling it, and buyers often have no idea of the value of their purchase.
A. The following are the important players in the art market:

1. Curator. A manager or overseer, and usually a curator or keeper of a cultural
heritage institution (example: gallery, museum, or library). A content specialist
charged with an institution’s collections, selecting art to be displayed in a museum,
organizing art exhibitions in galleries or public places, researching artists, and
writing catalogs and involved with the interpretation of heritage.
To be successful, a curator should be:

 organized;
 passionate;
 knowledgeable;
 adept at multi-tasking; and
 proficient at writing.
2. Art buyer. A professional who is knowledgeable in art, who may scout talents for
an advertising agency seeking to employ an art director, or who may look for an
art for a collector or a company.
3. Art dealer. A person or a company that buys and sells works of art. Art dealers
often study the history of art before starting their careers. They have to understand
the business side of the art world. They keep up with the trends in the market and
are knowledgeable about the style of art that people want to buy.
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They figure out how much they should pay for a piece and then estimate the resale
price. To determine the artwork’s value, dealers inspect the objects or paintings
closely and compare the fine details with similar pieces.
4. Art Collector. Collectors recognize the value that such vibrant artists bring to
communities, and they are in a position to ignite interest for a particular artist's
oeuvre. This investment helps artists continue their work, build their reputation,
and allow them to evolve and create even more value.
3.3. Production Process

A. Three Stages in the Creative Process
1. Germination (Idea). It is the initial moment when you conceive a new project
in your life. In the germination stage, you are planting the seeds of your
creation. The most difficult thing in this stage is choosing. You need to be more
specific about what you want to do. You have to give to your vision a first
shape, from which you decide your next steps. Being more specific means
choosing some things and leaving some other things out. It is also important
to choose what you want to do instead of avoiding what you do not want to do.
2. Assimilation. It is a crucial step in creative process. During this phase you will
internalize and assimilate or incorporate the idea you want to create. Plan,
analyze it, and cultivate it with all the available resources.
In this stage, your project, which initially was something external
to you or to your group, comes into your own being, becomes one with you. In
this way your creation grows from inside and begins to manifest in everything
you do, consciously or unconsciously.
3. Completion. It is the time to finish your project, to give it the final shape
before you present it to the audience. Put a deadline to your projects and do
not get entangled in small and never ending details.
B. Three Stages in Art Making

In the creative process, the artist undergoes three stages of experience, which
are popularly known as pre-production, production, and post-production.
1. Pre-production or subject development. This ends when the planning ends,

and the content starts being produced.
2. Production or medium manipulation. This is a method of joining diverse

material inputs and unimportant inputs (plans, know-how) to make something
for consumption (the output). It is the act of creating output, a good or service
that has significance and contributes to the utility of individuals.
3. Post-production (completion) or exhibition. Once, an artwork is finished,

it will be displayed, circulated, and performed for the audience and public to
see or watch.
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3.4. Recognition and Award for Artist and Artisan
A. Gawad sa Manlilikha ng Bayan (GAMABA) National Living Treasures Award

The award was institutionalized in 1992 through Republic Act No. 7355. The
National Commission for Culture and the Arts (NCCA), which is the highest policy-
making and coordinating body of the Philippines for culture and the arts, was taken
with the implementation.
The award is conferred upon a Filipino citizen or group of Filipino citizens
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 generations in his/her community with the same
degree of technical and artistic competence.
B. GAMABA Awardees
GAMABA Awardees in Weaving
1. Lang Dulay
 She is a T'boli artist from Lake
Sebu, South Cotabato.
 She is considered as a traditional
weaver of "t'nalak" or "tinalak"
cloth.
 Her art is considered excellent
because of the “fine even quality of
the yarn, the close interweaving of
the warp and weft, the traditional
forms and patterns, the chromatic integrity of the dye, and the consistency
of the finish” In 1998, she was given the “Gawad sa Manlilikha ng Bayan”
award.
2. Salinta Monon
 She is a Tagabawa-Bagobo weaver from Bansalan, Davao del Sur.
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 She is cited for demonstrating the creative and expressive aspects of the
Bagobo abaca ikat weaving called inabal at the time when it was threatened
with extinction. In 1998, she was given the “Gawad sa Manlilikha ng Bayan”
award.
3. Darhata Sawabi
 She is a weaver of pis syabit-the traditional cloth tapestry worn as a head
covering by the Tausug of Jolo, from Barangay Parang, in the island of Jolo,
Sulu.
 In 2005, she was given the “Gawad sa Manlilikha ng Bayan” award.
4. Haja Amina Appi

 She is recognized as the master mat weaver among the Sama indigenous
community of Ungos Matata, Tandubas, Tawi-Tawi.
5. Magdalena Gamis
 She is a master weaver who makes “inabel”, an Ilokano handwoven cloth.
GAMABA Awardees in Literature and Performing Arts
6. Ginaw Bilog
 He is a Hanunoo Mangyan poet from
Mansalay, Oriental Mindoro.
 He is considered as a master of the
Ambahan poetry.
 This wisdom is his key to the understanding
of the Mangyan soul.
 In 1993, he was given the Gawad sa
Manlilikha ng Bayan award.
Ambahan
 Ambahan is a poetic literary form composed of seven-syllable lines used to
convey messages through metaphors and images.
 The ambahan is sung and its messages range from courtship, giving advice
to the young, asking for a place to stay, saying goodbye to a dear friend
and so on.
 Such an oral tradition is common place among indigenous cultural groups
but the ambahan has remained in existence today chiefly because it is
etched on bamboo tubes using ancient Southeast Asian, pre-colonial script
called surat Mangyan.
7. Masino Intaray
 He was born near Makagwa Valley, Palawan. He was a skilled and proficient
player of the basal (gong), aroding (mouth harp), and babarak (ring flute).
 He was also well-versed in kulilal (songs) and bagit (vocal music).
 In 1993, he was given the “Gawad sa Manlilikha ng Bayan” award.
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8. Samaon Sulaiman
 He is a kudyapi (kutyapi) master and teacher of his instrument in Libutan
and other barangays of Maganoy town, Mindanao.
 He is proficient in kulintang, agong, gandingan, palendag, and tambul.
9. Alonzo Saclag
 He is a Kalinga master of dance and the performing arts from Lubuagan,
Kalinga.
 He has also mastered the dance patterns and movements associated with
his people’s ritual. He is the founder of the Kalinga Budong Dance Troupe.
10. Federico Caballero

 He is a Sulod Bukidnon epic chanter from Calinog, Iloilo.
 He work for the documentation of the oral literature, particularly the epics,
of his people.
 He is considered as a bantugan. He strives to dispense justice in the
community through his work as a manughusay – an arbiter of conflicts.
11. Uwang Ahadas

 He is from Lamitan, Basilan. He is a Yakan, a people to whom instrumental
music is of much significance, connected as it is with both the agricultural
cycle and the social realm.
 He is a hands-on-teacher to those who wants to learn playing Yakan
instruments including the kwintangan, kayu, and tuntungan.
GAMABA Awardees in Plastic Arts
12. Eduardo Mutuc

 He is from Apalit, Pampanga. He
has dedicated his life to creating
religious and secular art in silver,
bronze and wood.
 In 2005, he was given the “Gawad
sa Manlilikha ng Bayan” award.
13. Teofilo Garcia

 He is a hat weaver from San
Quintin, Abra.
 He is known for tabungaw, which can last up to three to four generations if
taken care of properly.
C. National Artists
National Artists of the Philippines. The order of the National Artists is considered
to be the highest national recognition for individuals who contributed to the
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development of the Philippine arts. The President of the Philippines grant this award
to an artist after both institutions give recommendations for this particular artist.
This began in 1972 when Presidential Proclamation No. 1001, s. 1972 was
enacted to recognize Filipinos who made exceptional contributions to Philippine arts
and letters. Painter Fernando Amorsolo was awarded the same year, making him the
first National Artist.
Criteria for the Order of National Artists
1. Living artists who are Filipino citizens at the time of nomination, as well as
those who died after the establishment of the award in 1972 but were Filipino
citizens at the time of their death;
2. Artists who, through the content and form of their works, have contributed in
building a Filipino sense of nationhood;
3. Artists who have pioneered in a mode of creative expression or style, thus
earning distinction and making an impact on succeeding generations of artists;
4. Artists who have created a substantial and significant body of work and/or
consistently displayed excellence in the practice of their art form thus enriching
artistic expression or style; and
Artists who enjoy broad acceptance through:
• Prestigious national and/or international recognition, such as the Gawad CCP

Para sa Sining, CCP Thirteen Artists Award and NCCA Alab ng Haraya; critical
acclaim and/or reviews of their works; and respect and esteem from peers.
3.5. Famous International Artist
A. LEONARDO DA VINCI (1452 – 1519)
An Italian master of the arts of painting,

sculpture and architecture, a draftsman, an
accomplished engineer, and a pioneer investigator
in the natural sciences. Described as a rare universal
genius
He is an Epitome of the “ideal” Renaissance

humanist. Started the style of High Renaissance art
and had an immediate and profound influence on
the 16th century art and the following generations.
1. Life and Works in Painting
Leonardo was born in April 15, 1452 in Vinci,

Republic of Florence (now in Italy). He died last May 2, 1519.Despite living several
centuries ago, he still remains one of the most influential artists of all time. His only
training was in the field of science and he entered the studio of sculptor Andrea del
Verrocchio as an apprentice at an early age. Leonardo was regarded as an intellectual
in his lifetime because of his passion for science.
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Leonardo's contributions to the art world were small, but two of his paintings
are the most popular today: "Mona Lisa" and "The Last Supper," which is the only
surviving fresco of Leonardo da Vinci.
The fact that his interest ranged beyond art could have been the reason why
his input was very small. In his lifetime, so engrossed was he in physics and mechanics,
that he created workable artistic designs for bicycles, among other things.
This is what is popularly believed to be the cause of his failure to complete
several of his paintings and art projects. There are also credible reports that he spent
a significant amount of time thinking and testing scientific laws, as well as writing his
observations about them.
Among Leonardo’s other important works are: an unfinished Adoration of the
Magi inn the Uffizi in Florence; The Virgin of the Rocks of which there are two versions,
one in the Louvre and one in the National Gallery in London; and a St. John in the
Louvre, his last painting.
In 1504, he began a large wall painting, The Battle of the Anghiari, in the
council chamber of the Florentine Republic in the Palazzo Vecchio.
2. Analysis and Evaluation of Leonardo and Some of His Paintings

The Last Supper, which is among the most famous paintings in the world,
portrays the apostles’ reaction to Christ startling announcement that one of them
would betray him.
The Mona Lisa is a portrait of a woman, the wife of Florentine merchant

Francesco di Bartolommeo del Giocondo – hence the alternate title for the painting La
Giaconda. The paintings’ slight smile, suggest rather than stated, puzzles and
fascinates the beholder. Da Vinci achieved such effect by employing Sfumato – a
technique which produces a haze or mist caused by light, shadow and aerial
perspective and which gives the painting a poetic, dreamlike quality.
B. MICHELANGELO BUONORROTI (1475 – 1564)
An Italian sculptor, painter, architect, and

poet, regarded by many as the epitome of culture of
Renaissance, Italy. He was born on March 6, 1475 in
Caprese. Both parents were Florentines; his mother,
Francesca del Sera; his father, Lodovico di Buonorroti
Simoni. He was a major figure of the Renaissance in Italy,
especially in Florence and Rome. Even today, some of his
marble carvings have a flawless beauty.
Michelangelo is popularly known for the Italian

Renaissance sculpture as well as the Sistine
Chapel frescoes, among other incredible works of art. In Florence, Michelangelo
carved in marble a San Giovannino and a Sleeping Cupid (both lost).
The first sojourn to Rome resulted in great fame for the youthful sculptor and
sharply revealed in the Bacchus and Pieta two of the contrasting main themes which
served Michelangelo all his life: pagan exaltation of the nude male figure, and love-
pity for the Christ.
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Michelangelo is the name that reveals artistic ideas and love of beauty. He can capture
love and life with beautiful artworks presented effectively either in sculpture, paintings
or even in poetry.
C. PABLO PICASSO (1881-1973)

He was born on October 25, 1881 in
Malaga, Spain. He is the first child of Don Jose
Ruiz Blasco (painting and drawing master at the
Malaga School of Arts and Crafts) and Maria
Picasso y Lopez He studied art in Barcelona and
then went to Paris in 1890. The paintings
belonging to this period are poignant studies of
poverty and suffering and is dominated by
melancholy shades of blue and green, they are
filled with stooped, angular figures. Notable
examples include La Vie (Cleveland Museum of
Art, Ohio) and the Old Guitarist (Art of Institute
of Chicago).
He is one of the greatest and most
original artists of the 20th century. By 1905(Rose Period), He given up portraying the world
of the poor. He turned instead to charming depictions of circus players and harlequins.
The graceful airy figures in such works as Boy Leading a Horse and Saltimbanques are
among his popular creations.
He was a sculptor, printmaker, painter, and ceramicist. He developed cubism
with the French artist Georges Braque. His interest in primitive African sculpture can be
seen in the masklike portrait Gestrude Stein, in which human figures are broken up into
geometrical shapes. A landmark in the history of art, the art is often considered the
connecting link between Realistic painting and Cubist abstraction.
In such early cubist works as Female Nude and Woman with a Guitar, Picasso
analyzed objects and figures from several angles. From this Analytical Cubism, Picasso
later moved to a more decorative style, known as Synthetic Cubism. Characteristic of the
latter style is the painting of Three Musicians in which the figures and objects are
abstracted into geometrical forms and arranged in a flat pattern.
His Classical period, which began in 1920, was rich in studies of massive
figures. The outstanding works of this type include his painting Woman in White and such
drawings as Mother and Child and The Lovers. In Mid-1930’s, he became concerned with
social and political themes. In his symbolic etching Minotauromachy, he represented a
personal vision of the struggle between the forces of evil and good.
After the outbreak of Spanish Civil war, he expressed his outrage at Fascism in
his powerful mural Guernica, which is often considered his masterpiece. Many of his later
paintings and sculptures, such as his Demoiselles au bord de la Seine, After Courbet and
the Bronze Monkey and Her Young testify his active fantasy and unique artistry.
Picasso’s works demonstrate his imagination, superb draftsmanship and
expressive power. He was among the 250 sculptors who exhibited the 3rd Sculpture
International held in America. His style and technique was exceptionally prolific throughout
his lifetime, producing a total number of 50,000 artworks, including drawings, paintings,
and sculptures, among others. Of all forms of art, Picasso excelled most in painting.
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D. VINCENT VAN GOGH (1853-1890)

He is the oldest son of a Protestant minister. He
was born in Groot Zuudert in Dutch province of North Brabant
on March 30, 1853.
Born in the Netherlands, van Gogh was a
remarkable painter whose works of art are still sold at
unbelievable prices across the world today. His contribution
to art was basically painting. He created many still-life
paintings, several of them were portraits of friends and
acquaintances. In all, van Gogh completed about 800
paintings. One thing that distinguished him as a painter was
his grasp for color relationship and unique brushwork. His
work is still a great source of inspiration for several impressionists all over the world.
E. BEETHOVEN, LUDWIG VAN (1770- 1827)

Ludwig van Beethoven was one of the famous
composers in history. He won for composers a new freedom
to express themselves. Before his time, composers wrote
works for religious services, to teach, and to entertain people
at social functions. But people listened to Beethoven’s music
for its own sake. As a result, he made music more
independent of social, religious or teaching purposes.
Beethoven was born in Bonn, Germany, on
December 16, 1700. He showed musical talent when we was
very young and learned to play the violin and piano from his
father who was singer. In 1787, Beethoven’s gentle and
loving mother died. After that, his father was often drunk and had a bad temper.
Beethoven found relief from his difficult family life when he became tutor to two children
of the von Bruening family. The children’s mother was a kind and well-educated woman
who introduced Beethoven to important people in Bonn.
When he visited Vienna, the famous composer Wolfgang Mozart heard him play
the piano. Mozart said, “He will give the world something worth listening to”. About this
time, Beethoven met Found Ferdinand Waldsteen, who became his lifelong friend and
often helped his career.
In the late 1790’s, Beethoven began to lose his hearing. This increasing
deafness changed his personality. He became totally deaf during the last years of his life,
but his deafness did not hinder his composing, as many people believe. However, it did
reduce his normal social life, which he made him suffer deeply. Despite being deaf,
Beethoven’s music became more profound. He developed a completely original style of
composing. It reflected his violent emotion, his sufferings and joys.
In 1826, Beethoven caught a serious cold which developed into pneumonia and
then dropsy. He died on March 26, 1827.
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F. MOZART, WOLFGANG AMADEUS (1756- 1791)

An Australian composer, Wolfgang
Mozart was born in Salzburg to Violist and
composer Leopold Mozart. In 1762, his father took
him on a tour of Germany and to Paris and London,
where he received adulation for his abilities.
In 1770, in Rome, Mozart was able to

write out the entire score of a Miserere by Georgio
Allegri after hearing the work twice; he earned
the highest praise for his talents as performer,
improviser and composer. He continued to tour,
composing piano sonatas, symphonies and his
early operas but failing to find a permanent
position worthy of his exceptional talents.
After a period of unhappy service with

the archbishop of Salzburg, he settled in Vienna as a freelance musician and teacher,
composing such masterpieces as the operas The Marriage of Figaro and Don Giovanni. He
compose 49 symphonies, over 40 concertos (of which those for piano(25), horn, violin
and clarinet are best known), 7 string quintets, 26 string quartets, divertimenti, piano
sonatas and violin sonatas.
Some of his finest works, the operas Cossi Fan Tutte (1790) and The Magical
Flute (1791) and The Jupiter Symphony (1788), were written during the last years of his
life. His unfinished Requiem was completed after his death by Franz Sussmayr.

WORD SEARCH Direction: Identify the corresponding terms that are being described in
each item. Encircle your answer and write it before the number of its corresponding item.
B U A R T C I S T C
J K U P I U U A D U
S A P I O R T B R R
E R T I U A I S J V
A R T I S T F G H E
U A D U V O E N I L
D E A L E R E Y U B
K U P I U O E N I L
B N E V O H T E E B
1. Creative individuals who use their imagination and skills to communicate in an art form.
2. Is a craftsman, such as carpenter, carver, plumber, embroiderer
3. A manager or overseer, and usually a curator or keeper of a cultural heritage institution.
4. A person or a company that buys and sells works of art.
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5. The renowned composer who lose his hearing but continued his passion towards music.
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Topic 4: EVALUATING ART
1. Define art evaluation;
2. Understand the background/context of art;
3. Appreciate the work of art;
4. Identify the basic steps of art criticism.
NOTES:
4.1. WHAT IS ART EVALUATION?

The task of evaluating a work of art, such as a painting or a sculpture, requires a
combination of objective information and subjective opinion. The more information we can
glean about the context, and the work of art itself, the more reasoned our assessment will
be.
Art evaluation is the making of judgement or judgements about a work of art with
respect to set of criteria.
Art Evaluation is Not Simply Liking or Disliking
Before going into detail about how to evaluate art, let us again re-emphasize that the
whole point of art appreciation is to explain WHY we like or dislike something, not simply
WHETHER we like it or not. For example, you may end up disliking a picture because it is too
dark, but you may still like its subject matter, or appreciate its overall message. To put it
simply, saying "I don't like this painting" is insufficient. We need to know the reasons behind
your opinion, and also whether you think the work has any positive qualities.
4.2. THE BACKGROUND/CONTEXT OF THE WORK OF ART

Context consists of all of the things about the artwork that might have influenced the
artwork or the maker (artist). These would include when the work was made; where it was
made (both culturally and geographically); why it was made; and possibly some other details
or information. Contextualism—looking at the cultural context of an artwork—can deepen
and/or improve our understanding of an artwork, but it may or may not change our first
impressions; and it doesn’t really have an effect on formal analysis. With some additional
contextual information about the time, the culture, and the maker/artist of an artwork, we
can become more informed. All artworks exist in a context—more accurately, all artworks
exist in multiple contexts.
A. Historical Context
Time is the most basic and first context we consider. When we say, “When in
time?” the question is also related to where in time—and has considerations related to
context.
B. Art and Artist Context
The context for the artist or creator includes:
 Their culture, their worldview (where they grew up; family values; etc.)
 Their place; geography (e.g., city, rural, home, traveling)
 Their “worldview,”religion, beliefs, etc.
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C. Viewer Context
Context also has to do with the viewer. For example: When a person in Paris in the
1890s looked at a Van Gogh painting, how that painting looked and felt and seemed to
her was very different from an American viewer looking at the same painting today. When
thinking about a viewer’s context, it’s useful to think about the following, since all of them
can affect how person sees or responds to an artwork:
 Time
 Culture
 Nationality
 Gender
4.3. APPRECIATING THE WORK OF ART
The easiest way to get to

understand and therefore appreciate a
work of art is to investigate its
context, or background. This is
because it helps us to understand
what was (or might have been) in the
mind of the artist at the time he
created the work in question. Think of
it as basic detective work.
Unlocking the meaning behind a

work of art is one of the many joys of
viewing and collecting. But how do you appreciate art and actually interpret it?
Often, there is a veneer of elitism surrounding the art world, including the false
idea that one must be “in-the-know” to truly appreciate artwork. Park West strives to
remove this idea by making fine art available to everyone. One way to open the doors
to the art world is by learning how to look at artwork.
Art can be and do many things; it can be an expression of emotions, it can

represent a feeling or idea. Art can make statements or simply be aesthetically
pleasing to the eye. Regardless of the type of art, artwork requires context in order to
understand the meaning behind it.
By examining a work of art, clues about its meaning can be gleaned from within
the work itself. Looking at and comprehending art is all about taking the time to view,
identify and think.
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LOOK AT THE ART

Viewing the art seems like an obvious first
step, but it’s more than quickly glancing at the
art and drawing a conclusion. Before stepping
back and taking the artwork in, take a moment
to identify the artwork’s basic qualities:
 Is it a painting, sculpture, or graphic work?

 Is it on canvas or another medium?
 Is the texture rough or smooth?
 Does it appear chaotic or organized?
 Is it large or small?
 Are the colors bright or subdued?
IDENTIFY THE ART AND ARTIST
Aside from the visual elements listed above,

knowing when or how the artwork was made
reveals more context. The famous “Guernica”
(1937) by Pablo Picasso is a sight to behold on
its own, but knowing Picasso composed the
painting in response to the bombing of the town
of Guernica during the Spanish Civil War lends to
understanding its anti-war symbolism.
Even if the historical context of an artwork
is not apparent, knowing the year of its creation
offers an idea as to the broader events taking place at the time.
In all cases, learning something about the artist undeniably adds to the
appreciation of art. A fact as simple as “Tim Yanke” loves listening to music when he
paints” gives a solid base to use when viewing his art.
THINK ABOUT THE MEANING
Use what you observed in the first two

steps to think about meanings and narratives
the artwork could have. The title of the art is
a good starting point.
Consider what the subjects or symbols

meant to the artist when they created the
artwork. What do the colors say about the
artist, and how do they apply to the subjects
in the art? For example, the owls
in Lebo’s oeuvre could represent wisdom,
but why are they so brightly colored?
Art like the luminous paintings of Thomas Kinkade are not as difficult to
interpret. In the case of more abstract or conceptual art, there may not be literal
depictions of subjects or ideas, and therefore require a bit more thought.
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In addition to the earlier questions, ask how the art makes you feel. Many
artists, such as Michael Cheval, have specific meanings behind their art, but also
encourage viewers to come up with their own interpretations. In this way, there is no
“right” answer that must be reached to unlock the painting’s mysteries.
Still, every interpretation is not automatically correct, which is why the techniques
described above are helpful in finding clues. It is surprising how much of what you
already know lends itself to understanding a work of art, so asking the “Who?” “What?”
“Where?” “When?” “Why?” and “How?” questions may lead to great insights.
DISCOVER YOUR TASTES
“Umbrella Man I Ver. XIII” (2016), Peter

Max
Applying these techniques to every work of art you
come across may seem daunting, but just remember
one important fact: You don’t have to look at
everything.
4.4. ART EVALUATION AND CRITICISM
Art criticism is analyzing and evaluating works of art. As art critics, when we look at
a painting, sculpture, or other form of art, we don't approach it as something that we like or
dislike. We view it in a business-like way. For example, does the artwork represent a particular
era, movement, or style? In approaching art criticism, just think of yourself as a detective. In
other words, what makes art 'art'
A. Steps
Art criticism involves four basic steps, including:
 Look at the obvious

 Analyze the artwork
 Decide on an interpretation
 Make a judgment call
1. Look at the Obvious. In the course of your daily life, you'll most likely have to
provide others with some general information about yourself, such as your name,
address, or school. When critiquing an art piece, you'll be looking for that same type
of information about the artist.
For example, what's the name of the piece? What's the name of the artist?
What country was he or she from? What medium did the artist use, such as paint,
clay, film, or other type of material?
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2. Analyze the Artwork. Next you have to describe the piece of art in terms of its
subject matter, color, and style. For example, if you're looking at a painting, do you
see people, a landscape, or an object? Let's say you see a woman. Is she smiling? Is
she frowning? What is she wearing? Is she doing anything?
Check out the color palette, which is a spectrum of colors used by the artist.
Sometimes you can tell from the color during which century the piece was created. Do
you see pastels, or do you see bright colors? Maybe you see more muted tones.
Look at the style. Style refers to a particular type of movement, such as Art
Nouveau or Cubism. If the woman is very realistic, you may want to look at periods
prior to 1910. If you sort of see a woman, but she is made up of cubes, you might
suspect that the picture was painted in the 1910s or 1920s during the Cubist period of
art.
3. Decide on an Interpretation. Now that you've examined the artwork, what does
it all mean? John Q. Public would like to hear what you think is going on in the painting.
Sometimes your interpretation may be more straightforward; other times, you'll be
calling John's attention to a hidden meaning. For instance, Salvador Dalí, the surrealist
painter, specialized in hidden meanings, which stem from sexual trauma to science
and religion.
4. Make a Judgment Call. Last, but not least, an art critic needs to make a judgment
call. For example, what did you think of the artwork? In this step you have to go
beyond 'I like it', 'I love it', or even 'I hate it'.
In making your judgment call, you need to ask yourself if the work was
successful. For instance, did it convey the message the artist intended? Was the
composition, color, and line quality successful in, say, representing Bauhaus, Swiss
Design, or Art Nouveau? In art criticism, judgment is never personal; it is about
interpreting the art and whether the art communicates a message to the audience.
1. Choose a painting or artistic photograph to work with and take yourself through these
steps. Write up your finished critique as if you're writing for an art related newspaper
column or an art magazine.
2. Evaluate the artworks below.
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Topic 5: Soulmaking, Appropriation, and Improvisation
At the end of this topic, the students will be able to:

1. Define Soulmaking.
2. Characterize and define appropriation and ownership.
3. Explain how art is connected to the expression of our inner self/soul.
NOTES:
5.1 Soulmaking
A. Definition
Soulmaking (art making) is an alternative venue for knowing ourselves and looking
into the depths and real meaning of what we are doing for our everyday life (Narciso,2012).
It is a form of crafting stories or transforming brief moments into images or symbols. It is
connecting with people, understanding culture, and embodying tolerance and peace.
One intention of soulmaking is to develop the artist in us, awakening the art in us that
has been stagnant or undeveloped for numerous years. It opens doors for multiple
intelligences of expression.
In making art, an artist or artisan or even the ordinary person utilizes imagination to
survive and live. We utilize imagination or an inspiration to connect with the soul. Imagination
in where substance and the meaning of the artwork are formed. It varies from each individual
since each one is dealing with diverse experiences based on what are obtained by the senses.
Anyone can be involved in soulmaking when he seeks to experience the exciting and
moving journey of art making. Any place can be profound space for soulmaking. Artists and
artisans create a space on individuality and identity. People define their space literally or
physically but it is a fact that soulmaking can happen anywhere.
B. Categories of Soulmaking
1. Crafting Images. It refers to imagining or representing in any form, which may be
through painting, sculpting, drawing, storytelling, poetry, dancing, composing, or taking
notes.
It is rooted in our own personal experiences, our personal experiences, our personal
encounters and events that triggered our reflection, recall, and judgement.
2. Crafting stories. The moment we write, engrave, and inscribe our own thoughts,
ideas, commentaries, criticisms, and positive and negative emotions, we are crafting stories.
Stories can be presented in any from- images, words, objects, and musical composition. The
stories we craft become our particular time or moment.
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3. Crafting Instruments. An instrument maker is a bridge toward the unknown because

the instrument produces sounds that transcend our feelings, emotions, and sensation in
another realm (Narciso, 2016).
Transforming any found or used object into a musical instrument allows one to discover
harmony and balance to produce a sound that is entertaining , enhancing, and magical.
4. Crafting movements. Our life is full of movements; it is filled with various beats. Life
is full of flowing images accompanied by flowing narratives. Everything we do in life is a
performance; we perform life. At times we need to pause to capture the movements of our
energy and the world.
5. Crafting techniques. Anything can be crafted by using various evocative descriptions
of experiences and explorations, like photograph studies, puppets and masks, constructions,
and notepad studies.
5.2 A Framework for Genius
A. Seven Da Vincian Principles

Leonardo da Vinci was the ultimate Renaissance man: an accomplished scientist,
mathematician, engineer, inventor, anatomist, painter, sculptor, architect, musician, and
writer. As a leader, an entrepreneur, a boss, we can learn a lot from the Principles of Leonardo
Da Vinci:
1. Curiosita. You need an insatiable curiosity for life.

Great minds have one characteristic in common: they continuously ask
questions throughout their lives.
2. Dimostrazione. A commitment to test knowledge through experience.
Wisdom comes from experience and the principle of Dimostrazione helps
you get the most out of your experience
3. Sensazione. The continual refinement of the senses, especially sight, as the
means to clarify experience.
According to Da Vinci, we can best practice Dimostrazione through our
senses, particularly sight.
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4. Sfumato. A willingness to embrace ambiguity, paradox, and uncertainty.

An essential characteristic of Da Vinci’s genius is his ability to handle a
sense of mystery.
5. Arte/Scienza. The development of the balance between science and art, logic
and imagination (“whole-brain thinking”).
The development of the balance between science and art, logic and
imagination”. This is thinking with the “whole brain”.
6. Corporalita. The cultivation of ambidexterity, fitness, and poise.
Corporalità is “the cultivation of grace, ambidexterity, fitness, and poise”.
Leonardo had amazing physical ability that complemented his genius in
science and arts.
7. Connessione. A recognition and appreciation for the connectedness of all things
and phenomena; “systems thinking.”
In other words, is systems thinking. One main source of Leonardo’s
creativity is his ability to form new patterns through connections and
combinations of different elements.
Genius is made, not born. Leadership is cultivated, not positioned. We are gifted with
an almost unlimited potential for learning and creativity.
We can uncover our own hidden abilities, sharpen our senses, and liberate our unique
intelligence—by following the principles of Leonardo Da Vinci.
5.3 Appropriation
A. Definition
It refers to borrowing images that are recognizable from different sources and these
borrowed images to make a new art form. Mandiberg describes it as a means of
experimentation by changing the context around the borrowed images and objects. Thus, the
meaning of the borrowed images and objects is changed once these are used in the new work
of art.
Artworks can be appropriated in two ways. First, artists can appropriate artistic
content, which includes artistic elements, such as motifs, styles, genres, and similar elements,
and complete artworks. Lastly, appropriation of art can also be done by individuals who adopt
items that they consider to be artworks, specifically tangible creations of one culture.
Appropriation is different from copying or forgery. Appropriation allows the viewer to

recognize the origin of the borrowed images and objects, as well as the original context. The
aim of the artist is to recontextualize the borrowed objects or images through different steps,
such as enlargement or repetition of that image, framing, or translation across mediums. On
the other hand, forgery or copying tries to deceive the viewers into thinking that they are
looking at an original work of art.
B. Cultural Appropriation
According to Oxford English Dictionary (as cited by Young, 2008), culture refers to a
specific type or form of intellectual development. It also means the customs, practices,
perspectives, and even creations shared by a group of people.
Culture + appropriation = Cultural Appropriation
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Tel. # (033) 396-2291 ; Fax : (033) 5248081
Young (2008) defines cultural appropriation as “appropriation that occurs across the
boundaries of cultures.” This means that a person with a certain culture takes objects created
by a person or a group of persons of another culture, and uses these objects as his or her
own.
C. Types of Cultural Appropriation
James Young in “The Ethics of Cultural Appropriation” stated Five (5) types of
cultural appropriation. These are the following:
1. Material appropriation. It occurs when the possession of a tangible object

(such as a sculpture) is transferred from members of one culture to
members of another culture. The removal of the friezes from the Parthenon
by Lord Elgin is often regarded as a case of material appropriation. The
transfer of a totem pole from the site of a Haida village to a museum is
another case of material appropriation.
2. Non-material appropriation. This form of appropriation involves the
reproduction, by a member of one culture, of non-tangible works of art
(such as stories, musical compositions or dramatic works) produced by
some other culture. A musician who sings the songs of another culture has
engaged in non-material appropriation, as has the writer who retells stories
produced by a culture other than his own. Robert Bringhurst's versions of
Haida myths may count as non-material appropriation. A recording made
by an ethnomusicologist could also be an instance of non-material
appropriation.
3. Stylistic appropriation. Sometimes artists do not reproduce works
produced by another culture, but still take something from that culture. In
such cases, artists produce works with stylistic elements in common with
the works of another culture. White musicians who compose jazz or blues
music are often said to have engaged in appropriation in this sense.
Similarly, white Australians who paint in the style of the aboriginal peoples
would be engaged in stylistic appropriation.
4. Motif appropriation. This form is related to stylistic appropriation.
Sometimes artists are influenced by the art of a culture other than their
own without creating works in the same style. Picasso, for example, was
influenced by African carving, but his works are not in an African style.
Similarly, Ravel was influenced by the jazz of African-Americans, but his
compositions are not in a jazz idiom. Rather than appropriating an entire
style, such artists have appropriated only basic ideas or motifs.
5. Subject appropriation. It occurs when someone from one culture

represents members or aspects of another culture. Many of Joseph Conrad's
novels involve subject appropriation, since Conrad frequently wrote about
cultures other than his own. W. P. Kinsella's stories about the Hobbema
Indian reserve are often cited as examples of objectionable subject
appropriation.
5.4 Improvisation
As defined, it is the art and act of improvising or of composing, uttering, executing, or
arranging anything without previous preparation or producing something from whatever is
existing or available.
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A. Skills and Techniques in Improvisation
Improvisational skills can apply to many diverse abilities or forms of

communication and expression across all disciplines, which may be artistic, scientific,
physical, cognitive, and non-academic disciplines. Improvisation can make an
important contribution in music, dance, cooking, speech presentation, sales and other
more.
Technique improvisation are widely utilized in training for the performing arts
or activities, particularly in music, theater, and dance. To “extemporize” or “ad lib” is
basically the same as improvising.
In the industry or organization, one improvisational, group problem-solving
technique being used is brainstorming. It is when any and all ideas that a group
member may have are permitted and encouraged to be expressed, regardless of actual
practicality or importance.
B. Improvisation In The Various Art Form
1. Performing arts. Improvisation can be thought of as an “on the spot” (at the
moment) or “off the cuff” (impromptu) spontaneous moment of sudden
resourcefulness or inventiveness that can just come or pop up to mind and
body.
Common in the performing arts are the musical improvisation,
improvisational theater, and dance improvisation.
 Music Improvisation- is the creative activity of immediate musical

composition, which combines performance with communication of
emotions and while simultaneously playing instrumental, as well as
spontaneous response to other musicians. The art of improvisation can
be understood as composing music “on the fly.”
Improvisation can take place as a solo performance, or
interdependently in ensemble with other players. When done well, it
often elicits gratifying emotional responses from the audience.
 Improvisational Theater- often called improv or impro, it is the form of
theater , often comedy, in which most or all of what is performed is
unplanned or unscripted: created spontaneously by the performers. In
its purest form, the dialogue, action, story, and characters are created
collaboratively by the players as the improvisation unfolds in present
time, without use of a previously prepared, written script.
Improvisational techniques are often used extensively to train
actors for stage, film, and television and can be an important part of the
rehearsal process.
 Dance Improvisation- it is the process of spontaneously creating
movement. The development of improvised movement material is
facilitated through a variety of creative explorations. Including body
mapping through levels, shape, and dynamics schema.
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Tel. # (033) 396-2291 ; Fax : (033) 5248081

A. Direction: Read the following statements carefully. Choose the best answer.
1. Statement 1: One intention of soulmaking is to develop the artist in us.

Statement 2: Improvisation can only take place as a solo performance.
A. TRUE, TRUE B. TRUE, FALSE
C. FALSE, TRUE D. FALSE, FALSE
2. Statement 1: The development of improvised movement material is facilitated
through a variety of creative explorations.
Statement 2: A musician who sings the songs of another culture has engaged in
non-material appropriation.
3. Statement 1: Appropriation is closely related to copying or forgery.
Statement 2: Non-material appropriation involves the reproduction of non-tangible
works of art.
4. Statement 1: Improvisational techniques are often used extensively to train actors
for stage
Statement 2: According to Van Gogh, you need an insatiable curiosity for life.
5. Statement 1: Forgery or copying tries to deceive the viewers into thinking that
they are looking at an original work of art.
Statement 2: Stories can be presented in various ways.
END OF MIDTERM MODULE
References
BOOKS:
Eristain, T. et al, (2003). Art: Perception and Appreciation. Goodwill

Trading Inc.
Boongaling, C.C. et al, (2018). Art Appreciation. Mutya Publishing
House Inc.
ONLINE:
https://courses.lumenlearning.com/introliterature/chapter/defining-
literature/
P a g e 33 | 34
Tel. # (033) 396-2291 ; Fax : (033) 5248081
https://courses.lumenlearning.com/atd-sac-
artappreciation/chapter/reading-context-is-part-of-when-and-where/
https://www.parkwestgallery.com/how-to-appreciate-art/
P a g e 34 | 34

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COLLEGE OF SCIENCE AND TECHNOLOGY

Cagamutan Norte, Leganes, Iloilo - 5003

SUBJECT TITLE: ART APPRECIATION

Topic 1: PRINCIPLES OF DESIGN

At the end of this topic, the students are expected to:

1.1. PRINCIPLES OF DESIGN

1. STRUCTURAL DESIGN – shows strength and durability of materials. This kind of

Variety of Decorative Design

These principles of design highlight the fundamental aspects of what makes

The way elements are arranged so

1Variety is the use of several

Emphasis is the art principle

Focal points are also elements

Balance is a feeling of equality in

Proportion is the feeling of

Rhythm is created when one or

Rhythm is the visual tempo of a

Harmony is the sense of cohesiveness

Exercises for Topic 1

Topic 2: THE MEDIUMS OF THE ARTS

2.1. Definition of Medium

It is the stuff out which he creates a work of art.

2.2. The Mediums of Visual Arts

A. Classes of Visual or Space Art

Dimensional or two - dimensional – arts which include painting, drawing,

 WATERCOLOR – artists’ paint made with a water-soluble binder such as gum

 ACRYLIC – this medium is used popularly by contemporary painters because

 MOSAIC – mosaic art is a picture or decoration made of small pieces of inlaid

 STAINED GLASS – common in Gothic cathedrals and churches. This is made

 TAPESTRY – this is a fabric consisting of a warp upon which colored threads

 CHARCOAL – these are carbonaceous materials obtained by heating wood or

 SILVERPOINT – in this medium, the artist has technique of drawing with a

 PRINTMAKING – a print is anything printed on a surface that is a direct result

2.3. The Mediums of Music

 HARP - is one of the oldest string instruments consisting of a triangular frame

 GUITAR - is a stringed musical instrument with along fretted neck, a flat

 CLARINET – is a woodwind instrument in the form of a cylindrical tube with a

 OBOE - is a woodwind instrument having a slender conical body and a double-

 BASSOON - is a larger woodwind instrument of low range with a double tube

 SAXOPHONE – is a musical wind instrument consisting of a conical, usually

 GLOCKENSPIEL – is a musical instrument composed of a set of a graduated

 CYMBAL – is a concave plate of brass or bronze that produces a sharp, ranging

 XYLOPHONE – is a musical instrument consisting of a graduated series of

 KETTLEDRUM – is a drum consisting of a hallow hemisphere of brass or copper

 ORGAN - is a wind musical instrument consisting of one or more sets of pipes

2.4. The Medium of Literature

2.5. The Mediums of Performing Arts

Exercises for Topic 2:

4. What is the most familiar keyboard instrument?

5. What is the medium of literature?

Topic 3: Artists and Artisans

At the end of this topic, the students are expected to:

3.1. Artist vs. Artisans

Artists are creative individuals who use

An artisan is a craftsman, such as carpenter,

C. Similarities and Differences of An Artist and An Artisan

3.2. Key Components of Art Market

A. The following are the important players in the art market:

To be successful, a curator should be:

3.3. Production Process

B. Three Stages in Art Making

1. Pre-production or subject development. This ends when the planning ends,

2. Production or medium manipulation. This is a method of joining diverse