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BarCIE Alternative Learning System Night College LECTURES ON Hum 1 (ART APPRECIATION)

HUMANITIES
Preliminaries on Humanities Humanities is a broad field which includes not only fine arts such as painting, sculpture, and architecture but also performing arts such as music, dance, drama, and opera, and the literary arts such as prose and poetry. Humanities encompasses all studies which aim to make students human since it was derived from the Latin word humanus, meaning human, cultured, or refined. Hence, it embraces the social sciences and the philosophy. Humanities helps the students to learn to appreciate the arts, to produce artworks, to dignify artists, and to value the true, the good, and the beautiful. It focuses on the appreciation of the arts and it affords the students opportunities to produce creative works and to acquire artistic skills which they can apply later in their academic activities and professional lives. I. On Art A. Defintion rt is human ingenuity in adapting natural things to man!s use. Hence, an artist uses his genius to transform "od#made things into man#made things that satisfy his needs. $or intance, he converts wood into a religious image, into a house, into a piece of furniture% he transforms plants into cloth and his clothing, or turns them into paper which later become an item of paiting and sculpture. It comes from the word ars which means skill. &an be synonymous to cunning, artifice, and craft. &unning suggests ingenuity and subtlety in devising, inventing, or e'ecuting% artifice suggests mechanical skills especially in imitating things in nature% craft may imply e'pertness in worksmanship or suggest trickery and guile in attainingn one!s end. B. Artists

rtists are all involved in the art) coiffeurs *hairstylists+, couturiers *clothes designers+, chefs, wine connoisseurs *wine tasters+, perfume e'perts, ,ewelers, body painters *tattooists+, milliners *hat makers+, potters, musicians, terpsichoreans *dancers+, thespians *actors+, litterateurs *men#of#letters+, painters, scuptors, and architects. rtists have diverse purposes with their creations) to earn money, to e'press their emotions and thoughts *real or imaginary+, to produce things of beauty such as architectural beauties *"reat -yramid of .gypt and .iffel /ower of $rance+ and masterpieces *Iliad and 0dyssey of Homer+, to self#actuali1e *to satisfy his passion for poetry or his cravings for images+. 0ther artists do it to immortali1e themselves or others *self#portraits and monuments+, to inform *historical dramatists and biographical essayists, to persuade *propaganda writers, copywriters, and editorial cartoonists+, to entertain *sight of beautiful paintings, sculptures, and buildings% hearing songs or instrumental music% seeing stage performances and movies+ II. FUNCTIONS OF ART A. Personal or Individual Function. e.g. /he love of 2obert 3rowning for .li1abeth 3arrett in the form of a poem entitled 4y Last 5uchess and .li1abeth!s How 5o I Love /hee. /he composer of the song 6incent was inspired by 6incent 6an "ogh!s painting, /he 7tarry 8ight. "ary 6alenciano renders concerts for free because he loves singing% "eleen .ugenio provides free dance instructions because she en,oys dancing.

B. Social Function. e.g. &horal singing and group dancing in religeous rites and other practices% Houses and churches are build for the smalles social groups 9 families and for communal worship. C. drama is performed by a group of performers called the cast before a group of viewers known as audience. 0ral and written litertures are handed down from one generation to the ne't and en,oyed by people of various races and ages. 4useums house paintings and scuptures which are viewed by many onlookers. Economic Function.

e.g. :.;. 2owling, the author of Harry -otter series, has become one of the most highly# paid women in the 3ritish history
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.lvis -resley and 4ichael :ackson raked millions for their best#selling records 4ichael ngelo!s and Leonardo!s paintings now worth millions of dollars. 4ovie outfits in the -hilippines spend millions of pesos for the sets and costumes.

D. Political Function. e.g. Imelda 2omualde1#4arcos promoted her political programs by means of the arts *painting murals along the national roads and busy streets, buiding of the &&-, -I&&, $ /, $&-. E. Historical Function. e.g. -aintings of $rench ;ings, 7culptures of -hilippine Heroes, tomb of rulers *-yramid of .gypt and /a, 4a,al of India+, religious plays *cenaculo+, the 0ur Lady .57 shrine, etc. F. Cultural Function. e.g. 4aterial culture *buildings, furniture *chairs, tables, etc.+, clothes, etc. 8on#material culture *music, dance, language and drama+ G. Religious Function. e.g. =orshiping rituals *songs and dances+ $irst great architectural works were build for religious purposes *"reat -yramids of .gypt to entomb the -haraos, the mausoleum of 2ome served as the cemetery, churches and mosques for religious worships. H. Ph sical Function. e.g. Houses and other buildings are for the protection of the occupants and all others inside them. -aintings serve to protect the walls and ceiliengs of some buildings. I. 5ance is one of the best forms of e'ercise. 4usic is a form therapy. /ragedy as a dramatic form has a cathartic effect. 0thers bring about e'hilirating and ecstatic e'periences after having completed a work of art.

Aesthetic Function.

e.g. -ainitings serve to decorate houses and other buildings.


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7culptures serve to decorate churches and other similar edifices. /all buildings are sights to behold. 7et designs, costumes and props make dance and song performances not only realistic but also appealing.

III. PRINCIPLES OF ART A. Harmon . It is also called unity and it is achieved when all the elements are put together to come up with a coherent whole, e'hibiting a sense of belongingness and a pleasing relationship with one another. If one part does not complement the others, then lack of harmony results. B. Balance. It is also known as physical equilibrium, it is stability produced by even distribution of weigt on each side of the thing. It is classiffed into formal and informal) $ormal 3alance is also called symmetrical because the thing displays symmetry *same measure+) bilateral *mirroring+ and radial *round ob,ects or those with radii) stars and starfishes+ Informal 3alance occurs when the left and the right side of a thing though not identical still displays an even distribution of weights C. Rh thm 2epetitive pattern of a succession of similar or identical items *alternation of black and white stripes, checkered blue and orange squares+ D. Pro!ortion It is the comparative relationships of the different parts in relation to a whole. e.g. well#proportioned human body is eight head parts) the head is one#eight of the entire body *Polyclitus+ 5a 6inci!s measurement of the human body */he 6itruvian 4an+ 9 in a family portrait, the father is the biggest and the tallest, the child is the smallest and the shortest+ E. Em!hasis It is giving proper importance to one or more parts of the thing or the whole thing itself. /his is achieved by means of si1e or proportion, shape, color, line, position, and variety.
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IV. FORMS OF ART A. "isual Arts those forms percieved by the eyes% includes painting, sculpture,and architecture% also called spatial arts for they occupy space% further divided to graphic arts and plastic arts.

Graphic Arts are those that have length and width% also called two#dimensional arts% described as flat arts because they are seen on flat surfaces *paintings, printing, drawing, sketching, commercial art, mechanical processes, computer graphics and photography+ Plastic Arts are those that have length width, and volume% also called tri# dimensional arts% e.g. sculpture, architecture, landscape architecture, city planning, interior design, costume design, set design, theater design, industrial design, crafts *handicrafts+. B. Audio#"isual Arts are those forms perceived by both ears *audio+ and eyes *video+% also called performing arts since as the artists render a performance in front of an audience% e.g. 4usic *vocal, instrumental, and mi'ed+, dance *ethnological, social, theatrical+, and drama *tragedy, comedy, tragicomedy, farce, and melodrama, etc.+ C. $iterar Arts are those presented in the written mode and intended to be read% include prose *short stories, novels, essays, and plays+ and poetry *narrative, lyric, and dramatic%

Prose forms differ from verse or poetic forms in that the former are in paragraph *composed of sentences+ form, while the latter in stan1a *composed of lines+ form. V. DIVISIONS OF ART STUDY A. Art A!!reciation

/he students learn to admire the artists, value highly different works of art, and appreciate the role of art in society% B. Art Histor /he students learn acquire knowledge of the artists, their backgrounds, their masterpieces, and their significant contributions in various fields of art. C. Art Production /he students learn to use his creativity and apply his artistic knowledge and skills in producing his won works of art% D. Art Criticism /he students learn to use his ,udgment in evaluating different artworks based on the criteria set. VI. HISTORY OF ART . "reek -eriod "reek "olden ge *@AA 3& 9 ?(A 3&+ Hellenistic -eriod *>>B 9 5 (?B+ 3. 2oman -eriod *(?B 9 ><>+ &. 4edieval -eriod or 4iddle ges *><> 9 (?AA+ .arly 4edieval -eriod High 4iddle ges 5. 2enaissance -eriod *(<CA 9 (@D?+ .arly 2enaissance -eriod High 2enaissance -eriod .. ge of 4anerism *(@>A 9 (B(B+ $. 3aroque -eriod *(BAA 9 (C@A+ ". &lassic -eriod *(B?? 9 (CD>+ H. 2ococo -eriod *(C(@ 9 (CD?+ I. 2omantic -eriod *(CC> 9 (E?E+ :. 2ealist and 8aturalist -eriod *(E<C 9 (D<C+ ;. Impressionistic -eriod *(EB> # (DAA+ L. 4odern -eriod *(ED@ 9 (DDA+ 4. -ost 4odernism *(DDA 9 the present+ ######################

Vi u!" Art
A. Definition Vi u!" Art
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those forms percieved by the eyes% include painting, sculpture,and architecture% also called spatial arts for they occupy space% further divided to graphic arts and plastic arts.

B. Elements /o critique and produce an awe#inspiring artwork, an artist must know first the different principles of art and the elements of the specific art heFshe is engaged in. /hey are as follows) (. Line <. &olor >. /e'ture ?. 7hape @. 7pace B. 6olume C. -erpective E. $orm ##################### %. $ine a series of connected dots% used by all painters, sculptors, and architects as springboard of their finished products% /he starting point of all works classified under the graphic arts and plastic arts% e.g. F a cloth before it becomes a dress or another garment must first be ruled and then cut and later sewn. F a piece of wood must first be limned and then chiseled and later shaped into a finished sculpture. *-aintings and building designs start with pencil sketches+ classified according to position, direction, and shape% carry meanings by themselves. . "ertical $ines 9 show height or stature, poise, balance, force and dynamism) tall tree, a standing man, a bird poised for flight, and flagpole. 3. Hori&ontal $ines 9 indicate rest, repose, calmness, quietness, and inaction) a dead or reclining man, a serene sea, a resting animal and a cemetery. &. Straight $ines 9 e'hibit stiffness, stillness, and inactivity) inanimate ob,ects like buildings and bridges. 5. Curved $ines 9 indicate smooth movements) a wide smile, a graceful belly dancer, flowing hair. .. Re!eating $ines 9 are a succession of vertical *IIII+, hori1ontal *GGGG+, diagonal *FFFF+ or curved *&&&&+ lines% they are used to show rhythm.
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$. Contrasting $ines 9 a combination of vertical and hori1ontal lines *LLLL+ or a combination of diagonal lines *HHHH+ or IIII or JJJJ+ in opposite directions. ". 'odified $ines 9 a combination of straight and curved lines *KLMN+ or a combination of lines of varying shapes *LJAIM+ (. Color makes an ob,ect appealing to the visual sense% each has a name and such name is called hue) yello *O+, green *"+, blue *3+, violet *6+, red *2+, and orange *0+ are the more common hues% an ob,ect with only one hue is described as monochromatic and with two or more hues, polychromatic. . Primar Colors) blue, red and yellow *32O+% they are described as primary because they are the first to be produced and the rest of the colors are produced as a result of their combination 3. Secondar Colors) green, orange, and violet *"06+% they are produced by combining the primary colors. e.g. green is a product of combing blue and yellow *"G3PO+% orange is a product of combining red and yellow *0G2PO+% violet is a product of combining red and blue *6G2P3+. &. Intermediate Colors) red#violet *26+, red#orange *20+, yellow#orange *O0+, yellow#green *O"+, blue#green *3"+, and blue#violet *36+% they are produced by combining one primary color and one secondary color. 5. Ad)acent Colors) those colors situated ne't to each other in the color wheel) red and red#orange, yellow and yellow#green, and blue and blue#violet. .. Com!lementar Colors) those situated opposite each other in the color wheel) red and green, blue and orange, and yellow and violet. $. Cool Colors) those that are inconspicuous and not striking to the eyes% also called receding colors, suggesting distance, tranquility, sobriety, and resfulness) violet, green, and blue, the coolest and calmnest of all colors. ". *arm Colors) those that are conspicuous and striking to the eyes% also called advancing colors, suggesting warmth, cheerfulness, e'ultation, stimulation, instinctive action, and e'citement% associated always with sources of heat such as the sun, fire, and light) orange, yellow *most brilliant, the most cheerful, and the most e'ultant+, and red *the warmest, the most e'citing, and the most vigorous.

H. $ight Colors+,ints) those colors with values lower than the normal value) pink or fuschia is a tint of red and a1ure *sky blue+ is a tint of blue. I. Dar- Colors+,ints) those colors with values higher than the normal value) maroon is a shade of red and navy blue is a shade of blue. :. Rain.o/ or Primatic Colors) those colors that form a raibow or a prism) red, orange, yellow, green, blue, indigo, and violet *20O"3I6 or 6I3"O02+. ;. Neutr!" C#"#r ) white, gray, and black.=hite is the absence of all colors, while black is the presence of all colors. "ray is produced by combining black and white% it results from the partial reflection of the color rays. Ps chological and other connotations of color0 white G purity, chastity, holiness, mourning, surrender, meekness, and goodness% black G death, mourning, darkness, and evil% blue G the sky, the heaven, the sea, serenity, sadness, peace, and masculinity green G life, nature, good health, and well#being% yellow G ,ealousy, divinity, deceit, treason, degradation, and lately 8inoy quino% brown G earth, spiritual death, renunciation of the world% orange G food% gray G old age, gloom, and decay% pink G love, femininity%

1. ,e2ture associated with the sense of touch% maybe smooth or rough, fine or coarse% glossy or dull, regular or irregular% the tactile effect that an artist wants to produce out of his artwork *dependent on the medium or material used+) ivory have a smooth, glossy finish% wood and stone have a rough, dull finish if they are not painted.

3. Sha!e contributes to the final form of the artwork% circles and polygons *triangles, rectangles, squares, pentagons, he'agons, heptagons, etc.+ are put together to make up the whole ob,ect) e.g. &hristmas lantern is composed of a circle, pentagon, triangles, and ellipses. 4. "olume the amount of space occupied by an ob,ect in three dimensions%
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pertains to solidity or thickness% perceived in two ways) by contour lines or outlines or shapes of ob,ects and by surface light and shadows%

5. Pers!ective synonymous with point of view, angle of vision, or frame of reference% the point where the artist stands to view his sub,ect as he creates his artwork) front view, side view *left or right+, or top view of the ob,ect he uses as sub,ect for his painting or sculpture% manifested in two perspectives) the nearer the ob,ects appear bigger and taller than farther ob,ects and that parallel lines seem to meet at the end.

C. Met$#% #& Pre enting t$e Su'(e)t .very artist has his individual style of doing his artwork. /his style is almost always governed by his choice of the method of presenting his sub,ect. He can choose from any of the following methods) 2ealism, bstractionism, 7urrealism, 7ymbolism, $auvism, 5adaism, Impressionism, .'pressionism, and $uturism. (. Realism 9 the method of presenting sub,ects as they appear in real life. e.g. apple is the sub,ect, shown as is with either red or green color% plant is the sub,ect, presented with a brown trunk and branches, green leaves, yellow fruits, and an appropriate si1e% 2enaissance great realists) 4ichelangelo 3ounarroti, Leonardo da 6inci, and 2aphael 7an1io) they showed their sub,ects as they saw the latter. $ernando morsolo is the $ather of -hilippine 2ealism% he painted -hilippine rural scenes realistically. <. A.stractionism 9 drawing away from realism% from the verb to abstract which means to draw away; e.g. in painting a human body, a person is shown with no facial features, no fingers, no toes, and no hair /ypes of bstractionism) 5istortion 4angling .longation &ubism Distortion 9 presents a sub,ect in a misshaped form) e.g. square apple or an ovoid *egg#shaped+ or cylindrical star apple Mangling 9 presents the sub,ect with parts which are cut, lacerated, mutilated, or hacked with repeated blows.
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Elongation 9 presents a sub,ect in an elongated form% done by stretching the ob,ect, for e'ample, the human body, vertically *.l "reco!s /he 2esurrection of &hrist Cubism 9 presents a sub,ect with the use of cubes and other geometric figures *triangles, squares, rectangles, pentagons, he'agons, heptagons, etc.+ e.g. /am ustria!s $isherman!s $amily, 6icente 4anansala!s 3alut 6endors, -rayer before 4eals, and $ruit 6endor with /win 7ons

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A.stract E2!ressionism 9 with the use of strong color, uneven brush strokes, and rough te'ture and with the deliberate lack of refinement in the application of paint. :ose :oya is the foreemost e'ponent of abstract e'pressionism. In the Q.7., :ackson -ollock was one of the leading abstract e'pressionist painters.

?. Surere!"i m 9 beyond realism% presents a sub,ect as if the sub,ect does not form part of the real world, but belongs to the world of dreams and fantasy% influenced by 7igmund $reud, the $ather of -sychoanalysis. @. S*m'#"i m 9 presents a sub,ect symbolically, that is, the artist shows his sub,ect as it appears in real life, but he intends to let it represent something. e.g. :uan Luna!s 7polarium depicts a soldier dragging a slave, e'posing the oppression suffered by the $ilipinos from the hands of the 7paniards. "uillermo /olentino!s 0blation as a symbol of academic freedom. B. Fauvism 9 optimistic realism% presents the real#life sub,ect with the use of bright colors suggesting comfort, ,oy, and pleasure. /he colors bright red, yellow, orange, purple, and the like are used instead of blue, black, gray, green, and brown% was short#lived a movement in the (DAAs e.g. /he tree trunk is colored orange instead of brown% Henry 4atisse!s *the leader of fauves+ the 2ed 2oom. C. Dadaism 9 shocking realism% presents the real#life sub,ect with the intention to shock the audience through the e'position of the evils in society% started as a protest art movement of painters and writers who wanted to revolutioni1e the outworn art traditions% 4arcel 5uchamp was the best known 5adaist. e.g. /he tree trunk is colored orange instead of brown% Henry 4atisse!s *the leader of fauves+ the 2ed 2oom E. E2!ressionism 9 emotional realism% presents the real#life sub,ect with the intention to e'press emotions, pathos, chaos, fear, violence, defeat, morbidity, and tragedy% a style of modern painting which puts stress on intense color,
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agitated brushwork, and violent imagery to e'press painful emotions, an'iety, and hallucination. e.g. -aul 5umol!s ng -aglilitis ni 4ang 7erapio D. Im!ressionism 9 based on the artist!s impression% represents the real#life sub,ect with emphasis on the impression left in the artist!s mind or perception, particularly the effect of light on the ob,ect used as sub,ect. a late (Dth century style of painting) &laude 4onet, .duard 4anet, .dgar 5egas, uguste 2enoir, &amille -issaro, and 6incent van "ogh, .dward Hopper. e.g. n apple on a table is presented not as entirely red but with white areas showing the spots where the light rays fall upon. (A. Furturism 9 realism in the future% presents a sub,ect that relates not to the present, but to the future. e.g. painting of a futuristic machine or a futuristic human being such as an android% 7tar =ars, 7tar /rek, ../., and 3ack to the $uture ####################

P!inting
the art of applying pigments *coloring substances+ to a surface using a vehicle or mi'ing medium+ in order to present a picture of the sub,ect different not only in their inherent qualities but also in the effects they produce) oil and fesco used to be the favorite mediums of great painters on second half of the last millenium. -ainters of today have turned to acrylic and poster colors already available in book stores and department stores% others are watercolor, tempera, paster, acrylic, and encaustic.

I. MEDIUMS A. Oi" *ground pigments) from minerals, coal, tar, vegetable matter, etc. mi'ed with linseed oil and turpentine or thinner+ long#lasting% slow in drying, easy to handle and manipulate te'turally, capable of being corrected. e.g. $ernando morsolo!s $armer and ngelus +. Fre )# *earth pigments mi'ed with water and and applied to fresh plaster or glue which attaches the color to the surface like a wall+

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durable, quick to dry, difficult to correct, not movable, sub,ect to loss e.g. /he /he &reation of 4an, /he $all of 4an and other biblical events on the ceiling of the 7istine &hapel in 2ome. C. ,!ter C#"#r *ground pigments mi'ed with water applied to fine white paper, cambric, parchment, ivory, and silk+

e.g. 6icente 4anansala!s 3alut 6endors D. Tem-er! K*ground pigments mi'ed with a colloquial vehicle *egg yolk, gum, glue, or casein+N readily dries, luminosity of tone when applied to a wooden panel, quick#drying, with a little blending or fusing of colors e.g. 6icente 4anansala!s 3alut 6endors E. P! te" *with the use of pastel colors closely resembling dry pigments bound to form crayons, which are directly applied to the surface, oftentimes paper+ very recent and very fle'ible medium, difficult to preserve F. A)r*"i) *with the use of synthetic paints called acrylics mi'ed with a vehicle capable of being thinned with water+ one of the most widely used due to its availability in the market% possesses the fle'ibility of oil and the transparency and fast#drying ability of watercolor% solute in water% can be applied in almost all surfaces, no tendency to crack to darken or yellow with age.

.. En)!u ti) *with the use of hot wa' as a vehicle to bind pigments to a wooden panel or a wall+ durable with its colors remaining vibrant and its surface maintaining a hard luster% not a popular medium because difficult to manipulate% e.g. ancient .gyptians, "reeks, and 2omans sculptures and walls II. SU+/ECTS /he prehistoric men painted animals and other things of nature on walls of caves% /he early .gyptians painted fragments of life stories of the pharaohs% /he ancient "reeks and 2omans were so fond of their male and female deities% /he 2enaissance painters did portraits of 4ary and :esus and depicted biblical stories% 0thers had fun of doing landscapes, seascapes, cityscapes and the like
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A. P#rtr!iture *pictures of men and women singly or collectivly+ became popular before the invention of the camera% was en,oyed only by elite) kings and noblemen% nowadays, charcoal is one of the mediums used in doing portraits. e.g. 7elf#portrait by 6incent van "ogh +. Anim!" !n% P"!nt *pictures of animals and plants+ became the trend due to man!s first encounters with plants and animals for survival% even now painter prefer animals and plants, specifically flowering plants as sub,ects for their paintings. C. Sti"" Li&e *pictures of inanimate ob,ects or non#living things placed on a table or another setting+ its available and capable to be organi1ed. e.g. a basket of fruits, a bag of groceries, a pack of cigarettes, a bunch of flowers, and a bucket of chicken D. C#untr* Li&e *pictures of scences happening daily in their community+ e.g. a barrio fiesta, a fluvial parade, a bountiful rice harvest, a big catch of fishes, and a natural calamity% morsolo!s works of many realists and impressionists E. L!n% )!-e *pictures of land forms+ e.g. the volcano, the mountain, the hill, the valley, the plain, the plateau, the cliff, and the R like. F. Se! )!-e *pictures of any of the water forms + e.g. the ocean, the sea, the river, the lake, the brook, the pond, the falls, and the like .. Cit* )!-e *pictures of an arial view of a city or a portion of it+ H. E0ent e.g. 7polarium, and the 3lood &ompact, of :uan Luna and the &hristian 6irgins .'posed to the -opulace of $eli' 2esurreccion Hidalgo% 4oses &ommanding the 2ed 7ea to 5ivide. I. Re"igi#u Item
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e.g. /he Holy $amily, 4adonna and &hild, :esus &hrist, angels, saints, and religious ob,ects% 2aphael 7an1io!s 4adonna paintings, 4adonna of the 2ocks is one of the paintings of Leonardo da 6inci /. M*t$#"#gi)!"1 &i)ti#n!"1 !n% )!rt##n )$!r!)ter e.g. 2aphael 7an1io!s "alatea, a mythological character% supernatural beings and fantasies, technological items, and ob,ects III. TOOLS :ust like any worker, a painter makes use of seversal tools in completing his work% /hese include brush or brushes, the palette, the palette knife or spatula, the easel% ssorted brushes to have variety of strokes% -alette is one that contains the painting medium% -alette knife is used to mi' the colors on the palette% used also to add colors to and to scrape or remove colors from the painting surface% .asel is the frame that supports the painting% usually three legs.

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SCULPTURE
A. De&initi#n the art of carving or otherwise forming a three#dimensional work of art% originated from the Latin word sculpture meaning carve % 0ther ways of sculpting) casting, molding, assembling, and constructing materials into figures of forms)

Casting is the process of producing bron1e sculpture. 'odeling is the process involved when clay or claylike substances are used as mediums. Assem.ling and constructing originated from collage, a painting process in which paper and other materials are pasted to a picture surface. +. 2INDS Round Scu!ture 6 also called a free#standing sculpture, a round sculputure or sculputure in the round stands on its own and is capable of being viewed at all sides *front, rear, left, and right sides+. Relief Scu!ture 6 is contrary to round sculpture and does not stand on its own because it is attached) either high relief or low relief.

High relief is almost the same as free#standing sculpture but differs from the latter because it is attached so that the back part cannot be seen by an onlooker.

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ow relief is almost the same as painting because it is somewhat flat and attached to a surface but differs from the latter because it has volume and medium used varies from the mediums used in painting.

7culptures are either static or mobile. 7tatic 9 incapable of moving, permanently attached to surfaces% almost all free#standing sculptures are static% mobile. some round sculptures are mobile C. MEDIUMS =ood, stone, paper, cloth, glass, cement, and plastic are some of the mediums for sculpture% sometimes combination of these materials is employed by an artist to create a masterpiece% the mediums are grouped into two) additive and substractive Additive scul!ture 9 the sculptor simply puts together the materials to come up with the desired figure% e.g. -aper mache animal *by adding and adding paper until he has reached the satisfactory level+ Su.tractive scul!ture 9 the sculptor removes the unnecessary part of the medium he uses to form the desired figure.

D. SU+/ECTS /he sub,ect of sculpture ranges from living to non#living organisms *people, animals, and plants+ to non#living things, places, events, etc.

Assignment -rovide at least) three e'amples each for round, relief *high and low+, static and mobile sculptures) (@ e'amples with visuals% /hree e'amples each for additive and subtractive sculptures) B e'amples with visuals% /wo e'amples each for people, animals, plants, places, events, religious items) (< e'amples with visuals three noble local and three foreign sculptors with their short biographies and their masterpieces) B e'amples with visuals

ARCHITECTURE
A. De&initi#n the art and science of designing and constructing buildings, bridges, and other structure to satisfy individual and communal needs. (B

a comple' art inasmuch as the task of the architect is not only to create the design of the e'terior of the building or similar structure, but also to do the design of its interior.

+. 2in% Post and lintel 9 consists of a hori1ontal beam called lintel and two vertical posts to support it% ussually found in the doors and entrances. Cantilever 9 similar to the post and lintel, has two vertical posts for support and a hori1ontal bean with one end more e'tended than the other% oftentimes, steel is used for this type because of its tensile strength% at times, wood is also used less frequently because of its tendency to warp, sag, and rot. Arch 9 consists of several wedge#shaped blocks of stone called voussoirs held together by a key stone% it serves to support other structures such as roofs and to be a symbolic gateway. Dome 9 is a large hemispherical roof or ceiling that looks like an inverted cup% it is an e'tension of the principle of the arch capable of enclosing a wide area. "ault 9 an arched structure of masonry usually forming a roof or cieling% similar to the dome) barrel vault, groined vault, cross vault, =elsh vault, and cloister vault. ,russ 9 consists of a braced framework of beams or bars forming one or more triangles% an assemblage of beams forming a rigid framework% usually used to support the roof.

C. Me%ium $ight materials include paper, nipa, bamboo, and other light wood% they allow for good ventilation, but they are not resistant to fire and other natural elements% maybe described as fire ha1ards. Heav materials are not only fire#resistant but also durable and able to withstand natural forces such as earthquakes, landslides, storms, and floods) hardwood, stone, concrete *combination of cement, gravel, and sand+, brick, steel, and cast iron% always form part of the high#rise buildings.

-repared by) 4r. :orge 7. rellano, 4 . -rofessor, Hum ( S .8 ?

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