A Strong Partner for Sustainable Development

Module
in
GE 8

ART APPRECIATION

COLLEGE OF AGRICULTURE FORESTRY

AND ENVIRONMENTAL MANAGEMENT BSF
1A and B
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Module 2

“HUMANITIES AND THE ARTS”

_2nd_ Semester _2022_

JORDAN S. TABUCALDE
Instructor I

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TABLE OF CONTENTS

Table of Contents

Contents Page Number

Title Page ………………………….. 2
Table of Contents ………………………….. 3
Instruction to the User ………………………….. 5
Chapter II
Humanities and the Arts ………………………….. 4
Overview ………………………….. 5
Mission, Vision ………………………….. 6
Course orientation ………………………….. 6
Grading system ………………………….. 6
Learning Outcomes ………………………….. 7
Pre-test ………………………….. 7
Lesson 6. Artist and Artisan
A. Learning Outcomes ………………………….. 9
B. Time allotment ………………………….. 9
C. Discussion ………………………….. 10
D. Activities/ Exercises ………………………….. 19
Lesson 7. Museum Visit (Palawan
Heritage Centre) and
Events/Exhibits/Managing Audience
E. Learning Outcomes ………………………….. 22
F. Time allotment ………………………….. 22
G. Discussion ………………………….. 22
H. Activities/ Exercises ………………………….. 24
Lesson 8. Elements and Principles of
Art
I. Learning Outcomes ………………………….. 26
J. Time allotment ………………………….. 26
K. Discussion ………………………….. 26
L. Activities/ Exercises ………………………….. 37

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INSTRUCTION TO THE USER

This module will provide you an educational experience while

independently accomplishing the task at your own pace or time. It aims as
well to ensure that learning is unhampered by health and other challenges. It
covers the topic about. GE 8 art appreciation.

Reminders in using this module:

1. Keep this material neat and intact.

2. Answer the pre- test first to measure what you know and what to be
learned about the topic discussed in this module.
3. Accomplish the activities and exercises as aid and reinforcement for
better understanding of the lessons.
4. Answer the post-test to evaluate your learning.
5. Do not take pictures in any parts of this module nor post it to social
media platforms.
6. Value this module for your own learning by heartily and honestly
answering and doing the exercises and activities. Time and effort were
spent in the preparation in order that learning will still continue
amidst this Covid-19 pandemic.
7. Observe health protocols: wear mask, sanitize and maintain physical
distancing.

Hi! I’m Blue Bee, your WPU

Mascot.

Welcome to Western Philippines University!

Shape your dreams with quality learning
experience.

STAY SAFE AND HEALTHY!

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OVERVIEW

This module for Humanities and Arts is a simplified

discussion of the nature of art, its beauty and functions
on the human world. It also deals with the creation,
history, theories and appreciations of beauty that can
be seen everywhere, anywhere and anytime. This
module will be a great help for the students to
understand the nature of arts and its function in one
society and to another. Understanding Arts is to
understanding Humanities which will be a great help in
bringing appreciation to mankind creation.
This module as well as elaborates on different theories
and concepts of art that will awaken students’ curiosity
about what arts really is. College students needs a good
avenue of information to express their artistic side and
experiences this module will be a great help for them to
find what is the truth behind arts cultivation and
experience some ideas that would bring them into a
realistic view on arts.
Furthermore, this module has different types of
activities that will assist a student’s knowledge and
experiences in appreciating arts elements and
principles.

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Vision

⬗ WPU: the leading knowledge center for sustainable development of West

Philippines and beyond.

Mission

⬗ WPU commits to develop quality human resource and green technologies for a
dynamic economy and sustainable development through relevant instruction,
research and extension services.

Course orientation, relevance of the course and grading system

 Art Appreciation is a three-unit course that develops your ability to

appreciate, analyze, and critique works of art.

 This course will equip you a broad knowledge of the practical, historical,
philosophical and social relevance of the arts in order for you to understand
arts.

 This course aims to develop your genuine appreciation for Philippine arts by
providing you opportunities to explore the diversity and richness and your
rootedness in Filipino culture.

Grading System

LECTURE LABORATORY
Weight for Lecture Subject / Laboratory 75.00% 25.00%

Written Works 20.00% 40.00%

Performance Task 40.00% 40.00%
Major Examination 40.00% 20.00%
Total 100.00% 100.00%

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LEARNING OUTCOMES

At the end of this module, students

will be able to:

Define Arts and Humanities

Appreciate various genres of
arts
Clip picture/illustrations that
depict every genre of arts.

PRE-TEST

Test – I IDENTIFICATION
Directions: Identify the term as defined or describe.

__________1. This is one of the aspects of art that directly correlates with its
composition and presumed finality of the artwork.
__________2. It is usually inferred from a sense or depth, whether it is real or
simulated.
_________3. This element renders the art object tactile.
_________4. In this type of perspective, the viewer is cooking at a scene from
above or below. As the same suggest, it makes use of the three vanishing points, each
corresponding to each axis of the scene.
_________5. One of the elements that enhances the appeal of an artwork.
_________6. Refers to the unusual size relations of visual elements, deliberately
exaggerating the immensity or minuteness of an object.
_________7. These line communicate stability and firmness.
_________8. Lines, shapes, colors, and elements may appear in an artwork in a
recurring manner.

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_________9. This refers to the direction of the viewing eye as it goes through the
artwork, often guided by areas or elements that are emphasized.
_________10. This principle refers to the distribution of the visual elements in
view of their placement in relation to each other.

Test-II enumeration
Direction: Enumerate the different elements of visual and Auditory art.
Elements of visual arts Elements of Auditory arts
1. 7.
2. 8.
3. 9.
4. 10.
5. 11.
6. 12.

Test II-Essay type.

Direction: Answer the question below. 10pts

1. What is/are the function of state sponsorship in the field of arts and culture through
the National Artists Award and the Gawad sa Manlilikha ng Bayan (GAMABA)?
Ans.
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________.

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LESSON 6: Artists and Artisans

At the end of this lesson, students will be able to:
1. Critically discuss the function of state sponsorship in the field of arts and culture
through the National Artists Award and the Gawad sa Manlilikha ng Bayan
(GAMABA);
2. identify the different individuals and groups who take on varied roles in the world of
art and culture; and
3. Classify the practices of artists in terms of form, medium, and technique.

TIME ALLOTMENT 3hrs.

DISCUSSION
In the advent of technology, it is remarkable what has now been made possible. This
notion is contested by what are arguably the most resilient qualities of man, which is
his creativity and imagination.

Let’s Get Down to Business

In Peter Drucker's seminal book Post-Capitalist Society (1993), he stated that “the
real controlling resource and the absolutely decisive factor of production is neither
capital not land nor labor. It is knowledge. Instead of capitalists and proletarians, the
classes of the post capitalist society are the knowledge workers and the service
workers.”

The Stonehenge (Wiltshire, England) of the Neolithic Era or New Stone Age

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Artists even created places and spaces where communities may gather. There are
numerous monuments and memorials that are plotted over the world such as the
infamous Vietnam Veterans Memorial in Washington DC. There are others like the
cave paintings that have an aura of mystery like the Pyramids of Giza, or have
alluded comprehension like the Stonehenge.

The Artisan and the Guilds

Cologne Cathedral in Germany

The cologne Cathedral between ca. 1890 and ca. 1900, Koln, Germany

Museums are packed with numerous artifacts and interesting objects from all over the world
that have survived centuries for us all to see.
Magnificent structures that are often appreciated not only for their historical significance but
more so for their aesthetic characteristics that render them unique, become tourist
destinations for those who wish to explore and see the remarkable facade, interior, and even
the minutest of details up close.
Consider the Gothic cathedrals and other megastructures that were built all over Europe
during the Middle Ages. Craftsmen and builders in the past did not have sophisticated
terminologies and principles that architects and engineers abide by today. Yet, they fulfilled
overlapping roles such as the draftsman, architect, engineer, and even as the builder.

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Detail of the stained glass windows of Cologne Cathedral, Koln, Germany (2015)

These guilds were prevalent during the Middle Ages particularly during the thirteenth to
fifteenth century, where towns had formalized groups of artisans or craftsmen who took on a
particular specialization or trade: shoemakers, textile and glass workers, carpenters, carvers,
masons, armorers, and weapon-makers, among others.
Guilds were a type of social fellowship, an association structured with rules, customs, rights,
and responsibilities.
A master artisan or craftsman would then be open to hiring apprentices who would be under
his tutelage and instruction. In these guilds, artistry and technology flourished under one
roof. In the context of the cathedral construction site, the master mason oversaw the work by
numerous men of varying artistic proclivities and skills, from the smiths (metal work),
carpenters, carriers, and glaziers (stained glass artists). among others.

The Church of the Most Holy Trinity in Loay, Bohol, locally referred to as Santisima Trinidad Parish

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Project Kisame is a collective endeavor amongst enthusiasts and advocates who aimed to
promote this art form through documentation, engagement, and appreciation of surviving
ceiling paintings in more than 60 churches in the Philippines. Technology and heritage
conservation occupied a substantial part of this project.
One example of a Spanish architecture that has been documented is the Church of the Most
Holy Trinity in Loay, Bohol. Built in 1822, the ceiling paintings were rendered trompe l'oeil
style depicting biblical scenes. In 2003, it became a National Historical Landmark.
It was therefore unfortunate that this church was one of those heavily damaged during the
devastating earthquake that rattled Bohol in 2013.

The Artist and His Studio

Moving back to Europe, the big shift that propelled the evolution of the pivotal role of the artist in the
arts started during the Middle Ages up to the Renaissance period. Most pivotal developments included
the transformation of the craftsman to an artist or an independent artist; the widespread
patronization of secular art (alongside the continuous production of works with religious subjects);
and the assertion of cognition, the will, and individuality.

James Abbott McNeill Whistler, “Artist’s Studio” (from Sketchbook), 1854-55. Black ink on off-white wove paper.
Giff of Margaret C. Buell, Helen L. King and Sybill A. Walk (1970). Metropolitan Museum of Art.

Today, artist studios have been a place of interest for the public. It is interesting where creativity
manifests itself, especially since an artist’s studio is an extension of the artist himself.

There were those whose work stations were segmented into two, the studiolo and the bottega; the
latter is where the work usually happened. Apprentices studied under masters, assisting with menial
task or the preparation of the painting surfaces. In the seventh century, these demarcations became
lose, eventually merging together.

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Other Players in the World of Art

In the last century, some of the roles that have been existent since the beginning of art history have
been properly dealt with-ascribed with a name and legitimized into a sophisticated network of
relationships and exchanges. This network is what we call the art world.

Prominent Roles in the Art World with Their Mandatory Relationships

An example of a multi-level platform, where different players in what we call an art world
can engage, interact, and flex their art muscles, is the international art fair like the Art Basel
in Hong Kong.

Art Basel in Hong Kong (2015)

It is important to note that with the complexity of the art world, players are no longer limited
to those who undertook formal instruction in either (or both) production and/or study of art.
Take for instance administrative or managerial roles, both of which can exist in either
institutional or non-institutional scenarios. These roles may be broken down to working
boards (board of trustees); directors and assistant directors; managing curators; and other

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posts whose interest is the management and operations of museums, galleries and other art
spaces.
For independent artists, those outside the wing of a gallery as a "stable artist," sometimes
require the assistance of an artist manager in order to manage their career and sometimes to
help them in promoting themselves to the art world as well.
A curator, on the other hand, is one of the most elusive of roles to pin down. Institutional
curators are typically affiliated with museums and galleries, while independent or freelance
curators have the leeway to move around various projects, platforms, and art spaces in a
multiplicity of terms.
If curators are the hardest to define, it is buyers and collectors who are probably the easiest
to qualify. Often they are construed as one and the same, but separately taken, buyers are
those who initially assess and survey the artwork that collectors are interested in.
In addition, art dealers are those whose direct hand is in the distribution and
circulation of the artworks through a variety of means, such as direct sales, through galleries,
and the more recent player in the Philippines, auction houses.
As the art world is seen as a socio-economic network, it is important to note the major
difference between museums and galleries.
The most substantial demarcation that separates one from the other is the ethics that
admonishes museums from entering into the more market aspect of the art world.

Production Process
The process of creating an artwork does not necessarily follow a linear progression. One of
the things that one must accept is the fact that the arts have an anarchic dimension to it,
allowing it to fully harness its creative potential.

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The process is essentially tripartite:

(1) preproduction, (2) production, and (3) postproduction.
The artist always begins with an idea that he wants to express or communicate with his
audience. It may not necessarily be fully formulated, and so some form of exposure,
research, and other approaches may be explored to get the idea long before actually making
the artwork. This process is of course the preproduction stage.
Gathering and sourcing the materials needed for the creation of the artwork is either
subsumed under preproduction or the production stage. Either way, materials form one of
the most crucial aspects that inform the direction, quality, and the final output itself.
The last stage is the most drawn-out, the postproduction. Once an artwork is finished, it will
then be decided on how it will be circulated not only in the art world, but the many publics.
There are many aspects that go into postproduction. These may include allowing the
artwork to set, tweaking the artwork, preparing the artwork for transport and display, and
even the promotion and inclusion of the artwork in publications or discussions.

Medium and Technique

Medium is one of the aspects of art that directly correlates with its composition and
presumed finality of the artwork. Medium is the mode of expression in which the concept,
idea, or message is conveyed. It may be concrete or tangible, such as paintings, sculptures,
monuments, and structures; or it may be ephemeral or something transient, such as a track
(recording of sound), a film, or a performance.
A chosen medium must not be expected to yield the same results. Giving two different artists
the same exact material and the general qualifier of “painting”, the end product will still vary
minimally or in an exponential scale. This is where technique comes in, as it is the reason
why art history is described by a seemingly limitless example of works of art.

Engagement with Art

In Anna Cline's The Evolving Role of the Exhibition and Its Impact on Art and Culture
(2012), she wrote that “exhibitions act as the catalyst of art and ideas to the public: they
represent a way of displaying and contextualizing art that makes it relevant and accessible to
contemporary audiences. The art exhibition, by its nature, holds a mirror up to society,
reflecting its interests and concerns while at the same time challenging its ideologies and
preconceptions. Keeping art relevant to society and to a diverse audience at any given point
in history is one of the main goals of the art exhibition and one of the reasons it is so
important to the history of art.”
In Paula Marincola's What Makes a Great Exhibition? (2006), it reads that “exhibitions are
strategically located at the nexus where artists, their work, the arts institution, and many
different publics intersect.”
One of the most common platforms to engage with the art is through exhibitions either at
museums or galleries. Nowadays, there are other exhibition spaces that have opened up for
artists to showcase their works.

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Exhibitions may be long-term or permanent hangs, or it may be temporary or

periodically changing. An artist may have a solo exhibition or may be included in a two-
person showing or even a group exhibition.
Aside from exhibitions, other opportunities for art engagement transpire in the classroom
(instruction); studio visits; lectures, workshops, and other events that augment the
exhibitions (programs); auction sales; art fairs, biennials, and triennials; and other larger
showings of not only artworks but also where art personalities can flex their influence and
authority. Publications are also a good way to introduce the artwork and opens it up for
appreciation, critique, and analysis.

Awards and Citations

In history, support for the arts and culture is not limited to the allocation of funding or
patroonship. One of the most common measures in which artists and other creative
producers are given incentives and honor for their work is through state-initiated and given
awards and citations.
The two major awards given to artists in the Philippines are the Orden ng Pambansang
Alagad ng Sining (Order of National Artists) and Gawad sa Manlilikha ng Bayan (National
Living Treasures Award).
The conferment of the Order of National Artists is the “highest national recognition” given
to Filipino individuals who have made significant contributions to the development of
Philippine arts; namely, music, dance, theater, visual arts, literature, film, broadcast arts,
and architecture and allied arts.
The very first recipient of this award was painter Fernando Amorsolo, who was
touted as the "Grand Old Man of Philippine Art." He was the sole awardee in the year 1972, a
National Artist for Visual Arts.

Emblem of the Order of National Artist of

the Philippines

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The medal given to the recipients of the

distinction gawad sa manlilikha ng bayan
(GAMABA). Photo Courtesy of NCCA

At present, there are 66 awardees of this prestigious honor across different art forms. Some
of the honors and privileges that a national artist awardee receives are the following: (1) the
rank and title, as proclaimed by the President of the Philippines; (2) a medallion or insignia
and a citation that will be read during the conferment; (3) cash awards and a host of benefits
(monthly life pension, medical, and hospitalization benefits, life insurance coverage); (4) a
state funeral and burial at the Libingan ng Mga Bayani (Heroes' Cemetery); and (5) a place of
honor or designated area during national state functions, along with recognition or
acknowledgment at cultural events. The most recent conferment was in 2016.

Conferment of the 2009 and 2014

Order of National Artists Award

The Gawad sa Manlilikha ng Bayan or the National Living Treasures Award was created in
1992 under the Republic Act No. 7355.
It was first conferred to three outstanding artists in music and poetry back in 1993.
They are Ginaw Bilog, a master of the Ambahan poetry; Masino Intaray, a master of
various traditional musical instruments of the Palawan people; and Samaon Sulaiman, a
master of the kutyapi and other instruments.

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Ginaw Bilog Sumaon Sulaiman Masino Intaray

The medal given to the recipients of the

distinction Gawad sa Manlilikha ng
Bayan (GAMABA)

This artists’ practice may fall under the following categories: folk, architecture, maritime
transport, weaving, carving, performing arts, literature, graphic and plastic arts, ornament,
textile or fiber art, pottery and other artistic expressions of traditional culture.
Some of the incentives accorded to the awardee are the following: (1) a specially
designed gold medallion; (2) an initial grant of P100,000 and a $10.000 monthly stipend for
life (this was later increased to P14,000); (3) benefits such as a maximum Cumulative
amount of $750,000 medical and hospitalization benefits; and (4) funeral assistance or
tribute fit for a National Living Treasure.

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Let's Work on This

Direction: Read and answer the following questions. 10Pts each

1. What do you think is the role of the artist in the twenty-first century?

2. How relevant are the awards of National Artist and GAMABA, to the art world, to the Filipino
society as a whole?

3. Analyze and critique state-sponsored recognition for artist and cultural workers. What do you
think are some of the considerations that must be addressed with regard to these?

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Let’s make it happen

Direction: Identify and select one artists. He or she may be Filipino or foreign; and maybe
identified with any art form: architecture, sculpture, painting, music, literature, film, dance,
performance/theater, and living traditions, among others. (30pts)
a. Research on him or her and select five aspects of his or her life (events, ideas, works,
awards/citations) that you think have a substantial contribution not only to the local
or foreign art scene, but also to human history.

b. Use PETCHA KUCHA format for this activity.

PETCHA KUTCHA
This presentation format was devised by Astrid Klien and Mark Dytham of
Lkein Dytham architecture, where you show 20 images to make presentation.
The images advance automatically (20 seconds are allowed for each image)
and you talk along to the images. This ensures a brief presentation that packs
a punch.

Direction: Identify and define the different individuals and groups in the world of
art. Give at least five (5) players of it. 2pts each
1.
2.
3.
4.
5.

Assessment
Test I-Fulfill me.

Direction: Supply the following answer in the chart. 15pts

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Test II- Identification

Direction: Identify the photos as provided below. 2pts each.

1. 4.
___________________ ______________________

2. 5.
___________________ ______________________

3. 6.
____________________ _____________________
Test III-Essay type.

Direction: Answer the following questions. 10pts each.

1. What is/are the function of state sponsorship in the field of arts and culture
through the National Artists Award and the Gawad sa Manlilikha ng Bayan
(GAMABA)?
Ans.
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________.

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2. How can Awards and citations contributes to the life of artist? What are the
advantages of it?
Ans.
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
______________________________________________________________.

LESSON 7: Museum Visit (Palawan Heritage

Centre) and Events/Exhibits/Managing audience

At the end of this lesson, students will be able to:

1. Find out the history of museum;
2. Discuss the different types of museums;
3. Make a short video clip that contain a collection of art inside your home.

TIME ALLOTMENT 3hrs.

DISCUSSION
Museum
Museum, institution dedicated to preserving and interpreting the primary
tangible evidence of humankind and the environment. In its preserving of this
primary evidence, the museum differs markedly from the library, with which it has
often been compared, for the items house in a museum are mainly unique and
constitute the raw material of study and research. In many cases they are removed in
time, place, and circumstance from their original context, and they communicate

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directly to the viewer in a way not possible through other media. Museums have been
founded for a variety of purposes: to serve as recreational facilities, scholarly venues,
or educational resources; to contribute to the quality of life of the areas where they
are situated; to attract tourism to a region; to promote civic pride or nationalistic
endeavor; or even to transmit overtly ideological concepts. Give such a variety of
purposes, museums reveal remarkable diversity in form, content, and even function.
Yet, despite such diversity, they are bound by a common goal; the preservation and
interpretation of some material aspect of society’s cultural consciousness.
As institutions preserve and interpret the material evidence of humankind,
human activity, and the natural world, museums have a long and varied history,
springing from what may be an innate human desire to collect and interpret and
having discernible origins in large collections built up by individuals and group
before the modern era.

From MOUSEION to MUSEUM

The word museum has classical origins. In its Greek form, mouseion, it meant
“seat of the Muses” and designated a philosophical institution or a place of
contemplation. Use of the Latin derivation, museum, appears to have been restricted
in Roman times mainly to places of philosophical discussion. Thus, the great
Museum at Alexandria, founded by Ptolema I Soter early in the 3rd century BCE, with
its college of scholars and its famous library, was more a prototype university than an
institution to preserve and interpret material aspects of one’s heritage. The word
museum was revived in 15th-century Europe to describe the collection of Lorenzo de’
Medici in Florence, but the term conveyed the concept of comprehensiveness rather
than denoting a building. By the 17th century, museum was being used in Europe to
describe collections of Copenhagen was so called, and in England visitors to John
Trades cant’s collection in Lambeth (now a London borough) called the array there a
museum; the catalog of this collection, published in 1656, was titled Museum
Tradescantianum. In 675 the collection, having become the property of Elias Ash
mole, was transferred to the University of Oxford.
Use of the word museum during the 19th and most of the 20th century denoted
a building housing cultural material to which the public had access. Later as
museums continued to respond to the societies that created them, the emphasis on
the building itself became less dominant. Although virtual museums provide
interesting opportunities for and bring certain benefits to existing museums, they
remain dependent upon the collection, preservation, and interpretation of material
things by the museum.
Museums are buildings in which we see many things of artistic, cultural,
historical, traditional and objects of scientific interest. It is a great source of
knowledge. It not only gives us knowledge but also makes us familiar with our
history, culture, civilization, religion, art, architecture of our country. In the
museum, there are many things which are kept for the public.

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Through all these things we can come to know how people of ancient times
lived, what they used and what things they made. Therefore, museums are also called
storehouse of history.

Types of Museums
Museums can have divided into following categories:
 Fine Arts: they contain all types of paintings, drawings, sculpture,
architecture etc.
 Historical Museums: These museums illustrate historical events or period,
personalities etc. they have weapons, statues, artifacts made of stones and
other material.
 Science and technology: it contains all things which are representative of
the evolution of history, science, and technology such as fossils of dinosaurs.
 Museum-house: it is located in the birthplace of a famous person such as
Sabarmati Ashram, Dr. Bhim Rao Ambedkars’ home, Tipu sultan Palace etc.
 Archaeological museum: it contains all the objects related to history.
 General Museum: They contain more than one subject and therefore these
museums are called multidisciplinary museums.

Your choice
Direction: Follow the given instruction below (30pts)
a. Choose one (1) among the types of museums.
b. Why did you choose that particular museum?
c. Collect some of the pictures that can be found in your chosen museum.

_______________

_____________________________________________________
_____________________________________________________
_____________________________________________________
_____________________________________________________
_____________________________________.

Pictures here!

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Direction: Make a short video clip that content a collection of art inside your home.
Time allotment (2-3 minutes). 50pts

Assessment
Test-I. Modified TRUE or FALSE.
Direction: Answer the following statement. Write YES if the statement is true, NO
if it is false. Underline the possible wrong answer and replace it with correct answer.
2 pts each.
_____1. Museum differs markedly from the library.
_____2. The word museum has classical origins. In its Spanish form, mouseion, it
meant “seat of the Muses”.
_____3. General Museum contain more than one subject and therefore these
museums are called interdisciplinary museums.
_____4. Museums are buildings in which we see many things of artistic, cultural,
historical, traditional and objects of scientific interest.
_____5. The word museum was revived in 18th-century.
_____6. In 675 the collection, having become the property of Elias Ash mole, was
transferred to the University of Oxford.
_____7. Historical museums illustrate historical events or period, personalities etc.
they have weapons, statues, artifacts made of stones and other material.
_____8. They contain all types of paintings, drawings, sculpture, architecture etc.
these museums called general museum.
_____9. Historical museums contain more than one subject and therefore these
museums are called multidisciplinary museums.
_____10. Museums can have divided into five categories.

Test-II Essay type.

Direction: Answer the questions base in your own perception. Answer must contain
3-5 sentences in one paragraph.

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Q1. Why museum have divide into categories?

Answer:
__________________________________________________________
__________________________________________________________
__________________________________________________________
__________________________________________________________
__________________________________________________________
_______________________________________________________.

Q2. What are the possible consequences if there are no museums existed?
Answer:
__________________________________________________________
__________________________________________________________
__________________________________________________________
__________________________________________________________
_________________________________________________________.

LESSON 8: Elements and Principles of Art

At the end of this lesson, students will be able to:
1. Enumerate the different elements of visual and auditory art;
2. Differentiate the principles of art;
3. Provide examples of the interrelatedness of some of the elements and principles
of art;
4. Explain the relevance of the elements and principles of art in the study of art and
its products (artworks); and
5. Illustrate examples of hybrid art and dissect what art forms are combined therein.

TIME ALLOTMENT 3hrs.

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DISCUSSION

ELEMENTS OF ART: VISUAL

Taking off from the scientific reference, elements of art are akin to the atoms
that are defined as the unis or “building blocks” of matter. Together, in a variety of
combinations and formations, they have the ability to create molecules such as water,
or more complex sucrose. These formulations are almost the same with elements of
art when they are joined together, in a variety of ways. In the same line of reasoning,
the elements of art are the aspects of an artwork that can be isolated from each other.
These elements of art are generally produced when something is done to the
medium after the technique is carried out. It must be underscored, however, that all
works of art require all elements to be present. Some art forms also necessitate some
of the elements as they are inherent in the very nature of them. For example,
sculptures automatically have the following elements with or without the decision of
the artist to include them: shape, form, and space. Without these elements, there is
no sculpture to begin with. Elements are the necessary preconditions for the creation
of art.
To enumerate, the elements of art and design are the following: line, shape and form,
space, color, and texture.

1. Line- A line refers to a point moving at an identifiable path- it has length

and direction. It also has width. It is one- dimensional, however, it has the
capacity to either define the perimeters of the artwork (edges) and/or become
a substantial component of the composition. Although line is “simple,” it has
variations in view of its orientation/direction, shape, and thickness. These
variations import not only the visual elements into the artwork, but suggest
meaning or message being conveyed by the artist.
A quality that is ascribed to lines is its ability to direct the eyes to follow movement or
provide hints as to work’s focal point.
a. Horizontal and vertical Line- refers to the orientation of the line.
This is normally associated with rest or calm. Landscapes often contain
these elements as works like these often connote a visual sense of being
these parallel to the ground. It also alludes to position of the reclined
body at rest. Vertical lines, on the other hand, connote elevation or
height, which is usually taken to mean exaltation or aspiration for
action. Together, these line communicate stability and firmness.
b. Diagonal and crooked lines- diagonal lines convey movement and
instability, although the progression can be seen. Crooked for jagged
lines, on the other hand, are reminiscent of violence, conflict, or
struggle.
c. Curved lines- these are lines that bend or coil. They allude to
softness, grace, flexibility, or even sensuality.

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2-3. Shape and Form- these two are related to each other in the sense that
they define the space occupied by the object of art. Shape refers to two dimensions:
height and width, while form refers to three dimensions: height, width, and depth.
Even if shapes are part of a bigger picture, each can be identified by breaking the
visual components apart and making distinctions based on what we know and what
we have seen. Two categories can be used as a broad distinction:
a. Geometric- these shapes find origin in mathematical positions. As such,
its translation and use are often man-made. These shapes such as
squares, triangles, cubes, circles, spheres, and cones, among others.
b. Organic- organic shapes are those readily occurring in nature, often
irregular and asymmetrical. The design of the vase in figure 55 is
foliage, a sample from a series that made use of morning glories.
4. Space- related to shape and form is space. It is usually inferred from a sense
or depth, whether it is real or simulated. Real space is three-dimensional like
what has been previously mentioned, sculptures are a perfect example of
artworks that bear this element.
In the middle of the AT&T Plaza at the Millennium park in the Loop Community area
in Chicago, the iconic “Cloud Gate” occupies a considerable space. Shaped like a
bean, hence its other referent, the public sculpture was unveiled in 2004. The dent in
the middle offers a gap in which people can pass through and gaze at the sculpture in
a different perspective.
However, not all works are sculptures. In two- dimensional artworks they
maybe implied.
a. Positive and negative space- usually identified with the white space is
the negative space. The positive space, on the other hand, is the space
where shadow is heavily used.
b. Three-dimensional space- can be simulated through a variety of
techniques such as shading. An illusion of three- dimensionality can be
achieved in a two- dimensional work.
5. Color- color is perhaps one of the elements that enhances the appeal of an
artwork. Its affect has range, allowing the viewer to make responses based on
memory, emotion, and distinct, among others. This element is a property of
light, as it is reflected off the object. Color is not intrinsic to an object and
without light, one cannot perceive color.
An upshot of this color theory is the creation of color wheel.

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The color wheel corresponds to the first property of color, hue.

a. HUE- this dimension of color gives its name. it can be subdivided into:
 Primary colors-red, yellow, and blue
 Secondary colors-green, orange, and violet
 Tertiary colors-six in total, thee hues are achieved when primary and
secondary colors are mixed
b. Value- this refers to the brightness or darkness of color. Often, this is used by
artists to create the illusion of depth and solidity, a particular mood,
communicate a feeling, or in establishing a scene (e.g., day and night).
 Light colors-taken as the source of light in the composition
 Dark colors- the lack or even absence of light.
However, we can identify the color even when a rang is presented to us. Expectations
are also established based on the notion that yellow is within the light value;
whereas, violet is in the dark. Each primary color has a range of values based on the
addition the diminishing quantity and quality of light.
 Tint- this is a lighter color that the normal value (e.g., pink for red)
 Shade- this is a darker color than the normal value (e.g., maroon for
red)
c. Intensity- this is the color’s brightness or dullness. It is identified as the
strength of color, whether it is vivid or muted. To achieve a specific intensity
of a color, one may add either gray or its complementary color.
 Bright or warm colors-positive energy
 Dull or cool colors- sedate/soothing, seriousness or calm
To better understand intensity of color, color harmonies are to be considered. In
interior design, we often hear designers refer to color schemes- a guide for selecting
not only wall paint but also furniture and décor. However, color harmonies are also
integral considerations not only for pictorial arts but also for the other art forms.
 Monochromatic harmonies- use the variations of a hue. An example is
Claud Monet’s “House of Parliament.”

 Complementary Harmonies- involve two colors opposite each other in

the color wheel. Since they are at contrary positions, the reaction is
most intense. (Cima da Conegliano (Giovanni Battista Cima)

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 Analogous harmonies-make use of two colors beside each other in the

color wheel. (Edgar Degas “Before The Race”)

All in all, color presents a multitude of possibilities the affects how work of art are
taken in by the viewer. Just taking a look at fiery and passionate reds of the clouds
and the sky in Edvard Munch’s “The Scream,” would bring oneself to ask: (Edvard
Munch, “The Scream”

6. Texture- like space, texture can be either real or implied. This element in
an artwork is experienced through the sense to touch (and sight). This
element renders the art object tactile. (Frans Pourbus the Younger,
Margherita Gonzaga, Princess of Mantua.” Oil on canvas

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Often, texture is commonly associated with textiles.

a. Textures in the two-dimensional plane- texture can be implied using
one technique or a combination of other elements of art. By creating this
visual quality in the artwork, one can imagine how the surface will feel if it was
to be touched.
b. Surface texture- refers to the texture of the three-dimensional art object.

PLANES AND PERSPECTIVE

Some art forms work with actual spaces, such as sculptors, architects, and
stage designers. However, with pictorial art that is two-dimensional, notions of depth
and hence perspective requires the implementation of principles and techniques in
creating an illusion that will fool the eye to three-dimensionality when in reality there
is none. Picture plane is the actual surface of the painting or drawing, where no
illusion of a third dimension exists.
Its use was based on the following observations:
a. As forms and objects recede, the smaller they become.
b. We were taught that parallel lines never meet. However, when they, too, seem
to converge when they recede into a distance, at a point, they both disappear.
This point of disappearance is called the vanishing point.
An example often used to illustrate linear perspective is the railroad where tracks
disappear off at a distance. (New Railway Viaduct, Interior, Negative May 1893)

A point of view may also be construed as normal (view standing up), low (view from a
lower angle), or high (view Looking down on a scene) depending on the position the
viewer takes.

There are three types of perspective, grounded on the number of

vanishing points used by the artist:

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a. One-point perspective- often used in depicting roads, tracks, hallways,

or rows of trees; this type of perspective shows parallel lines that seem to
converge at a specific and lone vanishing point, along the horizon line.
b. Two-point perspective- pertains to a painting or drawing that makes
use of two vanishing points, which can be placed anywhere along the
horizon line.
c. Three-point perspective- in this type of perspective, the viewer is
cooking at a scene from above or below. As the same suggest, it makes use
of the three vanishing points, each corresponding to each axis of the scene.

ELEMENTS OF ART: AUDITORY

If there is an important quality that music has, it is having the capacity to
transcend barriers, even that of differences in language of conventions in sound.
Different demographics, groups, and individuals may have specific preferences as to
the genre of music. However, in order to establish this preference, listeners often
take to its elements for its evaluation. Some of the common elements of music are the
following: rhythm, melody, harmony, timbre, and texture.

1. Rhythm
Often associated to the terms beat, meter, and tempo, rhythm is the
element of music that situates it in time. It is the pulse of the music.
Beat is the basic unit of music while tempo refers to its speed
(beats/second). Beats can be organized into a recognizable recurrent
patter, which is called the meter.
Classical terms are used to refer to the variations in tempo, some of which are:
 Largo-slowly and broadly
 Andante-walking pace
 Moderato-at moderate speed
 Allegro-fast
 Vivace-lively
 Accelerando-gradually speeding up
 Rallentado-gradually slowing down
 Allargando-getting slower, broadening
 Rubato-literally “robbed time,” rhythm is played freely for expressive
effect

2. Dynamics
The elements of music that refers to the loudness or quietness of music
is dynamics. Classical terms are used to refer to the different levels
pertaining to this:
 Pianissimo [pp]- very quiet
 Piano [p]-quiet
 Mezzo-piano [mp] moderately quiet
 Mezzo-forte [mf]-moderately loud

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 Forte [f]-loud
 Fortissimo [ff]-very loud
When composers indicate an increase, or decrease in loudness, they use the terms
crescendo for the former; and decrescendo or diminuendo for the latter.

3. Melody
Melody refers to the linear presentation (horizontal) of pitch. By
horizontal, it means that in musical notation, it is read in succession
from left to right. Pitch is the highness or lowness of musical sound.
4. Harmony
If melody is horizontal, harmony is vertical. It arises when pitches are
combined to form chords. When several notes are simultaneously
played, refers to a chord.

Harmony can be described in terms of its “harshness”: dissonance is

the harsh-sounding combination while consonance is the smooth-
sounding combination.
5. Timbre
Timbre is often likened to the color of music. It is quality that
distinguishes a voice or an instrument from another. Dependent on the
technique, the timbre may give a certain tone or characteristics to
music, much like ow a painter evokes different effects of impressions
onto to canvas.
6. Texture
The number of melodies, the type of layers, and their relatedness in a
composition is the texture of music. It may be:

 Monophonic- single melodic line

 Polyphonic- two or more melodic lines
 Homophonic- main melody accompanied by chords

PRINCIPLES OF ART
These principles will provide explicit ways in which these elements are used,
how they interact, and how they inform he overall composition of the artwork to
assist the artist in conveying his intention. It is the principles of art that influence the
effect achieved by the elements, and the linkages of other principles. These principles
are: balance, scale and proportion, emphasis and contrast, unity and variety,
harmony, movement, rhythm, and repetition and pattern.

1. Balance
This principle refers to the distribution of the visual elements in view of
their placement in relation to each other. (Isamu Noguchi. “Cube.”)

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These are three forms of balance:

a. Symmetrical- the elements used on one side are reflected to the

other.
This offers the most stable visual sense to any artwork.
(UP Diliman Oblation statue)

b. Asymmetrical- the elements are not the same (or the same
weight) on each side, putting the heaviness on one side.
c. Radial- there is a central point in the composition, around which
elements and objects are distributed.

2. Scale and proportion

Scale pertains to the size in relation to what is normal for the figure or
object in question. (Claes Oldenberg and Coosje Van Bruggen,
“Plaintor”)

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Proportion, on the other hand, is the size of the components, or of objects in relation
to one another when taken as a composition or a unit. This can also refer to values
such as amounts or number of elements or objects in the composition. (Leornardo da
Vinci, “Vitruvian Man” 1490)

Proportion:
a. Natural- relates to the realistic size of the visual elements in the artwork,
especially for figurative artworks. When it is the accuracy in relation to the
real world that the artist is after, this is now referred to as the principle of
scale.
b. Exaggerated- refers to the unusual size relations of visual elements,
deliberately exaggerating the immensity or minuteness of an object.
c. Idealized- most common to those that follow canons of perfection, the size-
relations of elements or objects. Which achieve the most ideal size-relation.

3-4. Emphasis and Contrast

Emphasis allows the attention of the viewer to a focal point (s),
accentuating or drawing attention to these elements or objects.
Contrast is the disparity between the elements that figure into the
composition. One object may be stronger compared to other objects (hence,
emphasis). This can be done in many ways using the elements of art. For instance,
space, specifically the use of negative and positive space, is an example of contrast.

5-6. Unity and Variety

Unless intended to be otherwise, compositions are intended to imbue a
sense of accord or completeness from the artwork. This is unity. (Vasudhara
Mandala”)

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Variety, on the other hand, is the principle that aims to retain the
interest by allowing patches or areas that both excite and allow the eye to test.

7. Harmony
Like what is hinted above, unity and variety is related to the principles
of harmony, in which the which the elements or object achieve a sense
of flow and interconnectedness.

8. Movement
This refers to the direction of the viewing eye as it goes through the
artwork, often guided by areas or elements that are emphasized. These
focal points can be lines, edges, shape, and color within the work of art,
among others.

9. Rhythm
This is created when an element is repeated, creating implied
movement. Variety of repetition helps invigorate rhythm as depicted in
the artwork.

10-11. Repetition and Pattern

Lines, shapes, colors, and elements may appear in an artwork in a
recurring manner. This is called repetition. In addition, the image
created out of repetition is called pattern. With repetition, there is a
sense of predictability that is conveyed, which in turn imbues the
feelings of security and calmness.

COMBINED OR HYBRID ART

In contemporary art, these developments were mirrored in the multifaceted
nature of artworks that were created. It is not surprising that themes, subjects and
the problematique addressed shaped and produced new kids of articulation in which
two or more art forms and styles are combined. Some examples of combined arts
include dance, theater, installation art, film, video art, documentary, photography,
puppetry, design, and other form of production.
In combined arts, improvisation is often tapped in addition to practical and
logical considerations in creating an artwork.
Another movement that is reminiscent of the motivations of the renaissance,
and whose emergence is hinged on the frontiers of science and technology, is called
hybrid arts.

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Let’s do it
Direction: Draw an example of hybrid art and dissect what art forms are combined
therein. Add extra sheet for this activity. 100 Pts.

Rubrics for Drawing

Students expectation Possible Self- Instructor
points evaluation
Drawing looks similar to 30
what was observed and/o
taught
Drawing includes many 30
details(measurements,
shapes, colors, sizes, etc.)
Drawing is accurately 20
labelled
drawing is legible and large 20
enough to see all details
100
Total points:

Assessment
Test-I Identification
Direction: Identify the following statements. Write your correct answer in the space
provided before the number

__________1. Refers to a point moving at an identifiable path- it has length and

direction.
__________2. These shapes find origin in mathematical proposition.
__________3. These are lines that bend or coil.
__________4. It is organic shapes are those readily occurring in nature, often
irregular and asymmetrical.
__________5. Refers to the texture of the three-dimensional art object.
__________6. This type of perspective shows parallel lines that seem to converge
at a specific and lone vanishing point, along the horizon line.
__________7. It is the actual surface of the painting or drawing, where no illusion
of a third dimension exists.

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__________8. It is a central point in the composition, around which elements and

objects are distributed.
__________9. It arises when pitches are combined to form chords. When several
notes are simultaneously played, refers to a chord.
__________10. This is created when an element is repeated, creating implied
movement. Variety of repetition helps invigorate rhythm as depicted in the artwork.
__________11. These elements are not the same (or the same weight) on each
side, putting the heaviness on one side.
__________12. It is usually inferred from a sense or depth, whether it is real or
simulated.
__________13. This element renders the art object tactile.
__________14. In this type of perspective, the viewer is cooking at a scene from
above or below. As the same suggest, it makes use of the three vanishing points, each
corresponding to each axis of the scene.
__________15. One of the elements that enhances the appeal of an artwork.
__________16. Refers to the unusual size relations of visual elements, deliberately
exaggerating the immensity or minuteness of an object.
__________17. These line communicate stability and firmness.
__________18. Lines, shapes, colors, and elements may appear in an artwork in a
recurring manner.
__________19. This refers to the direction of the viewing eye as it goes through
the artwork, often guided by areas or elements that are emphasized.
__________20. This principle refers to the distribution of the visual elements in
view of their placement in relation to each other.

Test-II enumeration
Direction: Enumerate the different elements of visual and Auditory art.
Elements of visual arts Elements of Auditory arts
1. 7.
2. 8.
3. 9.
4. 10.
5. 11.
6. 12.

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Test III- essay

Direction: Answer the following questions. 5pts each
1. What are the elements of art?
_____________________________________________________
_____________________________________________________
_____________________________________________________
_______________________________________________.

2. In two-dimensional artworks such as paintings, cite the elements and

principles of art that when utilized in the composition of the artwork, will help
simulate or suggest the three-dimensional space.
_____________________________________________________
_____________________________________________________
_____________________________________________________
_____________________________________________________
_____________________________________________________
________________________________________________.
3. What is the relevance of combined arts and hybrid art in the twenty-first
century?
_____________________________________________________
_____________________________________________________
_____________________________________________________
_____________________________________________________
_____________________________________________________
______________________________________________.

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References:
Becker, H.S (1982). Art Worlds. London, England: University of California Press.
Electronic. Accessed November 1, 2017. Retrieved from
https://monoskop.org/images/1/17/Becker-_Howard_S_Art_Worlds.pdf.
Cline, A (2012). “The evolving Role of the Exhibition and its impact on Art Culture.”
Senior Theses, Trinity College, Hartford, CT Trinity College Digital
Repository. Accessed November 1, 2017. Retrieved from
http://digitalrepository. Trincoll.edu/theses/267.
Drucker, P. (1993). Post-Capitalist Society. New York: HarperBusiness.
GMA News Online. (n.d.) “Frescoes from the Rubble of Bohol’s Quake-Hit
Churches.” Accessed December 8, 2017. Retrieved from http://www.gmanetwork.
com/news/story/331262/lifestyle/frescoes-from-the-rubble-of-bohol-s-quake-hit-
churches/.
Henri, R. (1023). The Art Spirit. New York: Basic Books.
“Institutional Theory of Art the Artworld.” (n.d.) Accessed November 1, 2017.
Retrieved from https://faculty.georgetown.edu/irvinem/visualarts/Institutional-
theory-artworld.html.
Marincola, P. (2006). What Makes a Great Exhibition? London: Reaktion Books.
“National Artist of the Philippines.” (n.d). “National Living Treasures Guidelines.”
Accessed November 1, 2017. Retrieved from http://ncca.gov.ph/about-culture-and-
arts/culture-profile/gamaba/national-living-treasures-guidelines/.
National Commission for Culture and the Arts. (n.d). “The Spanish Colonial
Tradition in Philippine Visual Arts.” Accessed October 26,2017. Retrieved from
http://ncca.gov.ph/subcommission-on-the-arts-sca/visual-arts/the-spanidh-
colonial-tradition-in-philippine-visual-arts/.
Philippine Primer. (n.d.). “Who’s Who: National Artist of the Phillipines.” Accessed
November 1, 2017. Retrieved from http://primer.com.ph/tips-
guides/206/07/27/whos-who-national-artist-of-the-philippines/.
Prak, Maarten. (n.d). An Artisan “Revolution” in Late Medieval and Early Modern
Europe? Accessed October 23, 2017. Retrieved from
http://dutchworld.columbia.edu/files/2013/08/ArtisanRevolution_2013-1-1.pdf.
BBC-GCSE Bitesize. (n.d.). “Speed or Tempo.” Accessed November 2, 2017.
Retrieved from
http://www.bbc.co.uk/schools/gcsebitesize/music/elements_of_music/rhythm_me
tre1.shtml.
Getlein, M. (2005). Gilbert’s Living with Art. 7th Ed. New York: McGraw-Hill.

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Piirma, P. (Ed.). (2014). Rhizope: Art & Science-Hybrid Art and Interdisciplinary
Research. Tallinn, Estonia: Estonia Academy of Arts. Accessed November 13, 2017.
Retrieved from http://www.kelomees.net/texts/RHIZOPE_catalogue.pdf.
Tamplin, R. (Ed.). (1991). The Arts: A history of Expression in the 20th Century.
England: Harrap Ltd.
Tate. (n.d.) “Art Term: Perspective.” Accessed November 14, 2017. Retrieved from
http://www.tate.org.uk/art-terms/p/perspective.
The Artist: Art and Culture Magazine. (2016). “10 Principles of Art.” Accessed
November 13,2017. Retrieved from https://theartist.me/infographics/10-principles-
of-art/.
The J. Paul Getty Museum. (n.d.). “Understanding Formal Analysis.” Accessed
November 2, 2017. Retrieved from
http://wwwgetty.edu/education/teachers/building_lessons/formal_analysis.html.

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Disclaimer:

This module is prepared for instructional purposes only based in our course syllabus.
The teacher who prepared this does not claim ownership of this module but patterned
the ideas from different authors.

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Vision 2020
WPU: the leading knowledge center for sustainable
development of West Philippines and beyond.

Mission 2020
WPU commits to develop quality human resource and
green technologies for a dynamic economy and
sustainable development through relevant instruction,
research and extension services.

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