ART APPRECIATION

by: RV De la Cruz
CREATIVITY AND ART APPRECIATION
METACOGNITIVE SKILL
-​ a form of divergent thinking that allows us to generate relationship,
ETYMOLOGY AND DEFINITION OF ART integrate concepts, elaborate information, brainstorm issues with fluency,
ART flexibility and originality (Johnson, 2010).
-​ from a Latin term ARS, which means skill, talent or ability.
-​ In a broader sense, art is skill in making or doing something (The World DIFFERENCE BETWEEN ART AND CRAFT
Book Encyclopedia, 1995). ●​ The misconception is the belief that art and craft have interchangeable
-​ is the expression of the creative skill and imagination in different genres meaning.
for appreciation of beauty and emotional power (Oxford Online ●​ Inocian et al., (2019) rejoined that "Art is an expression of feelings and
Dictionary, 2020). emotions; craft is a form of work with the use of available materials."
-​ "Art is anything you can get away with." (Andy Warhol, 1960s Pop Art ●​ Zulueta (1994) rejoined that art is beautiful rather useful; while craft is
Movement) making something useful more than beautiful.
-​ "the skillful production of a thing intended to produce a significant ●​ Art and craft can be different, but these two can be similar in some
aesthetic response. (Collingwood, R. G. "The Principles of Art," 1938) ways."
●​ Art is tinged with a psychological process; craft provides a utilitarian
MISCONCEPTION and mechanical process of creation.
-​ the belief that someone is an artist, and the rest are not.
-​ We are skillful in everything we do that ends with a good purpose. ART AS EXPRESSION
-​ "Every child is an artist. The problem is how to remain an artist once we EXPRESSING ONESELF
grow up."Pablo Picasso (Painter and Sculptor) -​ try to release yourself from this tormenting and disabling state by doing
something
●​ The human brain is capable to think 5,000 thoughts per day (Laboria, -​ "What an artist does to an emotion is not to induce it but express it.
2013), including thinking for the arts. Through expression, he is able to explore his own emotions and at the
●​ We are all gifted with arts. same time, create something beautiful out of them." - Robin George
●​ The problem is when we fail to recognize it and the lethargy that dictates Collingwood
us not to do it, because we want everything easy, and instant given to us -​ An artist has the freedom to express himself the way he wants to. Hence,
in a silver platter. there is no specific technique in expression.
●​ We need exposure to hone our imagination to its maximum potential.
Pablo Picasso
-​ Weeping Woman (1937)
CLASSIFICATION OF ART
●​ Scholars have categorized art in various ways:
1.​ Sophists: Divided arts by purpose-those for utility and those for 6.​ Cinema or Film:
pleasure. -​ A product of modern technology. It brings us in a world that, apart
2.​ Galen: A 2nd-century physician who divided arts into vulgar arts from a want for three-dimensionality, is often mistaken for reality.
(requiring physical effort) and liberal arts (mental effort, 7.​ Theater:
considered superior). -​ A system of relationship among actors, action, audience, time,
3.​ Quintilian: A Roman rhetorician who grouped arts into three and space. Theater presents its stories through live actors in a
types: theoretical arts (e.g., astronomy), practical arts (e.g., real performance space complete with artificial settings and in the
dance), and productive arts (e.g., painting). physical presence of their audiences (Cameron and Gillespie,
2000).
●​ The Cultural Center of the Philippines Encyclopedia of Art and the
National Commission for Culture and the Arts dividing arts into ELEMENTS OF ARTS
disciplines. Elements of Art: Visual
-​ The elements of art are the aspects of an artwork that can be isolated
1.​ Architecture (and Applied Arts): from each other.
-​ Involves designing and constructing buildings with specific -​ These elements of art are generally produced when something is done to
functions, from providing shelter to addressing modern the medium after the technique is carried out. It must be underscored,
technological needs (Sanches et al., 1989). however, that all works of art require all elements to be present.
2.​ Visual Arts: 1.​ LINE
-​ Expresses emotions and ideas through two-dimensional (e.g., -​ A line refers to a point moving at an identifiable path - it has
paintings, drawings, prints) and three-dimensional forms (e.g., length and direction. It also has width.
sculptures). -​ It is one-dimensional; however, it has the capacity to either
3.​ Music: define the perimeters of the artwork (edges) and/or become a
-​ Reflects the collective musical creativity of a people, expressed substantial component of the composition.
through voice or musical instruments. -​ Artist use lines to define and encloses spaces.
4.​ Literature: -​ Keith Haring is known for using lines to provide outline or
-​ Expression of feelings, vision, and thoughts in words or contour of the figures he portrays in his work.
languages understood by the writers. It could be transmitted orally -He first executed the public mural "Todos junto podemos parar
or in written form. el sida" (Together We Can Stop AIDS) in Barcelona in 1989.
5.​ Dance: - It was recreated at the foyer of the Museu d'Art Contemporani
-​ The art of movement. It is an expression of feelings and thoughts de Barcelona (Barcelona Museum of Contemporary Art) to
through graceful movement of the body in tempo with commemorate it.
accompanying music. - Haring battled with HIV/AIDS to which he succumbed to in 1990.
 TYPES OF LINES a.​ Geometric Shapes
a.​ VERTICAL LINES - their movement direction is upward or -​ are accurately, measured shapes, hence, having
downward. mathematical bases.
b.​ HORIZONTAL LINES - the movement direction is from left -​ The variations are SQUARE, RECTANGLE, TRIANGLE,
to right or vice-versa. CIRCLE, OVAL, PENTAGON, HEXAGON, etc.
c.​ DIAGONAL LINES - these are slanted lines. They create b.​ Free-Form Shapes
an impression of rising or falling. -​ These are the types of shapes that are irregular in
d.​ ZIGZAG LINES - these are connected combinations of structure.
diagonal lines.
e.​ - these are lines that do not appear linear; hence, 3. FORMS
directions are not clearly established. -​ are the three-dimensional aspects and spaces and shapes.
VARIATIONS OF LINES IN ART -​ While shapes have length and width or diameter, a characterizing
a.​ Length in lines can be long (tall, strong, far) or short component of form is its depth.
(small, cute, close). -​ Something in 2D artwork that appears to be 3D.
b.​ Width in lines goes from thin (delicate, slim, lightweight) to -​ These two (shape and form) are related to each other in the same sense
thick (strength, weight, power). that they define the space occupied by the object of art.
c.​ Weight in lines means the continuous change of width. By -​ SHAPE is 2D: height and width
varying the weight, one can capture energy, movement -​ FORM is 3D: height, width, and depth.
and even suggest when one object is in front of the other.
d.​ Texture in lines defines how smooth or rough it is. Varying 4. SPACE
it can simply mean changing your working medium (for -​ It is usually inferred from a sense of depth, whether it is real or simulated.
example, going from marker to charcoal or changing your -​ Real space is three-dimensional.
digital brush). -​ The distance between, around, above, below, or within things.
e.​ Style of lines refers to continuous, dotted, dashed or -​ Three-dimensional space - can be simulated through a variety
implied lines. Continuous or implied lines are great for of techniques such as shading. An illusion of three-dimensionality
leading the eye of the viewer in the direction you want can be achieved in a two-dimensional work.
them to go.
5. COLOR
2. SHAPE -​ is produced when artists use various pigments and dyes to create a
-​ conveys a defined two-dimensional area. range of different hues which the viewer's eyes and brain interpret as
-​ defined by artist using lines and contrast in color and texture. colors.
-​ can figure like animals, plants, human figures, mountains and other -​ ISAAC NEWTON - Color Theory (1666)
forms. The color wheel corresponds to the first property of color, hue.
a.​ HUE ○​ Used when the theme of art is intended to create strong
-​ this dimension of color gives its name. It can be subdivided into: expression of contrast.
●​ Primary colors ●​ ANALOGOUS HARMONIES - make use of two colors beside each other
●​ Secondary colors in the color wheel.
●​ Tertiary colors ●​ COLOR TRIADS - art must be focused on three general colors spaced
b.​ VALUE on equal intervals on the color wheel.
-​ this refers to the brightness or darkness of color. Often, this is used by ●​ SPLIT COMPLEMENTS
artists to create the illusion of depth and solidity, a particular mood, -​ used when combine a hue with side of its exact complement.
communicate a feeling, or in establishing a scene (e. g. day and night). This now offers ore variety and more dynamics to color range and
●​ Light colors - taken as the source of light in the selection.
composition -​ These can be used to create the perfect nature art piece with red
●​ Dark colors — the lack or even absence of light orange as the sun, blue for the waters, and green for the trees
Each primary color has a range of values based in.pdf on the addition (Ragas, 2005).
and diminishing quantity and quality of light.
●​ TINT - this is the lighter color than the normal value (e. g., 6. TEXTURE
pink for red) -​ This element in an artwork is experience through the sense of touch (and
●​ SHADE - this is a darker color than the normal value (e. sight).
g., maroon for red) -​ This element renders the art object tactile.
●​ TONE - a mixture of pure colors to which only pure gray -​ Roughness or smoothness in visual arts or the actual surface feel of a
is added. (equal amount of black and white) work of art or craft.
c.​ INTENSITY a.​ Texture in the two-dimensional plane - texture can be implied
-​ this is the color's brightness or dullness. using one technique or a combination of other elements of art.
-​ It is defined as the strength of color, whether it is vivid or muted. Some of the words used to describe texture are the following: rough or
Bright or warm colors - positive energy smooth, hard or soft, hairy, leathery, sharp or dull, etc.
-​ To achieve a specific intensity a color, one may add either gray or b.​ Surface texture - refers to the texture of the three-dimensional
its complementary art objects.
Dull or cool colors - of sedate/soothing, gray or its
complementary seriousness or calm. 7. PLANES AND PERSPECTIVE
a.​ Picture plane is the actual surface of the painting or drawing,
●​ MONOCHROMATIC HARMONIES - Use variations of a hue or variations where no illusion of a third dimension exists.
of one color. Hence, the elements lay flat, as if one was looking through
●​ COMPLEMENTARY HARMONIES - involves two colors opposite each window into what lies on the other side of the glass.
other in the color wheel. Since they are at contrary positions, the reaction b.​ Linear perspective change the way pictorial presentation was
is most intense. done. Its use was based on the following observations:
 ●​ As forms and objects recede, the smaller they become. PRINCIPLES OF ARTS
●​ We were taught that parallel lines never meet. -​ If elements of design are the tools we use as artists, then the principles
●​ However, when they, too, seem to converge when they are what we do with them.
recede into a distance, at a point, they both disappear. -​ It is used to organized the elements of art in a certain composition.
This point of disappearance is called the vanishing point. -​ It is the proper arrangement of different elements to produce a
pleasurable art experience for the viewers.
Viewpoint may also be constructed as:
●​ Normal (view standing up) 1.​ Balance
●​ Low (view from a lower angle), or -​ This principle refers to the distribution of the visual elements in
●​ High (view looking down on a scene) view of their placement in relation to each other.
Three types of perspective a.​ Symmetrical - the elements used on one side are
a.​ One-point Perspective reflected to the other. This offers the most stable visual
-​ often used in depicting roads, tracks, sense to any artwork.
hallways, or rows of trees. b.​ Asymmetrical - the elements are not the same (or of the
-​ This type of perspective shows parallel same weight) on each side, putting the heaviness on one
lines that seem to converge at a specific side.
and lone vanishing point, along the horizon. c.​ Radial - there is a central point in the composition, around
b.​ Two-point Perspective which elements and objects are distributed.
-​ pertains to a painting or drawing that
makes use of two vanishing points, which 2. Scale and Proportion
can be placed anywhere along the ●​ Scale pertains to the size in relation to what is normal for the
horizontal lines. It is used in depicting figure or object in question.
structure such as houses or buildings in the -​ The comparative relationship of one part to another with regards to size.
landscape that are viewed from a specific ●​ Proportion give a sense of size seen as a relationship of objects
corner. such as smallness or largeness.
c.​ Three-point Perspective ●​ Proportion is concerned with the relationship of certain elements
-​ the viewer is looking at a scene from above to the whole and to each other.
or below. -​ It is the size relationship between two or more objects. It
-​ As the name suggest, it makes use of the can be how the parts fit together to make a whole.
three-vanishing points, each corresponding Proportion can be:
to each axis of the scene. a.​ Natural - relates to the realistic size of the visual elements
in the artwork, especially for figurative artworks.
 b.​ Exaggerated - refers to the unusual size relations of 8. Movement
visual elements, deliberately exaggerating the immensity -​ This refers to the direction of the viewing eye as it goes through the
or minuteness of an object. artwork, often guided by areas or elements that are emphasized. These
c.​ Idealized - most common to those that follow cannons of focal points can be lines, edges, and color within the work of art, among
perfection, the size-relations of elements or objects, which others.
achieve the most ideal size-relations.
9. Rhythm
3-4. Emphasis and Contrast -​ This is created when an element is repeated, creating implied movement.
●​ Emphasis allows the attention of the viewer to a focal points), Variety of repetition helps invigorate rhythm as depicted in the artwork.
accentuating or drawing to these elements or objects.
-​ This can be done through the manipulation of the elements or 10-11. Repetition and Pattern
through the assistance of the other principles, especially that of -​ Lines, shapes, colors, and other elements may appear in an artwork in a
contrast. recurring manner. This is called repetition.
-​ Uses the difference between things to make something stand out. -​ In addition, the image created out of repetition is called pattern.
●​ Contrast is the disparity between the elements that figure into the -​ With repetition, there is a sense of predictability that is conveyed, which
composition. One object may be made stronger compared to other in turn imbues the feelings of security and calmness.
objects (hence, emphasis).
The arrangement of opposite elements in an Art piece. PENCIL RENDERING
Ex:
a. SPACE, the use of the negative and positive spaces. HOW TO HOLD A PENCIL
b. Complementary Colors in a work of art. 1.​ Basic Tripod Grip
-​ This is a basic grip probably how you hold your pencil to write.
5-6. Unity and Variety 2.​ Extended Tripod Grip
-​ Unless intended to be otherwise, compositions are intended to imbue a -​ Similar to the basic tripod grip, however this grip is much higher
sense of accord or completeness from the artwork. This is unity. on the pencil.
-​ Variety, on the other hand, is the principle that aims to retain the interest 3.​ Overhand Grip
by allowing patches or areas that both excite and allow the eye to rest. -​ Broad expressive mark making.
-​ Using the side of your pencil to create value.
7. Harmony -​ Should be used with whole arm movements.
-​ Like what is hinted, unity and variety is related to the principle of 4.​ Underhand Grip
harmony, in which the elements or objects achieves a sense of flow and -​ This grip is a rotated tripod grip
interconnectedness. -​ This is a very light relaxed pencil grip.
-​ This grip allows for light gestural sketching
RENDERING TECHNIQUE
-​ is the drawing process of making marks to create tone and texture.
It is used:
●​ To achieve contrast in drawings (the effects of light and
dark)
●​ To make objects appear three dimensional (3D) and
●​ To show the surface quality of an object.
1.​ HATCHING
-​ Hatching is a rendering technique using a serious of closely
spaced parallel lines or linear strokes to create value texture
throughout an image.
2.​ CROSS HATCHING
-​ Cross hatching is hatching, but with lines going in two direc (lines
crisscrossing each other).
3.​ STIPPLING
-​ Stippling is a rendering technique which uses dot to shade an
area when creating an image.
4.​ SCUMBLING
-​ Scumbling is a rendering technique which uses small squiggly
circular lines or circular scribble lines done in a controlled way.
5.​ SCRIBBLING
-​ Scribbling is a rendering technique which uses one continuous
line or mark which is made in a random, spontaneous controlled
manner. These lines are used to create value, patterns and
textures.