1.

Crocean theory good art is successful expression of emotion and expression consists in the finding of images by which the emotion is articulated and rendered determine for apprehension- a process called intuition . Thus artistic creation is a mental process and the work of art is the mind of the artist. Pg !!- "arold #sborne $esthetic and $rt theory $% historical &ntroduction$ 'utton Paperback 1()* . +chubert- a man,s art seems to gi-e -ent to submerged personality traits which do not find expression in his nonartistic life. - a release for submerged emotional stresses what a man does deliberately and with attenti-e care is a sign of his personality and re-eals conscious makeup pg !. "arold #sborne $esthetic and $rt theory $% historical &ntroduction$ 'utton Paperback 1()* !. /ohn 'ewey 0 that artwork deri-es from the superior refinement1 insight1 or endowment generally of the artist or from his capacity otherwise to set an example to his fellowmen. $n examined assumption -self expression is sufficient 2ustification in itself and needs no further excuse. pg !)- !3 .. 4iss 5anger- thus a work of art is a symbol which does not symboli6e anything other than itself but which reproduces in its own structural form the structure or pattern of feeling and emotion pg .) 0 through his artwork communicates direct awareness of this emotional life1 not knowledge about it in the manner of the psychologist or the reporter.--- langer claims that the work if art communicate merely the pri-ate and personal emotions of the artist but the basic forms of feeling which are common to most people. .3 7. &% &ndian theory 0 in appreciating works of art we do not1 characteristically1 respond emotionally as we respond to situations in real life or situations described in newspaper. Pg !1 spectator should not respond to the artistic acti-ities as if they were realities. They must remain purely symbolic. 8awson1 Philip 79 pg !. "arold #sborne $esthetic and $rt theory $% historical &ntroduction$ 'utton Paperback 1()* ). /ohn 'ewey- defines work of art as not theactula product but what the product does with and in experience. : to restore consitunuity between the refined amd intensified formd of expreince

that are works of art and the e-eryday e-ents1 doings1 and sufferings that are uni-ersally recogni6ed to constitute experience. Pg 3( "arold #sborne $esthetic and $rt theory $% historical &ntroduction$ 'utton Paperback 1()* &ntroduction; $lampat

Alampat is a Visayan term for art. It is but a simple term, yet, it encompasses very broad scope that life per se is dominated by it. It demands creativity, artistry and imagination to produce a piece of art. Hence, art making is a profound form of e pression to articulate and instill an individual!s identity and uni"ueness. #his book $ill help us dra$ out every single drive of creativity, every piece of artistry and every leap of imagination in us. #he basics in arts appreciation such as assumptions of arts, sub%ect and content, medium and techni"ue, artist and artisans $ill be $ell-elaborated. #he thorough discussion on the elements of arts and principles of design that feature &indanao Artists! $orks $ill allo$ every reader to catch a full grasp of understanding on ho$ these theories $ork in art making'production. Hence, the systematic discussion on the Historical vie$s of (estern and )hilippine arts $ill solidify one!s perception on ho$ arts evolved in the (est and most importantly, in the )hilippines. *urther, this book attempts to dra$ out the artist in us. It is by igniting our creativity and by stimulating our po$er to innovate that $e become more sensitive, a$are and conscious $ith the refinement and e cellence in everything $e do. It is eminent that aside from the ability to reason, our creativity and our ability to innovate are important grounds that make us distinctive and even superior over other creatures. +reativity, as defined in the , th -dition of +oncise . ford /ictionary is 0inventive, and imaginative and creating, or able to create!. Hence, innovation is 0to re-create, re-invent, 11 2oth creativity and innovation are essential in art making. #horne 345567 states that $ithout creativity, there $ould be no real innovation8 $e need people $ho are pure idea generators and $e need others $ho can modify those ideas. (e need people $ho instead of asking 0(hy9!, ask 0(hy not9! or 0(hat if9! (e need people $ho are capable of thinking cra:y, outof-the-bo thoughts8 $e need people $ho shake us out of complacency. In art making, these are necessary to be considered. If not to create ne$ ideas, reinvent e isting concepts to capture audiences and finally convey the purpose and message of the art$ork ; $hich is its real end.

#o create and innovate are human nature. #hey are not solely for artists but they are present, alive and dynamic in every individual $ith $hatever field he'she is $ith. +reativity and innovation are so radiant that they allo$ us to play and to adventure in our youthful days. *urther, as $e reach adulthood, $e don!t stop, rather $e crave for more opportunity to create and re-create in order to continually e ist, survive and live. (e tend to push for our identity and o$nership, claiming our space for diversity and uni"ueness to serve man, society and to ackno$ledge the +reator. #o be creative is not magic. It entails continuity that re"uires time, practice, devotion and passion - a constant process. It is an innate call for every human being to e ert effort, to be involved in action. +reativity is %ust like a set of a chain in a motorcycle, attached $ith a set of gear that needs regular lubrication. .ur mind and body rest but the subconscious continuous to travel. <ike a river flo$ing, all the stones and pebbles, sand and land are stained, shaped and transformed by $ater. .n the other hand, as human beings, $e can stop $riting, painting, sketching, singing, dancing, and acting, yet the mind continues to create images, $aiting for $ays and means to be unfolded and concreti:ed. #o continuously define living - manifest creativity and e plore innovations, one has to move for$ard and involve the body. *or the $riters, they have to e perience difficulty and so $ith pleasure in manipulating and interplaying $ords to produce a composition of imagery. *or performers in dance and theater, they have to e perience the alteration of balance, to create forms and steps that elevate real space into stage and to e plore various body forms and e pressions to delve meaning to$ards characteri:ation. *or the painters, they have to continually e plore and seek for ne$ techni"ues in manipulating different and various media to transform thoughts and ideas into a concrete art$ork. .ther artists, in $hatever field they are $ith, have to patiently toil to hone their skills and improve their crafts. *ailure to sustain the action $ill eventually suppress one!s energy for production, %ust like ho$ $e intervene in a plant!s gro$th to produce a bonsai. It is $ith continuous practice and mastering a craft can $e hone craftsmanship. #hus, it is in honing craftsmanship that $e open doors of opportunities for more creativity and innovation. +reativity and innovation defy, define, delay and distort time. In time, creativity and innovation mutate and develop. +onse"uently, managing time is one challenging task that an artist should beat. &oreover, #horne 345567 believes that personal discipline is necessary in creating and innovating ideas. He said that every person $ho is creative lives $ith the pressure of days $hen their mind is a complete blank, and they often have the additional pressure of kno$ing that someone else is $aiting for them to come up $ith original thoughts.

*urthermore, creativity and innovation are not only prevalent in the artists! $orld but also in the consumerist $orld of economics, commercial to industrial dynamisms, politics to religious propaganda. In $hatever field one may be $ith, creativity and innovation al$ays bring energy and e citement. #horne 345567 cited the follo$ing selection of the responses on the most re$arding part of being creative as part of her background research for her book -ssential +reativity in the +lassroom= >eeing your creations in use? >eeing ideas coming into fruition and getting results. >eeing things through to a conclusion ; getting feedback that these ideas are good. >eeing an elegant product'solution and having the appreciation of one!s peers'colleagues #he bu:: of achieving a breakthrough that makes others go !@reat?! #hen seeing it become real. #he fun of having an idea is good, but the real re$ard is $hen you see $hat you have created, $hether it!s in the garden or something you have published at $ork. )roving the doubters $rong8 solving 0the problem! and seeing a result >uccess. Ano$ing that you achieved something that $as better and different to the conventional paths. *inding your true self /elivering on the promise of the concept 2eing different ; if only for a $hile? >eeing connections before others. >tanding out. 0.$nership! of an idea. .riginality. >eeing something ne$ and different take shape. >ense of personal satisfaction, $hen others get e cited about a creative idea of mine. #he fun, the difference, and the unusual, and the feeling of re$ard that you get1and indeed )BI/-.

8e-iew; I. Beflective Cuestions= D. 4. E. F. G. (hat is Alampat9 (hat is the difference bet$een creativity and innovation9 (hy is creativity'innovation necessary in artmaking9 (hen can you say one is creative9 Innovative9 If you $ere an artist, ho$ $ould you transform an ordinary ob%ect into an art$ork9 *or e ample, a drift $ood or a bottle9

II. #hings to )onder= #o define creativity, $e must= D. first determine our identity - $ho $e are, $here $e came from and $here $e are headed8 4. look into ho$ $e celebrate festivity in our community and neighborhood8 E. consider ho$ $e $ere taught and $hat art $e have produced in the classroom8 F. look into the available resource materials in our locality that can be utili:ed for art production8 G. look back $ith ho$ our forefathers taught us about art8 H. reflect on ho$ indigenous tribes e press their craftsmanship8 and 6. recollect ho$ coloni:ers taught us ho$ to think and feel.

Chapter 1; &mportance of $rt 1.1 <hy is art important= If a hundred artists $ill be asked, a hundred different ans$ers $ill be dra$n out. If you ask ten critics, ten different perspectives $ill be collected. If you ask a politician or a marketing agent, an advertiser or an ordinary folk, they $ould surely have various ans$ers ; these ans$ers are definitely anchored from an individual!s orientation, preferences, biases, education, e posure, and culture. Ans$ering the "uestion above $ill be easier if $e $ill try to ask first ourselves $ith perhaps shallo$ and basic but very significant "uestions= (hy do $e keep on looking for something ne$9 (hy do $e keep on $atching film or listen to music9 (hy do $e love to read or $rite9 #o dra$ or paint9 #o sculpt or carve9 #o act or play instruments9 #o sing or dance9 #o take photographs or make films9 #hese are forms of art making that human beings can!t resist but do. )robably, because $e $ant and en%oy them, $e need them to survive, and to prove our potentials. (hatever reasons $e have, these $ill al$ays boil do$n to one essential ground, i.e. man utili:es art because it serves human fundamental needs, and like$ise en%oys it. Ariola 3455I7 said that Art appreciation is the ability to interpret or understand man-made arts and en%oy them either through actual and $ork e perience $ith art tools and materials or possession of these $orks for one!s admiration and satisfaction. Art appreciation therefore deals $ith learning or understanding and creating arts and en%oying them. #he scope of art e pression is so immense that $e could never tell ho$ it $ould influence and touch individual lives. &aybe, for one person, art is %ust a hobby and leisure, but for others, it is already their $ay of life ; they feel the drive to burn candles, e haust time, and shell out money or energy in producing their masterpieces. In $hatever $ay art pats our e istence, thus, it is an honest outlet of our creativity, sensitivity and sensibility. Art endured so many centuries8 it served mankind for shaping the civili:ation and the society. It became the vehicle of communication and e pression $hich unifies people despite different languages, culture and tradition. Hence, (ard 3455H7 states that art is an international form of communication dealing $ith the natural $orld at an emotional level, a basic common skill that passes beyond the barriers of culture, language, and creed. #his idea is supported by #aylor 345D57, $here he believes that art $ill allo$ us to e plore illuminating e perience, thus, making us e tra understanding, careful, and sensitive to$ards cultural differences. He stated that art develops our ability to think critically $ith our environment. It opens our senses and transforms us from a torpid to pro-active and progressive individuals.

/espite the fact that art unites people, it also divides and creates distinction of culture. It documents and reveals the $ay of life ; practices, values, customs, tradition, and beliefs of people of a particular race that differ from other groups. +onse"uently, it $ill speak of ho$ time evolved and ho$ culture transcended gradually. Arts of any form such as music, dances, literacy pieces, paintings, sculptures, clothing, furniture, %e$elries, utensils, tools or $eapons, buildings and other structures $ould remind us of the kind of civili:ation a particular time has.

1. $rt as a form of expression and communication (olfe said as cited by #orres in 45DD #he Humans are intensely visual animals. #he eyes contain nearly 65 percent of the body!s receptors and send million as of signals along the optic nerves to the visual processing centers of the brain1 (e take information visually then through any of other sense. *urther, he said that the perception of human beings is divided into these categories sight is about seventy five percent, hearing is thirteen percent, touch is si percent, taste is three percent and smell is another three percent. #his is $hat $e are8 %udgment al$ays comes first as things pass through the naked eye. Art allo$s people to tap the unkno$n and the une plored. Jo matter ho$ time changes, art is there to accompany and enable us to survive. 2esides, it can be utili:ed in any field as a springboard in understanding the nature of every field. Humanities or arts e ploration $ill allo$ the individuals to appreciate more the relevance of self-e pression8 it $ill allo$ individuals to understand and value the art process. >pecifically, it $ill teach us ho$ to determine and appreciate the value and beauty of a particular art$ork. .sborne 3D,65, 4EE7 said that good art is successful e pression of emotion, and e pression consists in the finding of images by $hich the emotion is articulated and rendered determinate for apprehension ; as process $hich +roce called intuition as he associated it $ith +rocean theory. He further supported this theory by calling art as 0the language of emotions! in $hich he claimed that the $orks of art imitate natural situations, real, imagined or ideal, but imitating them inob%ectively because the artist!s imitation is driven $ith his'her o$n personal attitude to$ards the situation. In addition, .sborne 3D,657 assumed that the $ork of art is %udged by its effectiveness in producing a desired result through a particular emotional response in an audience. He stated that the artist must induce in himself the emotions he $ishes to produce in his audience and thus by e pressing his o$n, implant similar feelings in the audience. #hrough art, by sympathetic and imaginative self-identification, $e en%oy, savor, or get the feel of, emotions and attitudes $hich other$ise $e $ould not have kno$n.

>ince art is a form of e pression and communication, it should therefore, not be in the confines of the fe$ - the elite, the art connoisseur, critics, leftists, philosophers, religious or spiritual and even the artists themselves. It is for everybody $ho $ants change and transformation, $ho $ants to convey thoughts, ideas, feelings and emotions to$ards things and situations. #hus, art making as means of preserving and revealing ancient stories, present e periences and future revelations should be accessible and open for all.

Conclusion; Art is part of our civili:ation. #hus, our civili:ation becomes alive and dynamic because of it. Imagine if you take a$ay music, dances, literacy pieces, paintings, sculptures, clothing, furniture, %e$elries, utensils, tools or $eapons, buildings and other structures, $hich are obviously dominating our life, $hat do you think $ould our society look like9 Art is there to serve us ; either $ith our $ant or need8 it is there to carry out its purpose. In diversely dynamic $ays, arts touch lives. -very individual perceives art and its importance in different levels. >ome may regard it as a sort of fad and leisure $hile others takes it seriously that it becomes their primary means of selfe pression and even source of living. *urther, the humanity needs to push the tide of development and human transformation. (ith this, art is there to accompany us in reaching our dreams to$ards the kind of society $e $ant to live in. Hence, $e only need to e press and communicate $ith each other by continually creating and re-creating art$orks that bridge connections among cultures - sharing practices, values, customs, traditions, and beliefs that $ould someho$ define unity despite diversity. Art as a form of e pression and communication is essential to share thoughts, ideas, emotions opinions and beliefs that $ould help a$aken consciousness and a$areness of audiences to$ard situations and issues. 8e-iew; Beflective "uestions= D. (hat is your o$n art e pression9 4. Ho$ far have you gone in utili:ing art for your o$n development, education, play9 E. Ho$ much time do you engage yourself in art making9

Chapter ; $ssumptions of $rt Art is universal, art is not nature and art involves e perience 3/udley and *aricy, D,H,7. 1. $rt is uni-ersal Art kno$s no limit. It reaches the farthest and the most isolated spots in the universe. As long as human beings e ist, art is feasible, alive and dynamic. D.D Art as means of communication Begardless of $here people live, they share common means of e pressing their thoughts and feelings, i.e. through arts, like music, dance, literacy pieces, decorative arts, paintings and dra$ings, sculpture, etc. #hese forms of art are utili:ed to establish and strengthen communication8 they are a profound mode of unfolding images and revealing depths of imagination. Hence, arts in any form communicate different feelings and emotions ; happiness, loneliness, pride, rage, revolt, etc. .n the other hand, art is used to call for unity and reconciliation. .ur country!s anthem, for instance, is there to bind us8 to make us feel $e are one $ith our dreams and mission. &onuments and other historical heritage remind us of our past, the struggles that each one shared, and the unity $e!ve formed in the name of freedom. *urther, the art e pressed through festivals depict each tribe!s culture that need to be communicated and e pressed for common understanding. In contrast, art can also be used to communicate mutiny and rebellion. *or instance, the $ork of Bi:al in his book Joli &e #angere and -l *ilibus #erismo e tends his utmost disagreement $ith the >paniards! control over *ilipinos. #he crusades $ith all the plays, drama, songs, and dummies, $hich are taking place in parks and s"uares, become the venue of people to e press insurgence against plans and actions of people in the government service or even private individuals. D.4 Art is timeless Art is timeless because it goes beyond the time of our o$n e istence. It is present in every corner of the $orld to serve basic needs of mankind, from ancient time to modern $orld. Art started since the birth of man!s life, thus, it $ould continue to live in accord $ith man!s e istence. *urther, art is timeless because it continually evolves. Aside from artists birthing ne$ art$orks, they also never stop innovating, re-creating, reinventing and reviving $orks of art in the past to establish ne$ style and

identity, and most of all, to capture audience!s interest and attention in the recent $orld. Art is indeed, timeless. +lassical music, for instance, never fades and goes out of style. It continually invades our time ; listened and appreciated by the many. It remains strong because it became a $itness, a company, a reflection and a %ournal of our forefathers! young lives. &aybe, some art$orks, particularly songs and stories are forgotten, but $riters, directors and film makers unearthed, repackaged, and appropriated them in time. #hese masterpieces are utili:ed to filter their $orth to ne$ audiences and generation. Art defines time. *or e ample, in $atching film, even $hen you don!t have the idea of $hen it is created, the style of directing and filming, 3shots, angles and editing7 the clothing and bearing of the characters 3hair styles and make-up7, musical scoring 3music and sound effects7 and the setting and plot of the story $ould make the vie$ers guess the period it $as produced. >ome prose and poetry obviously describe the setting and characters that $ould give prompt to the readers to recogni:e the time'era they $ere $ritten. (hile art defines time, time also defines art. A lot of art$orks capture immediately the public interest the moment they are created. &ichael Kackson maintained the popularity of his art from the time he started doing music up to or even after his death. )ablo )icasso sustained the recognition of his art$ork even up to this present time. Ho$ever, there are also art$orks that are deserted $ith credit and do not capture immediately audience!s attention but are on the limelight the ne t points in time. +onsider the art$orks 3paintings7 of Vincent Van @ogh that caught the public interest only after his death. &any $orks of art today are not instantly recogni:ed but could probably capture spectators! attention in the right time. Indeed, time defines art. It identifies the art$orks and art forms that $ould click in a particular time $ith the particular audience. D.E Art addresses human needs Art is universal because it addresses needs of people from all over the $orld. Art is there to serve our human fundamental needs3.rti:, et.al., D,6H, H.7#hrough directly functional and indirectly functional arts, $e are provided $ith a variety of offerings ; comfort, entertainment and education, $hich $ould someho$ lead us to self-fulfillment and satisfaction.

#here is no such thing as superior and inferior arts and culture. #he measure of art value in a particular tribe, clan, group of people, movement, media, advertising , school or $hatever organi:ation, is determined through their needs, beliefs, customs and traditions, and the effect of e posure to$ards outside $orld , development and other forms of effects to$ards culture. Jeither behind nor advance, all cultures $ill e perience distortions along the $ay. . $rt is not nature Art is not nature because art is man made. It is a creation of man that may reflect a profound skillfulness and craftsmanship. It undergoes process and planning8 a result of study and research. Art is artificial because it is %ust an imitation or even appropriation of reality or nature. It is a representation of ideas, thoughts, feelings and emotions that are communicated in creative and artistic $ays. It undergoes a transformation from its basic ra$ form into a masterpiece. *urther, arts are made by artists to adore and ackno$ledge the $onders of life, the a$e of @od!s creation and the commemoration of our e periences. #here!s al$ays something in nature that $e cannot get and transform into art. (hen an artist attempts to paint a mountain, still, he'she cannot make a real one. (e can paint a real-like flo$er but $e cannot produce a real flo$er. (e might be able to produce a fake diamond out of a broken glass but $e cannot create a real diamond because it takes a collaboration of minerals and energy to form one, $hich in art is unfeasible. Art can never be natural because nature is evanescent - in constant transformation of change, $hile, art is permanent. It does not change by itself, unless manipulated by the creator, man. *urther, art is not nature because it is limited. Lnlike the infinite offerings of nature, an art$ork can only feature fe$ ideas and thoughts that are surely derived from the natural $orld. Jever can you see an art$ork that can communicate a package of $hat the entire life is all about. It can only capture a limited point that can be conveyed to the audiences. #o adore nature is innate to us, for $e came from there. (e cannot compare art $ith nature because it is something mysterious and it is made by the /ivine persona $hose depth and mystery is beyond human understanding.

An artist could make an art$ork but he could not surely form nature. (e couldn!t even regard nature as the highest form of art because it is not art all. (e couldn!t even say that @od is an artist because @od is @od ; He is divine. Jature is too big, too grand, too mysterious, and too beautiful to be grasped in a pigment, a frame of choreography and $ords. It is an e tension of the consciousness that o$ns us, that provided us $ith life. (hile art is refined and processed, nature is ra$ and organic. It has life on its o$n that is much older than us. +onse"uently, nature can provide the model of the elements such line, color, te ture, form as $e craft our o$n art$ork. Jature!s value and perspective are real, actual, tangible, felt and e perienced by us. *or instance, various characteristics of lines are present in the stillness of $ater, the rolling landscape, shorelines, streams, etc. In addition, principles of design are also prevalent and actual in nature such as balance, form, harmony, rhythm, variation, proportion, emphasis and subordination that could help artists organi:e and compose a $ork of art. 2alance in nature is reflected in different terrains $here mountains sit $ith authority and greatness. #heir silhouettes reflect a varied rhythm of flo$ing flora and fauna $here stones are naturally crafted to appeal us. #he biomorphic, angular forms and te ture of trees sho$ harmony of shades and reflections. )roportions are manifested in the human anatomy8 the stature itself is pulled into its balance. -ven $hen you alter the body, it $ill stand $ith balance and can stand in harmony $ith climate and $eather. &ountains, hills and plateaus are as if sculpted, pushing their peaks to be emphasi:ed as symbols of po$er and the source of life. #he shorelines, riverbanks, splashes of $aves and rain produce sound $hich creates fleeting memories that unceasingly dance for thousands of years. Jothing can supplement the ra$ sound of nature8 ho$ever time and place may not allo$ us to e perience it all the time, but, man!s inventions, records and documentations are available and accessible. Arts can never compete $ith nature. Hence, it could not $ithstand nature!s conflicts such as earth"uakes, flashfloods and other calamities. #hough, these forces that are interacting, claiming and asserting can be captured in film and photographs - contained this in a miniature $eapon, camera. &an!s skill and science are readily available to capture nature as far as human eyes could see but never the mystery that behind it. /espite nature!s providence of beauty and $onder, man still alters nature!s arrangement - turning paradise into resorts, agricultural, residential and industrial spots to satisfy our needs and $ants.

#he beauty of nature is innate and silent. It is given. It doesn!t ask for attention since it is naturally part of it. (hile beauty in art demands human attention for it $ill lead to its valuation. (hile it is true that art is not nature, it is ho$ever related $ith nature. Art and nature are related in the sense that they have mutual give and take relationship. Jature provides medium, resources, and models to create and art$ork, $hile art confers recognition and appreciation that $ould facilitate the call for responsible ste$ardship of mankind to$ards nature. !. $rt in-ol-es experience Art is a repository of human e periences. It demands involvement. #he only $ay to find conviction and affirmation in art is through immersion to the arts. Mou can only appreciate art if you spend time to look at it, listen, touch, and feel its presence. #hough artists give meaning to their o$n art$ork, the audience also creates a variety of meaning, depending on their e periences in $hich they can relate $ith the art$ork. #he ra$ness of art triggers perception, $it and spirituality of the audiences. &aking art is not a contest or a competition8 it may be utili:ed not %ust to sho$case talents but to strengthen one!s identity, share stories and unfurl mysteries. *urther, art is also utili:ed to influence and convince the audience on issues that the artist $ould $ant the people to kno$, understand and embrace.

Conclusion; Art is universal because it is a means of human communication and e pression, it is timeless, and it serves human basic needs. &an has to communicate and has to utili:e art to bridge understanding and social change. Art is not nature because art is man-made8 an e pression the artist!s thoughts, feelings, ideas and emotions. -verything in nature is real8 $hile art are %ust representations of nature. /espite their obvious boundary, they are still related because they both serve human beings ; give comfort, happiness, belongingness and self-fulfillment. Art involves e perience because it demands involvement. It is a constant reaction to our e periences $ith the $orld. *urther, the meaning given by the artist to his'her o$n art $ork is based on his'her e periences that bridged to

the conceptuali:ation of the art$ork. )ossibly, the audience!s perception to$ards the meaning of the art$ork may differ from that of the artist because the giving of meaning to the art$ork is dependent on the related array of audience!s e periences. #he above-mentioned three assumptions of art $ill set boundary on the responsibility and obligation of man in fulfilling $hat he'she is capable of doing.

8e-iew; $nswer briefly D. Is nature art9 - plain. 4. In $hat particular aspect that nature and art related9 E. (hy art is timeless9

Chapter !. >unctions of $rt Art can be generally classified into t$o8 the directly functional and indirectly functional art. *unctional art refers to art that $e use in our daily lives such as tools, architectural structures, roads, bridges, buildings, furniture, kitchen utensils, coins, bills, dress, $eapons, etc. .n the otherhand, indirectly functional art refers to the arts that are perceived through the senses such as fine arts, painting, music, sculpture, dance, literary piece, theatrical performances, music and the like. (e do not use these arts literally to live and survive, but they accompany us in e pressing ourselves. (e have utili:ed indirectly-functional art not %ust to communicate but to advance our society, to preserve and document relevant events and details of our culture. #his art is basically used to inform, educate and entertain people. It is there to transform us into better human beings. Ho$ever, both functional art and non-functional art cross each path and tend to change roles or fuse purposes. #here are also functional art$orks that the sole purpose is for function, either decorative or for a specific purpose, but the designs incorporated made the decorative art to transcend from its basic form to a highly artistic form of art. #he e ample belo$ illustrates ho$ the directly functional and indirectlyfunctional arts cross boundaries. 2elo$, a chair $as used by the artist as a canvass. #he artist transforms the function of a chair into a symbolical ob%ect, a representation of something $hich eventually becomes a medium to symboli:e seat of po$er, kno$ledge, education, statuses, etc.

*igure D +hair Joy narciso 45D5 )en and Ink A collection of different kinds of chair can be a utili:ed as a representation of a concept. A chair can be an artifact or a historical documentation and a societal presentation of people in a particular time or era. It can even be elevated to comment for political issues aside from its basic form $hich is to seat upon, a place $ere $e can rest, reflect and re-collect. could be a $itness of our dreams and history. >ho$n is an e ample of bottles 3see figures E.4 and E.E.7 that are transformed from their basic function to another significant function. A bottle is one of the important inventions of man to store food or any stuff to preserve and sustain its freshness for better use. or percussion. Ho$ever, the bottles here are used as alternatives for creating musical sound - designed to be used as $ind instrument A comfortable and durable chair

*igure 4 2ote 4-(ind instrument Joy narciso 455,

2otle and u$ay

*igure E 2ote D ; (ind Instrument Joy narciso 455I 2ottle and L$ay (hat made art relevant is its grasp to$ards the needs of the humankind. Art serves basic human needs. #o fully understand, $e $ill look into the purpose of art. According to Ariola artistic functions can be classified into four8 aesthetic, utilitarian, social and cultural. Aesthetic function. An art$ork functions aesthetically $hen it becomes instrumental for man to be cogni:ant of the beauty of nature8 $here the real feelings of %oy and appreciation to nature!s beauty are manifested through appreciation and en%oyment $hen in contact $ith the art$ork. Ltilitarian function. Art is serving this function $hen it is utili:ed to give comfort, convenience, and happiness to human beings. It is used to serve basic needs such as food, shelter, clothing, medicine, comfortable environment, transportation, entertainment, communication and e pression and other important things that make man live life $ith ease. >ocial function. (hen the art bridges connection among people, it serves a social function. #he art here encourages good relationship ; unity and cooperation are being facilitated and established. society. +ultural function. Art is serving a cultural function $hen it serves as an aperture to$ards skills, kno$ledge, attitudes, customs, and traditions of different groups of people. Arts here help preserve, share and transmit culture of people from one generation to another. Conclusion; (ith this, people become more understanding and sympathetic that $ould someho$ create a better

Art is both directly and indirectly functional. *unctional arts provide us $ith ease and comfort in living $ith our everyday lives. #his form of arts directly serve human basic needs such as tools, architectural structures, furniture, kitchen utensils, clothes, $eapons, etc. (hile, non-functional arts are basically used to inform, educate and entertain people. #hese are perceived through the senses such painting, sculpture, music, literary pieces, dance, theatrical performance, etc. Art serves several functions. in terms of functions is differentiated by the degree of our e posure to$ards these arts. (e utili:e art for personal purposes. (e utili:e art to go beyond from the comfort space and to affect and persuade other individuals. (e utili:e art for physical purposes such us tools ; these tools define man. #hus, art is utili:ed to improve our $ay of life. 8e-iew; +heck the appropriate column's to identify the function or purpose of each art e pression. @ive a statement to e plain your ans$er's on the last column. #able D
Artforms
Aesthetic

*unctions
Ltilitarian >ocial +ultural

- planation

Architecture *ilm /ance )rose )oetry #heater Arts )ainting >culpture Animation )hotography .ther artform

Chapter .; +ub2ect and Content 1. +ub2ect #he $orld is so interesting, it offers so many vie$s, stories and images. A painter, a poet, a $riter, a choreographer, a photographer, a film-maker, a cartoonist, a designer, and some other art practitioners $ill never run out of sub%ect. #here are unlimited sub%ects that surround us, every second, every minute8 $e see potential concrete and abstract material that can be utili:ed as a sub%ect. >ub%ect in art generally refers to the thing, ob%ect, person, landscape, event, etc. depicted by the artists in his'her art$ork. It serves as the $indo$ of the art$ork, for through it, the audience $ill be informed of $hat the art$ork is all about. Anything under the heat of the sun - from the largest mountain to the smallest details of anything on -arth, and even the things that the human eyes couldn!t see can be magnified and used as a sub%ect in art. Jot only concrete ob%ects in the real $orld but also anything in the realms of imagination can be used as a sub%ect in art. #he river or stream of consciousness $ill never run dry. #he light may be too fast, the moment may be so brief but still artists are able to capture them in their very o$n $ays and styles. #here may be times that an artist is shut, e hausted and tired8 yet, this e perience could possibly become the sub%ect itself ; depicting e haustion and fatigue in the art$ork. Hence, e perience is a strong drive of artist in choosing a sub%ect.

An art$ork that has a sub%ect is classified as a representational art. It is also kno$n us ob%ective art because you can easily ob%ectify the sub%ect. (hile, an art$ork that has no sub%ect is classified as non-representational art. It is also kno$n as non-ob%ective art because it doesn!t represent anything. )aintings, sculptures, photography, graphic arts, dance, theater, literature, are generally classified as representational arts. #hough, sometimes paintings and sculptures do not have sub%ects, more so $ith dance, theater and literature $hich do not depict clear sub%ects' representations but have themes that $ould help the audience clarify their meanings and intentions. &ost art$orks have sub%ects e cept for the architecture and music $hich rarely have. Lnless an architect $ill build literally a building that looks like a durian fruit, then $e can say that an architectural design has a sub%ect. 2asically, music has no sub%ect but the lyrics parallel to the music is the one that makes the $ork easily understood. (hen a classical or instrumental music is used in a certain film or theater production, $e no$ associate this music not on the merits of the composition but $ith the theme of the film or art production. .n the other hand art$orks have content $hich refers to the meaning of the art$ork. #he other term for content is the theme .#he content is the essence or substance of a thing or an ob%ect. . ?inds of +ub2ect #he kinds of sub%ect enumerated belo$ are e plored and prevalent in any form of art e pression, either in visual, auditory or combined arts. Jature 3landscapes, seascapes, and other parts of nature7 still life, animals, portraits'human figures, history and legends, religion and mythology, nature and dreams and fantasies are kinds of sub%ect. 4.D. Jature

#his is a kind of sub%ect that deals $ith the physical environment the natural $orld. <andscapes are parts of nature. #hey include mountains, hills, plateaus, valleys, islands, etc. A landscape can be

natural or artificial. A natural landscape is a land formation that is never modified and distorted, $hile it becomes artificial $hen there is human intervention ; $hen man tends to alter the natural land formation 3$ith rocks and plants7 through landscaping such as such as that of the hotel entrance, inland resorts, parks, and even in backyards. +ityscapes 3anything that composes the scene of the city such as buildings, roads, etc.7 are not directly part of nature but are situated in land by human beings to serve their purpose. .n the other hand, seascapes include lakes, rivers, ocean, stream, a brook and other $atercourses. Again, aside from the above-mentioned natural $aterscapes, there are also artificial $ater formations such as dams, and man-made lakes and $aterfalls. 4.4. Animals #his is another kind of sub%ect that is commonly used in any art forms, not only it is prevalent today but also during the &edieval period $hen early +hristians use animal symbols such as peacock and fish to identify themselves as +hrist believers. 4.E. )ortrait or Human *igures A $hole human figure or %ust a part of it can represent the self. In using this kind of sub%ect, the angle, distance and the sub%ect or model!s composure are considered. >tudying human anatomy is tedious and challenging. )ortraits and human figures have the same intentions ; to capture human e pression. #he human body is kno$n as the measure of all things. It reflects proportion, balance coordination, order and unity. 4.F. History and <egends. #his is a kind of sub%ect that is inspired by history or legends. Historical events are real stories $hile legends are %ust imaginary. #hese

sub%ects are used in any art form to share and transmit the values that are attached $ith them. 4.G. >till <ife >till life refers to in-animating ob%ects either in a form of a dra$ing, painting or photograph. It allo$s us to look into the beauty of a certain ob%ect and be able to play in its presentation. >till life painting or dra$ing is one $ay for studying color, compositions, tones and shado$s. #he three-dimensional approach adheres order and balance. It is done usually in-doors so light source is controlled. In still life, it features the ability of the artist to play $ith the characteristics such as highlights, middle tones, dark tones, shado$ and reflection. 4.H. Beligion and &ythology Beligious and mythological themes are sub%ect that are practiced by religious and tribal groups. Beligious or mythological art as a kind of sub%ect is usually done by an insider artist or a devoted member of a religious group. If not, they are artisans $ho follo$ed a traditional practice, belief and customs $hich are learned from their forefathers and handed do$n from generation to generation. Beligious and tribal symbols can be utili:ed but neither should be e aggerated nor distorted for aesthetic purposes. 4.6. /reams and *antasies #o dream and to imagine are for free. /reams and *antasies refer to sub%ects that are inspired by the subconscious mind as discovered by >igmund *reud. Art$orks that are inspired by dreams and fantasies are called surrealism. /reams and *antasies can be presented in any style or form. >ome sub%ects are presented in realistic manner, ho$ever, the imagery is distorted, and the setting becomes a dream $orld. Art had been an effective tool to assist the human being to e plore imagination. It even assisted us to escape from reality. Conclusion for Chapter . +ub2ect and Content

>ub%ect in art refers to the thing, ob%ect or idea depicted by the artist in his'her art$ork. A sub%ect can be representation Hence, there are nine 367 kinds of sub%ect that can be utili:ed in developing an art$ork, such as nature 3seascapes, landscapes and anything present in the natural $orld7 animals, portrait or human figure, history and legends, still life, religion and mythology, and dreams and fantasies. An art$ork can be classified into representational or non-representational. Bepresentational art$orks are those that have sub%ects, $hile the nonrepresentational art$orks do not clearly depict the sub%ects used.

8e-iew; @xamine carefully the artwork. <rite down fi-e ideas or interpretations you can make. Ase these ideas or interpretations in writing a poem or a story.

F.! Classifications of $rt; Table

+lassifications of Arts Art +lassifications 4 dimensional arts >pace ArtsJeeds physical space E dimensional Bisual $rts *ree-standing'sculptural' $' physical actual volume mass and $eight #ime Arts - can be heard and read anytime $uditory $rts )rose3.rdinary language7 <iterature poetry 3$ith form'rhythm, beat, format7 indigenous )re-historic, >pace' time An art production that needs time and space #heater >panish Influence,Kapanese3seditio us7, American3 bodabil, >hakespearean classics adaptation, H5!s gap of PerformingC combined arts /ance *ilm language, vernacular drama, peta establishment indigenous Jon-linear American )eriod ;Nar:uela, Vodabil, )hil. #heater in -nglish and the Beturn to the vernacular Indigenous dance, folk, >panish, American, +lassical ballet , modern dance, contemporary /ocumentary, feature, animation, e perimental >hort story, short short short story , diary, %ournal,ne$spapers script, etc >ong, )oem , sonnet, -ulogy, Haiku, )icture ;image' >ound- Image etc. >panish influences Aomedya or moro-moro, Beligious /rama 3 short drama - salubong, panunuluyan and full-length - sinakulo7 &usic >trings )ercussion (ind &asks, >culptures, +arvings, lo$ and high relief , furniture , architectural structure, landscaping, bonsai art, (estern +lassical Instrumental Indigenous' -astern +ontemporary Instrumental +ontemporary #echno-music )resented in flat surface )ainting, /ra$ing3 sketches7, )hotography, )rint, )hotomontage, +ollage *orm >cope #raditional forms A mi ture of

*usi

and sp Installat

+onstru

assemb

&obile art- s

that m

/ance impr 2io epic

2ody &ov

<inear

Conclusion for Chapter . +ub2ect and Content >ub%ect in art refers to the thing'ob%ect' idea depicted by the artist in his'her $ork of art. (hile, content refers to the theme'message'content in art. #he content of the art$ork is the soul of the art itself. It becomes relevant and substantial not %ust because of the skill of the artist but also because of the materials used to battle the difficulty of art making. >ub%ect is varied and dynamic. #here are nine 3,7 kinds of sub%ect and there are si 3H7 >ources of >ub%ect to choose from. >ub%ect e ploration is based on the personal preferences and biases of the artist. 2asically, the artist!s

background is relevant in the sub%ect he'she $ould like to e plore. Lnconsciously the artist!s ideological perspective is also transmitted in the art. Art itself is storytelling. It is a never-ending creation of po$erful and inspiring stories. (e never kne$ that our $ork $ill inspire and touch people!s lives.

8e-iew; @xamine carefully the artwork. <rite down fi-e ideas or interpretations you can make. Ase these ideas or interpretations in writing a poem or a story.

F.! Classifications of $rt; Table

+lassifications of Arts 4 ;dim. arts >pace Arts.ccupies space E ;dim arts Bisual $rts *ree-standing'sculptural' $' physical actual volume mass and $eight (estern +lassical Instrumental 3orchestral, chamber, opera7 #ime Arts - time driven arts $uditory $rts )rose3.rdinary language7 <iterature *iction or non-fiction poetry 3$ith form'rhythm, beat, format7 indigenous )re-historic, >panish >pace' time An art production that needs time and space /ance #heater Influence,Kapanese3seditious7, American3 bodabil, >hakespearean classics adaptation, H5!s gap of language, vernacular drama, peta establishment PerformingC combined arts *ilm indigenous Jon-linear <inear &usic >trings )ercussion (ind Indigenous' -astern 3 Bock &usic, 2lues, Ka::, *olk, +ountry, B P 2, Hip Hop, >ka and Beggae, <atin American , (orld, Je$ Age +ontemporary Instrumental +ontemporary #echno-music *iction ->hort story, story , script, drama, Jon- *iction- diary, science, history, %ournal, ne$spapers , bio philosophy. >ong, )oem , sonnet, -ulogy, Haiku,)icture ;image' >ound- Image etc. >panish influences Aomedya or moro-moro, Beligious /rama 3 short drama - salubong, panunuluyan and full-length - sinakulo7 American )eriod ;Nar:uela, Vodabil, )hil. #heater in -nglish and the Beturn to the vernacular 2allet, Ka::, <atin, Hip hop, tap, neo, theater, classical ballet, pointe, acro, ballroom, crumping, break dancing, robot, belly dancing, line dancing, Irish dancing, cha-cha, salsa, cheerleaders techno, contemporary, Indian tango, $alt:, rumba, %ive, theatrical and many more /ocumentary, feature, animation, e perimental 2io epic /ance improvisation 2ody &ovement 2hutto /ance Image poem Image ; sound <etras M figuras )erforming )oetry /ula ;tula 3poetryperformed7 &asks, >culptures, +arvings, lo$ and high relief , furniture , architectural structure, landscaping, bonsai art, O*orm >cope )resented in flat surface #raditional forms' *orms )ainting, /ra$ing3 sketches7, )hotography, )rint, )hotomontage, +ollage *usion A mi ture of dimension and space Installation art +onstruction assemblage &obile art- sculptures that move *usion )erformance art a mi ture of sound, image, ob%ect , body and live performance

)uppetry

)erformance art

Chapter 7; $rtist and $rtisan 7.1 The $rtist An artist is generally defined as art practitioner that produces or creates nonfunctional art such as painter, sculptor, choreographer, dancer, $riter, poet, musicians, etc. (hile, artisans are craftsmen that produce functional art such as carpenters, carvers, plumbers, blacksmith, $eavers, embroiderers, etc. A formal art study $ould be an advantage but it is not a re"uirement to practice art. Ac"uiring or learning skills in art is not %ust taught and learned in a formal art school but also ac"uired informally. Mou may learn to play the guitar not from a formal $orkshop but from the neighborhood. Met, an artist may learn not entirely from a schooled perspective but can be developed later in life through curiosity, hobby, summer e periences. >ometimes, one could learn to develop art$ork because it is a must to survive ; it becomes a source of living. #hough both artist and artisans manifest craftsmanship in their field, they both apply techni"ue in manipulating the medium8 ho$ever, they differ in terms of output. -ach artist!s $ay of production is different. #here!s no common formula in approach. An artist may start to $ork any time of the day and end any time, too. An artist!s process of art making is someho$ mysterious8 it is an interpolation of the mind, heart, and soul. #he artisan!s $ork ends unnoticed, but relevant and essential in our everyday lives. Indeed ironic, some artists! $orks are not too physical, yet mentally e hausting. (hile, artisans $ork may be physically e hausting but not mentally draining. #his is ho$ $e feel if an art$ork are mass produced or even hand crafted but $ith the same design. Lsually, $hen an art$ork is mass produced, the value of the ob%ect is affected, compartmentali:ed and monetari:ed. Henceforth, an artist can crossover artisan!s field but artisans cannot traverse $ith the artist!s territory. (hen the artists appropriate an ob%ect or design for a certain purpose, they tend to encroach from the ob%ects produced by the artisans. (hen an artist tends to borro$ the ob%ect and devaluate it from its basic function to serve and to transform it into an

ob%ect of representation of idea or concept, then an artist is trying to intrude the artisan!s ground. *or e ample, $hen a fork is used as a bracelet instead of using it as a kitchen utensil, here, the artist is trying to cross to$ards artisan!s boundaries. Another e ample is the gap-nud 3drift $ood7. #he drift-$ood is not %ust a favorite medium for landscaping, bonsai making, decorative, sculptures and installation arts but it becomes a medium to relay a meaning. #hough, some sculptors transform drift$ood into a totally ne$ art$ork, other art practitioners barely touch or change its te ture or shape but changing only its position of vie$, through detaching it from the sand floor into a man-made pedestal. It may no$ recreate or give birth into a ne$ idea. .ther art practitioners %ust use drift$ood as a material or medium to enhance another art form, such as 2onsai or <andscaping. In bonsai making or landscaping, most sculptors are challenged to articulate their skill or craft. In a general observation, .ne particular practice that devaluates the beauty of drift$ood is $hen one $ould use directly either enamel paint or varnish to enhance its beauty than %ust to retain its ra$ness in te ture and physical property by using sand paper and $ood stain to enhance its color. #hough, $e don!t have any statistical data to support such but based on observation, this is $here an artisan and artists differ. #he artisans! approach $ill end its e ploration up to the surface $hile artists! $orks go beyond the skin, bone and soul. #hese styles of artisans and artists are called stagnated perception and organic perception. >tagnated perception is a coined term that refers to stagnant reaction such as decorative. (hile organic perception is dynamic, developing and evolving. *or instance, in indigenous arts, the musician of the tribe is the one $ho designs, produce and play his instrument. (hile, in the $estern perspective, musician utili:es an instrument done by a craftsman

Conclusion; Artist and Artisans is one of the pillars of our society. (e need artists' artisans as much as $e need other professions. Artists' Artisans served our civili:ation for a long time from our basic functional needs up to the decorative'fine arts and even up to higher calls in our society. A painter or a carpenter $as there once upon a time to make our space co:y, cool and comfortable. #hey have provided us $ith a comfortable chair to be able to dream, study and aspire8 they have provided us $ith music and literature to escape from reality. #he $orld is made by pool of designers. #he comfort, the style, the advancement, the finesse, the %oy in dreaming, eating, touching, they are there +laiming to be an artist is not a problem but claiming it $ithout art$orks or body of $orks contradicts to the responsibility of being an artist and the claim of becoming an artist. (ell, both artist and artisans and even other professions have mediocre claims of their profession. An art practioner have to e perience the action of art production, it is through this stage an artist $ill kno$ ho$ far can he'she goes deep $ith the art. It is through this stage he'she $ill kno$ the character of the medium, the limits of the medium, and test his' her patience and the depth of his'her imagination. #he artist and artisan both re"uire skills and technical competence. #heir $ork precedes their name. It is not an easy responsibility8 they provide us $ith ne$ image and sound of our time, to reflect our e istence. It is the artists'artisans continue to create art to serve the society in any form.

8e-iew; D. (hen can $e say that a person is an artist9 4. Ho$ do $e kno$ that an artist attained a level of maturity in terms of art making9 E. Ho$ is artist defined in rural and urban community, in school, organi:ation, among indigenous people, in a &oro perspective, in business and politics9 F. (hen can an artist be demoted from the pedestal of being an artist9

G. Is an artist the same $ith an artisan9 H. Is it possible for an artist to become an artisan9 around9 6. (ho $ill determine the becoming of the artist9 #he artist or the art$ork9 I. (hich comes first, the artist or the art$ork9 ,. (hich is more important, the artist or the art$ork9 Ho$ about the other $ay

7.

&magination Imagination is for free. -veryone on earth utili:es imagination8 every second and every

minute $e pause, $e think, $e imagine. Imagination is significant part of art production similar $ith inspiration.#he abundance of imagination doesn!t mean art production. A person can be imaginative but not productive, but a person $ho is productive reflects application of his'her imagination. )roductivity may not e"ual to "uality because some imagination may be lucrative but not honest and sincere enough. Ho$ever, productivity is one of the manifestation that an artist!s craft are honed and a venue to enhance its craft. 2M then, if the artists spend more time e ploring and producing number of $orks, it $ill eventually direct the action to "uality $ork. (hile human beings are uni"ue and no t$o individuals are e actly the same, imagination, too, differ from one person to another. Imagination of people in a third $orld country is not the same $ith those $ho are in the (est and neighboring Asian +ountries. Imagination is affected by many factors such as belief, education, media, technology, politics, land conversion, mining, militari:ation, development and consumerism. #he factors mentioned may possibly shape, sharpen, distort, or even corrode one!s $ay of thinking and looking at things, so thus imagination. #he direct e posure of the artist to his'her environment $ill eventually affect the $ay the artist look upon its sub%ect and the story of his'her o$n $ork. #he e tent of imagination the artists spent in the art$ork before is different $ith that of today. 2efore, the artists have all the time to reflect, imagine and discern. Jo$, some artists! art$orks are rationali:ed and formed $ith the help of the technology because of the convenience that technology offers. Hence, artists! art$ork making $ill be faster, systematic and scientific. 2ut it doesn!t apply to all art e pressions, still the basic hands-on production dominates the art making, everything $ill boil do$n to basic dra$ing and coloring, good plot, basic grammar and composition, able to sing, dance ,and act and the like. Imagination $ill be useless if a person $ill not transform an idea into a real form or ob%ect. #he art$ork $ill eventually concreti:e the e perience. >ome art attempts are dictates from an imaginative person but lack the ability to interpret into form. >ome arts are poorly motivated by imagination $hich $ould need more depth in plot,meaning and concept. *urthermore, imagination relates $ith memory. According to -gan 3D,,47 the imagination is limited to $orking $ith $hat e ists in the memory. #his concept $as supported

by >artre as cited in -gan 3D,,47, $e cannot get information from imaginative activity but the richness, variedness, unusualness, and effectiveness of our imaginative activity $ill turn significant degree on ho$ much it has to compose or construct $ith. (hen $e e pose ourselves to the unusual, $e $ill trigger a certain part of our curiosity and interest. Imagination is generally defined as the ability to form thoughts, concepts, ideas and images in the mind, an act of creating something out of a scratch. According to &ullen 3D,4E, pg ,-DD7 there are five 3G7 kinds of imagination8 #he actual and imaginative lives refer to imagination application in solving everyday life problems or chores. (e solve simple problems by using our imagination. It applies in case of emergencies, ho$ one reacts and solves the problem under pressure. Imagination and intellectual has something to do $ith reading books8 you are sitting and reading but your imagination is traveling. Imagination and physical refers to art making that are based on imagination but based on the real e perience. (hen an individual tend to dra$ real thing but are based not on actual moment but through his'her imagination. Imagination and /ay-dreaming refers to idle day-dreaming8 refers to individual $ho spend time $asting imagining. +reative imagination refers to an active and constant contact $ith the practical $orld8 it $ill make life fuller, richer and deeper8 the individual here applies the said idea. Conclusion; Imagination is considered as soul. Imagination is substance and relevance. It is a gift that defines us to be uni"ue and different. .ur imaginations differ from one another. Having the skill in art making is not enough. >kill should go together $ith imagination to produce a significant, sound, and effective $ork of art. Imagination is essential to us because it $ill enhance our capacity to think, feel and sense the $orld around us. Imaginations still dependent on action, imagination $ill remain an imagination if the artist $ill not engage this thoughts and ideas into form. #he transformation of such abstract $ill be the challenging part, the manipulation of the medium, the handling of the tools, the production , the tedious process, the dirty part of the art making $ill reali:e the importance of imagination. And then, this art$ork $ill be a means to open another $indo$ of imagination to$ards the audience. 8e-iew;

&magination preparatory guidesD D. 4editati-e reflection- refers to the ability of the creator to situate self in order, at peace, in one piece, $illing to listen, $illing to submit and immerse, $illing to understand and accept ne$ concepts, reminding one self to$ards the limitations of anything - breathing e ercises and tensing- refers to basic proper $ay of breathing and $arming-up - imaginative organi:ing- refers to the ability of organi:ing things through mind 4. &llustrati-e /ournaling- refers to %ournaling or documenting ideas and concepts in any form such as dra$ing, sketches, te t, poem, stories, catalogue of $ords, etc. In %ournaling, specific details such as time, date, characters, persons, and references should be included. >tart $ith $hat interests you or $ith $hat you hate most#ime and document your actions $ith the use of a stop $atch 3Ho$ much time you spend in $alking form home to school, taking a bath, etc. /ocumenting time $ould help one organi:e and manage time in any art production7 /ocumenting methodology $ould help one organi:e ones! mind and idea and it $ould be easy for you to present and share concepts to others8 even $ith the absence of the artist Mou may use stick figures in landscape format Apply stick figures $ith a closer look to be more detailed - apply mass, volume and $eight by shading the heavy parts of the dra$ing /ocument names of stores and classifying it later +raft directions on ho$ to provide directions to other people. (rite poems using this techni"ue noun, E ad%ectives, action $ord, prepositional phrase and sound $ord /ocument local punch lines- for instance, the conversations you!ve heard from any travels that allo$ you to associate this $ord to an e perience or locality Jote do$n imagination (rite your thoughts about your dreams and fantasies (rite $hat you observe about the environment and the people around (rite about your comments about the ne$s you!ve heard everyday 3 politics, Jote details about your sufferings, problems and survival (rite a story

7.! $ppropriation #wning %arrati-es An artist is a storyteller, sometimes visionaries. An artist is a documentator of time, a $itness. (hat made an art$ork relevant and essential is not %ust the skill and de terity of the artist but the ability of presenting message clearly. #he art$ork is the e tension of the artist!s political perspective, ideological biases, and beliefs. #he art then becomes the means of e pression ; a concrete form of e pression and this e pression is translated through an art symbol $hich $ill eventually becomes a language that carries a message, a story, a signification, and a narrative. Hence, this attempt of narration is called storytelling. According 2ord$el and #hompson 3D,,67 as cited by Mear$ood 3 4555, D4F7 that narrative is a fundamental $ay through $hich humans make sense of the $orld. He further states that, Jarration is a form of communication intricately related to a culture!s mythic consciousness. It is part of the basic human need for self-e pression and creativity, and it is integral to the poetic impulse represented in culture!s founding myths 3Mear$ood 4555 ,D4F7. #herefore, narrative is a concrete signification of basic everyday life stories and the recall of these stories becomes a model of behavior, attitude and character. A narrative is the foundation of human beings! relationships $ith each other ; the $ay $e deal $ith people, the $ay $e care nature, and the $ay $e relate to @od. Jarratives $ould affect an individual or a collective behavior. It $ill guide people to a certain %ourney of seeking, kno$ing and o$ning. It can also be relayed through e aggeration. As $hat $e, human beings, al$ays do, $e embellish things. (e are creating a ne$ form of myth or a story. #his story can be a potent source of truth, but sometimes turns in bet$een truth and lie. According to Mear$ood 34555,,D4F7 narration is a cultural system that elaborates basic social values and provides social legitimacy for a culture!s belief and $orld vie$. >o, in art making, art$orks can be the medium to infuse good values and good stories

to be modeled. Mear$ood further states that stories of origin seek to e plain $ho $e are, $here $e came from and our purpose in life. 2asically, narration or story, legend or myth, are there to be utili:ed as vehicle of our everyday narratives because $e, ourselves, in the %ourney of the character of the story, or our lives per se is a %ourney that seeks a character of identity and originality. >o, even $hen stories or $orks are borro$ed but it is offered and shared to the public, it is no$ then open for o$nership as it $ould appropriate the identity of the reader or artist. #he artist $ould someho$ emulate this good story and becomes part of the %ourney of re-creating stories to appropriate $ith the time he'she lives in. >o, this unending narration of stories of the artist and symbol making is a continuous process. .ne $ay or the other, if one is inspired of a certain $ork, an artist emulates, internali:es, characteri:es and then get a part of the story that can be associated to himself'herself, then, the birth of a ne$ art ensues. #his appropriating, borro$ing and o$ning done by artists or anybody are confusing in the road, so $e suggests that practicing artists' students must consider kno$ing acts of appropriation legally or unconsciously8 Moung 3455I7 posits *ive3G7 acts of +ultural Appropriation. D. .b%ect Appropriation- occurs $hen the possession of a tangible $ork of art is transferred from members of one culture to members of another culture. 4. +ontent ;occurs $hen an artist reuse an idea first e pressed in the $ork of an artist from another culture. E. >tyle ; $hen an artists produce $orks $ith stylistic elements in common $ith the $orks of another culture. F. &otif Appropriation- it occurs $hen artists are influenced by the art of a culture other than their o$n $ithout creating $orks in the same style. 2asic forms are appropriated. G. >ub%ect Appropriation- occurs $hen outsiders represent a sub%ect matter that is intended by insiders to be secret.

-ventually the follo$ing appropriations $ould help students identify an art$ork and artist $ho utili:es appropriation and to be able to determine the difference in terms of artist appropriating the symbol or meaning and from its origin. *urthermore, art making is as dynamic, same $ith culture. +hanges, o$ning, borro$ing and appropriating is inevitable. >ongs are revived. Jovel and short stories are filmed and coming alive. .ld *ilms are re-filmed and even the characters are repackaged. )ainting >ub%ect is appropriated. .ld functional tools designs are innovated and improved. <egends and &yths are animated to appeal to ne$ audiences. It seems no$adays designs and concepts are no longer original in terms of concept' theme or sub%ect but inspired or borro$ed from an old $ork, classic or contemporary purposely to situate the old art$ork in recent time and to coincide of the contemporary frame$ork. #here is nothing $rong $ith Appropriation but one had to be responsible if $ork is an imitation or an inspiration. .ne hve to sensitvi in

Conclusion; Appropriating is ackno$ledging. If an artist learns to ackno$ledge source, the more an artist develops honesty and sincerity and the more he'she kno$s his'her boundaries and limitations. In appropriation, artists or even audiences develops respect and instill valuing of a certain thing. >ometimes, appropriation is looked upon as helpful and at the same time deceitful, because in the borro$ing, the meaning changes. >ometimes, the physical image also changes that $ill eventually affect visual understanding and appreciation. Appropriation sometimes becomes stealing and bastardi:ing a sacred symbol or ob%ect, such as tribal designs or religious ob%ects. *or instance, a collection of various 2uddha e pressions $as e hibited in a museum. 2ut $hen the audiences entered, they took off their shoes and slippers and started to pray. #he artifacts are e hibited for another purpose, probably as historical ob%ects, yet audiences interpreted the e hibit differently. >o, an artist must be careful in utili:ing symbols and make sure they are properly used in an art$ork. >ometimes, being too radical and harsh $on!t help in advancing society. Hence, become the end of the e ploration or definitely a birth of a ne$ concept. #he appropriation should be done to correct perspective and or to comment on the practice or understanding. Appropriating is also modeling. >tudying models is relevant in art making to develop the skill of he artist in research and the $ay the artist rationali:es and utili:es the symbol in his'her art$ork. 8e-iew; <ook for an art$ork that utili:es appropriation. Analy:e or identify differences from the original $ork and the ne$ $ork.

7.. $rt 4aking Art making can be associated $ith art e ploration, concept development, e perimentation, and art production. In art making, the artist undergoes three stages of e perience $hich are popularly kno$n as pre-production or sub%ect development, production or medium manipulation and post-production or e hibition. Art e pressions such as painting, sculpture, dance, drama, music, etc vary in approaches in terms of sub%ect interpretation and medium used. Hence, target audience, si:e and scope of the $ork, time frame, budget, availability of materials are considered. In theatre or performing arts, pre- production involves the follo$ing= conceptuali:ation of the theme, $riting the script, making auditions for cast selection, casting or assigning of roles and $orkshops. #he follo$ing should also be considered during the practice= spacing, staging, lights, music. >et rehearsals and press releases should also be given priority during pre-production phase to ensure "uality of performance and to reach all potential target audience. Production refers to the proper presentation of performing arts. (hen more than one production is set, directors must observe and evaluate the production to improve the performance of the casts in the ne t set. Ackno$ledging the sponsors and people involved in the production is also vital. In post-production1 evaluation, criti"uing, success press release, sending thank you messages P letters are done. Accepting schedules for possible re-staging can also be accomodated. )erforming or combined arts such as dance, theater and film are collaborative in nature. #hese art forms need various skills and e pertise to run a sho$ or pro%ect. In particular, choreographer, lights director, costume designer, production manager, finance officer, logistics, tickets in charge, etc. are needed to make a production. Art making can be done collaboratively or individually. 2asically, painters, sculptors, $riters and poets $ork alone %ust like carpenters, carvers, etc. Ho$ever, if they are involved in a bulk and big pro%ects, they need a hand from other artists or artisans. >ince most artisans! outputs are generally for commercial use, they follo$ a standard time frame of $ork from eight 3I=557 a.m. to five 3G7 p.m. $ith t$o 347 breaks for snacks in the morning and in the afternoon. Ho$ever, most artists $ork $ith open time $hich primarily dependent upon artists! mood and drive to create an art$ork. >ometimes they sacrifice not to take break %ust to sustain the fluidity of ideas and to hold the momentum. *or them, art process is a ritual of accommodating overflo$ing ideas that are accessible in the imagination. An artist!s approach is so special that skills is not the only thing offered but everything - emotion, effort and resources even $ithout e pecting any return of investment.

+oncept development is sometimes interactive and consultative. >ome artists collaborate $ith other artists, especially $hen the pro%ect is huge enough for an artist to handle alone. #his is called pro-active interaction. In this case, the hired artist follo$s the dictates of the one contracting the pro%ect. *or e ample, if the painter is commissioned to do big backdrops or murals and given only fe$ $eeks to get the $ork done, he'she has no other $ay but to hire artists to $ork $ith him'her. .n the otherhand, $hen an artist does the concept development alone and $ould hire artists or artisans to actually develop, manipulate and e ecute the concept, this is called a passive interaction. Here, the hired artists and artisans have to strictly adhere $ith the ideas and thoughts of the one $ho developed the art concepts. In poetry and $riting, it is usually an individual approach. An artist e plores, manages, and manipulates language and e pression alone. #he $riting process usually starts $ith sub%ect or theme identification, follo$ed by $riting proper, then proof reading 'editing before finally publishing a $ork. (hen poetry or a literary piece is utili:ed for a performance art, some poets are sensitive enough that they $ant a careful and appropriate interpretation of their $ork. >ometimes, they tend to be involved in the production to guard the right interpretation of their $ork. In music, performance can be individual or collaborative. &usicians start either $ith the lyrics or music, or vice-versa. >ome musicians can $rite through musical notations $herein sounds are formed $ith their minds, but some have to play the instruments literally to hear the sound produced and then organi:e the notes or chords to come up $ith a composition. +omposing is too technical. >ome musicians are comfortable to start $ith composing the lyrics, and then appropriate the music $hile others start $ith the organi:ation of music, rhythm and beat before actually appropriating $ords and lyrics to go and synchroni:e $ith the music. 3 Jothing is mysterious7>omething mysterious emerges during art making. As the artist starts to conceptuali:e or manipulate the medium, they are like shamans and hermits, they detach themselves from the real $orld, creating a $orld of their o$n, sulking in their studios. #hey hibernate till they finish $ork. #hey tend to create a distance and gap from their o$n $orld to the real $orld. #hey shut all destructions and meet the divine, the sacred, and the remote primal soul. >ometimes, it!s so difficult to describe, but the artist tend to leave the self and %ourneys some$here, looking for the right verb, the right note, the right gesture , the right P appropriate for any description. In the later part of birthing ideas, there comes the ceasing and the artist is done. #he artist is back in reality, becoming an audience of his'her o$n $ork. #hough it came out to be e aggerated, someho$ artist as shamans and hermits is an e aggeration in the present reality. #his is not to create gap bet$een audience and artist . >omeho$, artmaking is straithfor$ard, no frills no trills. (hat you see is $hat you get. (e all $itness the artmaking from the birthing of concept up to the output. #he artist himself is immersed directly to the reality, present to the event,$orking

dphysically $ith other artist or artisans, directors, and even some instead of directing theatre production and managing pool of artists , they even applied this in a social spectrum, managing the masses, managing the people, empo$ering people and building communities. #he artmaking is no longer a production of the artist but it becomes a tool for movement and development. (hy are most artists like shaman9 (hy do they hibernate9 (hy not do the art making in public9 In a $ay that artists detached from their ordinary routine. >omeho$, art making needs concentration and focus, they need not to be disturbed. (ell, %ust like any profession, they need private time for concept development, they need to interact and collaborate $ith other individuals, and artist finds space of their o$n. An artist needs a $orking space a formal space, an alternative space or even virtual space to be able to $ork properly. #his is not to create a gap bet$een audiences and artists, not to create stereotyping that artist is different and $eird, but an artist is %ust like an ordinary human being, they have mood s$ings, they have temperament, they are too sensitive, insecurities, fi ations and. $eaknesses. #hus, artists assert because of their role of providing images and sound $ith commentaries of the time and place they live in. /uring the making of the art, the artist possibly meets the supernatural being, the divine8 he'she transcends to meet the child in him'her. It is the recreation or the creation of a ne$ life, a symbol, a hope, a story $herein the human beings a$ait a ne$ e perience and a ne$ e ploration of language, advancing the civili:ation through its $onders. Imagination is too vast that $hat an artist can do is only a speck from the $ide range of our imagination. Ho$ do artists differ from artisans9 2oth undergo the tedious process of art making. 2oth handle instruments and tools $ith respect. Ho$ever, artisans stay up to the basic function of things8 they don!t go beyond behind the surface of the ob%ect. #hough nobody can argue $ith the meticulous skill of the carpenter, carver, $eaver, but their $ork also allo$s us to travel some$here else. *urther, the artists go beyond the a$e and ama:ement in handling and manipulating media or tools. Artists undergo the dirty process of art making, befriending medium, stretching its limits, e perimenting ne$ media, taking risks that a$ait the later part. #hey $onder not %ust from the edge to edge of the canvas, they go beyond into the realms of imagination allo$ing us the audience to see things differently, creating a ne$ spectacular $orld. #he artisan $ould never leave reality, but artists $orld allo$ us to go beyond this real $orld. An artist!s $ork is a leap of imagination.

7.7 4edium and TechniEue &edium refers to the material used by the artist. It is the thing that ob%ectifies an idea. (ithout the medium, an idea remains a concept or it $ould %ust reside in the $alls of your imagination. It is challenging to manipulate medium and transform it from its ra$ state. #he different media that are sold in the market, such us paint, metal, etc. $ould remain ra$, unless the artists manipulate and transform them into something else - an image, a metaphor, a representation, a masterpiece. &anipulation of &edium re"uires a techni"ue. #echni"ue refers to the artist!s ability and kno$ledge or technical kno$-ho$ in manipulating the medium. According to Arriola, the techni"ue is the manner in $hich the artist controls the medium to achieve desired effect. >o, it is in the techni"ue that artist differs from one another. &aking an art$ork re"uires technical competence. #he ability to manipulate is the driving force in the birthing a ne$ form or idea. #he artist has to undergo a certain moment of reflection and understanding of the chemistry and physical properties of the ob%ect until he'she finds her'himself commune $ith the medium. &anipulating a medium is someho$ a trial and error. It re"uires patience, resourcefulness, thrift and industry. In literature, aside from the $riter!s medium $hich is $ords, the basic tools are also needed such as pen and paper or a small notebook for cataloguing of $ords, %ournaling of brief moments, and recording punch lines and metaphors. (riters should have the belly for developing a plot, should have the ability to play $ith $ords, enough bag of vocabularies, and kno$ledge to$ards do!s and don!ts in $riting. #he poet!s medium is also $ords but poets employ different approaches in manipulating $ords. A poet should have the ability in creating metaphors or figures of speech, the ability to present clear ideas $ith the use of appropriate $ords. A painter!s medium is a pigment in oil or $ater color. Aside from this key medium, a painter should kno$ ho$ to dra$, compose, organi:e sub%ect, mi colors, capture and produce good images. It is important that the painter kno$s the characteristics of a

medium.

*or e ample, an oil paint must be mi ed $ith a linseed oil for better

manipulation and toning. In $ater color, a paper should be used and must be acid free for better absorption and preservation. A sculptor, on the otherhand, uses $ood, metal, plastic, clay, cement, and paper to produce a sculpture. -ach medium has its o$n characteristics that a sculptor should understand. He must consider durability and stability of base and the structure itself. A sculpture can be approached through subtractive and additive techni"ue. In subtractive, it is taking a$ay unnecessary parts from the medium $hile in additive, it is adding or incorporating parts $ith the medium. *or instance, in $ood, glass, ice, and marble sculpting, taking a$ay the negative spaces'parts $ould result to the desired form or sub%ect. Adding or incorporating part to the metal or cement to form the desired sub%ect or form is additive. Ho$ever, there are media that can be both subtractive and additive. *or e ample, clay can be mould and carved out $hile it is still soft. Mou can also add'integrate a part to form the desired sub%ect. An architect needs basic dra$ing materials and special tools to come up $ith meticulous designs in a blue print. An architect should ac"uire a technical kno$-ho$ in making and appropriating designs on various geographical locations. designing and structural building. A musician is not only bound to organi:e notes and manipulate instruments but should also learn ho$ to play, tune, and take good care of the musical instruments. #here are t$o kinds of musicians. improvisation. A performance artist, usually visual artists utili:e a fusion of sound, image, ob%ect, body movement and technology to produce a live performance. #here are those $ho can compose and arrange musical notations $hile others could %ust play instruments based on chords and sounds through Aside from aesthetic kno$ledge, an architect should be kno$ledgeable also in landscaping, interior

Jevertheless, there is no easy play of medium. -ither an artist or an artisan re"uires technical competence and they all undergo a process to master their craft. #here is no short cut8 it is al$ays a %ourney and an adventure. >ometimes, an artist develops his o$n mi ture and tools for personal convenience and to get the desired effect of the art$ork.

Conclusion; &edium refers to the materials used by the artist to ob%ectify his'her idea or concept. #he techni"ue applied by the artist in the medium is the profound influence in defining and identifying artist!s $ork, name and originality , it is $here the control of medium is observed. In art making the artist not only studies the characteristics of a particular medium but developing a relationship that $ill define both, skill, passion and the $ork itself. &astering a medium takes time8 it $ould not happen overnight, an artist can even learn this from a $orkshop or from a mentor. Ho$ever, along the $ay, the artist meets possibilities in a thorough immersion to the medium and sometimes produces an accidental art. An artist must choose a medium $herein an artist has control over it. &edium manipulation is physical and at the same time emotionally and psychologically e hausting. Handling medium is a balance bet$een technical competence and aesthetics. Aside from the technical kno$- ho$ an artists must bear in mind that aesthetic or creative approach to$ards the medium is relevant. #he more an artist spends time $ith the medium and also the tools, the more an artist finds and develops techni"ue in handling it. >omeho$, the artists unconsciously develop a trademark in handling the medium then it becomes the style. >o, it is only through immersion to$ards the medium that defines his mastery over it. And it concludes it is only through involvement, participation and action that an art emerged. 8e-iew &f youe were an artist what art styleC medium would you use and what sub2ect your are going to explore. @xplain <hy= Intervie$ an artist. #he guide belo$ $ill help you formulate your "uestions.
D. Jame 4. *ield E. -ducation' Ac"uisition of Ano$ledge' #rainings F. Artform G. )rimary ' >econdary &edium H. &aterials ' #ools' +haracteristics of &edium 6. >tudio setting' >tudio management I. >ub%ect ,. >ub%ect Bepresentation D5. >ub%ect >tyle DD. Bole of the Artists D4. >truggles'/ifficulty ' problems encountered in art production DE. )ricing ' *unding ' +ommission (ork

DF. +oncepts')hilosophy' 2asis'Influences DG. Art /ocumentation' Art >amples 3 images, sound,te t7

Beferences D. Introduction to Art Appreciation- A te tbook in Humanities +P - )ublishing Inc. &ariano &. Ariola 455I pg H-6 4. &inding the Arts;Art Appreciation for +ollege- Veronica -. Bamire:, )hd. &airene A. <eynes, &A 2renda V. *a%ardo, )h/. 455I &utya )ublishing Hosue pg H-6 E. Art= perception and Appreciation .rti:, &a, Aurora' #eresita -. -restain' Alice @. @uillermo' &yrna +, &ontano, >antiago A. )ilar. )A)I D,6H pg 46-E6 F. 2lack *ilm as a >ignifying )ractice. +inema, Jarration and the African-American Aesthetic #radition. @ladstone <. Mear$ood Africa (orld )ress, Inc. 4555 pg D4F G. &ary &ullen D,4E An approach to art 2arnes foundation )g ,-DD H. Art = perception and Appreciation. &a. .rit:, # ersetain, A @uillermo, &. &ontano, > A. )ilar. )ublishers Association of the )hilippines Inc D,6H pg H 6. Art= perception and Appreciation .rti:, &a, Aurora' #eresita -. -restain' Alice @. @uillermo' &yrna +, &ontano, >antiago A. )ilar. )A)I D,6H )g DI-4F I. +ultural Appropriation and the Arts Kames .. Moung 455I 2lack$ell )ublishing ,. 45D4. Addison Jicholas, 2urgess, <esley. >teers, Kohn. #ro$ell, Kane. Lnderstanding Art -ducation ;-ngaging refle ively $ith )ractice by Boutledge pg 6 D5. 4556 , #horne ,Aaye .-ssential +reativity in the classroom Inspiring Aids by Boutledge, pg D6 DD. D,,F )hilip # . #orres, <earning - cellence, #raining >ystem Associates, inc. p ,7 D4. 455I &ariano &. Ariola Introduction to Art Appreciation ; A te tbook in Humanities OOO+ P - )ublishing, Inc pg G

DE. 455H ,(ard, 2arbara .#eaching +hildren to /ra$ .+ontinuum International )ublishing @roup pg D DF. 4556, Aaye #horne -ssential +reativity in the classroom Inspiring Aids. Boutledge pg D6, DI, FD by

DG. D,,H *ernande: , /oreen @. ,)alabas. -ssays on )hilippine #heater . Ateneo /e manila Lniversity )ress pg E5-DGE

Chapter 7; $rtist and $rtisan 7.1 The $rtist An artist is generally defined as art practitioner that produces or creates non-functional art such as painter, sculptor, choreographer, dancer, $riter, poet, etc. (hile, artisans are craftsmen that produce functional art such as carpenters, carvers, plumbers, blacksmith, $eavers, embroiderers, etc. Ac"uiring or learning skills in art is not %ust taught and learned in a formal school but ac"uired informally. Mou may learn to play the guitar not from a formal $orkshop but from the neighborhood. Met, an artist may learn not entirely from a schooled perspective but can be developed later in life through curiosity, hobby, summer e periences. >ometimes, one could learn because it is a must for survival, out of urge to reach an ambition or learning in art could be accidental. (ell, there $ould be a great advantage if an artist is a graduate of an art school because he'she $ould learn different approach in terms of discipline, passion, technical kno$-ho$, marketing and managing art$orks and or an artist per se. Artisans! skills are also learned from formal or informal schools or through apprenticeship. >hort term courses are no$ offered to learn $elding, carving, baking, se$ing, and other technicalvocational trainings that $ould develop artisans! skills. #hough both artist and artisans manifest craftsmanship in their field8 fields manipulate medium8 both applies techni"ue in manipulating the medium8 but they differ in terms of output. Artist and artisan during the old days have no difference. 2ut as society progressed, it created a gap and identified their differences, such as the scope or the limitations of both, and the effect and the contribution of their art in the society. *urthermore, no$adays, the term artists are overtly used $ithout deep e planation or definition. #he term $as overused, overrated, e aggerated even taken advantage. It becomes a status, a profession, a hobby, an escape or it becomes a $ay of life. 2ut, there is one thing that $idens and deepens the role of the artist in the society8 $hen his'her $orks become a means to an end8 if they could lift our imagination to another level, if they open doors to an unkno$n $orld, if they tickle one!s imagination, these are proofs of the essence of an artist!s $orks. -ach artist!s $ay of production is different. #here!s no common formula in approach. An artist may start to $ork any time of the day and end any time, too. An artist!s process of art making is someho$ mysterious, it is an interpolation of the mind, heart, and soul of the artist.

#he artisan!s $ork ends unnoticed, but relevant and essential in our everyday lives. Indeed ironic, some artists! $orks are not too physical, yet mentally e hausting. (hile, artisans $ork may be physically e hausting but not mentally draining. #his is ho$ $e feel if an art$ork are mass produced or even hand crafted but $ith the same design. Lsually, $hen an art$ork is mass produced, the value of the ob%ect is affected, compartmentali:ed and monetari:ed. Henceforth, an artist can crossover artisan!s field but artisans cannot traverse $ith the artist!s territory. (hen the artists appropriate an ob%ect or design for a certain purpose, they tend to encroach from the ob%ects produced by the artisans. (hen an artist tends to borro$ the ob%ect and devaluate it from its basic function to serve and to transform it into an ob%ect of representation of idea or concept, then an artist is trying to intrude the artisan!s ground. *or e ample, $hen a fork is used as a bracelet instead of using it as a kitchen utensil, here, the artist is trying to cross to$ards artisan!s boundaries. Another e ample is the gap-nud 3drift $ood7. #he drift-$ood is not %ust a favorite medium for landscaping, bonsai making, decorative, sculptures and installation arts but it becomes an art symbol. #hough, some sculptors transform drift$ood into a totally ne$ art$ork, other art practitioners barely touch or change its te ture or shape but changing only its position of vie$, through detaching it from the sand floor into a man-made pedestal. It may no$ re-create or give birth into a ne$ idea. .ther art practitioners %ust use drift$ood as a material or medium to enhance another art form, such as 2onsai or <andscaping. In bonsai making or landscaping, most sculptors are challenged to articulate their skill or craft. .ne particular practice that devaluates the beauty of drift$ood is $hen one $ould use directly either enamel paint or varnish to enhance its beauty than %ust to retain its ra$ness in te ture and physical property by using sand paper and $ood stain to enhance its color. #hough, $e don!t have any statistical data to support such but based on observation, this is $here an artisan and artists differ. #he artisans! approach $ill end its e ploration up to the surface $hile artists! $orks go beyond the skin, bone and soul #hese styles of artisans and artists are called stagnated perception and organic perception. >tagnated perception is a coined term that refers to stagnant reaction such as decorative. (hile organic perception is dynamic, developing and evolving. *or instance, in indigenous arts, the musician of the tribe is the one $ho designs, produce and play his instrument. (hile, in the $estern perspective, musician utili:es an instrument done by a craftsman

Conclusion; Artist and Artisans is one of the pillars of our society. (e need artists' artisans as much as $e need other professions. Artists' Artisans served our civili:ation for a long time from our basic functional needs up to the decorative'fine arts. Lnkno$n or kno$n they are all the time from our youth of festivity and the celebration of our maturity. A painter or a carpenter $as there once upon a time to make our space co:y, cool and comfortable. #hey have provided us $ith a comfortable chair to be able to dream, study and aspire8 they have provided us $ith music and literature to escape from reality. #he $orld is made by pool of designers. #he comfort, the style, the advancement, the finesse, the %oy in dreaming, eating, touching, they are there +laiming to be an artist is not a problem but claiming it $ithout art$orks contradicts to the action e perience by the artist. An artist or an artisan, both re"uires skills and technical competence. It is not an easy responsibility8 they provide us $ith ne$ image and sound of our time, to reflect our e istence. It is the artists'artisans continue to create art to serve the society in any form. 8e-iew; D5. (hen can $e say that a person is an artist9 DD. Ho$ do $e kno$ that an artist attained a level of maturity in terms of art making9 D4. Ho$ is artist defined in rural and urban community, in school, organi:ation, among indigenous people, in a &oro perspective, in business and politics9 DE. (hen can an artist be demoted from the pedestal of being an artist9 DF. Is an artist the same $ith an artisan9 DG. Is it possible for an artist to become an artisan9 Ho$ about the other $ay around9 DH. (ho $ill determine the becoming of the artist9 #he artist or the art$ork9 D6. (hich comes first, the artist or the art$ork9 DI. (hich is more important, the artist or the art$ork9

7.

&magination Imagination is for free. -veryone on earth utili:es imagination8 every second and every minute $e

pause, $e think, $e imagine. #he abundance of imagination doesn!t mean art production. A person can be imaginative but not productive, but a person $ho is productive reflects application of his'her imagination. )roductivity may not e"ual to "uality because some imagination may be lucrative but not honest and sincere enough. (hile human beings are uni"ue and no t$o individuals are e actly the same, imagination, too, differ from one person to another. Imagination of people in a third $orld country is not the same $ith those $ho are in the (est and neighboring Asian +ountries. Imagination is affected by many factors such as belief, education, media, technology, politics, land conversion, mining, militari:ation, development and consumerism. #he factors mentioned may possibly shape, sharpen, distort, or even corrode one!s $ay of thinking and looking at things, so thus imagination. #he direct e posure of the artist to his'her environment $ill eventually affect the $ay the artist look upon its sub%ect and the story of his'her o$n $ork. #he e tent of imagination the artists spent in the art$ork before is different $ith that of today. 2efore, the artists have all the time to reflect, imagine and discern. Jo$, some artists! art$orks are rationali:ed and formed $ith the help of the technology because of the convenience that technology offers. Hence, artists! art$ork making $ill be faster, systematic and scientific. >ome art attempts are dictates from an imaginative person but lack the ability to interpret into form. >ome arts are poorly motivated by imagination $hich $ould need more depth in meaning and concept. *urthermore, imagination relates $ith memory. According to -gan 3D,,47 the imagination is limited to $orking $ith $hat e ists in the memory. #his concept $as supported by >artre as cited in -gan 3D,,47, $e cannot get information from imaginative activity but the richness, variedness, unusualness, and effectiveness of our imaginative activity $ill turn significant degree on ho$ much it has to compose or construct $ith. (hen $e e pose ourselves to the unusual, $e $ill trigger a certain part of our curiosity and interest. Imagination is generally defined as the ability to form thoughts, concepts, ideas and images in the mind, an act of creating something out of a scratch. According to &ullen 3D,4E, pg ,-DD7 there are five 3G7 kinds of imagination8 #he actual and imaginative lives refer to imagination application in solving everyday life problems or chores. (e solve simple problems by using our imagination. It applies in case of emergencies, ho$ one reacts and solves the problem under pressure. Imagination and intellectual has something to do $ith reading books8 you are sitting and reading but your imagination is traveling. Imagination and physical refers to art making that are based on imagination but based on the real e perience. (hen an individual tend to dra$ real thing but are based not on actual moment but through his'her imagination.

Imagination and /ay-dreaming refers to idle day-dreaming8 refers to individual $ho spend time $asting imagining. +reative imagination refers to an active and constant contact $ith the practical $orld8 it $ill make life fuller, richer and deeper8 the individual here applies the said idea.

Conclusion; Imagination is considered as soul. Imagination is substance and relevance. It is a gift that defines us to be uni"ue and different. .ur imaginations differ from one another. Having the skill in art making is not enough. >kill should go together $ith imagination to produce a significant, sound, and effective $ork of art. Imagination is essential to us because it $ill enhance our capacity to think, feel and sense the $orld around us. 8e-iew; E. 4editati-e reflection- refers to the ability of the creator to situate self in order, at peace, in one piece, $illing to listen, $illing to submit and immerse, $illing to understand and accept ne$ concepts, reminding one self to$ards the limitations of anything - breathing e ercises and tensing- refers to basic proper $ay of breathing and $arming-up - imaginative organi:ing- refers to the ability of organi:ing things through mind F. &llustrati-e /ournaling- refers to %ournaling or documenting ideas and concepts in any form such as dra$ing, sketches, te t, poem, stories, catalogue of $ords, etc. In %ournaling, specific details such as time, date, characters, persons, and references should be included. >tart $ith $hat interests you or $ith $hat you hate most#ime and document your actions $ith the use of a stop $atch 3Ho$ much time you spend in $alking form home to school, taking a bath, etc. /ocumenting time $ould help one organi:e and manage time in any art production7 /ocumenting methodology $ould help one organi:e ones! mind and idea and it $ould be easy for you to present and share concepts to others8 even $ith the absence of the artist Mou may use stick figures in landscape format Apply stick figures $ith a closer look to be more detailed - apply mass, volume and $eight by shading the heavy parts of the dra$ing /ocument names of stores and classifying it later +raft directions on ho$ to provide directions to other people. (rite poems using this techni"ue noun, E ad%ectives, action $ord, prepositional phrase and sound $ord /ocument local punch lines- for instance, the conversations you!ve heard from any travels that allo$ you to associate this $ord to an e perience or locality Jote do$n imagination (rite your thoughts about your dreams and fantasies (rite $hat you observe about the environment and the people around (rite about your comments about the ne$s you!ve heard everyday 3 politics, Jote details about your sufferings, problems and survival (rite a story

7.! $ppropriation #wning %arrati-es An artist is a storyteller, sometimes visionaries. An artist is a documentator of time, a $itness. (hat made an art$ork relevant and essential is not %ust the skill and de terity of the artist but the ability of presenting message clearly. #he art$ork is the e tension of the artist!s political perspective, ideological biases, and beliefs. #he art then becomes the means of e pression ; a concrete form of e pression and this e pression is translated through an art symbol $hich $ill eventually becomes a language that carries a message, a story, a signification, and a narrative. Hence, this attempt of narration is called storytelling. According 2ord$el and #hompson 3D,,67 as cited by Mear$ood 3 4555, D4F7 that narrative is a fundamental $ay through $hich humans make sense of the $orld. He further states that, Jarration is a form of communication intricately related to a culture!s mythic consciousness. It is part of the basic human need for self-e pression and creativity, and it is integral to the poetic impulse represented in culture!s founding myths 3Mear$ood 4555 ,D4F7. #herefore, narrative is a concrete signification of basic everyday life stories and the recall of these stories becomes a model of behavior, attitude and character. A narrative is the foundation of human beings! relationships $ith each other ; the $ay $e deal $ith people, the $ay $e care nature, and the $ay $e relate to @od. Jarratives $ould affect an individual or a collective behavior. It $ill guide people to a certain %ourney of seeking, kno$ing and o$ning. It can also be relayed through e aggeration. As $hat $e, human beings, al$ays do, $e embellish things. (e are creating a ne$ form of myth or a story. #his story can be a potent source of truth, but sometimes turns in bet$een truth and lie. According to Mear$ood 34555,,D4F7 narration is a cultural system that elaborates basic social values and provides social legitimacy for a culture!s belief and $orld vie$. >o, in art making, art$orks can be the medium to infuse good values and good stories to be modeled. Mear$ood further states that stories of origin seek to e plain $ho $e are, $here $e came from and our purpose in life. 2asically, narration or story, legend or myth, are there to be utili:ed as vehicle of our everyday narratives because $e, ourselves, in the %ourney of the character of the story, or our lives per se is a %ourney that seeks a character of identity and originality. >o, even $hen stories or $orks are borro$ed but it is offered and shared to the public, it is no$ then open for o$nership as it $ould appropriate the identity of the reader or artist. #he artist

$ould someho$ emulate this good story and becomes part of the %ourney of re-creating stories to appropriate $ith the time he'she lives in. >o, this unending narration of stories of the artist and symbol making is a continuous process. .ne $ay or the other, if one is inspired of a certain $ork, an artist emulates, internali:es, characteri:es and then get a part of the story that can be associated to himself'herself, then, the birth of a ne$ art ensues. #his appropriating, borro$ing and o$ning done by artists or anybody are confusing in the road, so $e suggests that practicing artists must consider kno$ing acts of appropriation legally or unconsciously8 Moung 3455I7 posits *ive3G7 acts of +ultural Appropriation. H. .b%ect Appropriation- occurs $hen the possession of a tangible $ork of art is transferred from members of one culture to members of another culture. 6. +ontent ;occurs $hen an artist reuse an idea first e pressed in the $ork of an artist from another culture. I. >tyle ; $hen an artists produce $orks $ith stylistic elements in common $ith the $orks of another culture. ,. &otif Appropriation- it occurs $hen artists are influenced by the art of a culture other than their o$n $ithout creating $orks in the same style. 2asic forms are appropriated. D5. >ub%ect Appropriation- occurs $hen outsiders represent a sub%ect matter that is intended by insiders to be secret.

Conclusion; Appropriating is ackno$ledging. If an artist learns to ackno$ledge source, the more an artist develops honesty and sincerity and the more he'she kno$s his'her boundaries and limitations. In appropriation, artists or even audiences develops respect and instill valuing of a certain thing. >ometimes, appropriation is looked upon as helpful and at the same time deceitful, because in the borro$ing, the meaning changes. >ometimes, the physical image also changes that $ill eventually affect visual understanding and appreciation. Appropriation sometimes becomes stealing and bastardi:ing a sacred symbol or ob%ect, such as tribal designs or religious ob%ects. *or instance, a collection of various 2uddha e pressions $as e hibited in a museum. 2ut $hen the audiences entered, they took off their shoes and slippers and started to pray. #he artifacts are e hibited for another purpose, probably as historical ob%ects, yet audiences interpreted the e hibit differently. >o, an artist must be careful in utili:ing symbols and make sure they are properly used in an art$ork. >ometimes, being too radical and harsh $on!t help in advancing society. Hence, become the end of the e ploration or definitely a birth of a ne$ concept. #he appropriation should be done to correct perspective and or to comment on the practice or understanding. Appropriating is also modeling. >tudying models is relevant in art making to develop the skill of he artist in research and the $ay the artist rationali:es and utili:es the symbol in his'her art$ork.

8e-iew; <ook for an art$ork that utili:es appropriation. Analy:e or identify differences from the original $ork and the ne$ $ork.

7.. $rt 4aking Art making can be associated $ith art e ploration, concept development, e perimentation, and art production. In art making, the artist undergoes three stages of e perience $hich are popularly kno$n as pre-production or sub%ect development, production or medium manipulation and postproduction or e hibition. Art e pressions such as painting, sculpture, dance, drama, music, etc vary in approaches in terms of sub%ect interpretation and medium used. Hence, target audience, si:e and scope of the $ork, time frame, budget, availability of materials are considered. In theatre or performing arts, pre- production involves the follo$ing= conceptuali:ation of the theme, $riting the script, making auditions for cast selection, casting or assigning of roles and $orkshops. #he follo$ing should also be considered during the practice= spacing, staging, lights, music. >et rehearsals and press releases should also be given priority during pre-production phase to ensure "uality of performance and to reach all potential target audience. Production refers to the proper presentation of performing arts. (hen more than one production is set, directors must observe and evaluate the production to improve the performance of the casts in the ne t set. Ackno$ledging the sponsors and people involved in the production is also vital. In post-production1 evaluation, criti"uing, success press release, sending thank you messages P letters are done. Accepting schedules for possible re-staging can also be accomodated. )erforming or combined arts such as dance, theater and film are collaborative in nature. #hese art forms need various skills and e pertise to run a sho$ or pro%ect. In particular, choreographer, lights director, costume designer, production manager, finance officer, logistics, tickets in charge, etc. are needed to make a production. Art making can be done collaboratively or individually. 2asically, painters, sculptors, $riters and poets $ork alone %ust like carpenters, carvers, etc. Ho$ever, if they are involved in a bulk and big pro%ects, they need a hand from other artists or artisans. >ince most artisans! outputs are generally for commercial use, they follo$ a standard time frame of $ork from eight 3I=557 a.m. to five 3G7 p.m. $ith t$o 347 breaks for snacks in the morning and in the afternoon. Ho$ever, most artists $ork $ith open time $hich primarily dependent upon artists! mood and drive to create an art$ork. >ometimes they sacrifice not to take break %ust to sustain the fluidity of ideas and to hold the momentum. *or them, art process is a ritual of accommodating overflo$ing ideas that are accessible in the imagination. An artist!s approach is so special that skills is not the only thing offered but everything - emotion, effort and resources even $ithout e pecting any return of investment. +oncept development is sometimes interactive and consultative. >ome artists collaborate $ith other artists, especially $hen the pro%ect is huge enough for an artist to handle alone. #his is called pro-active interaction. In this case, the hired artist follo$s the dictates of the one contracting the pro%ect. *or e ample, if the painter is commissioned to do big backdrops or murals and given only fe$ $eeks to get the $ork done, he'she has no other $ay but to hire artists to $ork $ith him'her. .n the otherhand, $hen an artist does the concept development alone and $ould hire artists or artisans to actually develop, manipulate and e ecute the concept, this is called a passive

interaction. Here, the hired artists and artisans have to strictly adhere $ith the ideas and thoughts of the one $ho developed the art concepts. In poetry and $riting, it is usually an individual approach. An artist e plores, manages, and manipulates language and e pression alone. #he $riting process usually starts $ith sub%ect or theme identification, follo$ed by $riting proper, then proof reading 'editing before finally publishing a $ork. (hen poetry or a literary piece is utili:ed for a performance art, some poets are sensitive enough that they $ant a careful and appropriate interpretation of their $ork. >ometimes, they tend to be involved in the production to guard the right interpretation of their $ork. In music, performance can be individual or collaborative. &usicians start either $ith the lyrics or music, or vice-versa. >ome musicians can $rite through musical notations $herein sounds are formed $ith their minds, but some have to play the instruments literally to hear the sound produced and then organi:e the notes or chords to come up $ith a composition. +omposing is too technical. >ome musicians are comfortable to start $ith composing the lyrics, and then appropriate the music $hile others start $ith the organi:ation of music, rhythm and beat before actually appropriating $ords and lyrics to go and synchroni:e $ith the music. >omething mysterious emerges during art making. As the artist starts to conceptuali:e or manipulate the medium, they are like shamans and hermits, they detach themselves from the real $orld, creating a $orld of their o$n, sulking in their studios. #hey hibernate till they finish $ork. #hey tend to create a distance and gap from their o$n $orld to the real $orld. #hey shut all destructions and meet the divine, the sacred, and the remote primal soul. >ometimes, it!s so difficult to describe, but the artist tend to leave the self and %ourneys some$here, looking for the right verb, the right note, the right gesture , the right P appropriate for any description. In the later part of birthing ideas, there comes the ceasing and the artist is done. #he artist is back in reality, becoming an audience of his'her o$n $ork. (hy are most artists like shaman9 (hy do they hibernate9 (hy not do the art making in public9 In a $ay that artists detached from their ordinary routine. >omeho$, art making needs concentration and focus, they need not to be disturbed. (ell, %ust like any profession, they need private time for concept development, they need to interact and collaborate $ith other individuals, and artist finds space of their o$n. An artist needs a $orking space a formal space, an alternative space or even virtual space to be able to $ork properly. #his is not to create a gap bet$een audiences and artists, not to create stereotyping that artist is different and $eird, but an artist is %ust like an ordinary human being, they have mood s$ings, they have temperament, they are too sensitive, insecurities, fi ations and. $eaknesses. #hus, artists assert because of their role of providing images and sound $ith commentaries of the time and place they live in. (ell, art making can be as public, but during the making of the art, the artist possibly meets the supernatural being, the divine, he'she transcends to meet the child in him'her. It is the recreation or the creation of a ne$ life, a symbol, a hope, a story $herein the human beings a$ait a ne$ e perience and a ne$ e ploration of language, advancing the civili:ation through its $onders. Imagination is too vast that $hat an artist can do is only a speck from the $ide range of our imagination. Ho$ do artists differ from artisans9 2oth undergo the tedious process of art making. 2oth handle instruments and tools $ith respect. Ho$ever, artisans stay up to the basic function of things8 they don!t go beyond behind the surface of the ob%ect. #hough nobody can argue $ith the meticulous

skill of the carpenter, carver, $eaver, but their $ork also allo$s us to travel some$here else. *urther, the artists go beyond the a$e and ama:ement in handling and manipulating media or tools. Artists undergo the dirty process of art making, befriending medium, stretching its limits, e perimenting ne$ media, taking risks that a$ait the later part. #hey $onder not %ust from the edge to edge of the canvas, they go beyond into the realms of imagination allo$ing us the audience to see things differently, creating a ne$ spectacular $orld. #he artisan $ould never leave reality, but artists $orld allo$ us to go beyond this real $orld. An artist!s $ork is a leap of imagination.

7.7 4edium &edium refers to the material used by the artist. It is the thing that ob%ectifies an idea. (ithout the medium, an idea remains a concept or it $ould %ust reside in the $alls of your imagination. It is challenging to manipulate medium and transform it from its ra$ state. #he different media that are sold in the market, such us paint, metal, etc. $ould remain ra$, unless the artists manipulate and transform them into something else - an image, a metaphor, a representation, a masterpiece. &anipulation of &edium re"uires a techni"ue. #echni"ue refers to the artist!s ability and kno$ledge or technical kno$-ho$ in manipulating the medium. &aking an art$ork re"uires technical competence. #he ability to manipulate is the driving force in the birthing a ne$ form or idea. #he artist has to undergo a certain moment of reflection and understanding of the chemistry and physical properties of the ob%ect until he'she finds her'himself commune $ith the medium. &anipulating a medium is someho$ a trial and error. It re"uires patience, resourcefulness, thrift and industry. In literature, aside from the $riter!s medium $hich is $ords, the basic tools are also needed such as pen and paper or a small notebook for cataloguing of $ords, %ournaling of brief moments, and recording punch lines and metaphors. (riters should have the belly for developing a plot, should have the ability to play $ith $ords, enough bag of vocabularies, and kno$ledge to$ards do!s and don!ts in $riting. #he poet!s medium is also $ords but poets employ different approaches in manipulating $ords. A poet should have the ability in creating metaphors or figures of speech, the ability to present clear ideas $ith the use of appropriate $ords. A painter!s medium is a pigment in oil or $ater color. Aside from this key medium, a painter should kno$ ho$ to dra$, compose, organi:e sub%ect, mi colors, capture and produce good images. It is important that the painter kno$s the characteristics of a medium. *or e ample, an oil paint must be mi ed $ith a linseed oil for better manipulation and toning. In $ater color, a paper should be used and must be acid free for better absorption and preservation. A sculptor, on the otherhand, uses $ood, metal, plastic, clay, cement, and paper to produce a sculpture. -ach medium has its o$n characteristics that a sculptor should understand. He must consider durability and stability of base and the structure itself. A sculpture can be approached

through subtractive and additive techni"ue. In subtractive, it is taking a$ay unnecessary parts from the medium $hile in additive, it is adding or incorporating parts $ith the medium. *or instance, in $ood, glass, ice, and marble sculpting, taking a$ay the negative spaces'parts $ould result to the desired form or sub%ect. Adding or incorporating part to the metal or cement to form the desired sub%ect or form is additive. Ho$ever, there are media that can be both subtractive and additive. *or e ample, clay can be mould and carved out $hile it is still soft. Mou can also add'integrate a part to form the desired sub%ect. An architect needs basic dra$ing materials and special tools to come up $ith meticulous designs in a blue print. An architect should ac"uire a technical kno$-ho$ in making and appropriating designs on various geographical locations. Aside from aesthetic kno$ledge, an architect should be kno$ledgeable also in landscaping, interior designing and structural building. A musician is not only bound to organi:e notes and manipulate instruments but should also learn ho$ to play, tune, and take good care of the musical instruments. #here are t$o kinds of musicians. #here are those $ho can compose and arrange musical notations $hile others could %ust play instruments based on chords and sounds through improvisation. A performance artist, usually visual artists utili:e a fusion of sound, image, ob%ect, body movement and technology to produce a live performance. Jevertheless, there is no easy play of medium. -ither an artist or an artisan re"uires technical competence and they all undergo a process to master their craft. #here is no short cut8 it is al$ays a %ourney and an adventure. >ometimes, an artist develops his o$n mi ture and tools for personal convenience and to get the desired effect of the art$ork.

Conclusion; &edium refers to the materials used by the artist to ob%ectify his'her idea or concept. &edium is one of the important ob%ects that define an artists name, identity and originality. In art making the artist not only studies the characteristics of a particular medium but developing a relationship that $ill define both, skill, passion and the $ork itself. &astering a medium takes time8 it $ould not happen overnight, an artist can even learn this from a $orkshop or from a mentor. Ho$ever, along the $ay, the artist meets possibilities in a thorough immersion to the medium and sometimes produces an accidental art. An artist must choose a medium $herein an artist has control over it. &edium manipulation is physical and at the same time emotionally and psychologically e hausting. Handling medium is a balance bet$een technical competence and aesthetics. Aside from the technical kno$- ho$ an artists must bear in mind that aesthetic or creative approach to$ards the medium is relevant. #he more an artist spends time $ith the medium and also the tools, the more an artist finds and develops techni"ue in handling it. >omeho$, the artists unconsciously develop a trademark in handling the medium then it becomes the style. >o, it is only through immersion to$ards the medium that defines his mastery over it. And it concludes it is only through involvement, participation and action that an art emerged. 8e-iew Intervie$ an artist. #he guide belo$ $ill help you formulate your "uestions.
D. Jame 4. *ield E. -ducation' Ac"uisition of Ano$ledge' #rainings F. Artform G. )rimary ' >econdary &edium H. &aterials ' #ools' +haracteristics of &edium 6. >tudio setting' >tudio management I. >ub%ect ,. >ub%ect Bepresentation D5. >ub%ect >tyle DD. Bole of the Artists D4. >truggles'/ifficulty ' problems encountered in art production DE. )ricing ' *unding ' +ommission (ork DF. +oncepts')hilosophy' 2asis'Influences DG. Art /ocumentation' Art >amples 3 images, sound,te t7

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