Chapter 4:

THE ARTISTS AND THE ARTISANS

Artist
 An artist is a person engaged in an activity related to creating art, practicing the arts, or demonstrating an art.
 An artist, in the broadest sense, is a person who creates art. This can be a wide range of things including, but not limited to,
painting, sculpture, music, dance, theater, and literature.
 An artist creates art, which is defined as a form of expression intended to be aesthetically pleasing or thought-provoking.
 They may use a variety of mediums, including paint, clay, digital media, or performance.
 Artists prioritize the expression of ideas and emotions, often working independently to create unique pieces for display or sale.

Artisan
 An artisan is a skilled worker who creates functional items with their hands, often using traditional techniques
 They focus on the craft and technique of their work, creating items that are both aesthetically pleasing and functional.
 Examples of artisans include potters, weavers, and furniture makers
 An artisan is primarily involved in crafting items that often have a functional purpose.
 They work with materials, often by hand, to produce goods such as pottery, furniture, or jewelry.
 Artisans focus on the craft and technique of their work, emphasizing quality and attention to detail.


What is the difference between the two?

 Artists and artisans fill different roles in the art sector. Artists work in the fine arts including painting, illustration and sculpture
while artisans are craftsmen who work in textiles, pottery, glass, long and round tables, room doors, etc.
 while both artisans and artists create objects or works of art, the key difference lies in their approach: artisans focus on craft
and technique, while artists prioritize creativity and self-expression

All of the artisans are artists but not all artists are artisans

Artist and Artisans' Medium and Technique

Medium
 Refers to the material or means by which the artist uses to portray his feeling or thought such as pigment in painting, a wood
or stone in a sculpture, metal steels in architecture, sound in music, words in literature and body movements in dance.
Technique
 Refers to an artist’s knowledge of his medium and his skill in making it achieve what he wants it too
 Artist differ in technique even though they may be using the same medium.

Categories based on medium

1 two dimensional
a. Painting Medium
Watercolor
 As a medium is difficult to handle because it is difficult to produce warm and rich tones. While changes may be made once the
paint has been applied such changes normally tend to make the color less luminous.
Pigment
 Pigment, that part of the paint where color comes from, is a fine powder ground from some clay, stone, or mineral, extracted
from vegetable matter, or produced by a chemical process
Binder
 Binder is an adhesive that holds the texture of the paint together and maintains the grip between the pigment and the applied
surface.
Tempera
 These paints are earth or mineral pigments mixed with egg yolk and egg white. One of the disadvantage of this medium is that
it dries up quickly, making it difficult to make corrections on the artwork.
Pastel
 This is a stick of dried paste mage of pigments ground with chalk and compounded with gum water.
 Its colors are luminous, and it is a very flexible medium.
Encaustic
 This is one of the early mediums used by the Egyptians for the painted portrait on mummy cases. This is done by painting with
wax colors fixed with heat.
 Painting with wax produces luster and radiance in the subject making them appear at their best in portraits.
Oil
 In oil painting, pigments are mixed with linseed oil and applied to the canvas
 The artist may use brush, palette knife or even his bare hands when applying paint in his canvass
Acrylic
 This medium is used popularly by contemporary painters because of the transparency and quick drying characteristics of water
color and the flexibility of oil combined.
Charcoal
 These are carbonaceous materials obtained by heating wood or other organic substances in the absence of air.
 Charcoal is used in representing broad masses of light and shadow. Like drawing pencil, soft charcoal produces the darkest
value, while the darkest produces the lightness tone
Crayons
 These are pigments bound by wax and compressed into painted sticks used for drawing especially among children in the
elementary grade. They adhere better on paper surface.

b. Mosaic
Mosaic
 wall or floor decorations made of small cubes of irregularly cut pieces of colored stone or glass called tesserae.
Ceramic
 Ceramic tiles are widely used in structures to cover floors, walls, or kitchen backsplashes.
 Available in various shapes, glazed or unglazed finish.
 Application: Expect to use fiberglass mesh backing and grout to assemble your ceramic mosaic.
Smalti
 Smalti is vibrant metal oxide-infused glass.
 Commonly found in intricate freestanding art pieces and wall mosaics
Mirror
 Precision-cut mirror pieces.
 Mirrored tesserae are delicate and not recommended for floor designs due to their fragility and reflective properties
Marble
 Natural stone with beautiful veining.
 Creates elegant and timeless mosaics.
 Often seen in historical and architectural contexts.
Stone Pebbles
 Smooth, rounded stones.
 Add texture and a natural feel to mosaics.
 Ideal for outdoor projects or creating organic designs
Sea Shells
 Shells collected from beaches.
 Perfect for coastal-themed mosaics or decorative accents.
 Glue them onto your chosen surface.
Wood
 Wooden tesserae.
 Seal wood pieces to protect against moisture and wear.

c. Tapestry
 these are fabrics into which colored designs have been woven. Walls of palaces, castles, and chapels in Europe were decorated
in the middle ages with tapestries.

d. Photography
 literally means drawing with light. It shows the actual likeness of the object photographed. Photography makes uses of
technology: camera, films, chemical, or computer program.

1.2 Three Dimensional Arts

a. Sculpture
Sculpture
 Are three-dimensional forms constructed to represent the natural or imaginary shape.
Marble Sculpture
 Perhaps the medium that most readily comes to mind when considering sculpture is marble.
 Though marble works of art date back to ancient Mesopotamia, it was during Greece's Classical Period (500 BCE to 323 BCE)
when marble sculptures truly rose to prominence.
Bronze Sculpture
 Bronze is undoubtedly the most common metal used in the creation of sculpture and is also highly effective as a statue
material.
 An alloy that is usually mostly copper with approximately 10% tin, bronze is uniquely suited to casting, a technique wherein
the melted metal is poured into a mold to form the sculptural work.
Wood Sculpture
 Due to the nature of the medium, wooden sculptures are far more prone to damage than their stone and metal counterparts,
though some ancient examples remain in existence.
b. Architecture
Architecture
 the art of designing and constructing a building that serves specific functions from providing shelter to meeting the
technological demands of modern cities.

c. Interior Design
 is concerned with the selection of space and furnishings to transform an empty shell of abuilding into a livable area.
 Interior designers work with furniture, appliances, fixtures, draperies, and rugs with an eye for texture and color.

d. Landscaping
 the artificial arrangement of land areas to achieve a purely aesthetic effect. The landscape artist makes use of the terrain as his
basic medium, along with sand, rocks, water, and growing plants found on it.

3. Auditory
Auditory Arts
 Medium which can be heard and which are expressed in time.
Music
 The primary material of music is sound.
 Musical sound (tones) are produced in a man-made instrument and the human voice.
 Musical instrument has three things in common:
a. A part that vibrates.
b. A part that amplifies sound.
c. A system for producing and regulating fixed pitches.
 MUSICAL INSTRUMENTS ARE GROUPED ACCORDING TO THEIR VIBRATORS (HOW THESE ARE MADE TO VIBRATE) AND
RESONATORS (WHATEVER AMPLIFIESTHE VIBRATION):
A.STRINGED INSTRUMENTS.
B.WIND INSTRUMENTS.
C.PERCUSSION CHOIR.
D.KEYBOARD INSTRUMENT
Literature
 The medium of literature is language.
•Writers use words to build their compositions.
•Literature is exclusive to works that exploit the suggestive power of language.

4. Combined arts
Combined Arts
 Medium which can be both be seen and heard, and which exists in both space and time.
Dance
 Movements may involve part or the whole of his/her body with or without the accompaniment of music.
 A dancer uses his/her body to communicate an idea or feeling to his audience
Theatre (Drama and Opera)
 Combination of literature, acting costume design, stage design, and music.
Cinema
 Extension of photography -film
• It makes use of several shots, each shot made up to a series of pictorial units taken from one point of view
•To this series, the sound is added
•It may present a fictional story, a dramatic feature, or a documentary

“An artist creates art, an artisan makes craft”

Career information involving art & performing artists

Career information
 Being involved in the arts can make an exciting career. Some artists perform their art in live events, while others record it for
future viewing
Actor
 Actors perform creative works written by playwrights or screenwriters for the entertainment of others.

 Everything they do in front of a camera or before audience is performing an artistic piece.

 They work in a variety of locations, from studio sets to theme parks.
 They do not need a formal degree, but some formal training in drama is usually helpful for getting jobs.
Singer or Musician
 Singers transform written music into song in front of an audience or inside a recording studio.
 Musicians continually hone their skill by playing instruments which they often play in performances either in front of live
audiences or in recording studios.
 Each time they sing or play, they perform their art.
 They usually do not need a formal degree, but an extensive training in these disciplines is needed in order to become
successful.
Dancers
 Dancers express art on stage in front of live audiences by movement or in front of a camera for recorded sessions.
 In their careers, dancers perform during auditions, learn dance routines and adapt dance techniques during each performance.
 They need several years of formal training to perfect their craft.
Choreographers
 Choreographers create dance routines for trained dancers to perform.
 Once choreographers develop a routine, they work with dancers to see their art performance on stage or in front of a camera.
 Choreographers almost always are dancers first, before they become a choreographer.
 No formal degree is required for one to become a choreographer, but formal training and enough amount of experience
matter in choreography.
Directors
 Directors work behind the scenes to bring a script or play to life.
 They take scripts and plays, which are the art of the writers, and craft them into performances for film, television, or on stage,
by instructing actors on what they should do.
 Their work centers on the performing arts.
 Directors usually need a bachelor's degree and experience working in the film or theater industry.
Set and Exhibit Designers
 Set and exhibit designers study scripts in order to produce accurate sets for performance events, from plays to films.
 They discuss their set designs with directors and perform research in order to produce accurate backgrounds.
 Their artistic efforts are part of performance art every time they face an audience.
 Set and exhibit designers may get a bachelor's degree in this field, but the most important thing is to have enough experience.
Costume Attendants
 Costume attendants work in the performing arts in addressing those who perform.
 They fit actors for costumes, help them dress and take care of the costumes for the actors.
 They also assist with changes between scenes.
 Costume attendants heed at least a high school diploma in order to be qualified
Performance Makeup Artists
 Performance makeup artists use makeup to enhance the appearance of actors and make them look more like their characters
and better reflect the scenes they are in.
 They work with performing artists and directors to make ware their makeup is on target. Performance makeup artists need
training, such as attending a certificate program, but no formal degree is necessary (Study.com, 2020)

Information About Careers that Involve Art and Creativity

 For individuals who are interested in the art world and enjoy expressing their creativity, they may consider pursuing a career
that involves both art and creativity.
Craft and Fine Artist
 The most obvious career choice that involves art and creativity is the role of a craft or fine artist.
 This career path is quite broad, as craft and fine artists may pursue a multitude of different art forms, from pottery and
ceramics to watercolor painting and jewelry design.
 Regardless of the specific medium that artists work with, their job requires a significant amount of creativity in order to
continue creating new pieces of art.
Multimedia Artist/Animator
 Multimedia artists and animators work with various software programs and technology to create the graphics and visuals for
many types of media, including video games, films and television shows.
 Some of these artists may work in a specialty field, such as video game layout, designing the scenery in animated films, or
working with Computer Generated Imagery (CGI) to create special effects in live-action films.
 Some artists and animators may begin drawing by hand before using technology to digitize their creations, requiring a high-
level of artistic skill.

Art Director
 Art directors work in a number of diverse fields, from the film industry to magazine publishing and are responsible for the
artistic and visual design and style of the product they produce.
 As an art director on a movie set, he or she would work closely with the film's director in order to create film arts that support
the storyline and helps bring the story to life.
 To become an art director, one generally needs a bachelor's degree in an artistic field as well as relevant work experience.
Photographer
 A photographer's duties may vary depending on the specific type of photography he/she specializes in, as some may travel
often to capture special events like weddings and parties, while others may work in corporate photography or specialize in
food photography.
 Being a photographer requires a high-level of technical knowledge in order to properly operate a camera and use photo-editing
software, as well as a good deal of creativity.
 Photographers often seek out artistic and creative ways to capture their subjects and the various events that they cover.
Museum Curator
 As an art museum curator, one is responsible for setting up, maintaining and designing exhibits in a museum.
 This includes acquiring new pieces of an and authenticating them, making sure all works of art are properly maintained and
kept in good condition, as well as various administrative tasks like planning events and handling the museum's correspondence
with the media.
 To create compelling and cohesive exhibits, curators need to be highly creative and must have a strong knowledge of art.

The Needed Skills and Qualifications of a Career in Art

 Qualifications are extremely important and highly valued.
 A relevant course in a subject like events management or literary studies is a great starting point.
 Degrees are generally accepted as a way in.
 Despite its diverse nature performing arts management covers some specific areas which highlight the following:
-Organization
 It sounds obvious but the duty of a performing arts manager is to manage and administer Performance is his or her bread and
butter and it can happen anywhere, not just in a theatre or concert venue.
-Accounting
 The art industry constantly shifts from time to time and its money received needs careful handling.
 A performance arts manager draws up budgets with the team and ensures its responsibility.
 It is a role of gambles and tough choices, more especially if he/she operates in an unprofitable sector.
-Law
 The law protects creative rights that of the artists and the artisans.
 In a progressively arguable marketplace where original ideas in art are at a premium, an eye for detail is invaluable.
-Marketing
 Advertisements and promotions increase art production and sales.
 The website, a social media and various media outlets including printed and broadcast are promotional avenues.
-Public Relations
 Command for better communication to company's clients is the primary job of a public relations officer.
 He or she serves drinks and provides a better service to the customers.

GAMABA (GAWAD SA MANLILIKHA NG BAYAN)

GAMABA
 The Gawad sa Manlilikha ng Bayan or
 National Living Treasures Award is conferred on Filipinos who are at the forefront of the practice, preservation, and promotion
of the nation’s traditional folk arts.
HOW DID GAMBA ORIGINATE?
 National Commission for the Culture and the Arts
 The National Commission for the Culture and the Arts oversees its implementation.

The main objective of the award is to honor and support traditional folk artists and to see to it that that their skills and crafts are
preserved.

 Philippine Rotary Club

 Makati-Ayala
 GAMABA began as a project of the Philippine Rotary Club Makati-Ayala.

In 1992, it was adopted by the government and institutionalized Republic Act No.7355.

WHY is it necessary?
 To ensures the transfer of their skills to new generations and the promotion of the craft both locally and internationally.
 This award aims to support and motivate these artists to preserve their artistic heritage for the present and future
generations.
 The award logo is a representation of the
 human form used in traditional cloth.
 Below the logo is the phrase “Manlilikha ng Bayan” written in Baybayin, an ancient Filipino script used in the Philippines in the
16th century.

HOW DOES ONE BECOME A MANLILIKHA NG BAYAN?

1. He/She is an inhabitant of an indigenous/traditional cultural community anywhere in the Philippines that has preserved
indigenous customs, beliefs, rituals and traditions and/or has syncretized whatever external elements that have influenced it.
2. He/She must have engaged in a folk art tradition that has been in existence and documented for at least fifty(50)years.
3. He/She must have consistently performed or produced over significant period, works of superior and distinctive quality.
4. He/She must possess a mastery of tools and materials needed by the art, and must have an established reputation in the arts as
master and maker of works of extraordinary technical quality.
5. He/She must have passed on and/or will pass on to other members of the community their skills in the folk art for which the
community is traditionally known.

A traditional artist who possesses all the qualities of a Manlilikha ng Bayan candidate, but due to age or infirmity has left him/her
incapable of teaching further hi/her craft, may still be recognized if:
1. He/She has created a significant body of works and/or has consistently displayed excellence in the practice of his/her art, thus
achieving important contributions for its development.
2. He/She has been instrumental in the revitalization of his/her community’s artistic tradition.
A traditional artist who possesses all the qualities of a Manlilikha ng Bayan candidate, but due to age or infirmity has left him/her
incapable of teaching further hi/her craft, may still be recognized if:
3. He/She has passed on to the other members of the community skills in the folk art for which the community is traditionally
known.
4. His/Her community has recognized him/her as master and teacher of his/her craft.
A traditional artist who possesses all the qualities of a Manlilikha ng Bayan candidate, but due to age or infirmity has left him/her
incapable of teaching further hi/her craft, may still be recognized if:

WHAT ARE THE INCENTIVES RECEIVED BY THE AWARDEE?

 A Manlilikha ng Bayan awardee receives a specially designed medallion, an initial grant of P100,000 and P10,000 monthly
stipend for life.
 In consonance with the provision of Republic Act No. 7355, which states that “the monetary grant may be increased whenever
circumstances so warrant,
 “the NCCA board approved monthly personal allowance of P14,000 for the awardees as well as a maximum cumulative amount
of P750,000 medical and hospitalization benefit annually similar to that received by the National Artists and funeral
assistance /tribute fit for a National Living Treasure.

List of awardees of the GAMABA can be accessed at NCCA website.

These include the following:
GINAW BILOG (+ 2003), Poet, Hanunuo Mangyan, Panaytayan, Oriental Mindoro
 Awarded for faithfully preserving the Hanunuo Mangyan script and ambahan poetry.
 He has promoted the local script and poetry so that the art will not be lost but preserved for posterity.
MASINO INTARAY (+ 2013)
Musician and Storyteller
Pala’wan
Brookes Point, Palawan
 He was awarded for his exemplary skills in basalor gong music ensemble.
 He was also recognized for his versatility as musician, poet, epic chanter and storyteller oft he kulilal and bagit traditions of
Pala’wan.
 Samaon Sulaiman, a Filipino musician and recipient of the National Living Treasure award, was a master of the indigenous
kutyapi instrument.
 Born on March 3, 1953, he first learned to play the kutyapi from his uncle at the age of 13. By 35, he was recognized in
Maganoy for his kutyapi skills and served as a teacher to aspiring practitioners.
 In the field of music, the Magindanaon has few peers among Filipino cultural communities.
 Their masters on the kulintang (gong-chime) and kutyapi (two-stringed plucked lute) are comparable to any instrumental
virtuoso in the East or West.
LANG DULAY (+2015)
Textile Weaver
T’boli
Lake Sebu, South Cotabato
1998
 Using abaca fibers as fine as hair, Lang Dulay speaks more eloquently than words can.
 Images from the distant past of her people, the Tbolis, are recreated by her nimble hands – the crocodiles, butterflies, and
flowers, along with mountains and streams, of Lake Sebu, South Cotabato, where she and her ancestors were born – fill the
fabric with their longing to be remembered.
 Lang Dulay knows a hundred designs, including the bulinglangit (clouds), the bankiring (hair bangs), and the kabangi (butterfly),
each one special for the stories it tells.
SALINTA MONON (+ 2009)
Textile Weaver
Tagabawa Bagobo
Bansalan, Davao del Sur
1998
 Practically, since she was born, Salinta Monon had watched her mother’s nimble hands glide over the loom, weaving
traditional Bagobo textiles. At 12 she presented herself to her mother, to be taught how to weave herself.
 Her ardent desire to excel in the art of her ancestors enabled her to learn quickly.
 She developed a keen eye for the traditional designs, and now, at the age of 65, she can identify the design as well as the
author of a woven piece just by a glance.
ALONZO SACLAG
Musician and Dancer, Kalinga
Lubuagan, Kalinga
2000
 Alonzo Saclag didn’t receive formal instruction in the performing arts. Instead, he observed day-to-day village life and rituals in
Lubuagan.
 Through keen observation and experience, he mastered not only Kalinga musical instruments but also the dance patterns
associated with his people’s rituals.
FEDERICO CABALLERO
Epic Chanter
Sulod-Bukidnon
Calinog, Iloilo
2000
 Stories are the lifeblood of a people. In the stories people tell lies a window to what they think, believe, and desire.
 In truth, people’s stories soundly encapsulate the essence of their humanity. And this circumstance is not peculiar to any one
group. It is as a thread that weaves through the civilizations of the ancient East and the cultures of the industrial West.
 His own love for his people’s folklore began when he was a small child.
 His mother would lull his brothers and sister to sleep, chanting an episode in time to the gentle swaying of the hammock.
 Tikum Kadlum (Black Dog), Book I:
 Datu Paiburong embarks on a hunting spree.
 He cuts down a prized buriraw nga kawayan (a yellow-colored bamboo).
 A man-eating monster named Makabagting demands heavy payment from Datu Paiburong for crashing his prized burugsak
(gold bell)

CHAPTER 5:
LANGUAGE OF ARTS: ELEMENTS AND THE PRINCIPLES OF DESIGN

ELEMENTS OF ART
LINE ELEMENT
 The perception of lines is some of the things we do every day.
 Lines are even utilitarian that you use them when you write, when you navigate through directions, slice your favorite meat or
vegetables, etc.
 But most importantly, lines are essential elements to art. Lines create art and they provide the impression of path and
movement along a space.
Nature Of LINE
 Lines create the impression of movement.
 Lines can be slim or thick depending on your approach.
 Essentially, lines provide a one-dimensional theme to the piece of artwork.
 Lines can also be drawn using different media like pens or pencil, using sticks or even technological media.
Types Of Lines
Vertical Lines
 Their movement direction is upward or downward. Common applications are upright trees or standing body of humans,
buildings or infrastructures.
Horizontal Lines
 The movement direction is from left to right or vice-versa. Common applications are body lying down and the horizon.

Diagonal lines
 These are slanted lines. They create an impression of rising or falling. The Leaning Tower of Pisa conveys a diagonál or slanted
line.
Zigzag lines
 These are connected combinations of diagonal inn They create angular perspectives of lines, Common examples a thunders or
animated drawings of stars.
Curved lines
 These are lines that do not appear linear, hent directions are not clearly established. Examples of which are outlines of clouds,
leaves and edges of flowers (Ragans, 2005).

Line and Value

 Value is defined as the darkness or lightness of an object.
 Essentially, the value of a line or the artwork in general may differ
 in terms of how much light the surface absorbs and expresses light.
 The artwork may have a dark value with little light reflection
 Or light value with more light reflection.

Crosshatching
 So, applying the line principles to value, lines may have or dark value when pencils
 for example are pressed or rubbed harder on a sheet of paper Artists use the technique called crosshatching to create darker
themes or value.
 This is a technique using crossed lines to create darker shades of a line.
 Different number types of pencils can also be made to create different line values.
 Closer lines create darker areas, while more spaced-out lines appear lighter.
 It’s a versatile method for adding texture and value to drawings
Stippling
 Stippling involves using dots instead of lines to create a drawing.
Scumbling
 Scumbling is the technique of scrubbing an undiluted, opaque, and generally pale pigment across others for special textural
effects or to raise the key of a dark-coloured area.
Shading
 Shading is the darkening or colouring of a drawing with lines or blocks of colour, and is often used to create the illusion of
depth or make an object three-dimensional.
Shading: Fine crosshatching
 This is the richest and most subtle form of crosshatching, and it might even read as a tonal or pencil-shaded drawing from far
away. The method is the same as above, with several layers of cross hatch marks rather than just two, to create even more
nuanced differences in tone and value. A fine-line pen is the best tool for fine crosshatching, as the close marks will appear to
blend together from a distance.
Smudging
 Smudging is a technique of shading. A shading is first made on paper, then a finger or a soft material like a piece of cloth is used
to smear the shading to make it smooth and well blended.

1. 2 SHAPE, FORM AND SPACE

SHAPE
 A shape conveys a defined two-dimensional area.
 It has an outline around and it is recognizable through its form.
 In a sense, by just using an outline, shapes can be formed.
 But shapes can be created without a boundary line.
Geometric Shapes
Shapes can either be geometric or free-form.
Geometric shapes are accurately measured shapes, hence, having mathematical bases.
Free-Form Shapes
These are the types of shapes that are irregular in structure.
Organic Shapes
Most of them are organically existing in nature such as flowers, animals, humans, islands, trees, etc.

FORM
Forms are the three-dimensional aspects of spaces and shapes.
While shapes have length and width or diameter, a characterizing component of form in its depth.

SPACE
Space is an essential element to understanding art as it involves the outer and inner spaces of an artwork.
Like shapes and form, the impression of space can be two or three-dimensional.
Positive and Negative Space
The shapes and forms of art are the positive space of an art.
The empty spaces, on the other hand, are the negative space.

The most common ways to create the illusion of space in art are perspective, overlapping, size, placement, and detail.
All these instruments significantly contribute to creating space.
Artists often use several at once to achieve the desired result.

1. Perspective
 One of the most popular ways to imply space in art is the use of perspective.
 Perspective is a distortion of an object’s contours in a way that implies real three-dimensional space in which the object is
present.
2. Overlapping
 Overlapping is one of the easiest ways to create space for an artist.
 To create the illusion of three-dimensional space, the positive space of object A needs to be positioned on top of object B,
partially covering it. Thus, object B would seem further from the viewer’s eye than object A.
 3. Size or Scale
 This method of giving your art space is also intuitively understandable.
 Typically, the human eye recognizes the smaller objects as being further from us and the bigger ones as closer.
 Artists deliberately make some shapes smaller – or, on the contrary, blow them out of proportion – to manipulate their
distance from the viewer and create a deeper three-dimensional space.
4. Placement
 Objects that are placed higher on a two-dimensional plane are usually perceived as being further.
5. Detail
 Another option to manipulate space in art is by correctly using details and textures of the subjects depicted.
 To replicate it in your art, add more detail and texture to objects in the foreground and reduce it as you move into the
background.
 The figures in front of us do not have facial features, but nevertheless, you can see their heads and clothing in much greater
detail compared to stick figures in the background.

1.3 COLOR
 What makes lines, shapes, forms, and space alive is through their colors.
 They are apparent in making more variations to our perceptions such as the colors of flowers, the sky, paint of walls and even
skin tones.
 Colors have the most powerful connection to human nature and emotions.
 In fact, colors are used to describe emotions such as feeling blue to describe sadness or green minded to describe thinking of
sexual things or green thumb for someone who is good with plants or sunny personality to describe the bright and fun
character of a person.

Properties of Color
Hue
 In the color spectrum, there is such a thing as primary colors namely, red, blue and yellow.
 They are also considered as primary hues. The secondary hues are made by mixing two primary colors
Value
 Value describes the lightness and darkness of a color.
 There will be times that certain colors will seem to be darker to represent a darker or gloomier theme of the art piece.
 Black, white and gray are considered neutral colors.
 White light reflects colors while black absorbs all of it. Grey will reflect light depending on its value. The darker it is, the more it
absorbs.
 To alter values, hues may be added with black or white.
 Tinting is the process of producing a light value such as creating a bright sunny day with mixing white and blue to the skies
while shading is the process of producing a darker value such as mixing violet, blue, gray and black to create night skies
 Intensity
 Intensity refers to how bright or dull the use of hue is. If a certain surface of an object reflects yellow light, then the surface
projects intense and bright yellow.
 But if the surface reflects other colors, yellow will be more subdued.
Color Schemes
Organizing colors are part of the planning phase in the creation of art.
Making a cohesive story or song is like identifying a color scheme appropriate to the story of the art piece.
Planning these colors according to a scheme will allow you to create a cohesive piece of artwork.

a. Monochromatic Colors
 This a technique where only one color is used. Even the hue, tints and shade are consistent all throughout.
 With a limited option for colors, this provides a strong and unifying expression to the art.
 However, this strategy may lessen the variation quality of the work.
b. Analogous Colors
 In analogous colored artwork, the hues used are usually those that are side by side in the color wheel and operate in a
common hue.
 Examples are blue, blue-green, blue-violet, and red have something in common. This can be limited to three hues to create
unity among the common color range
c. Complementary colors
 Complementary colors are used when the theme of art is intended to create strong expression of contrast.
 In theory, complementary colors tend to establish a vibration with each other.
 c. Complementary colors
 These vibrations can translate into arousal of emotions. Example is that red and green are complementary colors.
 When red symbolizes fire and green symbolizes the life attached to plants and animals, these patterns create a sense of arousal
to your emotions.
d. Color Triads
 From the name itself, art must be focused on three general colors spaced on equal intervals on the color wheel.
 Compared to complementing. triads do not convey strong differentiation of colors.
 This can cover primary. secondary and tertiary hue triads
e. Split Complements
 A split complement is used when you combine a hue with each side of its exact complement.
 This now offers more variety and more dynamics to color range and selection.
 For example, the complement of red orange is blue green. The hue next to blue green are blue and green.
f. Warm and Cool Colors
 The color wheel can be divided into two groups, namely, the warm and cool colors.
 The warm group contains the hues of red, orange, and yellow, while the cool colors may range from blue, green, and violet.
 Warm colors usually convey warm situations such as fire or the sunshine.
 The cool colors, on the other, evoke cooler situations such as snow, water, and grass

1.4 TEXTURE
 Texture in art refers to how the subjects and objects of the piece feels if touched.
 This is an essential component in creating the dynamics in the artwork by showing that certain surfaces have different feels
according to their nature
 An ice cream painting, for example, must project smooth and silky texture compared to pizza with different layers of
pepperoni, cheese, tomato sauce and crust.
Texture and Value
 Art pieces may maximize the portrayal of texture by using value, that is, when the artist creates texture through light reflection
and shadowing.
a. Rough and Smooth Textures
 A crooked and uneven shadow may provide a rougher texture than formally shaded ones.
 Casting shadows and accepting light provides impression of the shape and eventually its texture.
 When you notice how certain objects produce shadows, the different sizes and shapes determine the textures of your object
b. Matte and Shiny Textures
 A matte surface reflects soft and dull light while the shiny surface tends to reflect light and project some spark or glow.
 Matte surfaces are usually apparent in papers, denim, unfinished wood, or human skin.
 Shiny textures are usually those that have highlights such as windows, water surface or some car paints.
 Usually, when shiny surfaces are exposed to light, they create glares.

LANGUAGE OF ARTS: PRINCIPLES OF DESIGN

2.1 Rhythm, Pattern and Movement
 Rhythm in art is its principle that is defined by the repetition of elements or objects.
 This principle is also present in other forms of arts such as music and even poetry.
 Musical rhythm is the measure of time between musical sounds.
 Usually manifested as beats, rhythms are established across the rests and beats alternating with each other.
 In poetry, the use of words, sounds or phrases create rhythmic patterns (Ragans, 2005).
Visual Rhythm
 This is the kind of rhythm that is created by the sense of sight rather than the sense of hearing.
 This is observed in the repetition of positive spaces or ground and then separated by negative spaces.
 In your surroundings, patterns are apparent.
 In the library, books are aligned in the shelves.

 In parking lots, cars are arranged using visual rhythms.

 Falling in line in the grocery can be interpreted as visual rhythms.
 The spaces in between them can be considered as the negative space.
 In visual rhythm, the beat may be just one of the elements or the combination of.
 These principles stimulate the perception of movement.
 Like line, this causes the viewer to follow the beat along its direction.
 It is important that object action is different from artistic movement.
 Considering visual rhythm, the movement refers to the movement of your perception versus action which conveys the transfer
of an object or element to another field of the space (Ragans, 2005).
Pattern
 Rhythm can be applied in the two- dimensional space called patterns.
 In the aspect of clothing design, the most common examples of pattern are stripes that may be vertical or horizontal.
 Usually referred as motifs, these are the units of elements that are repeated in a pattern.
 Patterns observed in furniture, clothing, foot rugs may constitute different elements of the design but repeatedly applied in the
whole art space.

2.1.1 Types of Rhythm and Pattern

 Arranging the patterns can vary. Each Variation may create a different personality of the artwork.
a. Random
 Motifs may be placed randomly across the space.
 This is characterized by the lack of regularity in the spaces in between.
 Photography on fallen leaves may leave random patterns. Wall cracks can also be randomly assigned across the space.
 Buildings in a picture may not necessarily be spaced regularly
b. Regular
 Opposite to random patterns, regular patterns are characterized by having identical beats, motifs and intervals of space
between them.
 In effect, you can observe a steady beat across motifs.
 This is best used when you intend to project a more organized pattern.
 Parking spaces in buildings are classic examples of patterns that are regular in application.
 In grocery shopping, the distance between racks are organized with equal intervals.
 Looking at a square subdivided in a 3x3 grid is a regular pattern
c. Alternating
 This type of rhythm employs two types of beat or motive.
 First and second beats are usually arranged in alternating distances or intervals.
 Its applications include flowing rhythms by repeating wavy lines.
 For example, when you choose to draw waves of water, alternating rhythms or flowing patterns can be utilized.
 This can be done by alternating the swelling of water up and down the space
d. Progressive
 Progressive patterns or rhythms portray change in beat every time it is repeated.
 Accordingly, the changes are steady. For each beat, they appear slightly different with each other.
 For example, you may try to progressively increase the size of a shape from one end of the space to the other

2.2 Balance
 Art and its forms must contain a certain type of balance. This is the principle of art by ensuring that all elements of art are
accorded with equal force.
 Through balance, arts tend to have a feeling of organization and proper arrangement. The absence or lack of balance may
project feelings of uneasiness and instability.
 Just like the Leaning Tower of Pisa, because of its instability, it is considered as a danger zone and was required to be closed for
humans to set foot in. Even if, engineers corrected this imbalance, this was not still considered safe for people to get near to.
 Balance, with relationship to the mathematical sense, is usually measured with a scale.
 But scaling in art application does not usually require an object to measure weight or height.
 In the past, renaissance was very technical in scaling that most artists during their time utilized measurement scales to produce
art.
 In the more artistic sense, balance is usually perceived or vicariously experienced.

a. Progressive
 There is considerable formal balance equally in both sides of the symmetry.
 It is when elements are shared the most common type of balance in producing art It may not be necessary that there are equal
amounts of elements on each side.
 Formal balance demonstrates equal rigor, strength, or weight on each side regardless of the number of elements found each
side.

 There is a sense of balance by creating mirror images of the left and right or up and down dimensions.
 Another way of calling this is bilateral symmetry. In most cases, people have preference over formal balance and symmetry as
they usually perform functional purposes.
b. Radial Balance
 This is a type of balance where the design of the art piece radiates from the central point and an outward direction.
 An example of radial balance is the mandala. Mandala is a representation of personality in the theory of Analytic Psychology of
Carl Jung.
 For him, a healthy personality is defined by balance of all forces, hence, a radiating or radial balance.
 Another example of radial balance are flowers or plants that follow a radial pattern.
 Functional designs like wheels of automobiles, gears and structured are based on radial balance.
c. Informal Balance
 There are artists that choose to portray a more casual and less planned art.
 Most of the time, their outputs have informal balances. But this is not an indication of less aesthetic value.
 Rather, these artists have less conventional approaches by employing abstracted and complex balance portrayal.
 In effect, when you perceive their works, your point of view is not usually drawn towards the middle, but usually in the
irregular positions of the space.

2.2.1 How to Present Informal Balance in Art

In most cases, these types of art are interpreted to be accidental arrangements.
But learning more on the intent would indicate a deeper meaning to their informal balance.
Artists usually consider the placement of the objects and elements and put them accordingly to emphasize the imbalance.
To this end, artists do not only use this as an aesthetic but also a part of the story telling and meaning extraction process.

a. Size and Contour

 There may be arts that have competing sizes of elements such as one thick line over several thin lines, one large circle over
small circles, etc.
 But having the number of the smaller sizes increase more than the large ones can still create a balance, more so, an informal
one.
 Contours are also a way of showing informal balance.
 Caricatures are examples of how contours can emphasize informal balance such as having a big head over a small body, or a big
nose and eyes on a small face.
 These are common in some editorial art pieces
 Also, a common contouring of informal balance is the cartoon character, Johnny Bravo, with a big body frame on a relatively
small pair of legs.
b. Color
 There are artists who intend to magnify some colors within a space.
 To activate informal balance, emphasizing a specific color may create this expression.
 Artists creating book covers may employ colors to express imbalance in color emphasis.
 This is intended for viewers to draw their attention over the area with the more intense color.
 Examples of these are the book covers of Fifty Shades of Grey of E.L. James that seek to emphasize the Grey elements of the
book cover.
c. Value
 Contrasting the value of objects and background can create formal imbalance.
 For example, when you are tasked to create a certificate employing informal balance, you may choose to have a blank white
sheet of paper with emphasized red slab on the left side.
 In this regard, the point of view among the viewers may be drawn to the left side because of the dark red slab which carries
heavier value than the white sheet.
d. Texture
 Creating a rough texture of pattern, highlight or shadows create informal balance.
 This happens because of the details that a rough texture creates.
 This can be further formalized by compensating areas of the space that contain smoother surfaces.
 In most posters used in advertising, there is a necessity to consider the kind of font you use to create impression of a rough
texture.
 This is necessary to draw the point of view on the font or text more than its design.
e. Position
 In visual art, a large object near the dominant area of the work can be balanced by a smaller object placed farther away from
the dominant area.

 In this way, a large, positive shape and a small, negative space can be balanced against a small, positive shape and a large,
negative space.

2.3 Proportion
 Proportion is the principle of art that is mostly concerned with how the sizes of objects and some elements relate to each
other.
 The idea of proportion started during the time of a Greek Philosopher, Pythagoras who believed that the world or the universe
operates on a constant mathematical equation.
 Amused by these beliefs, Euclid explored around the mathematical possibilities of explaining the nature of the universe and
discovered that there is such a thing as a perfect ratio.
 This ratio is called the Golden Mean where a line is "a line divided into two parts so that the smaller line has the same
proportion, or ratio, to the larger line as the larger line has to the whole line".
 It was believed that this was the ideal and most perfect proportion.

Golden Ratio
 The Golden Mean has gained so much popularity that this concept has been applied to human figures.
 It was also believed that human figures have the ideal proportion.
 When Greece died as a civilization, so did this concept.
 But in its rediscovery, it was then called the divine proportion. The art of the past was mostly influenced by this.
 In the creation of sculptures among their leaders, the ratio was used as a basis and was always given importance.
 These statues that they created were like the real persons they made the statues for.
 However, modern art today started to reject the restrictions of the Golden Mean.
 They believed that following this limited the ability of artists to explore on possibilities and that there should be no fixed rule
on how to perceive the processes and complexities of artwork.
2.3.1 Scale
 A scale refers to the relative size of an object measured from a standard reference.
 This is different from proportion in that the latter is a measurement relative to other elements of the space while the former is
based on a standard measurement.
 For example, a 6-foot volleyball player may not look tall when he is with his team members.
 This is proportion. But when you see this volleyball player standing on a measurement scale, our perception may differ from
when he is with his teammates.
 With the use of scale, some artworks may provide illusions to perception.
 Some objects may appear larger or smaller than they should.
 If you have tried checking online shopping platforms like Lazada or Shopee, there may be products that are scaled to look
bigger or smaller but you end up receiving the orders that have different sizes from what you originally perceive them to be.
 But scales must be functional as well. For instance, interior designers and architects should be able to scale accurately the
blueprint of their designs to ensure that furniture and internal equipment could fit according to the plan.
 Sometimes, distorting scales may become necessary as to express a valuable message.
 Given as the example above, caricatures are also applications of proportion as there may be exaggerations to certain parts of
the human figure.
 But for other cultures, especially West Africa, they use exaggerated scales of head in their art as this represents life and
intelligence.
 This belief was inspired with the enlarged head of their divine ruler named "Oba" which guarantees them prosperity and
fortune (Ragans, 2005).

 2.4 Variety, Emphasis, Harmony and Unity

 Variety is the principle of art that breeds interest to the viewers or audience.
 Emphasis, on the other hand, improves the variety by creating different levels of emphasis to draw areas that may draw
audience attention.
 To establish effective variety, artist must maximize the application of differences and contrasting.
 For instance, if an artist chooses to create an art with just one shape or color, this may look boring and monotonous, lacking
variety.

2.4.1 Variety
 In effect, attention of the audience may be of short span.
 But integrating different elements and applying different principles provide art a sense of variety.
 This gives the viewers or audience the perception that the artist is breaking the repetitive cycle.

2.4.2 Emphasis
 In specific artworks, there are aspects that are given emphasis.
 Usually, the subjects are given more intensity in color, more definition in contours and outlines, etc.
 This is the process of ensuring that these aspects are the more important elements of the art form.
 With different levels of emphasis, it may be expected that viewers and the audience should spend more time on giving their
attention to the dominant elements and narratives.

 The two types of visual emphasis are (1) the element that dominates and (2) the area on the space that dominates over others.
a. Emphasizing elements
 Through this process, the element of art is deemed to be more important while subordinating the other elements.
Some artists do this to separate a specific element from others and showcase their skill on this aspect.

Example is when one art uses mostly pencil in sketching may signify the artist intention to show his sketching capabilities.
Some artists do not sketch and immediately paint on a canvas without outlines convey the ability of the artist to draw and create a
cohesive image by subordinating sketching.

b. Emphasizing Area
An artwork's focal point is an emphasized area. This specific area may be considered as superior to other areas for it is expected to
carry the viewers' attention to that area.
However, it is also possible to have more than one focal point. But doing so may create confusion.
If this was the interest at hand, then the artist may be free to do so to achieve the ambiguity the artist intended to do.
Some artists may not even have a focal point or emphasized area such that the whole space is the full focal point.

Techniques in Emphasis
A. Contrast –
This can be done through contrasting of hues, intensity and value of colors.
In terms of lines, heavy shading and cross-hatching are ways of emphasizing the subject or area.
b. Isolation
This is a process of providing a mechanism for the subject to be isolated from other elements.
c. Location –
The center of the space is mostly considered the focal point of most art works.
Most subjects or objects can be placed in the middle to create emphasis.
d. Convergence
This is a more complex technique that utilizes the elements to point at a direction of a focal point.
The process of convergence directs the viewers using elements to converge at a focal point.
e. Unusual
The most complex of the approaches is the use of unconventional mechanisms.
Bizarre and unexpected approach can be made for emphasis such as putting a gun on a bed of roses, a girl in a group of boys, yellow
chair in a pile of black chairs etc. the focal point, hence, should be the one odd out.

2.4.3 Harmony
 Artistic harmony is the principle that facilitates the process of unity by recognizing the importance of separate elements and
subjects but are somehow related to each other.
 In music, harmony happens when notes are combined, and they create blending tones.
 The pleasantness produced by the sound is based on the complementarity of the notes.
 In visual harmony, these elements or subjects are made to relate with each other creating pleasant or cohesive visuals.
 Colors can harmonize by using the different applications of contrasting such as complementarity, split complements or
analogous colors.
 Shapes can manifest harmony when they tend to overlap or create the impression of relatedness among them.
 For example in a house a triangular shape roof harmonizes with the square shaped house.
 Or in the creation of art rooted from nature, combinations of free-from shapes create harmony in an art space

2.4.4 Unity
If you remember, the introduction part of this Module talked about the Gestalt principle of unity and wholeness.
Art, in the same regard, is supposed to be created and perceived as the sum of its parts.
Elements and some principles of art will cease to become meaningful if they do not unite with the rest of the whole art piece.
Lack of unity in art is a hodge-podge art. It does not convey cohesiveness. It will lack meaning and it will lose its artistic value

a. Simplicity
 Choosing to employ variety is a critical period in the planning phase of art. Too many uses of variety can be bad in the art form
because it lacks economical sense.
 By limiting the variations to workable variations, you also allow the art to focus on the special properties of the few elements
of principles.
 Hence. art does not have to use all possible techniques to implement the elements.
 Rather, the best approach is edit and limit the qualities that need to be shown as only deemed appropriate to the subject and
content.
b. Repetition
 Unity can be achieved when there is repetition.
 Usually applied in large scaled art production like architecture of buildings and other infrastructure, repetition has always been
used to create a unified space.
 For example, the white house is repeatedly colored white across the whole building.
 The building beams are similar across the four structures. Making sure that the structure is well- blended with the
surroundings, repetition is a technique that does this.
c. Proximity
 Limiting negative space creates convergence of objects.
 Therefore, the converging objects tend to cluster together.
 This convergence could mean unity because you limit the ability of negative space to create distance.
 For example, if you wish to portray a group of people conversing, the unifying theme of the art is by putting those people close
to each other to create that impression of relatedness among them.