MODULE 3

TYPES OF SUBJECT/ELEMENTS OF ART

PROGRAM: BTVTED/BSCPE Year Level: 2ND YEAR Section: A/B/C

COURSE CODE: GENE06 DESCRIPTION: ART APPRECIATION

LEARNING OUTCOMES
At the end of the period, the students should be able to:

 Differentiate subject content from subject

 Classify artworks according to subject
 Analyze how artists present their subjects in relation to the real subject
 Enumerate the sources of the subjects of some of the most recognizable works of art
in Philippine art history
 Differentiate representational art and non-representational art
 Differentiate representational art and non- representational art
 Discuss the difference between an artworks subject and its content
 Identify the subject matter and content of specific examples of art
 Enumerate the sources of the subjects of some of the most recognizable works of art
in Philippine art history.
Prepared: Reviewed and Checked:
NICHOLE JOYCE B. LANDICHO, LPT JASCELYNN N. OLIMPIADA, LPT, PhD
Instructor Program Head

Recommending Approval: Approved:

WILMA WENG P. CASALME, PhD PROF. MICHAEL E. LIRIO, CPA, MMPA

Vice President for Academic Affairs President and College Administrator

Tanauan City College

Learning Module Format
TANAUAN CITY COLLEGE [GENE06– MODULE 2] ART APPRECIATION 1|P a g e
Program: Bachelor of Technical Vocation Topic: TYPES OF SUBJECT/ELEMENTS
Teacher Education OF ART
Course: Art Appreciation Instructor Nichole Joyce B. Landicho, LPT
:
Code GENE06 Module 3 Week #: 5–6 # of 19 pages
#: Page:

I. Preliminaries
Introduction to The primary stage of engaging with art is its perception. Looking at art is much like any
the Module instance of taking in information or stimulus that originates from the world around us.
Objective For most art forms, the beginning of engagement is through looking at the artwork. The
eyes play a big role in mechanically making a vision possible. However, like any tool, it
is but one component. What makes the difference is the awareness in the process of
looking where subjectivity is essential in navigating through the artwork. Subjectivity is
illustrated in the way that selective perception renders one or two details more
prominent than others. Prompting the viewer to focus on some details as essential or as
standouts. Even the disposition or mood of the viewer, his education, his background
and his exposure to varying contexts contribute to what information is taken in how they
are interpreted.to herd all of these into coherence and intelligibility, the relationships of
visual details presented, the ideas and feelings that they cull, and other springs of
information may be consulted.

Section Topics Learning Outcomes Assessment/ Modality

Evaluation

Section 1: Subject and  Differentiate subject  Learning

 Module
Content content from subject Journal
 Google meet
 Classify artworks  Quiz classroom
Section 2: Elements of Art according to subject  Video  Canvas
 Analyze how artists presentation
Section 3: Iconography present their subjects in using Pecha Social media
relation to the real Kucha format platforms
subject  Creative
 Enumerate the sources dance
. of the subjects of some interpretation
of the most of different
.
recognizable works of musical
art in Philippine art genres fused
history with classical
 Differentiate music
representational art and (individual
non-representational art performance
 Differentiate
representational art and
non- representational
art
 Discuss the difference
between an artwork;s
subject and its content
 Identify the subject
matter and content of
specific examples of art

Enumerate the sources of the

subjects of some of the most
recognizable works of art in
Philippine art history.

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 II. Instructions
Keywords and concepts

Non-Representational- These are the arts without any reference to anything outside itself (without
representation). It is non-objective because it has no recognizable objects. It is abstract in the sense that it
doesn’t represent real objects in our world. It uses “content “and is concerned with “ how” the artwork is
depicted.

Subject- Refers to the visual focus or the image that may be extracted from examining the artwork.

Form – The development and configuration of the art work- how the elements and the medium or material
are put together

Content Lecture/ Discussion

In the field of sciences, experimentation is the key to proving a hypothesis or a larger theory. Often, an
experiment is done multiple times to further prove the reliability of an outcome. Therein, empirical or
observable data in the form of visible or tactile qualities, events or occurrence, yielding an output or by-
product must follow after a step or a series of processes. In the arts, there are also observable qualities that
the art work holds that will point to its subject. And sometimes even to its content. In order to flesh out what
the subject of the artwork is, it is important to first look at the constituent’s figures that are perceivable on
the surface of the canvas or the sculpture, and manner in which the artist chose to depict those figures. From
these, the type of subject can then be inferred.

SUBJECT

 The term subject in art refers to the main idea that is represented in the artwork. The subject in art is
basically the essence of the piece.
 Subject the visual focus or the image that may be extracted from examining the artwork the “what”.

TYPES OF SUBJECTS
REPRESENTATIONAL OR OBJECTIVE

 Representational art or figurative art represents objects or events in the real world, usually looking
easily recognizable. It uses “form” and is concerned with “what “is to be depicted in the art work.
Example, painting, sculpture, graphic arts, literature and theater arts.

 One of the most iconic and recognizable paintings all over the world is the “Mona Lisa” done by
Leonardo da Vinci. Some questions are often raised regarding this art work, like, “ Who is Mona
Lisa?” Why was Leonardo da Vinci compelled to paint her?” But as scholars attempt to solve the
true identity of the sitter, it is relevant to note that there is consensus that Mona Lisa- whoever she is-
is based on real person.
 These types of art have subjects that refer to objects or events occurring in the real world Often are
also termed figurative art, because as the name suggests, the figures depicted are easy to make out
and decipher.
 It is perhaps easier to infer where the subject matter comes from if the artwork is an example of
representational art.

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  Leonardo da Vinci,” Mona Liza”( 1503) Musee du Louvre Collection
 Pablo Picasso “ head of a Woman, Mougins” ( 1962). Metal cut-out, folded and painted. Musee
National Picasso- Paris.

NON- REPRESENTATION ART

 Non- Representational art does not make a reference to the real world, whether it is a person, place,
thing, or even a particular event. It is stripped down to visual elements such as shapes, lines, and
color that are employed to translate a particular feeling, emotion, and even concept.
 For non-representational art, a higher level of perceptiveness and insight might be required to fully
grasp the feeling, emotion, or concept behind the work.

CONTENT OF ART

 To take on the challenge of understanding the content of art, it must be reiterated that there are
various levels of meaning. Perhaps the most common is what we call factual meaning. This pertains
to the most rudimentary level of meaning for its may be extracted from the identifiable or
recognizable forms in the artwork and understanding how these elements related to one another.
 Conventional meaning, on the other hand, pertains to the acknowledge interpretation of the artwork
using motifs, signs, symbols and other cyphers as bases of its meaning. These conventions are
established through time, strengthened by recurrent use and wide acceptance by its viewer or
audience and scholars who study them. Finally, when subjectivities are consulted, a variety of
meaning may arise when a particular work art as read. These meanings stems from the viewer’s
audience’s circumstances that come into play when engaging with art. When looking at a particular
painting for example, perception and meaning are always informed (and even colored) by a manifold
of contexts: what we know; what we learned; what we experiences; and the values we stand for. It is
therefore expected that meaning may not be singular; rather, a painting may communicate multiple
meanings to its many viewers. This is what we call subjective meaning of art.

Michael Angelo, “ Creation of Adam” from the ceiling of

Sistine Chapel.

Michael Angelo’s “ Creation of Adam” can be read using various levels of meaning previously discussed.
There, Adam is figured with an aged God, both of them with an arm stretched and their respective index
fingers appearing to be fixed at an impending contract. Apart from God who is wearing a tunic, everyone
else is in the nude, God is afloat, surrounded by drapery and figures presumed to be angels and cherubs.
Adam on the other hand is earth-bound, sitting and reclined, positioned diagonally parallel to that of God.
From a factual perspective, Michael Angelo depicted a scene from the Creation Story, in particular, the
creation of man. Apart from being a key element of Michael Angelo’s freso at the ceiling of the Sistine

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Chapel, the subject matters suggest that this is an example of biblical art.

MEDUIM AND TECHNIQUE

 Medium denotes the means by which an artists communicates his ideas.

 Something that translates his feelings or thoughts into a beautiful reality
 is one of the aspects of art that directly correlates with its composition and presumed finality of the
artwork. Medium is the mode of expression in which the concept, idea, or message is conveyed. It
may be concrete or tangible, such as paintings, sculptures, monuments, and structures; or it may be
ephemeral or something transient, such as a track (recording sound), a film or a performance.

ELEMENTS OF ART
(Line, Shape and Form, Space, Color and Texture)

 Taking from the scientific reference elements of art are akin to the atoms that are defined as the units
or “building blocks” of matter. Together, in a variety of combinations and formations, they have the
ability to create molecules such as water or the some more complex sucrose.
 Elements are necessary preconditions for the creation of art.
 The elements of art and design are the following: line, shape and form, space, color and texture.

LINE
 A line refers to a point moving at an identifiable path, A line is an element of art, It has length and
direction, It also has width. It is one dimensional, it has the capacity to either define the perimeters of
the work ( edges) and /or become a substantial component of the composition. It has variation in
view of its orientation/direction, shape and thickness. There are many different types of lines,
including horizontal, vertical, wavy, diagonal and more. Line may be two or three-dimensional ,
descriptive, implied or abstract.

Keith Haring “ Todos Juntos podemos para el sida “ ( We Can All Stop Aids ), Plastic paint on wall.
MACBA Collection, Barcelona City Council-term.

A quality that is ascribed to lines is its ability to direct the eyes to follow movement or provide hints as to
work focal point. The orientation in which we are most accustomed to such as the assertive force of gravity
grounding objects, or the sideways or up-and-down vibration that informs us of an earthquake , the gustiness
of wind from the window, or the direction of the rainfall conjures different images of lines.

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  Horizontal and Vertical lines- refers to the orientation of the line. Horizontal lines are normally
associated with rest or calm. Vertical lines connote elevation or height, which is usually taken to
mean exaltation or aspiration for action, Together , these line communicate stability and firmness
 Diagonal and crooked lines- diagonal lines convey movement and instability, although the
progression can be seen, Crooked or jagged lines are reminiscent of violence, conflict, or struggle.
 Curved lines- these are lining that blend or coil. They allude to softness, grace, flexibility, or even
sensuality

SHAPE AND FORM

These two are related to each other in the sense that they define the space occupied by the object of art.
Shape refers to two dimension: height and width .while form refers to three dimension , height, width, and
depth. The two different categories of shapes are geometric and organic.

SHAPES
maybe also be implied. For instance, Rapahel’s famous painting “ The Madonna of the Meadows” depicts
three figures; Mary, the young Jesus ( right ), and the yougb John the Baptist ( left). The positions in which
the group takes allude to a triangular shape reinforced by the garb of Mary.

Raphael, : The Madonna of the meadows” ( 1505), Oil on panel. Kunsthistorisches Museum, Viena.

 Geometric
- Shapes find origin in mathematical propositions, As such, it is translation and use are often man-
made. These include shapes as squares, triangles, cubes, circles, spheres, and cones.

- Organic

- Organic shapes are those readily occurring in nature, often irregular and asymmetrical.

Louis Comfort Tiffany ( designer ), Tiffany Furnaces ( Maker ), Vase made of favrile glass, (c,s, 1913), Gift
of Louis Comfort Tiffany Foundation, 1951. The metropolitan Museum of Art, New York.

SPACE-
Space is related to shape and form is space. It is usually inferred from a sense of depth, whether it is real or

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simulated.
It deals with the illusion of depth on a flat surface. The element of space can be used in three-dimensional
art as well.
 Positive space- Usually identified with the white space
 Negative space- The space where shadow is heavily used
 Three-dimensional space- can be simulated through a variety of techniques such as shading. An
illusion of three-dimensionality can be achieved in a two-dimensional work.
However, not all works are sculptures. In two-dimensional artworks, they may be implemented.

a. Positive and Negative space- Usually identified with the white space is the negative space. The
positive space, on the other hand, is the space where shadow is heavily used.
b. Three-dimensional space- can be simulated through a variety of techniques such as shading.
An illusion of three- dimensionality can be achieved in a two-dimensional work.

Anish Kapoot, “ Cloud Gate: ( 20024), located in

Chicago, Illinois.

In the middle of the AT&T Plaza at the millennium park in the Loop community area in Chicago, the iconic
“ Cloud Gate: occupies a considerable space. Shaped like a bean, hence its other referent, the public
sculpture was unveiled in 2004. The dent in the middle offers a gap in which people can pass through and
gaze at the sculpture in a different perspective.
COLOR

Color is perhaps one of the elements that enhances the appeal of an artwork. Its effect has range, allowing
the viewer to make responses based on memory, emotion, and instinct, among others, this element is the
property of light, as it is reflected off the object. Color is not intrinsic to an object and without light, one
cannot perceive color. Much of what we know about color begins with notion of a color. Theory that was
first unraveled by the experiments undertaken by Sir Isaac newton in 1666. A ray of sunlight passing
through a prism reveals an array of colors akin to that of a rainbow

Color is the most prominent element of design and is one of the most powerful and yet subjective elements
in art. Color is an element of art made up of three properties: hue, value, and intensity.
 Hue-This dimension of color give its name, It can be Primary colors( red , yellow and blue,
Secondary colors( green, orange and violet), Tertiary colors( The hues are achieved when primary
and secondary color are mixed.
 Value- Hue’s lightness and darkness, Often this is used by artists to create the illusion of depth and
solidity, a particular mood. Light colors taken as the source of light in the composition, Dark colors
is the lack or even absence of light, Tint is the lighter color than the normal value example pink for
red, shade is the darker color than the normal value, example, maroon for red.
 Intensity- This refers to the brightness or dullness, It is identified as the strength of color, whether it
is vivid or muted. To achieve a specific intensity of a color, one may add either gray or its
complementary color.
* Bright or warm colors- Positive energy
*Dull or cool colors- Sedate/soothing,
seriousness or calm

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 Color wheel courtesy of Jaime Costiglio

TEXTURE
Texture is an element of art that refers to the way things feel, or look as if they might feel it touched. The
term texture describes the surface.
Often, texture is commonly associated with textiles. In the portrait rendered by court painter Frans Pourbus
the Younger. Princess Marghrita’s garb is adorned in opulent bead and stitch work that are befitting her
rank. This was achieved using the techniques employed by the artist in creating the work.

Frans Pourbus the younger, “ Margherita Gonzaga,

Princess of Mantua. Oil on canvas. Bequest of Collis P. Huntington 1990. The Metropolitan Museum of Art,
New York.

SOME COMMON ELEMENTS OF ART: AUDITORY

( Rhytm, Dynamics, Melody, Harmony, Timbre,Texture)

1. RHYTM – Often associated to the terms beat, meter, and tempo, rhythm is the element of music that
situates it in time. It is the pulse of the music , Beat can be organized into a recognizable recurrent
pattern, which is called the meter.

CLASSICAL TERM ARE USED TO REFER TO THE VARIATIONS IN TEMPO, SOME OF

WHICH ARE:

 Largo- slowly and broadly

 Andante- walking space
 Moderato- at moderate speed
 Allegro- fast
 Vivace- Lively
 Accelerando- gradually slowing down
 Rallento- gradually showing down
 Rubato- Literally “ robbed time” rhythm is played freely for expressive effect

2. DYNAMICS- The element of music that refers to the loudness or quietness of music is dynamics.
Classical terms are used to refer to the different levels pertaining to this:
 Pianissimo(pp) – very quiet
 Piano-(p)-quiet
 Mezzo-forte(mf) moderately loud
 Forte- ( f) loud

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  Fortissimo(ff)- very loud

3. MELODY- Melody refers to the linear presentation( horizontal) of pitch, by horizontal, it means
that in musical notation. It is read in succession from left to right. Pitch is the highness or lowness of
musical sound.

4. HARMONY- If melody is horizontal, harmony is vertical . It arises when pitches are combined to
form chords. When several notes are simultaneously played, this refers to a chord.

Harmony can be described in terms of its “ harshness” dissonance is the harsh-sounding

combination while consonance is the smooth-sounding combination.

5. TIMBRE- is often likened to the color of music, It is a quality that distinguishes the voice or an
instrument from another. Dependent on the technique, the timbre may give a certain tone or
characteristic to music. Much like how a painter evokes different effects or impressions onto the
canvas.
6. TEXTURE- The number of melodies, the type of layers, and their relatedness in a composition is
the texture of music, it maybe:
 Monophonic- single melodic line
 Polyphonic- two or more melodic lines
 Homophonic – main melody accompanied by chords

PRINCIPLES OF ART
(Balance, Scale and Proportion, Emphasis and Contrast, Unity and Variety, Harmony, Movement,
Rhythm, Repetition and Pattern)

To reiterate, the appreciation and engagement of art relies substantially on being equipped with the
appropriate language that allows it to be more comprehensible. If the elements of art were like the letters
(example, combining these letters will form words, phrases, and sentences), then the principles of art would
perhaps be the closet to the rules of grammar and composition. Learning these principles will lessen the
intimidation and might even open vast possibilities for the novice looker to have more pleasurable
experience of art. These principles will provide explicit ways in which these elements are used , how they
are manipulated , how they inform the overall composition of the artwork to assist the artist in conveying his
intension. It is the principles of art that influence the effect achieved by the elements, and the linkages of
other principles. These principles are: balance, movement, rhythm and repetition and pattern.

1. BALANCE- This principles refers to the distribution of the visual elements in view of their
placement in relation to each other.

Isamu Noguchi. “ Cube “ Entrance of Marine Midland building, Manhattan.

3 FORMS OF BALANCE
a. Symmetrical- The
elements used on one side
are reflected to the
other. This offers the most
stable visual sense to any
artwork.

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 UP Diliman Oblation Statue

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

2. SCALE AND PROPORTION

SCALE pertains to the size in relation to what is normal for the figure or object in question.

Claes Oldenberg and Coosje van Bruggen “ Plaintor

( 2001) Meredith Corporation collection, Des Moines.

Sculptures of exaggerated scale are common all over the world as many artists are taken by the whimsical
quality of these objects .One cannot help but smile upon seeing them in public spaces. In the Philippines,
Arturo Luz has created enormous sculptural versions of the paper clip. For a long time, it occupied a
prominent spot at the entrance of the Ayala Museum.

PROPORTION is the size of the components, or of the objects in relation to one another when taken as a
composition or a unit. This can also refer to values such as amounts or number of elements or objects in the
composition.

One of the most common cannons asserted relates to the proportion of the body. This varies from one
culture or tradition to another. For the Egyptian artists, the human form follows a square grid and is
informed by the palm of the hand as a unit of measure. To complete the human figure ,18 units ( squares )
are needed from head to foot. On the other hand, Greeks held that numerical relationships- the golden ratio-
was the key to beauty or to perfection. In the golden ratio- the figure is divided into two unequal segments
wherein the smaller is the same ratio to the larger segment, and that the longer segment is the same ratio in
relation to the whole.

Vitruvian Man (1490) by Leanardo da Vinci, “

Vitruvian Man” ( 1490). Pen and ink with wash oer metalpoint on paper. Gallerie dell” Academia in
Venice, Italy

Leonardo da Vinci’s “ Vitruvian Man “ is an exploration on the ideas of the Roman architect Vitruvius, in

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which the human body is an example of classical proportion in architecture, For the Vinci,mans body can be
used to better understand the symmetry that exists in nature and the universe.

PROPORTION CAN BE:

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

3-4- EMPHASIS AND CONTRAST

EMPHASIS- Allows the attention of the viewer to a focal points. Accentuating or drawing attention to
these elements or objects. This can be done through the assistance of other principles, especially that of
contrast.

CONTRAST- Is the disparity between the elements that figure into the composition. One object may be
made stronger compared to other objects ( hence, emphasis) . This can be done in many ways using the
elements of art, For instance, space, specifically the use of negative and positive space is an example of
contrast, Another example is the use of complementary colors in a work of art.

6-6- UNITY AND VARIETY- Unless intended to otherwise, compositions are intended to imbue a sense
accord or completeness from the artwork. This is unity

“Vasudhara Mandala “ Dated to 1777, Samvat 897)

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

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

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

10-11 . REPETITION AND PATTERN

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

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Vincen van Gogh “La Berceuse” ( Woman rocking a cradle, Augustine-Alix Pellicot Roulin, 1851-1930)Oil
on canvas . The Walter H. Leonore Annenberg Collection, Gift of walter H Annberg, 2002, The
Metropolitan Museum of Art , New York;

ICONOGRAPHY

- Iconography is the traditional or conventional images or symbols associated with a subject and
especially a religious or legendary subject, a pictorial material relating to or illustrating a subject,
and the imagery or symbolism of a work of art, an artist, or a body of art.
- Iconography is the use of images and symbols to portray a subject, movement or ideal. It can also be
the use of certain symbols that convey certain genres such as religious iconography, iconography in
art and iconography in film and television.

Erwin Panafsky

Panofsky was the most eminent representative of iconology, a method of studying the history of art created
by Aby Warburg and his disciples, especially Fritz Saxl, at the Warburg Institute in Hamburg. A personal
and professional friendship linked him to Fritz Saxl in collaboration with whom he produced a large part of
his work. He gave a short and precise description of his method in his article "Iconography and Iconology",
published in 1939.

The elements and principles of art are essential to any artwork. Some of them will be more obvious than
others, becoming the anchors in which the viewer may latch on the engage with the artwork. The focal
point(s) that draw the attention of the viewer is also interesting to note, as this provides insight as to the
interests and values that are of most weight to him or her. These perhaps will help create a bridge in which a
person , who not normally find pleasure in looking at art, may consider future engagements with it. In short,
familiarity of the elements and principles has the potential to break the barriers in which art becomes
ineffable.

There is sense of panic when one is confused with the question: What am I seeing? Or rather, : What am I
supposed to see? “Perhaps, addressing this stigma is the first step in inviting more Filipinos to engage with
art and have a more enduring appreciation for it.

In gaining the basics of deciphering the subject and content of art, it is hoped that an individual’s sensitivity
and perceptiveness to art will be developed. Taking note of what is apparent will provide clues as to what
the intended meaning of the artists might be. Knowing more about the context of its creation- from artists
inspiration, reference or sources, will prove useful in understanding the meaning of the artwork.

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 III. Viable and vibrant Activities

Description of the Learning Activities

Activity 1: Poster Making

 Using the elements of art as guide, redesign the poster of your favorite film.
 The poster must clearly reflect the use of the elements of art. It is not required that all elements be
represented in the poster.
 Prepare to show the poster in class. Without revealing many clues on the film, allow your classmates
to guess what film is represented by your poster.

Activity 2: ANALYSIS PAPER (BY GROUP)

 Choose a digital Filipino contemporary work and discuss the subject, medium and technique of that
artwork.
 Discuss further how the artist utilized the elements of design in an artwork.
 Only one contemporary work to be used by each group.
 Each member of the group will discuss the subject, medium and technique of the chosen artwork,
orally via zoom conference.
 Coordinate with your instructor for your groupmates

IV. Opportunity to reflect and articulate students’ acquired knowledge.

Purpose of the activity

 For the students to be familiarized with the Elements of Art

 Also, for them to understand the concept of Subject, Content and Technique in an artwork.

Criteria for Evaluation

POSTER MAKING

Category 20 15 10

Images All images are legible. Some images are Less than 3 images are
3 or more images are legible. 3 or less are legible. Images do not
(X3) present as instructed present as instructed represent what the
assignment required.

Originality/Creativity The project is finished The project is done but The project is
as instructed. Student not accurate. Student unfinished or
(X2) did very well. did enough. incomplete. Student did
not finish on time.

Summary and Reflection

Please refer to student’s Learning Journal format

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 V. Textbooks and other References

 Art Appreciation, Bernardo Nicolas Caslib, Jr. Dorothea C. GAring, Jezreel Anne R. Casaul, First

Edition, Rex Bookstore.

 Art Appreciation for College Students, Roman D. Leano, Jr, Jenny Marsha B. Agtani, Copyright
2018, Minshapers Co.,Inc.

Other References:

https://www.google.com.ph/search?q=iconography+meaning&tbm=isch&ved=2ahUKEwjp0ZfO-LXrAhW1zIsBHW-
DBDcQ2-cCegQIABAA&oq=ICONOGRAPHY-
&gs_lcp=CgNpbWcQARgAMgQIABAeMgQIABAeMgQIABAeMgQIABAeMgQIABAeMgQIABAeMgQIABAeMgQI
ABAeMgQIABAeMgQIABAeOgcIIxDqAhAnUKjWU1j-
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TANAUAN CITY COLLEGE [GENE06– MODULE 2] ART APPRECIATION 14 | P a g e

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TANAUAN CITY COLLEGE [GENE06– MODULE 2] ART APPRECIATION 15 | P a g e

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TANAUAN CITY COLLEGE [GENE06– MODULE 2] ART APPRECIATION 16 | P a g e

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TANAUAN CITY COLLEGE [GENE06– MODULE 2] ART APPRECIATION 17 | P a g e