READING VISUAL ART/ART APPRECIATION

(Pagbasa sa Sining Biswal/Pagpapahalaga sa Sining)

Department of Humanities and Philosophy

Polytechnic University of the Philippines
*
SILABO NG KURSO:
Pagbasa sa Sining Biswal

Pamagat ng Kurso : Pagpapahalaga sa Sining

Bílang ng Yunit : 3 yunit

Deskripsiyon ng Kurso: Ang kurso bilang

elective ay hinggil sa sining biswal (paintings,
sculptures, performance art, film at mga
contemporary visual artworks); ito ay pag-
aaral sa kung paano basahin at analisahin ,
gamit ang teorya ng Semiotika bilang pag-
aaral sa pag- unawa ng sining biswal.
Babaybayin din ang maikling kasaysyan ng
sining mula sa kontekto ng Pilipinas at mga
impluwensyang dayunan. Sa dulo,
magkakaroon ng produksyong pansining at/o
proyektong isusulat hinggil sa kurso
Inaasahang matutunan:
Sa pagtatapos ng kurso, magagawa ng mga mag-aaral na:

Kaalaman
1. Makapagpakita ng pagkaunawa at pagpapahalaga sa sining biswal sa pangkalahatan,
kasama na ang ibat-ibang tipo, gamit, saysay, bilang komunikasyon at pangkasaysayang
kabuluhan nito.
2. Makapagpaliwanag at makapagpamalas ng mga elemento at prinsipyo ng disenyo.
3. Makapaglinaw sa kahulugan ng Semiotika, bilang teorya ng pag-aaral sa sining biswal;
4. Makapagpook sa kasaysayan ng sining ng bansa at global na konteksto.

Kasayanan
1. Sumulat, Makapagsuri at makapagtasa ng mga gawang sining batay sa kanilang semiotikong
pag-unawa, konteskstong historiko, at kabuluhang panlipunan.
2. Makalikha ng sariling gawang sining at makapagsinop ng sariling produksiyon at itanghal ito
(sa social media).
3. Magamit ang sining para sa pagpapahayag ng sarili at pagsusulong ng mga mithiing
panlipunan.

Kahalagahan
1. Mapalalim ang kanilang kaugnayan sa sarili, komunidad, at lipunan.
[Link] at mapalalim ang kaakuhan sa pamamagitan ng sining, batay sa kanilang
MGA PAKSA:

1. ANO ANG SINING BISWAL AT IBAT IBANG TIPO NITO

2. ANG SEMIOTIKO (SEMIOTICS) AT PAANO MAGSURI NG SINING BISWAL

3 ANG SINING BISWAL BILANG KOMUNIKASYON

4 ANG IBAT-IBANG ELEMENTO NG SINING BISWAL

5 KANLURANING KILUSAN SA SINING (WESTERN ART MOVEMENT) AT TRADISYONG

SINING BISWAL SA PILIPINAS (PHILIPPINE VISUAL ARTS TRADITION)

6 PAG-AARAL AT PRODUKSYONG PANSINING

BUOD:

Ang Pagbasa sa Sining Biswal ay bahagi ng elective sa Pangkalatang Edukasyon, na

naglalayong suriin at pag-aralan ang halaga ang sining biswal sa akademya at lipunan.

Ang tulad ng ibang sining, ang sining biswal ay laganap sa ating paligid. Tinatala nito ang
kasaysayan, pinasisigla ang pag-iisp at pinadadali ng sining biswal ang pag-unawa natin sa
mga komplikadong konsepto. Sa isang banda, isang diskurso din ang sining sa lipunan, tulad
ng naganap na kontrobersya sa pagsara ng “Kulo Visual Arts Exhbition, sa Cultural Center of
the Philippines nuong 2011. Maraming pangyayari sa kasaysayan ang tulad nito at ito rin ay
naganap sa ibapang bayan.

Mahalaga ang Pagbasa sa Sining Biswal para sa muling maunawaan ang sining at ugnayan nito
sa lipunan at lipunan sa sining. Matukoy ang mga elemento at prinsipyo nito at
pangkasaysayang konteksto nito partikular sa bansa, Sentrong aralin dito ang pag-aaral sa
teorya ng semiotika o ang pag-aaral sa mga senyales at simbulo at gayundin ang makalikha
ng mga produksyong pansining, dahil para maunawaan ang sining ang batayang aralin ay ang
paglikha nito.
PANIMULA

Ang sining biswal ay isa sa pinakamatandang sining ng sangkatauhan. Bago paman

ang wikang sinasalita, ang sining biswal ang unang marka ng komunikasyon, pagtatala
at pagsalaysay ng kasaysayan ng sangkatauhan at mga lipunan. Bahagi ito ng
ekspresyon ng tao na kanyang paulit-ulit na ginagawa at ibinabahagi at naging sining.

Lascaux [Grotte de Lascaux] ("Lascaux Cave") is a network of caves near the village
of Montignac, in thedepartment of Dordogne in southwestern France.
On 12 September 1940, the entrance to the Lascaux Cave was discovered by 18-year-old Marcel Ravidat
when his dog, Robot, fell in a hole. Ravidat returned to the scene with three friends, Jacques Marsal,
Georges Agnel, and Simon Coencas. They entered the cave through a 15-metre-deep (50-foot) shaft that
they believed might be a legendary secret passage to the nearby Lascaux Manor. The teenagers
discovered that the cave walls were covered with depictions of animals. Galleries that suggest continuity,
context or simply represent a cavern were given names. Those include the Hall of the Bulls,
the Passageway, the Shaft, the Nave, the Apse, and the Chamber of Felines. They returned along with the
Abbe Henri Breuil on 21 September 1940; Breuil would make many sketches of the cave, some of which
are used as study material today due to the extreme degradation of many of the paintings. Breuil was
accompanied by Denis Peyrony, curator of Les eyzies (Prehistory Museum) atLes Eyzies, Jean Bouyssonie
and Dr. Cheynier.

The cave complex was opened to the public on 14 July 1948, and initial archaeological investigations began
a year later, focusing on the Shaft. By 1955, carbon dioxide, heat, humidity, and other contaminants
produced by 1,200 visitors per day had visibly damaged the paintings. As air condition deteriorated, fungi
and lichen increasingly infested the walls. Consequently, the cave was closed to the public in 1963, the
paintings were restored to their original state, and a monitoring system on a daily basis was introduced.

Source: [Link]
Makikita natin halimbawa sa Angono Petroglyph (inukit
sa bato), ang sinaunang pamayanan na tinatayang
umiral nuong 1000 taon BC, ito ay natagpuan ni
National Artist na si Botong Francisco, nuong 1980’s sa
bundok ng Angono at Binangonan. Makikita ang mga
simpleng linya ng hugis ng tao at hayop, eto ay
pagpapakita ng bahagi ang arawang buhay ng
sinauang tao, bahagi din ng pagtatala ng mga
aktibidad tulad ng selbrasyon sa pagsilang at
kamatayan.
 Ang komiks ay isang grapikong midyum na kung saan ang mga salita at larawan ang
ginagamit upang ihatid ang isang salaysay o kuwento. Maaaring maglaman ang komiks ng kaunti o
walang salita, at binubuo ng isa o higit pang mga larawan, na maaaring maglarawan o maghambing ng
pagkakaiba[1] ng teksto upang makaapekto ng higit sa lalim. Bagaman palagiang paksang katatawanan
ang komiks sa kasaysayan, lumawak na ang sakop ng anyo ng sining na kinabibilangan ang lahat ng
mga uri (genre), hinahayaan ang mga artistang tuklasin ang kanilang sariling ekspresyon.

1 - Teresa Grainger (2004) "Art, Narrative and Childhood" Literacy 38 (1), 66–67. doi:10.1111/j.0034-0472.2004.03801011_2.x

[Link]
%2F2018%2F05%2F28%2F1819315%2Fkomiks-may-28-
2018&psig=AOvVaw2kqQuiUlunF219ARunT5Ab&ust=1666225603389000&source=images&cd=vfe&ved=0CA4Qj
hxqFwoTCKD24ZuE6_oCFQAAAAAdAAAAABAE
 Pinadali ng sining biswal ang pag-unawa sa isang kwento, bagay, pangyayari,
kaganapan; tignan natin halimbawa ang Komiks, kahit ,hindi ka paman marunong
magbasa, sa makikita mong mga drawing at larawan, malamang na makuha mo agad
ang kwento o istroya nito. Bagaman wala na halos na printed na komiks sa ngayon,
dahil sa naapektuhan ng globalisasyon, liban sa mga comics strips sa mga broadsheets
new papers at tabliod, ang mga independent comics artists naman ay nagtitipon sa
mga comics convention bilang kanilang aktibidad ng pagkakaisa at effort sa muling
pagbabalik ng popularidad ng comics. Bunga naman ang teknolohiya, maraming
comics ang makikita sa internet.

[Link]
q=komiks&client=safari&channel=mac_bm&sxsrf=ALiCzsb4o
3lmvp4pLc0CahtsCgRdRvmwBg:1666138397530&source=ln
ms&tbm=isch&sa=X&ved=2ahUKEwjD99Kagev6AhVD7jgGH
cJIBtAQ_AUoAXoECAIQAw&biw=1399&bih=775&dpr=1
[Link]
%[Link]%2FKomiks-Philippine-Tagalog-
Tele-Video-DVD%2Fdp
%2FB000WAHY48&psig=AOvVaw1OqxAL2kv853iLiUS
MeTti&ust=1666224843429000&source=images&cd=
vfe&ved=2ahUKEwiP6cSwgev6AhWiTPUHHQxhAGAQ
r4kDegUIARCfAQ
 Tignan natin ang mga mural ni Botong Francisco na may pamagat na “Struggle of the Filipino
People, na naka-eksibit sa Bulawagan ng National Museum. Ito ay naglalarawan ng pakikibaka ng
mamamayang Filipino para sa kasarinaln at identidad. Maaring sa 30 minuto ay kagyat natin
maunawaan pinagdaanan ng ating lahi mula nuong sinaunang pamayanan hanggang sa pagtatatag ng
ikatlong Republika.
[Link]
cCegQIABAA&oq=atruggle+of+the+filipinos+botong+francisco&gs_lcp=CgNpbWcQDDoHCCMQ7wMQJzoECAAQQzoICAAQgAQQsQM6BQgAEIAEOgsIABCABBCxAxCDAToHCAAQsQMQQz
oGCAAQBRAeOgYIABAKEBhQsg5YrH1grIsBaABwAHgAgAFUiAGGF5IBAjQzmAEAoAEBqgELZ3dzLXdpei1pbWfAAQE&sclient=img&ei=HWpPYsWoAYqHr7wP_92XuAc&client=safari#imgrc=
gZj3m52mHV73-M
 In 1974, just in time for its 70th anniversary, the administration of then Philippine College of
Commerce — the present-day PUP — had inaugurated a brass mural relief named “Consolidated
Growth Through Education”, built by a sculptor named Eduardo Castrillo who will be later known as the
most celebrated constructivist in Philippine art history.

There is no significant online data on the reason of PCC’s commissioning of the sculpture.
However, according to the PUP’s website, it depicts “the role of PUP in the educational development of
the youth in preparation for their involvement in nation building. The mural illustrates the social,
economic, industrial, technological, and cultural aspect of life with which man blends himself to develop
an environment necessary to the progress of the nation.” It also continuously reminds the university that
“As an institution dutifully concerned in shaping the lives of the youth, the University pays tribute to the
hope and builder of the world tomorrow.” [Link]
consolidated-growth-through-education/
 Ang sining biswal ay anyong ng sining na
mahihiwatigan sa pamamagitan ng sense of sight/
nga mata. May mga elemento ito na nalinang ng tao
sa kanyang sosyo-pisikal at sosyo- historikal na
karanasan sa relasyon sa kapaligiran at lipunan.
Kung kaya ang pag-unawa sa sining biswal ay hindi
maihiwalay sa karanasan ng tao, sa kasaysayan at
lipunan kinairalan at nalikha ito.

Napakahalaga ang sining biswal sa

edukasyon ,nagbibigay ito ng sigla sa pag-aaral lalo
na sa kritikal na pag-iisip at pagiging malikhain. Sa
pagpapayaman at malusog na kritikal na pag-iisip,
nagkakaroon ng diskurso at ang mga kaalaman at
karanasan ito ay humahantong sa posibilidad ang
pagbuo at pagbago.
ANO ANG SINING BISWAL AT MGA TIPO NITO

1. Sining Biswal ay mga anyo ng sining na mahiwatigan sa pamamagitan ng mata.

Kasama dito ang painting, eskultura, arkiteketura, photograpiya, graphics at digital art

a. Two Dimensional Arts ay ang mga sining biswal na may

haba at lapad; ito ay mailalarawan sa kanyang pagkakaroon
ng flat surface ( plat na latag).
b. Three Dimensional Arts ay ang mga sining biswal na may lapad, haba at kabuuan (volume) ; halimbawa nito
ang eskultura

Bul-ol , isa sa sinaunang iskultura ng mga taga

Cordillera, ito ay paglarawan ng ninuno nila na yumao,
sa kanilang kultura ng paglilibing, ang labi ay binabalot
na tulad ng naka-upo. Ito kanilang dinadasalan,
kinakausap at inahahain ng pagkain; may paniniwala
silang ang kanilang ninuno ay nasa kapaligiran lamang.
2. Audio Visual Art/Sound and Movement ay mga anyo ng sining na mahiwatigan sa
pamamagitan ng paggamit ng tenga (audio) at mata (visual) . Katulad ng performance art,
na gumagamit ng katawan bilang midyum, time , space at engagement; Itinatanghal sa
harap ng manunuod o madla; kasama din ang mga kaugnay na sining tulad ng video
art/sound art. Isang sining biswal din sa kabuaan ang performing arts (dahil sa itinatanghal
ito sa harap ng madla), bagaman ibang disiplina ang teatro, musika at sayaw o performing
arts;
Ang Performance art ay halimbawa ng
Sound and Movement Art. ang Kalig-on ay
ang bisaya ng salitang katatagan. Ito ang
pagtatanghal ay pagpapakita ng katatagan
ng mga Filipino sa gitna ng sakuna. Ang
nasa larawan ay mga pamilya ng biktima
at survivor ng bagyong Yolanda sa
Tacloban. Gamit ang konsepto ng taong-
putik , inilarawan nila dinaanang hirap ng
mga mamamayan ng Tacloban.
Next meeting

II. ANG SEMIOTICS AT PAANO MAGSURI NG SINING BISWAL

[Link]
%[Link]%2Fstudying%2Fguide-to-the-
theory-of-semiotics
%2F&psig=AOvVaw08deYuGnz4T3bLImXa2EVt&ust=1666727040
994000&source=images&cd=vfe&ved=0CA0QjhxqFwoTCMCUzpv
Q-foCFQAAAAAdAAAAABAK
 Ang Semiotika ay teorya at pagaaral ng mga tanda
(sign) at Sagisag (symbol), lalo na sa mga element ng wika o
anumang paraan ng pakikipag talastasan. Ilang halimbawa ng
semiotika ay mga traffic signs, emojis, at emoticons na
ginagamit sa electronic communication, at logo o marka na
ginagamit ng mga internasyunal na korporasyon upang ibenta
sa atin ang kanilang mga kalakal.
Ang pulang laso (red ribbon) ay international symbol ng AIDS awareness. Sa Estados Unidos at
Canada, ito rin ay tanda ng pagtataguyod para sa pagsawata (prevention) ng drunk driving.
Visage/Getty Images
[Link]
The yellow ribbon is an emblem for suicide
prevention awareness, particularly for young
people, and is used for suicide prevention
awareness in many countries including the United
States, Australia, New Zealand, Canada, the United
Kingdom and Ireland.
[Link]

a yellow-colored ribbon displayed as a symbol of

solidarity with soldiers in combat, political hostages,
etc.
[Link]

The color yellow was symbolic of the anti-Marcos

movement, and eventually became associated with
the new President, Aquino's widow Corazón
Aquino. The yellow ribbon regained popularity in
2009 as a show of support for an ailing Corazón
Aquino. [Link]
Tie a Yellow Ribbon Round the Ole Oak Tree If I don't see a ribbon round the ole oak tree
Song by Tony Orlando and Dawn I'll stay on the bus, forget about us, put the blame on me
If I don't see a yellow ribbon 'round the ole oak tree
I'm comin' home, I've done my time
Now I've got to know what is and isn't mine Now the whole damned bus is cheerin'
If you received my letter telling you I'd soon be free And I can't believe I see
Then you'll know just what to do
If you still want me, if you still want me A hundred yellow ribbons round the ole oak tree
I'm comin' home
Whoa, tie a yellow ribbon 'round the ole oak tree
It's been three long years, do you still want me? Tie a ribbon 'round the ole oak tree
If I don't see a ribbon round the ole oak tree Tie a ribbon 'round the ole oak tree
I'll stay on the bus, forget about us, put the blame on me Tie a ribbon 'round the ole oak tree
If I don't see a yellow ribbon 'round the ole oak tree Tie a ribbon 'round the ole oak tree

Bus driver, please look for me [Link]

'Cause I couldn't bear to see what I might see q=tie+a+yellow+ribbon+lyrics&client=safari&channel=mac_bm&sxsrf=ALiCzsab-
xRmgmhZFZxSTPhkma6mYNdF3A%3A1666756135775&ei=J65YY7XjLq-u4-
I'm really still in prison and my love, she holds the key
EPnKG5wAM
A simple yellow ribbon's what I need to set me free
And I wrote and told her please

Whoa, tie a yellow ribbon 'round the ole oak tree

It's been three long years, do you still want me?
Semiotics summary:

•Semiotics is the study of signs and symbols, in particular as they communicate things spoken and
unspoken.
•Common signs that are understood globally include traffic signs, emojis, and corporate logos.
•Written and spoken language is full of semiotics in the form of intertextuality, puns, metaphors, and
references to cultural commonalities.
ANG SEMIOTICS AT PAANO MAGSURI NG SINING BISWAL

Ang pag-aaral sa semiotics, ang paraan ng pag-aaral sa larangan

ng sining biswal.

Ayon kay Alice Guillermo,

There are two interrelated aspects in the study of art:

The first is that art has its specificity, that is , its particular language or
vocabulary elements, media and techniques which constitute art as a distinct
area of human knowledge and a signifying practice.

The other is that art, while it has its specificity and relative autonomy as a [Link]
distinct area of knowledge and expression, is at the same time historically writes-30/
situated and shaped by social , economic and political forces
TUNGKOL KAY ALICE GUILLERMO:

Isa si Alice Guillermo sa mga unang manunulat, kritiko, at

iskolar ng kultura at sining biswal sa Pilipinas. Isinilang nong Enero
6, 1938 sa Quiapo.

Una siyang namulat sa Marxismo mula sa isang

progresibong madreng guro na German-French sa College of Holy
Spirit. Sa panahon naman ng pag-aaral sa UP Diliman ay naging
kasapi ng Student Cultural Action of the University of the Philippines
(SCAUP) na katapat ng UP Student Catholic Action (UPSCA).
Nakahalubilo niya ang sirkulo ni Jose Ma. Sison sa mga taong ito.
[Link]
Nagturo siya sa UP Los Baños noong 1963-1964. Nag-aral q=tbn:ANd9GcThjKzkkGLXBgLwoGf6a55Qg2y56JJV
sa Pransiya noong 1965 sa mga taon ng kainitan doon ng fROmzf_XQjhZbw&s
aktibismo. Pagkabalik niya ay nagturo sa Philippine Science High
School ng French.
 Nagturo siya ng Art History sa University of the East nang siyam na taon (1970-1978) kung
saan nakakatanggap siya ng sweldong piso kada buwan. Nagsimula siyang magturo sa UP Diliman Fine
Arts noong 1978 at lumipat sa Department of Art Studies taong 1981 hanggang sa kaniyang pagreretiro.

May-akda siya ng hindi mabilang na mga sanaysay at aklat hinggil sa sining, kultura at politika.
Ilan sa mga ito ang mga klasikong librong Covert Presence, Social Realism in the Philippines, at
Protest/Revolutionary Art in The Philippines.

Isa siya sa mga pangunahing tagapagtaguyod ng Social Realism sa Pilipinas. Kinilala siya ng
Cultural Center of the Philippines bilang Centennial Honoree for the Arts (art criticism). Sumakabilang
buhay siya noong ika-29 ng Hulyo 2018 sa Quezon City.
(Mula sa Parangal sa mga Makabayang Guro 2013, CONTEND)

[Link]
kultura-at-s/1919575664720674/
Dalawang magkaugnay na aspeto ng pag-aaral ng sining biswal:

1. Ang partikular na lenguwahe o bokabolaryo: tinutukoy nito ang elemento,

medyum at teknik

Ang bawat likhang sining ay may taglay na mga elemento, na sa pamamagitan ng

paggamit ng medyum o materyales (tradisyunal man o moderno o kontemporaryo) na buo
ang nalikha ang sining, sa proseso ng paulit-ulit na paglikha, nakagagawa ng teknik/estilo
ang manlilikha. Ito ang mga bagay na materyal nating nakikita sa likhang sining.

2. Ang historikal na kinapopookan at ang sosyal ,ekonomiya’ t politkal na

pwersang humugis dito

Sa isang banda, hindi maaaring isantabi sa proseso ng paglikha nito ang historikal,
mga pwersang ekonomikal at pulitikal na humugis sa paglikha. Ito ang relasyon at ugnayan
ng artista/manlilikha sa kanyang kinairalang komunidad, lipunan; ng relasyon niya sa
pamilihan o sa patron ng kanyang sining.

Ang dalawang magkaugnay na aspetong ito na nagtatalaban, nagtutunggali at

nag-uugnayan sa artita na lumikha ng sining ang inaaral at kinokonsidera sa
pagdiskurso at pag-unawa sa kahulugan ng sining.
Ano ng Semiotics?

Ito ang pag-aaral sa “signs” may signifier o ng

mga materyal na aspeto at signified o ang mga
aspetong non-materyal gaya ng konspeto,
kahulugan Halimbawa sa Pinta/Paintings:

 Signifier: Mga materyal na aspeto: The signifier is

the representation.

Mga elemento: gaya ng Linya, kulay,hugis, galaw,

figures, composition atbpa, Medium na ginamit:
gaya ng water color, oil paints or arcylic, Halimbawa, ang larawan ng isang ina at
traditional materyales (gaya ng abaka, kawayan) o sanggol— ang sanggol ang signifier, at
moderno /kontemporaryo ang signified ay maaring ang kabataan o
Sukat nito: laki o liit hinaharap, o anumang pakahulugan na
maaring ipahiwatig ng larawan ng isang
 Signified: Non Materyal na aspeto: The signified is sanggol.
the concept or thing the representation stands in for.

Ito ang kahulugan ng materyal aspeto; konsepto

at/o proseso.
 Semiotics is the study of ‘signs.’

It identifies signs having two key components …

[Link]: Physical sign – sounds, images or letters conveying
meaning
[Link]: Personal interpretation of a signifier (as above)

There are three forms of the Signifier …

[Link]: A physical resemblance to the object – map, sound or
picture
[Link]: No physical resemblance – toilet door, brand or
warning sign
5. Index: Exists because of the existence of signifier – eg
smoke = fire
[Link]
semiotic-decoding-of-categories-and-culture/ There are also three components of the Signified …
[Link]: Literal meaning of sign – dictionary or non-
ambiguous
[Link]: Meaning to the individual – what the sign means
to ‘me’
[Link]: An extended metaphor – social and cultural stories and
values
marites
politician
A semiotic analysis starts with collecting signs from a …

[Link] (e.g. brand logos, advertising and other

communications of fast food, insurance, beverage, banking et
cetera);

[Link] (e.g. lots of photos, digital, print and other media of

different geographic regions and/or cities) can provide rich data
to identify patterns; and/or

[Link], literature, movies et cetera.

Then follows sorting the signs from the category or culture into
1) icons, 2) symbols and 3) index and then into key themes that
allow for the categorization of the signs. For example, legal and
warnings, nature and the environment, money and finance,
conformity, inclusiveness, and representations of housing,
shopping and other themes.
Analyzing the themes of the collected signs is possible by applying …

[Link] – e.g. dictionary and literal meaning of the theme);

[Link] – e.g. overlaying potential individual meaning and/or utilising qualitative (or
quantitive) research to understand cultural, generational, target audience and other meanings
[Link] – e.g. religion, astrology, Chinese zodiac, mythology, cultural trends and society rules,
laws and morales

Narrowing the themes to the key differentiators allows for a clear impression of the category or
culture to be built. Reporting of the semiotic analysis may be via visual and text summarising of
the each key themes.

[Link]
The Spoliarium - painting by Filipino painter Juan Luna. Luna, working on canvas, spent eight months
completing the painting which depicts dying gladiators. The painting was submitted by Luna to the Exposición
Nacional de Bellas Artes in 1884 in Madrid, where it garnered the first gold medal. 4.22 x 7.675-meter, oil on
canvas.
 "The Spoliarium" is perhaps the most iconic painting by a Filipino. It brought historical triumph not
just to Luna but also to the Philippines in 1884, when it bested Spanish artists and won a first-class medal in
the Madrid Exposition of Fine Arts.

“Spoliarium” was the name given to the Roman Colosseum basement where fallen gladiators were
thrown in after combat. It is a recreation of Roman circus, where two dead gladiators are being dragged off
the arena. They look very anti-heroic, stripped off their garments and weapons. On the left, scavengers eye
the dead men’s possessions while a Roman beside them raises a fist in protest. A woman mourns a loved
one on the right side while an old man searches for a body amid the smoky haze. The depiction of Roman
cruelty in the painting has been interpreted as an allegory for the state of the Philippines under Spanish rule.

Currently on display in the National Museum of Fine Arts, the 4.22 x 7.675-meter oil on canvas is
considered the largest painting in the country.

It inspired the title of rock band Eraserheads’ 1997 hit song “Spoliarium,” which has been
connected by many to the Pepsi Paloma rape controversy. (Arianne Suarez, Inquirer Research)
[Link]
@inquirerdotnet on Twitter | inquirerdotnet on Facebook
[Link]
Analyzing Symbols
([Link]
the-fourth-level-of-meaning-iconography/)

Iconography

Iconography was developed by art historian

Erwin Panofsky, as a means of expanding beyond formal
analysis, and focusing on analyzing subject matter in
artwork, specifically symbols whose meaning is
understood by a people or culture in that specific time The term comes from the Greek word ikon
(Rose 202, Sayre 32). meaning image. An icon was originally a
picture of Christ on a panel used as an
For example, in the Western world we are object of devotion in the orthodox Greek
familiar with what a Buddha statue looks like, but most Church from at least the seventh century
Western people likely have no idea that the position of the on. Hence the term icon has come to be
hands in the statue carries symbolic meaning (Sayre 33). attached to any object or image that is
If you are a Buddhist however, you would read a specific outstanding or has a special meaning
meaning into the hand gesture and position. Symbolic attached to it.
meanings in artwork may also be lost over time even [Link]
within the culture that created them (Sayre 35). iconography
 Jan van Eyck’s painting, Giovanni Arnolfini and his
wife Giovanna Cenami, from 1434, is often used as a prototype
example for iconographic analysis, and the conflicts that arise
within it. As a painter, Van Eyck was revered for his incredible
ability to mimic realism and the effects of light.

The painting’s many symbols, some of Christian origin,

have been a source of some debate. It was widely accepted as
a painting representing a marriage, but recent controversy
suggests it is more a record of engagement than a wedding
portrait. In van Eyck’s time, a woman laying her hands in the
palm of a male, as she so conspicuously does in the painting,
was understood to be an agreement to wed (Sayre 35).

Above the mirror in the center of the background are

the words “Jan van Eyck has been here, 1434.” To
contemporary ears this almost sounds like a bit of playful
graffiti, but it also clearly establishes the painter as a witness to
Jan van Eyck, Arnolfini Portrait,
the event being painted (Sayre 35).
1434, oil on canvas. Work is in
the public domain.
 Iconography shares similarities to semiotics in interpreting signs (in semiotics signs can be
symbols) on both a denotive and connotative level. Iconography is typically used in analyzing works
from the past, as Gillian Rose notes, typically Western figurative images from the 16th through 18th
centuries (202).

While semiotics is more often used to analyze more contemporary visual culture, like
advertising.

Artists continue to use symbolic visual language. Though artist Jean-Michele Basquiat’s life
and career were tragically cut short by a drug overdose, he developed a rich vocabulary of symbolism
that mixed private and public meanings. Using his neo-expressionist style he drew inspiration from
prominent African Americans, such as Dizzy Gillespie, Muhammad Ali, and Sugar Ray Robinson
(Rosenberg).

As Sayre points out, central to his personal iconography was a three pointed crown, a
symbol he related to himself, but also his African American heroes (37). He was familiar with
the Symbol Sourcebook: An Authoritative Guide to International Graphic Symbols, by Henry Dreyfuss,
and was drawn to the section on “hobo signs,” in particular the “X” which within the hobo culture was a
signal that a place was okay (Sayre 37). Of course, the ‘X’ is a common symbol with multiple
meanings. An “X” could be used to mark a spot and constitute its importance, or in essence, to
eliminate something by crossing it out.
 And, according to Sayre, this is often the difficult and ambiguous position Basquiat’s African
American heroes found themselves in, in 20th century America (37). In his 1982 painting Charles the
First, Charles is a reference to both Charlie Parker and Charles I of England, who was beheaded by
Protestants (Sayre 37). Included in the painting is the text, “Most kings get their head cut off.”

Denotative and Connotative meanings

Signs can have denotative, or literal meaning, and connotative meanings that are in addition to
their literal meaning. Signs exist in relationship to other signs. Signs also connect to wider systems of
meaning that are conventionalized meanings shared by particular groups of people or cultures (Rose
128). This is referred to as codes. Because signs can often be polysemic, or have multiples meanings,
unpacking their meanings fully can be very complex. It is accepted, however, that within specific
groups/cultures, and particular times, there are often preferred or dominant readings of signs that are
interpreted in ways intended to retain the institutional/political/idealogical order imprinted on them for that
time (Rose 133).

Works Cited

Rose, Gillian. Visual Methodologies: An Introduction to Researching Visual Materials. Los Angeles: Sage Publications, 2012. Print.
Rosenberg, Bonnie. Jean-Michele Basquiat, American Painter. The Art Story. Web. 18 August 2015.
Sayre, Henry. A World of Art, Sixth edition. Boston: Prentice Hall, 2010. Print.
Tatlong Antas ng pagsusuri/pag-aaral sa sining biswal

a) Semiotic level (Symbolism) o ang mga batayang elemento, relasyon nito sa isat-sa,
teknik, mga pisikal na aspeto ng sining; ang mga ito ay may pagkakahulugan; ang
medium at teknik ay may sarili din pagkakahulugan batay sa likhang sining; ang
pagkakahulugan ito ay batay sa psychophysical experiences, sociocultural at kostumbre
ng partikular na lipunan at panahon.

b) Iconic plane (Elements of Design analysis) o imahen ang mismong pigura, kanyang
kalidad at katangian; papasok dito ang partiular na estilo ,halimbawa ang figurative style
(ay partikular na halaga at kahulugan ang estilong ito sa kasaysayan at katauhan;)

c) Thematic planes (Historical background), ito ang paglulugar ng sining sa kanyang

lipunang ginagalawan. Nabubuo ang pagkakahulugan sa sining sa aspetong ito,
sapamagitan ng pagtukoy sa usaping tinatalakay sa sining. Dito pumapasok din ang
personal na kasaysayan, paninindigan ng lumikha.
Ang nasa larawan ay eskultura na
gawa ni Dr. Jose Rizal na may
titulong “Mother's Revenge”, gawa
sa Terra Cotta, nuong 19th Siglo
Sa deskripsyon ng National Museum, ayon sa
[Link]

The sculpture in terra cotta (clay), Mother’s Revenge, is an allegorical representation of

what was happening in the Philippines during that period. Shown is a mother dog trying to
rescue her helpless pup from the bite of the crocodile. The mother dog represents “mother
Philippines” and the patriots who are doing their best to save the defenseless countrymen
- the pup - from the cruelty of the Spaniards as represented by the crocodile.

When Dr. Jose Rizal was exiled in Dapitan, Zamboanga, he made use of his artistic talent to
create a piece that would symbolize the martyrdom and the exploitation of the indios by
the colonizers. After more than 300 years of colonial rule, Rizal was the leading figure in
the clamor for independence.
Inscribed at the base of the sculpture is “Rizal Dapitan 1894”.

The sculpture is an important cultural property in the National Museum collection.

Bilang Pagsasanay: Tukuyin ang material at non-material na aspeto.

1. Isa-isahin ang Materyal na aspeto ng sining na nasa larawan?

2. Ano ang mga non-material na aspeto ng nasa larawan?

Pagkatapos ay ilahad ang Pagsusuri:

1. Tukuyin ang Semiotic plane :

2. Anong ang imahen , figura at katangian nito:

3. Ano ang tema ng sining na nasa larawan :

 Spolarium
Oil on canvas
4.22 meters x
7.675 meters.
1884
Juan Luna

Tukuyin ang material at non-material aspeto

1. Isa-isahin ang Materyal na aspeto ng sining na nasa larawan?
2. Ano ang mga non-material na aspeto ng nasa larawan?

Pagsusuri:
1. Tukuyin ang Semiotic plane
2. Anong ang imahen , figura at katangian nito
3. Ano ang tema ng sining na nasa larawan

Ikonsidera ang tanong na ito: bakit sinasabing representasyon ng kaapihan sa panahon ng Kolonyalismong Kastila ang mural, gayong
walang larawang pagka-Pilipino ang obra? Ano ang nais ipahiwatig ng pagkapanalo ng pyesang ito ni Juan Luna na Unang Gantimpala
sa pakikibaka ng mga Pilipino laban sa Kolonyalistang Kastila sa panahong ito?
 Bayanihan
Botong Francisco
1962
Tukuyin ang material at non-material aspeto
1 Isa-isahin ang Materyal na aspeto ng sining na nasa larawan?
2. Ano ang mga non-material na aspeto ng nasa larawan?

Pagsusuri:
1. Tukuyin ang Semiotic plane
2. Anong ang imahen , figura at katangian nito
3. Ano ang tema ng sining na nasa larawan, palawigin

Ikonsidera ang Tanong na ito? Ang mural ay nilikha sa panahon ng modernismo bilang konteksto, mapapansin sa pinta ang sama-
samang paglipat ng bahay. Anong ang dahilan sa paglipat ng bahay? Anong panahon sa kasaysayan unang umiral ang paglilipat ng
bahay? At bakit ito inililipat ? Ano ang kalagayan ng mga Filipino sa panahon ito? Mayron bang mga pwersa makapangyarihan sa
ekonomiya at pulitika ang nagtulak para maglipat ng bahay?
The Oblation (Filipino: Pahinungod, Oblasyon)
I. THEMATIC PLANE (HISTORICAL BACKGROUND)

Inspirasyon:

Ang Oblasyon ay konkretong representasyon ni Guillermo Tolentino sa dalawang tula ni Dr.

Jose Rizal
1. Mi Ultimo Adios at
2. A La Juventud Filipina.

“The statue is an elevation of sacrifice on a pedestal, indicating a “clarion call for the youth to
engage in the rigors of change and progress.”

Clarion - a medieval trumpet with clear shrill tones.

[In the Middle Ages, clarion was a noun, the name for a trumpet that could play a melody in clear, shrill
tones. The noun has since been used for the sound of a trumpet or a similar sound. By the early 1800s, English
speakers also started using the word as an adjective for things that ring as clear as the call of a well-played trumpet.
Not surprisingly, clarion ultimately derives (via the Medieval Latin clario-) from clarus, which is the Latin word for
"clear." In addition, clarus gave English speakers clarify, clarity, declare ("to make clearly known"), and clear itself.]
 Ang obra maestra ay nagsilbing “rallying point” para sa walang pag-iimbot na kilos para sa
interes ng publiko, gayundin ang pinaka-kilala at simbolo ng Pamantasan ng Pilipinas (UP).

Ang eskultura ay pinondohan ng mga mag-aaral ng U.P. sa taong 1935-1936, na

pinamunuan nina Potenciano Illusorio at Jose B. Laurel, Jr., mga pangulo ng student council noong
una at ikalawang semestre (ayon sa pagkakasunod-sunod) at itinalaga noong Marso 1939 sa
Manila campus ng Pamantasan kung saan ito nanatili hanggang Pebrero 11, 1949, nang lumipat
ang mga pangunahing administratibong tanggapan ng unibersidad sa bagong Diliman campus
sa Quezon City.

Ang paglipat ng Oblation sa bagong tahanan nito ay nagsilbing highlight ng paglipat mula
sa Maynila, na dating tinutukoy bilang ”Exodus.” Ang eskultura sa harap ng Quezon Hall sa Diliman
ay inilagay na nakaharap sa kanluran, na sinasabing isang pagpupugay sa mga Amerikanong
pinagmulan ng Pamantasan.

Sa ngayon, ang eskultura na iyon ay isa lamang tansong (bronze) replica (na ibinalik mula
sa orihinal sa Italy noong 1950, sa ilalim ng pangangasiwa mismo ni Tolentino) na inilaan sa Golden
Jubilee ng U.P. noong Nobyembre 29, 1958. Ang orihinal na eskultura ay iniingatan sa Main Library
(Gonzalez Hall), ang dating site ng U.P. Kolehiyo ng Fine Arts.
 Simula noong mailipat mula Padre Faura papunta sa Diliman ang Oblasyon, ang ibang
mga campus ng U.P. sa Pilipinas ay naglagay din ng kani kanilang bersyon ng minamahal na
eskultura.

Isa sa sikat na bersyon ang matatagpuan sa U.P. Visayas sa Iloilo campus na nilikha
naman ni Prof. Anastacio Caedo, na siyang katulong ni [Link] noong likhain ang orihinal na
Oblasyon.

Ayon sa UP’s Visual Identity Guide, “the Oblation is a figure that demands respect in terms
of use and visibility. It is always to be represented in its entirety, with the statue on its pedestal at all
times to keep its historical and cultural significance intact. Splitting the figure or overlaying it with
text is considered inappropriate; making the Oblation a mere decorative element violates the
integrity of the University’s visual identity.”

[Link]
 SECOND STANZA OF “MI ULTIMO ADIOS”

On the fields of battle, in the fury of fight,

Others give you their lives without pain or
hesitancy,
The place does not matter: cypress, laurel, lily
white;
Scaffold, open field, conflict or martyrdom’s
site,
It is the same if asked by the home and
country.

En campos de batalla, luchando con delirio,

Otros te dan sus vidas sin dudas, sin pesar;
El sitio nada importa, ciprés, laurel o lirio,
Cadalso o campo abierto, combate o cruel
martirio,
Lo mismo es si lo piden la patria y el hogar.
Ang orihinal na Oblasyon ay nakalagak sa
UP Diliman Main Library (Gonzales Hall); Sa pakikidigma at pamimiyapis
Larawan ni Misael Bacani, UP MPRO
ang alay ng iba’y ang buhay na kipkip,
walang agam-agam, maluwag sa dibdib,
matamis sa puso at di ikahahapis.
 Ang ikalawang saknong (stanza) ng Mi Ultimo Adios ni Dr. jose Rizal ay pumukaw sa
maraming Filipino upang mag alay ng sarili sa dakila at marangal na paraan para sa kapakanan ng
bansang Pilipinas. Sa lahat ng bunga ng inspirasyong ito, walang hihigit na nagbigay anyo sa pag-iisip
ng mga Filipino kundi ang Oblasyon.

Tumutukoy ang Oblasyon sa lahat ng mga Filipino na nag alay ng sarili para sa bayan.
Sinasabi ni Dr. Rizal na ang kanilang dedikasyon at pagiging makabayan ay walang pag aalinlangan.
Hindi mahalaga kung paano ang pakikibaka, ang mahalaga ay ang lahat ng pakikibaka, lahat ng
kamatayan ay mahalaga kung ito ay para sa kapakanan ng Inang Bayan.
2. A La Juventud Filipina (To the Filipino Youth)

Isang napaka-inspiring na tula na nagpapahayag na ang kabataan ay may kakayahang

pumailanglang sa kalawakan. Hinihikayat nito ang kabataan na abutin ang kanilang potensyal sa
pamamagitan ng paggamit ng kanilang kakayahan at talento para sa ikauunlad ng sambayanan.
Inuudyok nito ang mga kabataan na lumaya mula sa kamangmangan, at hangarin ang kalayaan at
karangalan ng bawat Filipino.

Datapwat ang tulang ito ay isinulat noong panahon ng mga Kastilang mananakop, ang diwa
nito ay naangkop pa rin sa kasalukuyang henerasyon. Dumadanas sa kasalukuyan ang bansa ng
napakaraming problema – mula sa politika, panlipunang problrma, utang ng bansa at marami pang iba.
Ilang panahon na lamang ay ang mga kabataang katulad ninyo ang susunod na mamumuno sa ating
bansa at haharap na mga suliraning ito. Subalit paano makakyanan ang lahat ng ito kung ang mga
kabataan ay hindi magpupunyagi at manatili lamang sa mentalidad na “pwede-na-yan” (mediocrity).

Ipinapaalala ng tula, na bilang mga kabataang Filipino, mayroon kayong tungkulin na

paglingkuran ang bayan ng buong pagkatao, ng buong puso. Upang magawa ito, kinakailangang
linangin ang talento at kakayanan na mayroon. Kinakailangan na makiisa sa pagtulong sa bansa. Ang
bawat isa ay may kakayahang magbahagi para sa ikauunlad ng bayan. Ang pananaw ni Dr. Rizal para
sa bayan ay maaabot lamang kung gagawin ng bawat isa ang kanyang tungkulin.
 A La Juventud Filipina

Alza su tersa frente,

Ve que en la ardiente zona
Juventud Filipina, en este día!
Do moraron las sombras, el hispano
Luce resplandeciente
Esplendente corona,
Tu rica gallardía,
Con pía sabia mano,
Bella esperanza de la Patria Mía!
Ofrece al hijo de este suelo indiano.
Vuela, genio grandioso,
Tú, que buscando subes,
Y les infunde noble pensamiento,
En alas de tu rica fantasia,
Que lance vigoroso,
Del Olimpo en las nubes
Más rápido que el viento,
Tiernisima poesia
Su mente virgen al glorioso asiento.
Mas sabrosa que nectar y ambrosia.
Baja con la luz grata
Tú, de celeste acento, Melodioso rival Filomena, Que en
De las artes y ciencias a la arena,
variado concierto En la noche serena Disipas del mortal
Juventud, y desata
la amarga pena.
La pesada cadena
Que tu genio poético encadena.
 To the Filipino Youth

Hold high the brow serene, Thou, who now wouldst rise And thou, in accents clear
O youth, where now you stand; On wings of rich emprise, Of Phoebus, to Apelles dear ;
Let the bright sheen Seeking from Olympian skies Or by the brush's magic art
Of your grace be seen, Songs of sweetest strain, Takest from nature's store a part,
Fair hope of my fatherland! Softer than ambrosial rain; To fig it on the simple canvas' length ;
Thou, whose voice divine
Come now, thou genius grand, Rivals Philomel's refrain Go forth, and then the sacred fire
And bring down inspiration; And with varied line Of thy genius to the laurel may aspire
With thy mighty hand, Through the night benign ;
Swifter than the wind's violation, Frees mortality from pain; To spread around the fame,
Raise the eager mind to higher station. And in victory acclaim,
Thou, who by sharp strife Through wider spheres the human
Come down with pleasing light Wakest thy mind to life ; name.
Of art and science to the fight, And the memory bright
O youth, and there untie Of thy genius' light Day, O happy day,
The chains that heavy lie, Makest immortal in its strength ; Fair Filipinas, for thy land!
Your spirit free to blight. So bless the Power to-day
See how in flaming zone That places in thy way
Amid the shadows thrown, This favor and this fortune grand !
The Spaniard'a holy hand
A crown's resplendent band
Proffers to this Indian land.
II. THE ARTIST:

Si Pambansang Manlilikha (National Artist) Guillermo Tolentino ang lumilok ng iconic statue noong siya
ay propesor sa UP School of Fine Arts. Ang pangulo ng Pamantasan na si Rafael Palma ay siyang nag
komisyon kay G. Tolentino upang i-interpret ang ikalawang stanza ng Mi Ultimo Adios at La Juventud
Filipina, at nabuo na nga ang Oblasyon (Pahinungod, Paghahandog or Oblasyon in Filipino).
- Ipinanganak si Guillermo Tolentino noong ika 24-ng Hulyo 1890 sa Malolos, Bulakan. Ika-apat sa
walong magkakapatid. Bago pa man nahilig sa eskultura, natuto siyang gumamit ng gitara, isang
talento na namana sa kanyang ama. Ang batang Guillermo ay nagpakita ng galing sa paglilok sa
batang edad sa paglilok ng mga anyo ng kabayo at aso mula sa putik.

- Nag aral si Guillermo Tolentino sa Malolos Intermediate School at ipinagpatuloy ang mataas na antas
ng pagaaral sa kanilang bayan ng Malolos. Lumuwas sa Maynila at nag aral sa School of Fine Arts sa
Pamantasan ng Pilipinas (U.P.).

- Matapos ang pag-aaral niya sa Europa, bumalik si Guillermo Tolentino sa Pilipinas noong 1925 at
itinalagang propesor sa School of Fine Arts sa Pamantasan ng Pilipinas. Binuksan nya ang kanyang
studio noong taong ding iyon.

- Itinalaga siyang pansamantalang director ng School of Fine Arts, at makalipas ang dalawang taon ay
naitalagang director (ika 4 ng Agosto 1953).

- Nagretiro si Guillermo Tolentino mula sa paglilingkod sa Pamantasan ng Pilipinas noong 1955.

Nakatanggap ng maraming parangal at pagkilala. Noong ika 15 ng Mayo, 1973, iganawad sa kanya
ang National Artist award.

- [Link]
III. SEMIOTIC PLANE (SYMBOLISM OF ELEMENTS)

• Nakadipa ang kamay, bukas palad, nakatingala, sarado ang mata at labing medyo nakabuka (may
bumubulong na dasal), at ang dibdib ay nakaangat bilang pag aalay ng sarili: Sumasagisag sa
ikalawang saknong ng Mi Ultimo Adios at ng La Juventud Filipina.

• Taas na 3.3 metro: Sumasagisag sa 333 taon ng pananakop ng mga Kastila sa Pilipinas.

• Ang mga bato sa pedestal: 1. sumasagisag sa Philippine Archipelago. 2. Ang mga bato sa pedestal
ay nagmula sa Montalban Gorge at nagpapahalaga sa ambag ng mga Pilipinong kawal sa
paglaban noong pahanon ng kastila at ikalawang digmaang pandaigdig upang maging Malaya ang
bansang pilipinas.

• Ang halamang katakataka or “wonder plant” (Brophyllum pinnatum): Sumasagisag sa “deep-rooted

patriotism in the heart of our heroes.” Sumisimbolo din sa pagiging matapang ng mga Filipino.
Pinapahayag ni Tolentino na ang halamang kataka-taka ay sagisag ng pagiging makabayan ng
bawat Filipino na patuloy na umuusbong sa iba’t ibang panig sa bansa at sa ibang bansa.

• Ang orihinal na Oblasyon ay hubo’t hubad. Subalit dahil sa namamayaning moralidad noong panahong
iyon, pinatakpan ng dating pangulo ng UP na si Jorge Bocobo ang genitals ng eskultura.
• Si Fernando Poe Sr. ay hindi ang modelo ng eskultura, gaya ng haka
haka noon pa mang sinaunang panahon.

• Ang dating UP Diliman College of Fine Arts (UPD CFA) Prof. Rodolfo
Paras-Perez ay sumulat ng aklat at sinasabing ang pangangatawan ni
Anastacio Caedo at ng proporsyon ng pangangatawan ng bayaw ni Caedo
na si Virgilio Raymundo ay tumutugma sa anyo ng Oblasyon.

Si Anastacio Tanchauco Caedo (August 14, 1907-May 12, 1990) ay isa

sa mga dakilang eskultor sa Pilipinas. Naging estudyante siya ni Guillermo
Tolentino.
Ang Katakataka (Bryophyllum pinnatum) ay isang uri ng
halaman. Ito ay tinawag na Katakataka sapagkat kapag ang
dahon ay nalagas sa tangkay, ang dahon ay muling uusbungan
ng panibagong dahon at mabubuhay muli.
[Link]
WHAT IS KATAKA-TAKA/MIRACLE PLANT

Scientific name: Bryophyllum pinnatum

English names: Miracle plant/leaf, leaf of life, cathedral bells, air plant.
Tagalog name: Kataka-taka

The word kataka-taka means "unbelievable", well this plant deserves its name because of its amazing
characteristics.

Kataka-taka is a fast growing juicy plant. Leaves are thick, fleshy and simple or compound in pairs on
redd stems, leaves are simple or pinnately compound, with the leaflets elliptic, thick, succulent, and
scalloped margins. plantlets grow along the notches of the leaf margins which can develop while still
attached to the plant or when detached, because of this amazing characteristic this plant earns its name,
flowers are about 5 cm long, bell-shaped, colors are green or yellow and has a reddish stems.

This plant is easily propagated and widely distributed in the Philippines, found in thickets and open places.
this plant is easy to grow simply by its leaves you can grow an entire plant and you don't need to water it
everyday.
 The Pamitinan Protected Landscape is a Philippine
protected area of approximately 608 hectares (1,500
acres) in the Sierra Madre mountain range, just 34
kilometres northeast of Manila. It contains and
protects the Montalban Gorge formed by the Marikina
River that separates Mount Pamitinan and Mount
Binacayan in the municipality
of Rodriguez in Rizal. Established in 1996 through
Proclamation No. 901 issued by PresidentFidel
Ramos, the park is originally a component of the
Mariquina Reserve founded in 1904 to protect the
watershed of the Marikina River that supplied water
to the city of Manila from the Wawa Dam located just
above the Montalban Gorge in the early 1900s.
The park is visited for its scenic views, as well as for
recreational activities as hiking, mountain climbing,
spelunking and historical sightseeing. It includes
the Pamitinan Cave which played a role during
the Philippine Revolution and WWII, and is the
setting of a popular local legend called Bernardo
The Montalban Gorge at the Pamitinan Protected Carpio. The picturesque Montalban Gorge was
declared a national monument and reserved area in
Landscape
1983 by the National Committee on Geological
Sciences of the Ministry of Natural Resources.
1: the leaf of a fig tree◊

In works of art, such as paintings and sculptures, naked

people have sometimes been shown with a fig leaf
covering their sexual organs.

2 : something that prevents embarrassment or criticism by

covering or hiding something

[Link]
Next meeting:

III. ANG SINING BISWAL BILANG KOMUNIKASYON

III. ANG SINING BISWAL BILANG KOMUNIKASYON

Ang mga elementong ng Sining ( palalawigin sa susunod na topic) , tulad ng linya,

hugis, kulay, tekstura, espasyo na nakalangkap sa isang pyesa o art work ay naghayag ng
kahulugan , isang komunikasyon ng kahulugan, ang mga ito ay inihahatid sa uganayan ng tao
sa lipunan.

ang Linya, halimbawa

Makikitang magkakaiba ang linya ng lobo o balloon ng dialogo na nasa

larawan, may ibat ibang kapal, nipis, putol-putol at ibapa. Naglalahad ito ng karakter
ng salita o mensaheng nais ilahad. Kadalasan natin itong nakikita sa komiks.
Ang putol-putol at manipis na linya ay naglalahad ng pabulong, habang ang
linyang patulis ay pasigaw. Ang mga linya ay masasbing nabubuo sa ating
isip na naghahatid ng kahulugan nito.
Sa katunayan ang mga linya ay isang “pangkulturang usapin” na nakagawian
ng tao sa pagdaan ng panahon.(Sining at Lipunan, Dela Paz, Flores)
May dalawang uri ng komunikasyon, ito ang berbal at hindi-berbal. Kadalasan ang sining
biswal ay isang non-verbal communication dahil sa paggamit nito ng mga elemento ng
sining (linya, hugis, espasyo, tekstura atbp) para magpahayag at magbahagi. Bagaman sa
modernong sining/ kontemporaryong sining, gumamit at napagsasalo na din ang teksto o
salita sa likha ng mga artista.

Nonverbal communication can be narrowly used to refer to intentional use as in using a nonspoken symbol to
communicate a specific message. Nonverbal communications refers to a sources action and attributes that are
not purely verbal.-(Jandt1995).

Ang mga kategorya ng non-verbal na pakikipagtalastasan ay ang sumusunod, sign and

symbols, proxemics ( paggamit ng espasyo), kinesics ( galaw, pagkilos ng katawan atbp), chronemics
(time o oras), paralanguage (boses), silence, haptics (haplos), olfactics (pang- amoy), oculesics
(paggamit ng tingin o mata).

Sa Kulturang Pilipino, maraming salita ang nakaugnay sa pag-gamit natin ng mga senses
(pandama), hindi lang ito “feelings” sa english, na nasa sense of touch lang. Kundi pandama, na
nangangahulugan ng lahat ng senses. Halimbawa sa pang-amoy , may tinatawag tayong amoy-araw
(babad sa araw), amoy bawang (mabaho) atbpa. Sa mata naman, may roon tayong tinatawag na
“makuha ka sa tingin” (nagbabanta), “nanlilisik na mata” (nakakatakot) atbpa.
Gestures, Galaw at Kilos ay bahagi ng biswal na komunikasyon.

Makikita sa larawanang kilalang Monumento ni Bonifacio o kilala sa tawag na Monumento. Desenyo

ito ni National Artists Guillermo Tolentino , may sukat na 45 feet, nalikha nuong 1933. ito ay nasa Caloocan.
Ito ang simbulo ng Sigaw ng Himagsikan, ang hayagang paghimagsik ng mga Filipino sa Kastila.

Makikita sa gitna si Gat Bonifacio na matatag na nakatindig, may hawak na baril at itak at sa likod
nya ang isang bandila. Inihatid nito sa kabuuan ang tapang at pamumuno ni Gat Andres sa Rebolusyong
1896. Sa magkabilang tabi o paikot niya ,makikita natin ang ibat ibang kilos, galaw ng mga mamamayan. Sa
mga kilos at galaw na ito makikita natin ang ibat ibang larawan ng danas ng kaapian, lungkot hanggang sa
pakikibaka at matatag na paglaban ng mga Pilipino.

Ang mga elemento ng sining at ang

masining na paggamit ng senses at
gestures ay ang proseso ng pagbibigay---
hiwatig ng kahulugan . Ang sining biswal
bilang wika ay isang sistema ng mga
senyales o code na binibigyang kahulugan
ng mga tao at ibinabahagi.
Diskursong Pansining

Sa diskursong pangsining nagbubuo ng espisipikong kahulugan ng imahen o sining.

May dialektikong ugnayan ang ekspresyon ng artista at persepsyon ng madla. Hindi lamang
ang artista ang lumikha ng ispispikong kahulugan sa sining, kundi ito ay kolektibong
nabubuo sa proseso ng diskursong pansining sa ng mga tao sa isang lipunan.

Diskurso ang nagpapatalas ng unawa sa sining biswal na kolektibong nauunawaan

ng tao at ibinabahagi kalaunan ay nagiging natural o nagiging pangkulturan usapin.

Pagsasanay:

Tumukoy ng ang ibat-ibang , katawagan o konsepto na gamit ang mga pandama

(senses) at/ o gesture at bigyan kahulugan batay sa karanasan o konseptong Pilipino .
Panuorin ang pelikulang “ The Parasites”, suriin ang pandama at mga biswal na elemento
sumulat ng maikling kritikal na papel
IV. ANO ANG MGA ELEMENTO NG SINING

I. Kulay ang nagbibigay ng damdaming dimensyon sa sining. Ang kulay ay maaring

matingkad, maputla , matindi , marangya, payak , maliwanag o madilim. Nakabatay ang
kahulugan ng kulay sa suhetibong salik o sa kumbensyon ng lipunan

Klasipikasyon ng mga kulay

 : Pangunahin kulay: pula, dilaw at asul, mga

kulay na hindi nakukuha sa paghahalo ng kulay

 Sekondaryo: mga kulay na nabubuo sa

paghahalo ng dalawang pangunahing kulay:
halimbawa, Blue + Yellow = Green; Red + Blue
= Violet; Red + Yellow = Orange

 Pangatlong kulay: mga kulay na mabubuo sa

paghalo ng pangunahin at sekondaryong kulay:
Orange + purple = russet; Orange + green =
citron; Purple + green = olives
Primary Colors

All colors come from the three primary colors—red, blue, and yellow. You cannot mix any colors to
create a primary color. They are the base hues for all other colors.

In this example of primary colors in art, Jacob Lawrence uses only neutral colors with the primary
colors of red, blue, and yellow. [Link]

Jacob Lawrence,
Workshop (Builders
#1), 1972
Secondary Colors

Traditionally, there are three

secondary colors which are the colors
green, violet, and orange. These colors
feature prominently in nature from flower
beds to bird plumes.

Green is most often associated with nature, of verdant fields and thick forests, but also
symbolizes new beginnings and growth. This is why greens tend to make one feel calmer and more
relaxed.

Violet has been historically connected to nobility, royalty, and opulence, giving it feelings of grandeur,
wisdom, as well as a little bit of magic and mystery. Violet, therefore, creates an energetic and mindful
mood.

Orange is the warmest and most vibrant of the traditional secondary colors. Reminiscent of
flames, this color is a mix of passion and positivity and gives a feelings of happiness and youthfulness.

[Link]
Tertiary colors

These are the mixture of two secondary

colors. Secondary colors are:

 orange,
 green and
 purple.
 This is an example tertiary colors in
painting of “Patches.” The artist did not
use any burnt sienna that came out of
a tube. The digital photo does not
convey the richness of the browns that
were achieved by mixing oranges and
purples. There are highlights of purple
and orange throughout.

[Link]
are-tertiary-colors-always-defined-
incorrectly/

“Patches,” 14×11 oil on panel

 COLOR PROPERTIES

Color is the visual property of the pigment of

an object that is detected by the eye and produced as
a result of the way the object reflects or emits light.
The human eye is capable of seeing millions of colors,
making it one of the most diverse and powerful
elements of art.

Each color has three properties—hue, value,

and intensity. Hue is the name of a color. Value is a
color’s lightness or darkness, which is altered when
black or white is added. Intensity refers to the intensity
of a color, often measured by boldness or dullness.

In this example of color in art, Paul

Klee shows contrast between high intensity and low
intensity colors by using more or less water with his
paint.
André Derain, Charing Cross Bridge, 1906
[Link]
Value

Value in art refers to the

lightness and darkness of
colors and is often
described in varying levels
of contrast. White is the
lightest value while black is
the darkest. To create a tint
of a color, the artist adds
white. To create a shade,
the artist adds black.

In this example of value in

art, Rufino Tamayo adds
white to a color to create a
tint in the clothes of the
women, one of the baskets,
Rufino Tamayo, Women of Tehuantepec, 1939
and in the checkerboard on
the wall.
Intensity (Warm and Cool Colors)

Warm colors are reds, oranges, and yellows. They pop

out towards viewer, and create energy and excitement
in an artwork. On the other hand, the cool colors of
blues, greens, and violets recede from the viewer’s eye
and create a calming effect.

In this example of warm and cool colors in art, Dorothea

Tanning contrasts warm with cool colors to show the
clash of rest and restlessness in insomnia.

Dorothea Tanning, Insomnias, 1957

[Link]
 Types of color schemes
1. Monochromatic

Monochromatic color schemes use a

single color with varying shades and tints
to produce a consistent look and feel.
Although it lacks color contrast, it often
ends up looking very clean and polished.
It also allows you to easily change the
darkness and lightness of your colors.

[Link]
2. Analogous

Analogous color schemes are formed by pairing

one main color with the two colors directly next to
it on the color wheel. You can also add two
additional colors (which are found next to the two
outside colors) if you want to use a five-color
scheme instead of just three colors.

Analogous structures do not create themes with

high contrasting colors, so they're typically used to
create a softer, less contrasting design.

[Link]
Analogous Colors

Analogous colors create

harmony and unity in art
because they are made of
the same hues. Some of
the basic analogous color
pairings are blue and
green, red and orange, and
yellow and green.

In this example of
analogous colors in art,
Vincent van Gogh uses
colors next to one another
on the color wheel–blue,
green, and yellow. Vincent van Gogh, The Olive Trees, 1889
[Link]
3. Complementary

You may have guessed it, but a

complementary color scheme is based on
the use of two colors directly across from
each other on the color wheel and relevant
tints of those colors.

The complementary color scheme

provides the greatest amount of color
contrast. Because of this, you should be
careful about how you use the
complementary colors in a scheme.

[Link]
 Complementary Colors

Complementary colors are called that

because, when placed side by side,
they are pleasing to the eye. They
create an appealing contrast in
artworks. Some of the basic
complementary color pairings are red
and green, purple and yellow, and
orange and blue.

In this example of complimentary

colors in art, Hiroshige uses red and
green to create contrast.

Ando Hiroshige, Plum Estate, Kameido From

“One Hundred Famous Views of Edo”, 1857
[Link]
examples/
 4. Split Complementary

A split complementary scheme includes one dominant

color and the two colors directly adjacent to the
dominant color's complement. This creates a more
nuanced color palette than a complementary color
scheme while still retaining the benefits of contrasting
colors.

The split complementary color scheme can be difficult

to balance because unlike analogous or monochromatic
color schemes, the colors used all provide contrast
(similar to the complementary scheme).

The positive and negative aspect of the split

complementary color model is that you can use any two
colors in the scheme and get great contrast ... but that
also means it can also be tricky to find the right balance
between the colors. As a result, you may end up playing
[Link] around with this one a bit more to find the right
design combination of contrast.
5. Triadic

Triadic color schemes offer high contrasting

color schemes while retaining the same tone.
Triadic color schemes are created by choosing
three colors that are equally placed in lines
around the color wheel.

Triad color schemes are useful for creating high

contrast between each color in a design, but
they can also seem overpowering if all of your
colors are chosen on the same point in a line
around the color wheel.

To subdue some of your colors in a triadic

scheme, you can choose one dominant color
and use the others sparingly, or simply subdue
the other two colors by choosing a softer tint.

[Link]
theory-design
 6. Square

The square color scheme uses four colors

equidistant from each other on the color wheel to
create a square or diamond shape. While this
evenly-spaced color scheme provides substantial
contrast to your design, it’s a good idea to select
one dominant color rather than trying to balance all
four.

[Link]
7. Rectangle

Also called the tetradic color scheme,

the rectangle approach is similar to its
square counterpart but offers a more
subtle approach to color selection.

As you can see in the diagram, while the

blue and red shades are quite bold, the
green and orange on the other side of
the rectangle are more muted, in turn
helping the bolder shades stand out.

[Link]
The Meaning of Color (Psychological)

Along with varying visual impact, different colors also carry different emotional symbolism.

•White — safety and innocence, making it a great choice to help streamline your site
[Link]
•Orange — joy
and enthusiasm,
making it a good
choice for
positive
messaging
•Blue — tranquility
and confidence,
depending on the
shade — lighter
shades provide a
sense of peace,
darker colors are
more confident
•Purple — luxury or
creativity, especially
when used
deliberately and
sparingly on your
site
•Red — typically
associated with power,
passion, or energy,
and can help
encourage action on
your site
•Green — often
connected to growth
or ambition, green
can help give the
sense that your
brand is on the rise
•Black — power and
mystery, and using this
color can help create
necessary negative
space
•Yellow —
happiness and
intellect, but be
wary of overuse
II. Linya - ay nagpapahiwatig ng direksyon, oryentasyon, kilos, at lakas. Ito ang tinuturing na
pinakamatanda, pinakapayat at unibersal na elemento.

Direksyon ng linya:

o Patayong linya- ang batayang balangkas ng lahat ng anyo ng power, strength, stability, simplicity, and efficiency.

o Pahalang na linya- lumikha ng impresyon ng payapa, estabilidad, pahinga, kalmado

o Palihis na linya- nagpapakita ng galaw o movement at instabilidad. naglalarawan ng pagkilos .

o Jagged line- nagpapakita ng violence, zigzag, ligalig, at konplik

o Paikot na linya- nagpapakita ng banayad na pagbago ng direksyon at fluidity. Tanda ng pinong anyo .
[Link]
set-for-strong-recovery%2Fmakati-
skyscrapers&psig=AOvVaw2aIpuSvlNWSy1q4NB2Mzy0&ust=1669162077073000&source=images&cd=v
fe&ved=0CBEQjhxqFwoTCPD47Le_wPsCFQAAAAAdAAAAABAF

[Link]
[Link]
Nacpan Beach, El Nido, Palawan | © Allan Ascaño /
Flickr
[Link]
[Link]
signs-construction-area-crime-scene-danger-tape-police-line-cross-ribbon-warning-danger-tape-
ribbons-accident_29714656.htm

[Link]
[Link]
seamless-vector-pattern
[Link]
[Link]
[Link]
Coca-Cola, evolution of the bottle. Alexander Samuelson of the Root Glass Company in Terre Haute,
Indiana, designed the distinctive shape, and it was patented on November 16, 1915. The bottle was
modified and slimmed down to work with the current bottling equipment and went into broader production
in 1916. This contour bottle was the only packaging used by The Coca-Cola Company for 40 years until
the king-size package was introduced in 1955.

[Link]
The Coke bottle has been called many things over the
years. One of the more interesting of the nicknames is
the “hobbleskirt” bottle. The hobbleskirt was a fashion
trend during the 1910s where the skirt had a very
tapered look and was so narrow below the knees that it
“hobbled” the wearer. The bottle was also called the
“Mae West” bottle after the actress’s famous curvaceous
figure. The first reference to the bottle as a “contour”
occurred in a 1925 French Magazine, La Monde, which
described the Coca-Cola bottle with a distinctive contour
shape. To the general public, the shape is just “the Coke
bottle.”

[Link]
the-history-of-the-coca-cola-contour-bottle [Link]
02/[Link]
(1916)
 Direction of Line (Lines in Art)

The direction of a line can dramatically alter an

artwork. Diagonal lines create movement an
energy. Horizontal and vertical lines add stability
and strength to an artwork.

In this example of directional lines in art,

Artemisia Gentileschi uses both diagonal lines to
show the energy and excitement of the scene
and vertical lines (in Judith’s attendant) to show
strength.

Artesmisia Gentileschi, Judith Slaying Holofernes, 1614–20

[Link]
 Contour Lines (Lines in Art)

Contour lines form the outside edge of a three-

dimensional shape and clearly defines the area it
occupies.
Look at the face of Leonardo da Vinci below; the contour
lines around his facial features give his face form.

Leonardo da Vinci, Self-Portrait, c. 1512

Gesture Lines (Lines in Art)

Gesture lines are lines that show movement, particularly of characters in an artwork.

In this example of gesture lines in art, Marino Marini uses big swooshing gesture lines that capture the action
and energy of the subject.

Marino Marini, Miracle (Miracolo),

1952
Implied Lines (Lines in Art)

Implied lines are not made by a

physical mark in an artwork, but
rather by visual suggestion. Our
eyes often follow them
automatically, so they draw
attention to specific parts of an
artwork.

In this example of implied lines in

art, Grant Wood uses implied
lines to emphasize the hatchet in
the center. Follow the implied
lines from the ladder to the
father’s hand to George
Washington’s hand to the
hatchet. The narrator’s hand
Grant Wood, Parson Weems’ Fable, 1939
leads to an implied line as well.
 Expressive Lines (Lines in Art)

Lines that show feeling and emotion are called

expressive lines.

In this example of expressive lines in art, Edvard

Munch uses wavy lines in contrast with a strong
straight diagonal line to convey anxiety.

Edvard Munch, The Scream, 1893

III. Medyum - nangahulugan ng paraan ng artist para magpahayag ng kanyang ideya, ito
ang materyal na gamit nya upang maghayag ng pandama sa pamamagitan ng sining.

IV. Rhythm - pattern, pagka-ayos ng mga linya, kulay, sinkronisasyon o koneksyon ng landas
na naglahad ng karikitan.

V. Style - ang tipikal na paraan at kasanayan ng artist at ang kanyang pananaw.

VI. Structure- kalatagan at kalidad ng bagay , maaring totoo o palabasing parang totoo .
nagbigay ng kaibahan at ganda sa sining..

VII. Hugis - ang nakapaloob na espasyo na tinukoy ng ibapang elemento ng sining. Sa

pamamagitan ng hugis nabibigyan ng 2 dimensyon o 3D ang bagay.

Mahalagang maunawaan na ang bawat elemento ng sining ay may ibinibigay na kahulugan

batay sa kumbensyon ng tao at lipunan. Halimbawa ang linya ay madaling ihambing na mabilis na
maunawaan ng tao dahil sa galaw ng kanyang mismong katawan. Tulad ng nakatayong linya na
nagsasabi ng tindig, tagtag , kapag pahiga naman, maaring nakapahinga, patay o payapa. Na kapag
nakita sa isang likhang sining , gaya ng PUP Obelisk na makikita sa Mabini Campus, ito ay
nanganaghulugan ng katatagan. Gayundin si Bonifacio sa Monumento na nakatayong matatag.
III. MEDIUM

WHAT IS AN ART MEDIUM?

A “medium” can refer to the materials

used to make a work of art (such as
clay, wood, paint, fabric, charcoal, etc.)
and also refer to creation techniques
such as sculpture, printmaking,
watercolor, or pottery. For this purpose,
however, we will focus purely on
different mediums and techniques used
to create hanging wall art. We will
introduce you to commonly identifiable
art mediums like oil painting, fine art
photography, graphic art, and watercolor
to name a few.
Image source: Minted artist Jess Franks (@jessfranksart)
Art Mediums – What Are the Different Types of Wall Art Mediums?

[Link]
TYPES OF MEDIUMS FOR WALL ART

1. OIL
DURABLE, STEADFAST, CLASSIC

Oil painting is the process of combining colored

powders, pigments, or finely ground up
materials with an oil mixture to create a
solution that can be used as paint. When
mixing the pigments with oil, you will get a
slightly different visual result depending on the
oil you use –for example, how yellow the
painting looks or how long it takes to dry. Oil
paintings are known to take longer to dry, which
gives artists extra time to play with the look and
feel. When oil painting, artists typically use
paintbrushes and the occasional rag or palette Vincent Van Gogh’s Starry Night. Image source:
knife. The most popular surface for oil painting Wikipedia
is canvas made from either cotton or linen,
stretched over a wooden frame.
 2. ACRYLIC
VIBRANT, STURDY, VERSATILE

Say hello to acrylic painting, the medium in art that

is most often confused with oil painting. While oil
paint is suspended in oil, takes a little more time to
clean, and is not compatible with water, acrylic
paint uses much newer pigment materials (instead
of more traditional oils). Unlike oils, you don’t need
any special chemicals to thin acrylics—just water
will do. And while oils take a long time to dry,
acrylics dry very quickly. Think of acrylic as a
scientist’s adaptation and manipulation of oil
painting norms.

Andy Warhol’s Shot Marilyns. Image source:

Pinterest
3. WATERCOLOR
EMOTIONAL, TRANSPARENT, WHIMSICAL

Watercolor painting is a creative method that

uses pigments suspended in a water-based
solution. Of all the art mediums, it allows for
transparency and luminosity that other
mediums don’t. Rather than painting layer
over layer for the desired result (like with oil
painting), watercolor is semi-transparent and
the white of the paper gives a natural
luminosity to watered-down paint. As an artist
experiments with new colors, they must work
quickly because the hues blend together
quickly, seeing as how watercolor is a fast-
Joseph Mallord William Turner’s Great Yarmouth
drying medium. Many say that the spontaneity Harbour, Norfolk.
of the medium requires intense focus. The Image source: Pinterest
more water, the more the paper will affect the
colors.
 4. MIXED MEDIA
VARIETY, DISTINCTION, INTERPRETATION

Of all the types of art mediums, mixed media can take

the most forms. It is defined as artwork where more
than one medium or material is used, providing
intrigue, amazing interpretation, and serving as the
perfect outlet for the curious mind. Some of the
techniques used include collages, assemblage, and
found objects (also known as trash art or punk art).

One of the most popularly used mixed media

techniques is that of collage. The origin of the word
“collage” is French, coming from the word “coller”
which is “to glue.” This hands-on art form entails artists
working with pieces of paper, photographs, and other
textured items that are adhered to a supporting
surface. By using a variety of forms, the artist creates a
At first glance, it could be said that assemblage is a three-
dimensional alternative to collage – a technique of composing a new arrangement.
work of art by pasting on a surface various materials not normally
associated with one another
 Pablo Picasso created some of the very first
examples of assemblage art from 1912-1914. His most
famous and revolutionary sculpture Picasso ever made
was the Paper construction of a guitar that he cobbled
together late in 1912. The sculpture manages to rewrite the
rules for how three dimensions can be represented in
sculpture.

[Link]

Picasso, Title: Guitar. January - February 1914

 Collage in the modernist sense began
with Cubist painters Georges Braque and Pablo
Picasso. Snippets and fragments of different and
unrelated subject matter made up Cubism collages,
or papier collé, which gave them a deconstructed
form and appearance. According to some sources,
Picasso was the first to use the collage technique in
oil paintings.

According to the Guggenheim Museum’s

online article about collage, Braque took up the
concept of collage itself before Picasso, applying it
to charcoal drawings. Picasso adopted collage
immediately after (and could be the first to use
collage in paintings, as opposed to drawings).
[Link]

Pablo Picasso, 1913–14, Head (Tête), cut and pasted

colored paper, gouache and charcoal on paperboard, 43.5 x
33 cm, Scottish national Gallery of Modern Art, Edinburgh
[Link]
[Link]?q=w_2048,h_1536,x_0,y_0,c_fill/w_1280
5. PHOTOGRAPHY
LIGHT, EXPLORATION, DOCUMENTATION

Photography has been called, in as many words, a

universal language. But just how does photography
work? Photographs are created by recording light
electronically through an image sensor or chemically
through something like photographic film. Through an
artist’s eye, the most ordinary scene can become an
extraordinary visual. In the 1820s, the first
photographs were created by a French inventor
named Nicéphore Niépce. He died shortly thereafter
and other artists across Europe continued to develop
the art form.

“Stripes Coastal”, designed by JD.

POPULAR PHOTOGRAPHY THEMES:

•Landscape photography showcases scenes around the world, from vast to small details. Most
landscape photography doesn’t show any human activity and is a pure depiction of nature. Occasionally
it will include man-made features but is intended to capture the natural beauty of Mother Nature. Think of
large images of the Grand Canyon and images of trails through the rainforest. Landscape photography
is the perfect medium in art for those who wish to broadcast and reflect on their love of travel and
exploration.

•Wildlife photography also captures the outdoors, but in a different way. By documenting various forms
of wildlife in their natural habitat, wildlife photographers have to be extremely skilled at approaching birds
and animals to get the angles and behaviors they want to capture. This can include depictions of wild
horse stampedes and buffalo grazing in the wild. Hang these natural beauties in the room of an animal-
loving child.

•Portrait photography focuses the camera lens on the human form. The goal is to capture the
personality of a person or group using lighting, backdrops, and poses. Photographs can be artistic or
straightforward.
What is the Rule of Thirds?

The rule of thirds involves mentally dividing up the image using 2 horizontal lines and 2 vertical
lines, as shown below. Then, positioning the important elements in the scene along those lines, or at the
points where they meet.
The idea is that an off-centre
composition is more pleasing to the eye
and looks more natural than one where
the subject is placed right in the middle
of the frame. It also encourages the
photographer to make creative use
of negative space, the empty areas
around the subject.

A rule of thirds grid:

Important elements (the shed, and the
border between the ground and the trees)
are positioned along the lines and at the
intersections. Image by Martin Gommel.
How to Use the Rule of Thirds

When framing a photo,

imagine the scene divided up as in the
image (right). Think about what
elements of the photo are most
important, and try to position them at
or near the lines and intersections of
the grid. They don't have to be
perfectly lined up as long as they're
close.

The photographer may need

to move around to get the best
composition. This forces the
photographer to think more carefully
about the shot, and is a good habit to
The horizon and main subject in this photo have been positioned near
get into whether he/she is using the
lines or intersections for maximum impact. Image by K. Praslowicz.
rule of thirds or not.
Examples

The rule of thirds is very versatile and can be used on any subject. Below are some
example of it being used effectively in different types of shots.

In landscape shots,
it's common to position the
horizon along the centre of the
frame, but this can give the
photo a "split in two" feel.
Instead, place it along one of
the horizontal lines.

Try to include another

interesting object, such as the
tree in the photo, and position
it according to the rule of
thirds. This provides an
"anchor", a natural focal point
for the scene.
Image by Andreas Wonisch
 It's a good
idea to position people
off to one side of the
frame. This provides
some "breathing
space", shows the
subject's environment,
and stops the photo
from looking like a
mugshot.

People are
naturally drawn to
people's eyes. Place
them at one of the
intersections on the
rule of thirds grid to
give the shot a clear
focal point.
Image by Megan Leetz.
 Here the main
subject has been placed
at one of the
intersections, and also
along one a vertical line.
The twig roughly follows
the top horizontal line.
The empty space at the
bottom left
provides balance and
prevents the picture from
feeling overcrowded.

Image by Prem Anandh

 Vertical subjects such as this lighthouse can split a photo in two, in much the same way as a
horizon can do horizontally. To avoid this, position them off-centre in your composition.

Image by Dennis Jarvis

 Image by muskva

When photographing moving subjects, position them as normal, but also pay attention to the
direction they're moving. As a general rule you should leave more space in front of them than behind, to show
where they're going.
Breaking the Rule

As with all rules (at least in photography), the rule of thirds doesn't apply in every situation, and
sometimes breaking it can result in a much more eye-catching, interesting photo. Experiment and test
out different compositions even if they go against any "rules" one have learned.

However, the photographer should learn to use the rule of thirds effectively before trying to
break it - that way he/she can be sure he’s/she’s doing so in order to get a better composition, rather
than just for the sake of it.

Source: [Link]
Quiz 1:

Submit two (2) cellular phone photos observing the “Rule of Thirds” principle:
1. Your own photograph (selfie).
2. Cityscape photo (your own).

Surname,Name,M.I._Quiz1

Submit to MSTeams folder “Quiz1”

Due:
6. CHARCOAL SKETCHES
INTENSE, VERSATILE, RAW

Charcoal is often used by artists to create sketch

drawings. When looking at the various types of art
mediums, this one tends to be the rawest, as it
does not require mixing colored pigments or using
multiple tools. Charcoals are often used by artists
for their versatile properties, like the rough texture
they leave, how it’s easily removable, and
vulnerable to leaving stains on the paper. An
adaptation of charcoal sketches is pencil
drawings or ink drawings.

Charcoal was one of the first tools humans used

to make artwork, appearing in caves dating back
28,000 years. During the Renaissance, charcoal
was often used to create rough sketches to
prepare for a painting.
Georgia O’Keeffe’s Drawing XIII.
Image source: Wikipedia
 7. GRAPHIC ART
MODERN, INTUITIVE, INTERACTIVE

Among the types of mediums, we also have graphic art.

Used for a wide variety of expressions, it refers to
printmaking styles, typography, pattern arrangements, and
computer-manipulated design. Graphic art is created by hand
or on a computer and tends to look very two-dimensional yet
modern. Some designs will have you second-guessing if a
human hand created the work.

As early as 2500 BC, the Egyptians used graphic symbols to

communicate through hieroglyphics. During the middle ages,
scribes copied pages of manuscripts to maintain sacred
teachings. And then in 1450, the first printing press was
created and facilitated the mass-production of text and
graphic art. Fast forward to the Industrial Revolution and
posters became a popular form of graphic art used to
“Giulietta” by Alex Roda communicate news and advertise products. In the modern
age, examples of graphic design and art are used on album
covers, movie posters, subway maps, and wall art.
IV. RHYTHM
Refers to the movement within a piece of art that helps the eye travel through the to a point of focus. Like
in music, rhythm in art can vary in its speed ... some works are more calm and relaxed while others are
more energetic and active. Others may even seem a bit off balance if the rhythm is regular.

Rhythm, repetition, and patterns are similar but interconnected concepts. Each is also distinct from the
others. Pattern has rhythm, for example, but not all rhythm is patterned. Before we continue, let’s look at
the definitions:

• A PATTERN is a recurring element in a particular arrangement. It may be a motif that repeats itself in a
textile or it may be a predictable pattern such as a checkerboard.

• REPETITION refers to an element that repeats. It may be a shape, color, line, or even a subject that
occurs over and over again. It may form a pattern and it may not.

• RHYTHM is a little of both pattern and repetition, yet the rhythm can vary. The slight differences in a
pattern create rhythm and the repetition of elements of art create rhythm. The rhythm of a piece of art can
be controlled by everything from color and value to line and shape.

[Link]
ALTERNATING RHYTHM

Describes an artwork that contains a repetition of two or more components that are used interchangeably.
Some alternating rhythm examples include alternating light and dark colors or placing various shapes
and/or colors in a repeating pattern.

[Link]
FLOWING RHYTHM

Describes an artwork that contains curved or circular elements that give the art movement. Some
flowing rhythm examples include flowers, clouds, or waves.

[Link]
PROGRESSIVE RHYTHM

Describes an artwork that contains repeating elements in

a pattern that change either in size or color as they repeat. Some progressive rhythm examples include
building blocks arranged from smallest to largest and spirals.

[Link]
RANDOM RHYTHM

Describes an artwork that contains repeating elements without a specified order or arrangement.
Some random rhythm examples include splatters of paint or shells on a beach.

[Link]
REGULAR RHYTHM

Describes an artwork that contains repeating elements with a specified order or arrangement that can
be measured. Some regular rhythm examples include evenly spaced win- dows or tiles.

[Link]
V. STYLE

Art styles describe the way the artwork looks.

Style is basically the manner in which the artist portrays
his or her subject matter and how the artist expresses
his or her vision.

Style is determined by the characteristics that

describe the artwork, such as the way the artist employs
form, color, and composition, to name just a few. Another
important factor in determining the style of an artwork is
to examine the way the artist handles the medium,
taking into account the method or technique that the
artist uses.

An additional aspect of art styles is the Ecstasy of Saint Teresa (1647-52)

By Bernini. Cornaro Chapel,
philosophy or driving force behind the artwork. All of
Church of Santa Maria della Vittoria.
these stylistic elements are defined by the choices A masterpiece of 17th Century
artists make as they compose their artwork.
 Artworks that have certain features in common are considered to have the same style.
Sometimes this means that they are part of the same movement, but not always. The concept of
"movements" in art is usually linked to a specific time (and sometimes place) in history. For instance,
there are painters today who still paint in an Impressionistic manner, embracing the concepts that first
defined Impressionism in the 19th century. However, because they are contemporary artists who are
inspired by the Impressionists, they are not really part of the original "Impressionist movement" as it
exists in historical terms. Although art styles can be resurrected from the past, the movement itself is
still anchored in its original position on the art history timeline.

Within all this, each artist has his or her own personal art style, which is developed throughout
his or her lifetime. An artist's style can change and adapt as the artist grows as both an artist and as a
person. Beginning artists often emulate (copy) the styles of artists that they admire. At first this can be
beneficial in order to get one's feet wet and will help develop an understanding of how to create
different types of art. However, it is very important that beginning artists focus on developing their own
style, and find their own unique way of expression. An artist's personal style usually progresses as the
artist gains more confidence through experience, expands their database of knowledge, and acquires
more skill with the materials.

Source: [Link]
 The Most Famous Art Movements and Styles
(From: [Link]

Throughout history, artists have produced art in a variety of media and styles following
different philosophies and ideals. Although labelling may often result in being reductive, different artistic
tendencies or styles can be grouped in collective titles known as art movements.

If speaking art seems like a discipline in itself to you, the following are the top terms of art
movements and styles, from Classicism to Futurism, from Baroque to Avant-garde.
Essential Art Movements and Styles:

[Link] Expressionism

The designation ‘Abstract Expressionism’

encompasses a wide variety of American 20th-
century art movements in abstract art. Also known as
The New York School, this movement includes large
painted canvases, sculptures and other media as
well.

The term ‘action painting’ is associated with Abstract

Expressionism, describing a highly dynamic and
spontaneous application of vigorous brushstrokes
and the effects of dripping and spilling paint onto the
canvas.
2. Art Deco

Emerging in France before the First

World War, Art Deco exploded in 1925
on the occasion of the Exposition des
Arts Décoratifs (Exhibition of Decorative
Arts). Blurring the line between different
mediums and fields, from architecture
and furniture to clothing and jewelry, Art
Deco merged modern aesthetic with
skillful craftsmanship, advanced
technology, and elegant materials.
 The Metropolitan Theater – Manila, is one of the few
surviving examples of art deco architecture in the Philippines.
The theatre is an example of Philippine art deco for its native
designs and carvings. Built in 1931 by Juan Arellano, architect of
many Manila landmarks such as the Post Office Building, the
Legislative Building, Jones Bridge and among others.
 If anyone was to be asked 'What is the
most beautiful theatre you've seen in Manila?'
probably the answer is the Metropolitan
Theater, or simply the Met. The Met hosted
several operas, plays, and concerts of pre-war
Manila. Situated across Plaza Lawton (now
Liwasang Bonifacio), this magnificent Art Deco
gem is considered as the 'Grand Dame of
Manila's theatres' for its ornate architecture.

The Met was inaugurated on

December 1931 and has a seating capacity of
1,670 (846 in the orchestra section, 116 in the
loge section, and 708 in the balcony section).
During its prime, the Met was home to the
Manila Symphony and also home to operas,
vaudevilles, and zarzuelas. Its stature as the
'Grand Dame' made the Met a gathering place The Met's facade during its pre-war glory.
© Flickr/John Tewell
for Manila's 'alta sociedad' or high society.
Source: [Link]
 The Met's facade was a
stunning piece of art. Its exterior is
adorned with intricate designs inspired
from Philippine flora. The sculptures
within the Met was done by Francesco
Riccardo Monti, an Italian expatriate who
also made the statues atop the
University of Santo Tomas' Main Building
and the mourning angels atop the
Quezon Memorial.

The Met's exterior adorned with intricate art Deco tiles inspired by
indigenous designs.

Source: [Link]
One of the Met's bronze statues depicting Siamese
dancers. The statues were sculpted by Italian
expatriate Francesco Riccardo Monti.

The Met's intricate facade is seen through its grills and

stained glass windows
 Unfortunately, Manila was
ravaged by war and most of Manila's
buildings were obliterated, including
the Met. It was reconstructed again
during the Marcos administration in
the 1970s, but ownership disputes
between the Government Service
Insurance System (GSIS) and the
City Government of Manila made the
Met be closed once again. Calls for
reconstruction were made by heritage
enthusiasts to save this magnificent
gem. It is sad to see the Met (and
other heritage
structures) being neglected by our
own people. When will we Filipinos
learn how appreciate our heritage?
The Met's art deco architecture is simply one of a kind. Minarets
inspired from Islamic architecture gave it a Filipino touch.
The Met in ruins after the Liberation of Manila in 1945

Source: [Link]
3. Art Nouveau

A decorative style that flourished

between 1890 and 1910 throughout
Europe and the U.S. Art Nouveau,
also called Jugendstil (Germany)
and Sezessionstil (Austria), is
characterized by sinuous,
asymmetrical lines based on organic
forms. Although it influenced painting
and sculpture, its chief
manifestations were in architecture
and the decorative and graphic arts,
aiming to create a new style, free of
the imitative historicism that
dominated much of 19th-century art
movements and design.
4. Avant-garde

In French, avant-garde means “advanced guard”

and refers to innovative or experimental concepts,
works or the group or people producing them,
particularly in the realms of culture, politics, and the
arts.
5. Baroque

The term Baroque, derived from the

Portuguese ‘barocco’ meaning ‘irregular
pearl or stone’, is a movement in art and
architecture developed in Europe from the
early seventeenth to mid-eighteenth
century. Baroque emphasizes dramatic,
exaggerated motion and clear, easily
interpreted, detail, which is a far cry from
Surrealism, to produce drama, tension,
exuberance, and grandeur.
6. Bauhaus

The school of art and design was

founded in Germany by Walter
Gropius in 1919 and shut down by the
Nazis in 1933. The faculty brought
together artists, architects, and
designers, and developed an
experimental pedagogy that focused
on materials and functions rather than
traditional art school methodologies.

In its successive incarnations in

Weimar, Dessau, and Berlin, it became
the site of influential conversations
about the role of modern art and
design in society.
7. Classicism

The principles embodied in the styles, theories, or philosophies of the different types of art from ancient
Greece and Rome, concentrating on traditional forms with a focus on elegance and symmetry.
8. Cubism

An artistic movement began in

1907 by artists Pablo Picasso and
Georges Braque who developed a
visual language whose geometric
planes challenged the conventions
of representation in different types
of art, by reinventing traditional
subjects such as nudes,
landscapes, and still lifes as
increasingly fragmented
compositions.
9. Dada/Dadaism

An artistic and literary movement in

art formed during the First World
War as a negative response to the
traditional social values and
conventional artistic practices of the
different types of art at the time.
Dada artists represented a protest
movement with an anti-
establishment manifesto, sought to
expose accepted and often
repressive conventions of order and
logic by shocking people into self-
awareness.
10. Digital Art

Digital Art broadly covers a variety of

creative practices that employ
different electronic technologies and
result in a final product that is also
digital. From computer graphics to
virtual reality, from artificial
Intelligence to NFT technology, the
Digital Art spectrum is wide,
innovative, and under the spotlight of
the contemporary art market.
11. Expressionism

Expressionism is an international artistic

movement in art, architecture, literature,
and performance that flourished between
1905 and 1920, especially in Germany and
Austria, that sought to express the
meaning of emotional experience rather
than physical reality. Conventions of the
expressionist style include distortion,
exaggeration, fantasy, and vivid, jarring,
violent, or dynamic application of color in
order to express the artist’s inner feelings
or ideas.
12. Fauvism

Coined by the critic Louis Vauxcelles,

Fauvism (French for “wild beasts”) is
one of the early 20th-century art
movements. Fauvism is associated
especially with Henri Matisse and
André Derain, whose works are
characterized by strong, vibrant
colour and bold brushstrokes over
realistic or representational qualities.
13. Futurism

Fairly unique among different

types of art movements, it is an
Italian development in abstract
art and literature, founded in
1909 by Filippo Tommaso
Marinetti, aiming to capture the
dynamism, speed and energy of
the modern mechanical world.
14. Impressionism

Impressionism is a 19th-century art

movement, associated especially with
French artists such as Claude Monet,
Pierre Auguste Renoir, Camille Pissarro
and Alfred Sisley, who attempted to
accurately and objectively record visual
‘impressions’ by using small, thin, visible
brushstrokes that coalesce to form a
single scene and emphasize movement
and the changing qualities of light.
15. Surrealism

Founded by the poet André Breton in

Paris in 1924, Surrealism was an
artistic and literary movement that was
active through World War II. The main
goal of Surrealism painting and
Surrealism artworks was to liberate
thought, language, and human
experience from the oppressive
boundaries of rationalism by
championing the irrational, the poetic
and the revolutionary.
16. Realism

Realism, in art, is the exact

representation, without embellishment or
added emotion, of a real-life figure or
scene. Realism can be realistic in
appearance, but it is always realistic in the
scenes it represents. During the Realism
art movement, artists viewed their works
to show the world to viewers who may
have been detached from or otherwise
oblivious to the honest and humble
scenes occurring in the world from day to
day. Because of this, Realism is often
mislabeled as 'gloomy,' but the truth is that
it is, from time to time, simply
representative of extreme events and
realities
VI. STRUCTURE

In art, the term structure pertains to the arrangement and mutual relation of the part of the body, object or
composition. Structure refers to the relation of parts, to the relative proportions of the component
elements. It also refers to the underlying skeleton which supports the whole figure, giving form to flesh. It
is that which gives the forms their particular nature or character.

Structure is the underlying and connected understructure that holds up the figure, and the same
underlying connection can be applied to a picture. The units interlock to create a stable totality.
VII SHAPE/FORM

A. A shape is an enclosed area of space created through lines or other elements of the composition.

Geometric Shapes

Geometric shapes are precise areas

that can be made using a ruler or
compass. These shapes can be simple
or complex and generally give an
artwork a sense of order.

In this example of geometric shapes in

art, Picasso uses circles, triangles,
crescents, and rectangles.

Pablo Picasso, Three Musicians, 1921

Organic/Free-Form Shapes

Organic shapes are complex and imprecise. They give works of art a natural feeling.

In this artwork, Grace Hartigan uses a variety of examples of organic and free-form shapes.

Grace Hartigan, The Year of

the Cicada, 1970
B. Form

Form is an element of art closely related to shape. Like

shape, form can be geometric or organic. However, unlike
shape, form is always three-dimensional. A form is
measurable by length, width, and height, and encloses
volume. Forms can be well-defined, such as a cube, or
they can be free-form, such as an animal. They can be
created by combining two or more shapes and are often
defined by the presence of shadow and how light plays
against it in an artwork.

In this examples of form in art, Dalí uses geometric forms

(spheres) to create his image.

Salvador Dali, Galatea of the Spheres, 1952

VIII. TEXTURE

In the visual arts, texture is the perceived surface quality of a work of art. It may be perceived physically,
through the sense of touch, or visually, or both. Our experience of texture in visual art relies on our
experience with the physical world. Use of texture, along with other elements of design, can help to tell
stories and evoke emotions.

•Physical Texture
•Implied Texture
•Pattern

Physical/Actual/Tactile Texture
•Physical textures (also known as actual texture or tactile texture) are the patterns of dimensional
variations in a physical surface. Physical texture can be felt by touching the surface of the object or
material.
•Physical texture may also be perceived visually without physical contact.
•Light and shadow are important factors in the visual experience of physical texture. The physical profile of
the texture casts shadows that help us perceive texture.
•The visual experience of physical texture is also informed by previous experience with the physical world.
Visual/Implied Texture

•Visual texture is the illusion/representation of physical texture. It is created by the manipulation of light
and shadow to mimic the visual experience of physical texture.

Since this is a slide show, all of the images are IMPLIED TEXTURE!

Pattern

•Visual texture may be abstracted or stylized into pattern.

Source: [Link]
This is a close-up photo of
a Van Gogh painting. The
light and shadow in the
photograph represent the
tactile dimensions of his
impasto technique. Artists
can manipulate paint and
other media to create
physical/tactile texture in
their work. However, for
the most part, we
experience this physical
texture visually. We are not
usually invited to touch the
art.
Meret Oppenheim, 1936

This is another example of

visual texture. We have a
physical experience of it
because we know what fur
feels like. We transfer our
previous physical
experience to the image to
imagine what it feels like
to handle this object.
The texture, combined
with the forms, are
unsettling. We don’t want
as much as an eyelash in
our tea, let alone a small
rabbit pelt. The texture
evokes an emotional
response.
Our experience of visual
texture relies on our
previous experience of
physical texture.
We know what this jello feels like. We know that it is chilled. We might even be able to imagine what
it taste like.
We have many words to describe texture.
The words alone, without any image or object, can
evoke our experience of texture through our
imagination and memories.
A close-up photograph
of fish and fish scales.
Notice the role of light
and shadow in
rendering of the
texture. Photography
is very good at
representing light,
shadow, and texture.
PRINCIPLES OF ART

o Empasis – ang komposisyon ay tumutukoy sa pagdevelop ng sentro ng atensyon o interes para ang mata ng manunuod
ay makatuon sa mahalagang bahagi ng sining o obra.

o Balanse – ito ang sense ng estabilidad ng likhang sining. Maaring sa pamamagitan ng pag-uulit ng mga hugis o
paglikha ng pakiramdam na balanseng timbang.

o Harmony/pagtutugma–natamosalikhangsiningsapamamagitanngpaggamit ng parehas ng mga elemento sa kabuuan,

ang harmony ay nagbibigay ng hindi kumplikadong pagtingin sa iyong likha.

o Variety/Pagkakaiba – ito ang pagkakaiba ng sining, na maaring patamo, sa pamamagitan ng paggamit ng ibat-ibang
hugis, tekstura, kulay at value sa sining.

o Movement/Kilos – nagdaragrag ng gulat/galak sa iyong artwork, sa pagpakita ng aksyon at pag-direk sa mata ng

manunuod sa kabuuan ng larawan.

o Rhythm/Ritmo – isang tipo ng galaw sa debuho at pinta. Makikita sa pag-uulit ng hugis o kulay, pagpapalitan ng liwanag
at dilim.

o Proportion/Proporsyonorscale–tumutukoysarelasyonngsukatngobjectso mga bagay sa isang artwork. Maaring maliit o

malaki..

o Unity/Kaisahan – makikita sa drawing o pinta, kapag ang lahat ng bahagi ay pantay sa kabuuan. Ang iyong likh ay hindi
nakikitang kalat at nakalilito.
PRINCIPLES AND ELEMENTS OF DESIGN OF U.P. OBLATION:

The formal elements of art are parts of a work of art that can be isolated and defined. They are the building
blocks used to create a work of art.

1. In this sculpture, the artist combined the horizontal and vertical lines to achieve the quality of being stable
and solid and or not easily moved.

2. The form he did has geometric shapes and forms, depth, width and height. The sculpture is in 3D form or
three-dimensional form as it is the basis of sculptures because you can see not just one side but every side.

3. Space is not present for the reason that it is not a painting.

4. The color has three main characteristics: Hue, Value, Intensity

- The sculpture is a bit dull for it doesn’t have any other color.
- The color of the sculpture can be described as cool for it is color gray.

5. The texture of the sculpture is defined as surface texture for it is a hard surface and is functional for an
object. The quality of this object have a physical texture that we sense through touch.

6. The balance of the sculpture is stable enough to stand firmly. It suggests tension and relaxation for
balancing the muscular adjustments.
The design principle is provided by an axis. The sculpture has an upright figure for it has a single
vertical axis running through its entire length, like the human body. The Formal Elements used in this
statue is Organic Shape as it takes the shape of a human and Tactile texture as you can touch it and
feel the bronze like skin.

It is based to the proportions of the parts of the body.

Source: [Link]
Principles of Design used would be:

1. Unity as the whole thing looks whole,

2. Balance as it supports itself upright and the body is symmetrical,

3. Emphasis cause it’s the first thing you see when you go to UP,

4. Rhythm because it gives you a certain emotion, and lastly,

5. Scale and proportion as it gives you a hierarchical scale of an person and it’s proportionate to
everything.

6. The style used would be Realistic art cause its shows realism without idealization or distortion.

7. The form is of a three dimensional statue.

source: [Link]
Pagbasa sa Sining
PANGGITNANG PAGSUSULIT

[Link] ng isang Semiotikang Pagsususlit (semiotic analysis) ng PUP Mural na likha ni Eduardo Castrillo.
Gamitin ang sumusunod na hakbang:

1. Historikal na Saligan (Thematic Plane)

2. Simbolismo ng mga sangkap (Semionic Level)
3. Pagtatasa ng mga sangkap ng dibuho (Iconic Plane)
a. Kulay
b. Linya
c. Medyum
d. Ritmo
e. Istilo
4. Patakaran ng Likhang sining (principle of design)
a. Empasis
b. Balanse
c. Ritmo/movement
d. Proporsyon/Unity

2. Anong natutunan mo sa pagbasa ng sining bilang kurso?

Kasihan ka ng Panginoon!