Module 3 - Arts in

Daily Living

Time Frame: Week 8, 10 and 11

Lessons in the Module

Lesson 1 – Painting
Lesson 2 – Decorative Art
Lesson 3 – Pottery

Prepared by:
Ariel C. Balio Jr., LPT
 Lesson 1 - Painting

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

• Identify what is Painting;
• Enumerate the six major painting media; and
• Appreciate the importance of Painting in our daily life.

INTRODUCTION
Welcome to the New Normal form of Learning. In this module, you will explore the
importance of painting in our daily life.

ACTIVITY
Picture Analysis.
ANALYSIS
1. What is your own interpretation on the picture?
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ABSTRACTION

What do you need to know?

Painting is the
application of pigments to a
support surface that
establishes an image, design or
decoration. In art the term
“painting” describes both the
act and the result. Most
painting is created with
pigment in liquid form and
applied with a brush. Exceptions to this are found in Navajo sand painting and
Tibetan mandala painting, where powdered pigments are used. Painting as a medium
has survived for thousands of years and is, along with drawing and sculpture, one of the
oldest creative media. It’s used in some form by cultures around the world.

Three of the most recognizable images in Western art history are paintings:
Leonardo da Vinci’s Mona Lisa, Edvard Munch’s The Scream and Vincent van
Gogh’s The Starry Night. These three art works are examples of how painting can go
beyond a simple mimetic function, that is, to only imitate what is seen. The power in
 great painting is that it transcends perceptions to reflect emotional, psychological, even
spiritual levels of the human condition.

Painting media are extremely versatile because they can be applied to many
different surfaces (called supports) including paper, wood, canvas, plaster, clay, lacquer
and concrete. Because paint is usually applied in a liquid or semi-liquid state it has the
ability to soak into porous support material, which can, over time, weaken and damage
it. To prevent this a support is usually first covered with a ground, a mixture of binder
and chalk that, when dry, creates a non-porous layer between the support and the
painted surface. A typical ground is gesso.

There are six major painting media, each with specific individual
characteristics:

• Encaustic
• Tempera
• Fresco
• Oil
• Acrylic
• Watercolor

All of them use the following three basic ingredients:

• Pigment
• Binder
• Solvent (also called the “vehicle”)

Pigments are granular solids incorporated into the paint to contribute color.
The binder is the actual film-forming component of paint. The binder holds the
pigment until it’s ready to be dispersed onto the surface. The solvent controls the flow
and application of the paint. It’s mixed into the paint, usually with a brush, to dilute it
to the proper viscosity, or thickness, before it’s applied to the surface. Once the solvent
has evaporated from the surface the remaining paint is fixed there. Solvents range from
water to oil-based products like linseed oil and mineral spirits.
Six main painting media:

1. Encaustic paint mixes dry pigment with a

heated beeswax binder. The mixture is then brushed or
spread across a support surface. Reheating allows for
longer manipulation of the paint. Encaustic dates back
to the first century C.E. and was used extensively in
funerary mummy portraits from Fayum in Egypt. The
characteristics of encaustic painting include strong,
resonant colors and extremely durable paintings.
Because of the beeswax binder, when encaustic cools it
forms a tough skin on the surface of the painting. Modern electric and gas tools allow
for extended periods of heating and paint manipulation.

2. Tempera paint combines pigment with an egg yolk

binder, then thinned and released with water. Like
encaustic, tempera has been used for thousands of years.
It dries quickly to a durable matte finish. Tempera
paintings are traditionally applied in successive thin
layers, called glazes, painstakingly built up using
networks of cross hatched lines. Because of this
technique tempera paintings are known for their detail.

Contemporary painters still use tempera as a medium.

American painter Andrew Wyeth (1917-2009) used
tempera to create Christina’s World, a masterpiece of detail, composition and
mystery.

3. Fresco painting is used

exclusively on plaster walls
and ceilings. The medium
of fresco has been used for
thousands of years, but is
most associated with its use
 in Christian images during the Renaissance period in Europe.

There are two forms of fresco: Buon or “wet,”and secco, meaning “dry.”

Buon fresco technique consists of painting in pigment mixed with water on a

thin layer of wet, fresh lime mortar or plaster. The pigment is applied to and absorbed
by the wet plaster; after a number of hours, the plaster dries and reacts with the air: it is
this chemical reaction that fixes the pigment particles in the plaster. Because of the
chemical makeup of the plaster, a binder is not required. Buon fresco is more stable
because the pigment becomes part of the wall itself.

Domenico di Michelino’s Dante and the Divine Comedy from 1465 (below) is
a superb example of buon fresco. The colors and details are preserved in the dried
plaster wall. Michelino shows the Italian author and poet Dante Aleghieri standing with
a copy of the Divine Comedy open in his left hand, gesturing to the illustration of the
story depicted around him. The artist shows us four different realms associated with the
narrative: the mortal realm on the right depicting Florence, Italy; the heavenly realm
indicated by the stepped mountain at the left center – you can see an angel greeting the
saved souls as they enter from the base of the mountain; the realm of the damned to the
left – with Satan surrounded by flames greeting them at the bottom of the painting; and
the realm of the cosmos arching over the entire scene.

Secco fresco refers to painting an image on the surface of a dry plaster wall.
This medium requires a binder since the pigment is not mixed into the wet plaster. Egg
tempera is the most common binder used for this purpose. It was also common to use
secco fresco over buon fresco murals in order to repair damage or make slight changes
to the original.

Leonardo Da Vinci’s
painting of The Last
Supper (below) was done using
secco fresco. Because this was
painted on a dry plastered wall,
the pigments are only on the
surface, not part of the wall like
a true fresco. As you’ll notice in Da Vinci’s painting, the paint is faded and flaking off
as a result.

4. Oil paint is the most versatile of all the painting

media. It uses pigment mixed with a binder of linseed
oil. Linseed oil can also be used as the vehicle, along
with mineral spirits or turpentine. Oil painting was
thought to have developed in Europe during the
fifteenth century, but recent research on murals found
in Afghanistan caves show oil based paints were used
there as early as the seventh century.

5. Acrylic paint was developed in the 1950’s

and became an alternative to oils. Pigment is
suspended in an acrylic polymer emulsion
binder and uses water as the vehicle. The
acrylic polymer has characteristics like rubber
or plastic. Acrylic paints offer the body, color,
and durability of oils without the expense,
mess and toxicity issues of using heavy
solvents to mix them. One major difference is the relatively fast drying time of acrylics.
They are water soluble, but once dry become impervious to water or other
solvents. Moreover, acrylic paints adhere to many different surfaces and are extremely
durable. Acrylic will not crack or yellow over time.

6. Watercolor is the most sensitive of the

painting media. It reacts to the lightest
touch of the artist and can become an over
worked mess in a moment. There are two
kinds of watercolor
media: transparent and opaque.
Transparent watercolor operates in a
reverse relationship to the other painting
 media. It is traditionally applied to a paper support, and relies on the whiteness of the
paper to reflect light back through the applied color (see below), whereas opaque paints
(including opaque watercolors) reflect light off the skin of the paint itself. Watercolor
consists of pigment and a binder of gum arabic, a water-soluble compound made from
the sap of the acacia tree. It dissolves easily in water.

Watercolor paintings hold a sense of immediacy. The medium is extremely

portable and excellent for small format paintings. Transparent watercolor techniques
include the use of wash; an area of color applied with a brush and diluted with water to
let it flow across the paper. Wet-in-wet painting allows colors to flow and drift into each
other, creating soft transitions between them. Dry brush painting uses little water and
lets the brush run across the top ridges of the paper, resulting in a broken line of color
and lots of visual texture.

OTHER PAINTING MEDIA USED BY ARTISTS

Enamel paints form hard skins typically with a high-gloss finish. They use
heavy solvents and are extremely durable.

Powder coat paints differ from conventional paints in that they do not require
a solvent to keep the pigment and binder parts in suspension. They are applied to a
surface as a powder then cured with heat to form a tough skin that is stronger than most
other paints. Powder coats are applied mostly to metal surfaces.

Epoxy paints are polymers, created mixing pigment with two different
chemicals: a resin and a hardener. The chemical reaction between the two creates heat
that bonds them together. Epoxy paints, like powder coats and enamel, are extremely
durable in both indoor and outdoor conditions.
APPLICATION

How do you apply what you have

learned?

Search one of your favorite famous painting and discuss its details.

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Congratulations! You did a great job! Rest and Relax a while

then move on to the next lesson. Good luck!
 Lesson 2 - Decorative
Art

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

• Identify what is Decorative Art; and
• Appreciate the importance of Decorative in our daily life.

INTRODUCTION

Welcome to the New Normal form of Learning. In this module, you will explore the
functions and importance of decorative art in our daily life.

ACTIVITY
1. What comes into your mind when you hear the word decorative?
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ANALYSIS
2. Why do we need to study Decorative Art?
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ABSTRACTION

What do you need to know?

DECORATIVE ART

The term "decorative arts" is a traditional term for a rather unwieldy range of
artistic disciplines concerned with the design and ornamentation of items, usually
functional, that do not necessarily have any intrinsic aesthetic qualities. Broadly-
speaking, many decorative arts (eg. basket-weaving, cabinet-making, ceramics,
tapestry and others) are also classified as "crafts." Also, decorative art is part of the
larger category of applied art.

WHAT DOES DECORATIVE ART INCLUDE?

The definition and category of decorative art includes the creation of furniture
and accessory furnishings, rugs and carpets, tapestry, embroidery, book illustration,
floral decorations, ceramic pottery (earthenware, stoneware, porcelain and raku),
basketry, goldsmithing, enamelwork, silverware, jewelry art, mosaic art, as well
as stained glass and interior design work.

Origins and History of Decorative Art

 The earliest type of decorative art was ancient pottery, notably the Jomon style
Japanese ceramics pioneered from about 14,500 BCE. It was also widely produced from
about 5,000 BCE by a number of ancient Mediterranean civilizations, before reaching
its apogee in the Geometric Style, Oriental Style, Black-Figure and Red-Figure style of
Ancient Greek pottery.

Another early producer of decorative art were the Celts,

whose metalwork (c.500-50 BCE) created such personal weaponry and items of
jewelry, as the gold and bronze "Oak Tree of Manching" (c.350-50 BCE), the bronze
"Battersea Shield" (c.350-50 BCE), the bronze "Witham Shield" (4th century BCE), the
silver "Gundestrup Cauldron" (c.100 BCE), the bronze "Petrie Crown" (100 BCE - 200
CE), the gold "Broighter Gold Collar" (1st century BCE) and the gold "Broighter Boat"
(1st century BCE). Later, Celtic artisans in Ireland produced a number of exquisite
ecclesiastical objects, and other works, such as the Tara Brooch (c.700 CE), the Ardagh
Chalice (8th/9th century CE), the Derrynaflan Chalice (8th/9th century CE), the
Moylough Belt Shrine (8th century CE), the Tully Lough Cross (8th/9th century) and
the Cross of Cong (12th century).

These ornamental traditions were kept alive at the European royal courts of
King Charlemagne I and later Ottonian rulers, with new art forms being developed in
the area of tapestry and other textiles. The great Christian Gothic style building
program then financed the development of European stained glass art, which it
employed throughout its cathedrals in France, England, Germany and elsewhere.

During the Italian and Northern Renaissance eras, painting and sculpture took
tended to be more serious than decorative - but see the Fontainebleau School in France
- and it wasn't really until the Counter-Reformation Baroque era that decorative art
again blossomed, in a variety of disciplines. An important event during this time was
the founding of the famous Gobelins Tapestry Factory, in Paris (1667), headed
by Charles Le Brun (1619-90), and the Beauvais Tapestry Factory (1664), also in Paris.

After this, came the Rococo school which gave a huge impetus to decorative
crafts such as furniture-making, domestic furnishings, glass, and textiles. If Baroque
was rooted in architecture, the Rococo style was rooted in interior design. Emerging at
the court of Louis XV at the Palace of Versailles, the style proved exceptionally popular
 in parts of Germany and central Europe (c.1640-1792); French Designers (c.1640-
1792); and French Furniture (c.1640-1792). The Rococo era is also noted for the
popularity of Chinese decorative motifs, as in chinoiserie, the pseudo-Chinese style of
decoration which spread throughout Europe.

Meanwhile, advances in chromolithography in Paris by the French

lithographer Jules Cheret (1836-1932) led to a huge poster art craze across Europe.
This merged during the 1890s with the first modern international design style,
namely Art Nouveau (popularized by groups like the Vienna Secession) which peaked
at the 1900 International Exhibition in Paris. Alphonse Mucha (1860-1939) epitomized
Art Nouveau posters. Then, as Art Nouveau began to lose its edge, it was superceded
in poster lithography by functionalism, as exemplified by Leonetto Cappiello (1875-
1942). (For more information about this medium, see: History of Poster Art.) After
World War I came the highly influential Bauhaus Design School, and afterwards the
last major decorative movement emerged, known as Art Deco. This style took its name
from the 1925 International Exhibition of Decorative and Applied Arts, in Paris. Since
then there have been very few significant new styles of decorative art, although Pop art
and Minimalism had some influence, as did Neo-Pop. During the 1970s, in America,
the Feminist art movement came out strongly in favour of traditional female-inspired
decorative crafts, including needlework, embroidery, glass art and ceramics.

APPLICATION
How do you apply what you have
learned?

• Research another example of decorative art that are found in the Philippines.

Congratulations! You did a great job! Rest and Relax a while

then move on to the next lesson. Good luck!
 Lesson 3 - Pottery

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

• Identify what is Pottery;
• Enumerate the kinds, process and technique of Pottery;
• Appreciate the importance of pottery in our daily life; and
• Craft your own design of a Cement Pot.

INTRODUCTION
Welcome to the New Normal form of Learning. In this module, you will explore the
beauty of pottery that used for decoration and our daily living.

ACTIVITY
1. List down what kinds of pot that are found in your community and discuss its
characteristics.
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ANALYSIS
1. How pottery can contribute in the society?
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ABSTRACTION

What do you need to know?

Pottery, one of the oldest

and most widespread of
the decorative arts, consisting of
objects made of clay and hardened
with heat. The objects made are
commonly useful ones, such as
vessels for holding liquids or plates
or bowls from which food can be ser
ved.

KINDS, PROCESSES, AND TECHNIQUES

Clay, the basic material of pottery, has two distinctive characteristics: it is

plastic (i.e., it can be molded and will retain the shape imposed upon it); and it hardens
on firing to form a brittle but otherwise virtually indestructible material that is not
attacked by any of the agents that corrode metals or organic materials. Firing also
protects the clay body against the effects of water. If a sun-dried clay vessel is filled
with water, it will eventually collapse, but, if it is heated, chemical changes that begin
to take place at about 900 °F (500 °C) preclude a return to the plastic state no matter
how much water is later in contact with it. Clay is a refractory substance; it will vitrify
only at temperatures of about 2,900 °F (1,600 °C). If it is mixed with a substance that
will vitrify at a lower temperature (about 2,200 °F, or 1,200 °C) and the mixture is
subjected to heat of this order, the clay will hold the object in shape while the other
 substance vitrifies. This forms a nonporous opaque body known as stoneware.
When feldspar or soapstone (steatite) is added to the clay and exposed to a temperature
of 2,000 to 2,650 °F (1,100 to 1,450 °C), the product becomes translucent and is known
as porcelain. In this section, earthenware is used to denote all pottery substances that
are not vitrified and are therefore slightly porous and coarser than vitrified materials.

The line of demarcation between the two classes of vitrified materials—

stoneware and porcelain—is extremely vague. In the Western world, porcelain is
usually defined as a translucent substance—when held to the light most porcelain does
have this property—and stoneware is regarded as partially vitrified material that is not
translucent. The Chinese, on the other hand, define porcelain as any ceramic material
that will give a ringing tone when tapped. None of these definitions is completely
satisfactory; for instance, some thinly potted stonewares are slightly translucent if they
have been fired at a high temperature, whereas some heavily potted porcelains are
opaque. Therefore, the application of the terms is often a matter of personal preference
and should be regarded as descriptive, not definitive.

Kinds of Pottery

Earthenware was the first kind of pottery

made, dating back about 9,000 years. In the 21st
century, it is still widely used.

The earthenware body varies in colour from

buff to dark red and from gray to black. The body
can be covered or decorated with slip (a mixture of
clay and water in a creamlike consistency, used for
adhesive and casting as well as for decoration), with a clear glaze, or with an opaque
tin glaze. Tin-glazed earthenware is usually called majolica, faience, or delft. If the
clear-glazed earthenware body is a cream colour, it is called creamware. Much of the
commercial earthenware produced beginning in the second half of the 20th century was
heat- and cold-proof and could thus be used for cooking and freezing as well as for
serving.
 Stoneware is very hard and, although sometimes translucent, usually opaque.
The colour of the body varies considerably; it can be red, brown, gray, white, or black.

Fine white stoneware was made

in China as early as 1400 BCE (Shang dynasty).
In Korea, stoneware was first made during
the Silla dynasty (57 BCE–935 CE); in Japan,
during the 13th century (Kamakura period). The
first production of stoneware in Europe was in
16th-century Germany. When tea was first imported to Europe from China in the 17th
century, each chest was accompanied by a red stoneware pot made at the Yixing kilns
in Jiangsu province. This ware was copied in Germany, the Netherlands, and England.
At the end of the 17th century, English potters made a salt-glazed white stoneware that
was regarded by them as a substitute for porcelain. In the 18th century, the
Englishman Josiah Wedgwood made a black stoneware called basaltes and a white
stoneware (coloured with metallic oxides) called jasper. A fine white stoneware,
called Ironstone china, was introduced in England early in the 19th century. In the 20th
century, stoneware was used mostly by artist-potters, such as Bernard Leach and his
followers.
APPLICATION

How do you apply what you have

learned?

Suggested Projects

Craft your own design of a Cement Pot.

Rubrics

Creativity…………………………………..50%
Appearance………………………………….50%
100%

Congratulations! You did a great job! Rest and Relax a while

then move on to the next lesson. Good luck!
MODULE ASSESSMENT
1. Which artist or painter has influence you? Elaborate your answer.
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2. Draw your own design of Pot and discuss the details.

MODULE SUMMARY
• Painting is the application of pigments to a support surface that establishes an image,
design or decoration. In art the term “painting” describes both the act and the result.
Most painting is created with pigment in liquid form and applied with a brush.
• Painting media are extremely versatile because they can be applied to many different
surfaces (called supports) including paper, wood, canvas, plaster, clay, lacquer and
concrete. Because paint is usually applied in a liquid or semi-liquid state it has the
ability to soak into porous support material, which can, over time, weaken and damage
it.

• Pottery, one of the oldest and most widespread of the decorative arts, consisting of
objects made of clay and hardened with heat. The objects made are commonly useful
ones, such as vessels for holding liquids or plates or bowls from which food can be
served.

REFERENCES
• Eduardo, L. (1977). Arts and Crafts. Manila: Rex Book Store

• Quilang, T. (1994). New Handicraft Handbook. Metro Manila: National Book Store,
Inc