ARTISTS AND ARTISANS

ARTISANS
 Someone who has mastered a specific trade, typically native to their region, culture or background. An
artisan has theoretical and empirical knowledge about how to expertly create a specific good and
knows how to transfer that working craftsmanship to forthcoming generations.
Some examples of Artisans are Armorers, Blacksmith, Blacksmiths, Goldsmiths, Locksmiths,
Shoemakers and a lot more.

Artisans are divided into two categories:

1. Masters
2. Apprentices

Examples of Artisan Products

1. Ceramics and pottery: Objects mainly produced out of clay and baked at very high temperatures.
2. Textiles: A flexible material consisting of a network of natural or artificial fibers
3. Wood: This tradition is used for religious purposes, and often the production of traditional masks and
fantastic animal figures
4. Metalworking: the process of working with metals to create individual parts, assemblies, or large-scale
structures.
5. Goldsmith: this technique employs precious metals, such as gold, silver and bronze, which are melted
and shaped by a hammer and a chisel.
6. Jewelry: consists of small decorative items worn for personal adornment, such as brooches, rings,
necklaces, earrings, pendants, bracelets, and cufflinks
7. Natural fibers: This technique employs a diverse range of dry plants such as reed and wicker to
produce different fabrics and objects.
8. Carton and Paper: A tradition originally employed to produce costumes. It is also representation of a
paper handicraft that has been widely used in calligraphy, painting and book printing.
9. Saddlery: A technique that employs leather to produce a range of articles.
10. Glass: a hard, brittle substance, typically transparent or translucent, made by fusing sand with soda,
lime, and sometimes other ingredients and cooling rapidly. It is used to make windows, drinking
containers, and other articles.

ARTIST
 An artist is a person engaged in an activity related to creating art, practicing the arts, or demonstrating
an art. The common usage in both everyday speech and academic discourse is a practitioner in the
visual arts only.

EXAMPLES OF ARTISTS

Western Artists

 Leonardo Da Vinci
Born: April 15, 1452, Vinci, Italy
Profile: Painter, Architect, Sculptor, Inventor, Military Engineer and Draftsman.
Died: May 2, 1519 ,Amboise, France
Art Techniques: Chiaroscuro and Stufamo
Mediums: Oil, Tempera, and Wood
Art Movement: Renaissance
 Art by Leonardo Da Vinci:

Mona Lisa (c. 1503) Salvatori Mundi (c. 1500)

 Vincent Van Gogh

Born: March 3, 1853 Zundert, Italy
Profile: Painter
Died: July 29, 1890 Amboise, France
Art Techniques: Impasto
Art Medium: Oil
Art Movement: Post-Impressionism

Art by Vincent Van Gogh:

Café Terrace at Night (1888) Starry Night (1889)

 Michelangelo
Born: April 6, 1475, Caprese, Italy
Profile: Painter, Architect, Poet
Died: February 18, 1564, Rome, Italy
Art Techniques: buon fresco
Art Medium: Oil, Wood, and Stone
Art Movement: Renaissance
 Art by Michelangelo:

Pietà (1498-1499) Doni Tondo (1506)

 Claude Monet
Born: November 14, 1840, Paris, France
Profile: Painter, Philosopher
Died: May 5, 1926, Giverny, France
Art Techniques: Effects of light and color
Art Medium: Oil and Crayon
Art Movement: Impressionism

Art by Claude Monet:

Madame Monet and Her Son (1875) Water Lilies (1915-1926)

 Pablo Picasso
Born: October 26, 1881, Malaga, Spain
Profile: Painter, Sculptor, Ceramicist, Stage Designer, Poet and a Playwright.
Died: April 8, 1973, Mougins, France
Art Techniques: Abstracted geometric style
Art Medium: Oil, Pencil, and others
Art Movement: Cubism
 Art by Pablo Picasso:

The Three Musicians (1921) Guernica (1937)

 Salvador Dali
Born: May 4, 1904, Figueras, Spain
Profile: Painter, Draftsman
Died: January 23, 1989,Figuerras, Spain
Art Techniques: Paranoiac-critical method
Art Medium: Oil, Pencil, and Ink
Art Movement: Surrealism

Art by Salvador Dali:

The Persistence of Memory (1931) Figure on the Rocks (1926)

Filipino Artists

 Fernando Amorsolo
Born: May 30, 1892, Manila
Profile: Portraitist and Painter
Died: April 24, 1972, Quezon City
Art Techniques: Chiaroscuro
Art Medium: Oil
Art Movement: Realism
 Art by Fernando Amorsolo:

The Fruit Gatherer (1950) El Ciego (1929)

 Carlos "Botong" Francisco

Born: November 4, 1912, Angono
Profile: Muralist
Died: March 31, 1969, Angono
Art Medium: Mural
Art Movement: Modern

Art by Carlos "Botong" Francisco:

Magpupukot (1957) First Mass at Limasawa (1955 - 1960)

 Juan Luna
Born: October 23, 1857, Badoc
Profile: Painter,Sculptor, and Political Activist
Died: Octover 7, 1899, Hong Kong
Art Techniques: Ingratiating technique
Art Medium: Oil and Stone
Art Movement: Romanticism, Impressionism, Realism

Art by Juan Luna

Spolarium (1884) España y Filipinas (1886)
 JOB ROLES IN ART

ARTIST
Person who is engaged in the activity of creating, practicing or demonstrating art, working with visual
techniques, such as composition, colour, space and perspective to produce the desired effect.

ART AGENT
Represents an artist working on their behalf to promote and sell their work. Involves negotiating individual
sales, commissions, licensing deals, as well as organising publicity, and seeking opportunities such as
teaching and workshops.

GALLERY OWNER/ MANAGER

chooses and presents art for sale manages both the creative and business sides of running an art gallery, as
well as organizing and exhibitions, private sales and loaning out art.Your audience will listen to you or read the
content, but won’t do both.

ART CURATOR
in charge of a collection of exhibits in a museum or art gallery responsible for assembling, cataloguing,
managing, presenting and displaying artworks, cultural collections and artifacts.

ART DEALER
a person or company that buys and sells works of art with aim of making a profit. may present artwork and
might sponsor his artists fully for mutual benefits

ART COLLECTOR
A person who loves certain pieces of art/paintings and collect art not necessary to sell later but the chance is
there. Also called an art lover with possibility of having a personal project in mind for his/her collection in the
future.

ART CONSERVATOR
responsible for restoring, preserving and analysing artifacts and works of art. tend to specialise in particular
types of objects or materials such as books, paintings, sculptures or textiles.

ART HISTORIAN
study art created in the past by individuals, learning about artists’ lives and their societies, and seeking to
interpret and understand these works of art for the preservation of future generations.

ART CRITIC
specialises in interpreting, analysing and evaluating art. produce written critiques or reviews that are published
in newspapers, magazines, books, exhibition brochures and catalogues and well as on websites.

PRODUCTION PROCESS

 Production is a process of combining various material inputs and immaterial inputs (plans, know-how)
in order to make something for consumption (output).

Pre-production Process
The pre-production phase of a project is where all the planning takes place.
Sets the overall vision of the project.

Production Process
The production process is the process a product, work or service takes in order for it to become ready for
people to sea, hear, taste, touch, buy, watch and observe.

Post-production Process
The post-production process begins after all the work has been done.
Usually takes longer than the pre-production and production process.

EVENTS/EXHIBITS/MANAGING AUDIENCE
EVENTS: a celebration of ceremony and ritual- and were a reflection of a culture and a community
EVENT MANAGEMENT: design and management of an event
CORE VALUES:
DESIGN: essential to an event’s success because it leads to improvement of the event on every level
GOLDBLATT (1997):

 WHY?: the compelling reason

 WHO?: target market
 WHAT?: event product or the broad parameters of what the event will be
 WANT?: establishing measurable objectives and projected outcomes
DESIGN PRINCIPLES:

 SCALE: regardless of the distance from the activity to the audience, the audience can clearly see and
understand what is being presented
 SHAPE: simple, clean lines
 FOCUS: ensuring that the audience is focused on what you want
 TIMING: accurate timing throughout the event will go a long way towards maintaining the contract
established with the audience
 BUILD: understanding the ‘event curve’ and how to apply it to the program to ‘build’ the event over its
duration
VISITOR MANAGEMENT: nature of the experience of events and festivals that differentiates the management
of visitors from manufacturing operations
VISITOR MANAGER: has to guess demand and define capacity
REVENUE AND MANAGEMENT PRICING: maximize revenue and control availability for specific time periods
CAPACITY MANAGEMENT: A vital link in the management of visitors and entails determining the appropriate
capacity for any given festival or event venue and making decisions appropriate to this.
DEMAND MANAGEMENT: ‘Is about shifting the timing of demand so that the peak is ‘‘shaved’’ and the off-
peak times, with their excess capacities, are fed more’ (Schmenner, 1995: 136)
LEVEL CAPACITY PLAN: Forecasting capacity without any fluctuations for alternations in demand. A level
capacity plan is suitable where capacity is fixed and high margins are earned at the peak, resulting in holding
excess capacity.
CHASE DEMAND PLAN: Attempts to match capacity close to varying levels of forecast demand
VISITOR FLOW PROCESS CHARTS: a depiction of the movement of visitors in a venue. It make decisions in
the design of visitor flow and process delivery for events and festivals.
PROCESS AND INFORMATION FLOW DIAGRAMS: Show the movement in a visitor service encounter that
is sequential and parallel to different processes.
BOTTLENECKS: occur where demand either becomes close to or exceeds capacity

 CHRONIC: More serious, and fall into the categories of material and process problems.
 EPISODIC: Concerned with equipment breakdowns, material shortages and labor shortages.
QUEUES:
QUEUING MODELS: help visitor managers balance desirable capacity costs with waiting-line costs.
FORECASTING: The ability to predict demand is the foundation for the development of an appropriate
strategy to manage the service encounter.
FACTORS:

 TIME: span of the forecast

 RESOURCE REQUIREMENTS: mathematical requirements, computer resources, financial resources
 INPUT CHARACTERISTICS: antecedent data available, variability of fluctuation range and frequency,
external stability
 OUTPUT CHARACTERISTICS: detail or degree of desegregation, accuracy
QUALITY: ‘Quality should be aimed at the needs of the consumer, present and future’ (Deming, 1982)
SERVICE: Kotler (1982): ‘any activity or benefit that one party can offer to another which is essentially
intangible and does not result in the ownership of anything. Its production may or may not be tied to a physical
product’.
SERVICE QUALITY: Concerned with the delivery of customer needs and expectations.
CHARACTERISTICS:

 INTANGIBILITY: Service cannot be directly seen, tasted, felt or heard prior to their purchase and
consumption.
 INSEPARABILITY: Production and consumption of the service occur simultaneously.
 HETEROGENEITY: There is a high level of variability in services in that each encounter is a unique
experience influenced by a number of ‘human element’ factors.
 PERISHABILITY: A seat at the theatre or an entry ticket for an event cannot be produced and stored
today for some future point in time.
SERVICE EXPERIENCE: complex and the contributing elements of the festival or event offering come
together in a way that satisfies each individual customer to a greater or lesser degree.

 PRE-EVENT: Awareness and interest is generated by promotional material and information produced
in advance of the event.
 ARRICAL AT THE VENUE: First impressions matter. A professional attitude of front-of-house staff will
make both the first-time customer and the seasoned regular feel equally at home.
 ENGAGING IN THE EVENT: This is the time when impressions of the event itself filter into the
customer evaluation process. We create a ‘moment of truth’ where the behavior of the staff member is
crucial in influencing the quality of the visitor experience.
 POST-EVENT: This is often the time when some organizers of events or festivals lose interest in the
visitor and yet this is the time when the groundwork is laid for future customer relationships.
CUSTOMER SATISFACTION MEASUREMENT: Can significantly help managers and employees to focus
more attention on improving service quality.
SATISFACTION: Positive and negative service encounters lead to an overall high or low level of satisfaction.
METHODS OF MEASUREMENT:

 DIRECT SURVEY METHODS: Can make use of focus groups who provide feedback and ideas for
service improvement
 SERVQUAL: The widely cited model was developed in the late 1980s by Parasuraman et al. (1988) to
measure the gaps in perceptions and expectations across the following five dimensions:
o Tangibles
 o Reliability
o Responsiveness
o Assurance
o Empathy
KEY FACTORS IN SUCCESSFUL SERVICE RELATIONSHIPS

 COMMUNICATION: This needs to be open, honest, regular and using more than just written media
 INFORMATION: Accurate and timely provision of information is essential to maintaining a good
relationship, as is efficient record keeping and data retrieval systems.
 UNDERSTANDING: Real empathy is needed not just for the external customers’ situations but the
employees’ circumstances.
 BEHAVIOR: All human behaviour has the power to significantly change communication encounters
and interactions.
 ACTION: All the other factors fade away if all we have is a knowledge or understanding of what is
required
OPERATIONAL ISSUES OF SERVICE QUALITY

 SYSTEMS OR PROCEDURE QUALITY: The ‘how’ of event management; this is the culmination of the
planning, training, organizing and delegating of essential tasks to key personnel.
 TECHNICAL QUALITY: It is here that the techniques of lighting designers, sound technicians and
image makers can create the opportunity to dazzle, to impress and to entertain.
 PROFESSIONAL QUALITY: equally evident by the attitude and behaviour of staff towards customers
in distress and of the responses to customer difficulties, complaints or indeed emergency situations.
 CUSTOMER COMMUNICATION QUALITY: Whatever the chosen methods or processes, efficient
lines of communication must be established within an organization and they must be flexible enough to
respond to changes because changes are almost inevitable (Watt, 1998).
STRATEGIC MANAGEMENT: This requires the events manager to monitor the environment, and provides the
opportunity to keep track of customer changes and gain valuable feedback to improve the level of service
quality.
EVENT PROFESSIONAL MANAGER: Who arranges, manages, organizes, coordinates all aspects of the
proposed event and in essence acts as a ‘middle person’ between the suppliers and the commercial
organization.
CRITICAL PATH ANALYSIS: ‘Is the series of tasks that push out the project’s end date if they are delayed’
(Chatfield et al., 2001)
GANTT CHARTS: Or progress charts are created from the same initial process as the network diagram.

MEDIUM

 Comes from Latin word medium, which means an artist is communicating with his idea.
 These are materials used by an artist to express his/ her feelings or thoughts.
 In accordance to MEDIUM, arts are primary classified as a visual and auditory.

VISUAL ARTS
 are those whose medium can be seen and which occupy space.

Grouped into class:

 1. Dimensional art or two-dimensional art – which include painting, drawing, printmaking, and
photography

 Painting
The painter uses pigments (e.g., watercolor, oil, tempera, textile paint, acrylic, ink, etc.) on a usually flat
ground (wood, canvas, paper, stone wall such as in cave paintings).
 Drawing
It is the most fundamental of all skills necessary in arts. Drawing is usually done on paper using pencil,
pen and ink or charcoal. The best known drawing in the world’s is Leonardo da Vinci (1452-1519) an
Italian artist.
 Printing
The printmaker uses ink printed or transferred on a surface (wood, metal plates, or silk screen)
 Photography
The photographer and filmmaker use the camera to record the outside world. The filmmaker uses the
cinematographic camera to record and put together production design, sound engineering,
performance, and screenplay. In digital photography and film, the images can be assimilated into the
computer, thus eliminating the need for celluloid or negatives, processing chemicals, or print.
 Sculpting
The sculptor uses metal, wood, stone, clay, and glass. Pottery is a form of sculpture. Other examples
are nudes or figures such as Guillermo Tolentino's Oblation, ritual objects such as bulul wood carvings
in the Cordillera, or the santos or carvings of saints in Christian churches.
 Architecture
The architect uses wood, bamboo, bricks, stone, concrete and various building materials. Buildings are
also called "three-dimensional" arts because like sculpture, they occupy space and have volume.
However, architecture has the added element of time, since we move into the structures.

AUDITORY ARTS
 are those mediums can be heard and which are expressed in time.
 Music
The musician uses sound and instruments (including the human voice), while the dancer uses the
body. A T'boli chanter sings creation stories in a way that is different from a classical singer or pop
music singer influenced by the Western music.
COMBINED ARTS
 are those whose mediums can be both seen and head and which exit in both space and time.
 All these art forms can be integrated and result in Combined arts, such as design, mixed media, film,
video, performance art, theater productions, and installations.
Grouped into class:

 Mixed media
A mixed media painting is one that combines different painting and drawing materials and methods,
rather than only one medium. Any materials can be used, including collage items such as pages from
magazines, newspaper, photographs, fabric, soil, or packaging. Or a mixed media piece can be as
"simple" as using two mediums, such as acrylic paints with pastel on top.

 Theater
The theater artist integrates all the arts and uses the stage, production design, performance elements,
and script to enable the visual, musical, dance and other aspects to come together as a whole work.

TECHNIQUE

 Is the manner in which the artist controls his medium to achieve the desired effect.
 The ability which he fulfills the technical requirements of his particular work of art.

The Artist and His Technique

Artist may differ from one another in technique even if they use the same medium.

Contemporary techniques:

1. Minimalism
 seeks to take away what’s unnecessary and leaving only what’s essential. Minimalism is
incredibly difficult and has even made its way into being a huge part of branding and design for
companies all over the world.

2. Found Objects
 A specific sub genre of found objects is known as trash art or junk art. These works primarily
comprise components that have been discarded.

3. Large-Scale Art
 Creating something huge to express diverse perspectives in artwork.

GAMABA AWARD

*search for the finest traditional artists of the land.

*Adopts a program that will ensure the transfer of their skills to others.
*undertakes measure to promote genuine appreciation of traditional craft and art.
*instill pride among our people about the skill of the Manlilikha ng Bayan.

Qualifications:

*He/She/Group is an inhabitant of an indigenous/traditional cultural community anywhere in the Philippines that

has preserve indigenous customs, beliefs, rituals and traditions and/or had syncretized whatever external
elements that have influenced it.

*He/She/Group must have engaged in a folk art tradition that has been in existence and documented for at
least 50 years.

*He/she/group must have passed on and/or will pass on to other members of the community their skills in the
folk art for which the community is traditionally known.

GAMABA Awardees

1. Ginaw Bilog

*A Hanunuo Mangyan of Mansalay, Oriental Mindoro.

*Awarded for faithfully preserving the Hanunuo Mangyan script and ambahan poetry.

*He has promoted the local script and poetry so that the art will not be lost but preserved for posterity.

2. Apo Whang-Od

*Whang-od Oggay, also known as Maria Oggay, is a Filipino tattoo artist from Buscalan, Tinglayan, Kalinga,
Philippines. She is often described as the "last" and oldest mambabatok and is part of the Butbut people of the
larger Kalinga ethnic group.

3. Eduardo Mutuc, metalsmith and artist

Having finished up to elementary school, Eduardo Mutuc, a farmer at the time, became an apprentice to
furniture carvers to earn additional income. He had no prior knowledge of the work he was getting into, but this
didn’t stop him from expanding his experience and becoming one of the most respected creators of religious
and secular art today. He uses wood, silver, and bronze to create exquisitely detailed and lifelike pieces of
varying sizes: altars, mirrors, retablos, and even carosas. Mutuc is based in Apalit, Pampanga. He was
awarded in 2004.