Module-5-trans.docx

Chapter 2: Medium and Technique in the Visual Arts  there is no format for three-dimensional;

MEDIUM

usually attributed to scaling with respect

It Is the material, or substance out of which a work is made.

rectangular pediment, horizontal sections of frieze, relief figures of the Parthenon);

The choice is part of the meaning of the work and is a signifier of meaning in the context of the work’s total meaning.

depends on purpose 3. Frame  a Western invention that came with the

PROPERTIES OF A MEDIUM 1.

to being a part of a building (e.g.

Size or Scale

development of easel painting in oil of canvas  can affect or modify the meaning of the painting

 can be very large or very small; may also

 may be wood, gilded or elaborately

pertain to volume for three-dimensional

handcarved

art

aluminum, etc.; implies a social and

 is part of the meaning of the work, thus changes in this property may lead to great changes in the meaning o

large-scale works may be to draw

and

polished,

plain

cultural context  artists prefer an unobtrusive frame

TWO-DIMENSIONAL EXPRESSION

attention to the dynamism, or an environment of colors and shapes;

It involves arts painted in a medium.

commonly to be able to unfold a

Includes the surface or ground and the marking

panorama of history or to convey the

or coloring substances applied to it.

sweeping impulse of a people’s movement

for

change

(two-

dimensional) o

small size may diminish the emotional energy of heroic figures reduced into figurines (three-dimensional)

2. Format  Usually may be rectangular, square (symbolizes intellectual order), or circular (for two-dimensional). Deviation is solely an intention of the artist o

Tondo (from Rotonda), Madonna and Child by Raphael (circular)

o

abstractions of Piet Mondrian (square)

o

Frank stella (geometric shapes)

o

young Filipino artist (joined shapes of plyboards)

Types of Medium 1. Easel Paintings  are portable paintings usually hung on walls  traditional surfaces are canvas, cotton or linen stretched on a frame and primed with a white or lightly tinted base 2. Paper  readily available; usually on hand  usually in different thicknesses, textures, and

tones;

usually

taken

into

consideration by artists depending on the kind of work they want to do  was first produced by the Egyptians from papyrus, a marsh plant

 became standard writing material in Ancient Greece and Rome up to the 4

 An opaque layer of oil paint is worked over another layer; small areas of the

th

century A.D.

under color shows through in an

 beautifully

painted

illuminated

manuscripts were done on paper from the 14th century.

 uses acrylic vinyl polymer emulsion paint

 handmade ones are usually made of cogon and banana; finished paper usually slightly uneven and fibrous in texture 3. Cheese Cloth

 This paint is characterized by being quick drying and water soluble  can be applied in thin washes like water color, or alla prima with a piled-up

 also called katsa

texture (impasto)

 a common substitute for canvas; used especially for large murals which can be rolled up after display plywood,

4. Watercolor  the paper is first soaked and stretched to keep it flat while painting

4. Wooden Surface  Usually

uneven, broken manner 3. Acrylic Painting

 water based pigments are applied as especially

marine

transparent layers

plywood; prepared by coating it with

a.

gesso, any white substance such as

 white ground of paper is shown for

plaster of paris mixed with glue to provide a smooth ground.

wet-on-wet technique highlights

b. dry brush technique

5. Glass or Stained Glass

 used to bring out fine details

 Usually consists of designs made from

 ex. Gouache is an opaque watercolor

pieces of colored glass forming figures

where pigments are mixed with zinc

held together by strips of lead.

white for solid effect; Chinese watercolor and calligraphy which uses rice paper

Techniques

5. Tempera painting  application of tempera which consists of

1. Alla prima  direct method of painting; paint is applied directly on the surface with a brush  used

by

Impressionists

and

most

contemporary artists. 2. Indirect Method  traditional method which consists of applying the paint in thin layers of transparent color a.

Glazing

 a transparent layer of oil paint is applied over a solid one for color modification  commonly used by the Old Masters. b. Scumbling

pigments ground with egg yolk; has luminosity and tone  common technique of easel painting until 15th century; usually of wooden panels 6. Fresco  mural (large-scale painting) on a wall to ensure durability; prepared by coating with damp plaster; work is done while plaster is damp using water-based pigments  ex. vault, upper walls, altar of Sistine Chapel by Michelangelo 7. Stained Glass  ex. Gothic cathedrals of the 12th-13th century; windows of Manila Metropolitan

Cathedral by Galo B. Ocampo; sarimunok

 “those arts which depend for their effect

design of Abdulmari Imao for Philamlife

on drawing and not on color”; drawing

Building; Art Nouveau

and engraving

8. Mosaic

a.

Relief

 small units of tesserae (chips from slabs

 parts of a woodblock or metal

of colored stone, marble glass) are

plate meant to be black are left and

embedded of a wall or floor prepared

those meant to be white are cut

with wet cement; done in such a way that

away

the facets reflect light

b. Intaglio

 ex. early Rome to the Byzantine and Early

 reverse of relief; ink is held in the

Christian times; chapel of Bacolod made

engraved grooves

entirely of different kinds of shells

i. Etching

9. Tapestry  fiber

o arts;

incorporate

indigenous

covered with resinous coating impervious to acid, lines are

weaving techniques

etched, then immersed in acid to

 ex. dyed burlap sewn with abaca thread;

darken exposed parts.

trapunto; great medieval castle for wall

ii. Mezzotint

décor and warm buffer against winter

o

cold

Deep tones and shadows are achieved

10. Collage

through

a

“rocker”

which scrapes off small blurred

 first done by Braque and Picasso; pasting

dots to obtain halftones and

printed texts from newspapers on a

light.

surface

iii. Aquatint

 later done using rope and pieces of

o

Tonal rather than linear; dusted

oilcloths; some with the use of bus tickets

with powdered rosin which melts

and bottlecaps

under heat; rosin protects the

 ex. sawali panels by Imelda Cajipe-Endaya

plate while exposed parts are

11. Material Experimentation

darkened by acid.

 Is but is not limited to

 ex. etching and aquatint: Brenda



Painting on tile with colored glazes

Fajardo,



Painting and sewing on tree bark

Cabrera,



Painting with spray guns

mezzotint: Fil de la Cruz, Manuel



Frottage; rubbing pencil on a texture surface



(Decals);

pigments

two

on

applying

sheets

and

pressing them to get its shape then drawing out figurative potentials

Orlando

Ben

Castillo;

Rodriguez, Sr. c.

Decalcomania

Cajipe-Endaya,

Surface or Planographic Methods  do not involve carving; printing is done on a perfectly flat slab of stone  ex.

Lithography;

based

on



Pressing sponge or crumpled cloth

antipathy of grease and water



Mixed media of oil, acrylic, pastel

which

12. Graphic arts

affect

separation

areas

where ink is receive or rejected d. Serigraphy or Silkscreen

 used for posters and shirt designs

marble; marble statues of Michelangelo

using fine silk and mask of paper

and Gianlorenzo Bernini, Chinese jade

or lacquer

carvings

 paint is brushed over sections which have not been masked; color can go over another to create other colors.

elements texture

bronze,

steel,

iron,

as

 have properties of ductility (can be drawn

materials,

such

into wires) and malleability (can be shaped

leaves, etc.

through

b. Plantigraphy

hammering,

melting,

casting,

molding, or pressing)

 using stencils

 ex.

Thermography

Zeuz

Hurling

Doryphoros

 embossing

and

a

Thunderbolt;

Lance-bearer

by

Polycleitos; jewelry of T’boli; brassware of

d. Xerography

Maranao; Himlayang Pilipino by Caedo

 photocopy

4. Wood

Viscosity Printing  color

usually

aluminum, etc.

different

e.

3. Metal present;

Collography  collage

c.

 medium of pottery  has been used since ancient times to

13. Printmaking processes a.

2. Clay

separation

through

chemical

is

done

reaction;

introduced by Ofelia GelvezonTequi

 Narra and Molave are the among the best in the world; other examples are bamboo, forest

vines,

seed

pods,

tree

barks,

batikuling, kamagong, langka, marang, etc.  extremely durable, have a warmth of tone and natural coloration, which ranges from dark brown to yellow and reddish hues, and has a fine-grained texture.

THREE-DIMENSIONAL EXPRESSION

the atmosphere of the human dwelling ex. wooden sculptures (retablos and two-

Types of Medium

sided crucifix) by Abueva, J. Elizalde Navarro; bamboo sculpture by Francisco

1. Stone  Composition of first sculptures; used stones such as adobe, granite, limestone, marble, alabaster, jade, etc.  ex. menhirs: engraved male and female pictures

 evoke the forest they came from as wall as

of

stone;

fertility

statuettes,

venuses of the Stone Age; likha: block-like human figures; adobe sculpture in front of UP Library; reliefs of massive stone blocks by Napoleon Abueva; Egyptian statues of granite and limestone; Greek statues of

Verano; hangings by Junyee; bulol by Ifugaos and Kalingas; bihang; okir by the Maranao, ukkil by the Tausug; kulintang of various household utensils; torogan or the datu’s house which features the panolong, betis furniture, Paete, Laguna santero woodcarvings

5. Industrial Revolution New Materials a.

Plastics  first

used

by

synthetic materials

Constructivists;

b.

Crystal  started through the invitation of Philippine Artists by Steuben Glass

c.

 associated primarily with Ramon Orlina; forms standing sculptures Chromium

e.

Aluminum

f.

a. Earthenware dried or kiln-baked

Plexi Glass Celluloid, Nylon, and

 ex. palayok b. Stoneware

 used by Naum Gobo to create

 goes though a much higher firing;

sculptures in which space seems to

vitrifies the clay for it to become close-

flow through; transparent materials

grained and non-porous c. Porcelain

Light Bulbs  used in luminal sculptures; marriage

d. Glazing

6. Non-traditional and Non-academic

 imparts a smooth finish, color and

Materials a.

decorative effects

Kinetic art

 introduction of the element of

shaped

Collage and Assemblage  collage; small materials of all kinds

materials

 ex. terracotta  Sand Casting

are pasted to form a solid bulk  assemblage;

 Figurative Sculpture  made of baked clay which is modeled and

movement into art

collage

of

large

 involves making a mold of special sand

(e.g.

aggressive

from an original model of plaster of paris,

Robert

inserting a core and pouring in the molten

composition

by

metal

Rauschenberg)  materials may include recyclable

 Cire Perdue

waste such as paper, rubber tires,

 “lost-wax” method; the model and the

mattresses, discarded junk, metal,

enclosing mold are filled with wax, then

machine parts, drift wood, shells,

melted when the mold has hardened and

tough forest vines, stones and

replaced with the melted metal  important part of Malay metalworking; used

detritus 

 Chinese invented; body vessel is hard, white, and translucent

of art and technology

b.

 Pottery  most common pottery technique; sun-

Lucite

g.

 Conventional Methods  carving, modelling, and casting

Glass

d.

Technique

These can be called “found objects”

by T’boli for jewelry and Maranao’s

in an artistic context.

brassware  “…process developed by Caedo father and

7. Boxes  work is composed of boxes of different

sizes,

compartment meaning.

with

having

its

each own

son sculptors…”  figure is built by pulverized bronze shavings passed through a sieve to ensure talcum powder-like fineness; then combined with

chemicals with binding properties in exact propertions  Wiry Figures  done by Alberto Giacometti and Constantin Brancusi; nervous, attenuated figures  Metal Sheet Figures  done by Eduardo Castrillo; with verve and dynamism whether abstract or figurative  Welded Pieces Craggy  done by Solomon Saprid; expressive figures in action  Pointillist Technique  done by Virginia Ty-Navarro  Open Cage Constructions  done by Conrado Mercado; using steel rods  Woodcarving  Traditionally, the carved figure is twice coated with a native gesso made of a mixture of fine white clay or kesong puti mixed with glue made from boiled cow or carabao hide; done to provide a solid and nonporous surface for painting  Estofado

Architectural Methods and Materials Materials are of five kinds: rock such as stone and clay; organic such as wood; metal such as steel; synthetic such as glass and plastics; and hybrid such as concrete. Materials are used for structure and veneer. Contemporary architecture is more concerned with structure than veneer. With this, new materials such as steel and concrete give emphasis to structure. Materials

are

chosen

according

to

their

availability and the building design. Three qualities of materials considered are: 1. Structure  determines the way it reacts under stress; directly define structural design and form 2. Texture  directs the choice of tool to use 3. Aspect  tags its color and outside skin after tooling

 gesso is gilded, and paint is applied over it;

Materials are also chosen based on the character

ornamental motifs are made through paint

it signifies: [1] stone denotes strength; [2] marble

lightly scratched away with a fine instrument.

denotes power and permanence; [3] wood

 Empaquetage a.

wrapping objects or even parts of a building with sheets, opaque or transparent

 Earthworks a.

used to modify the natural landscape by making large depressions in the ground or building structures in water.

b. ex. spiral jetty, scatterworks, stabiles, and installations

Conceptual Art

denotes warmth; [4] brick denotes practicality; [5] metal denotes lightness and impersonality.

Methods of Construction 1. Lashed construction  prevalent in tropics; assembled by manual skill alone; without the aid of fabricated tools for sawing, mortising, etc.  most wholesome; materials used are in natural state  members may be bamboo, twigs, posts, and

It stresses the primacy of the underlying concept

willow shoots, rattan, ropes, etc. for ties

or principle in a work. This may involve

 parts are separately created and are fitted

“formalization” where something familiar is removed form its original context and brought into an art context.

together by lashing  ex. bahay kubo 2. Post-and-lintel construction

 as old as the pre-historic Stonehenge

load on the other side of the point of

 consists of trilithons (three stones) in which

support, which may be a column or pier

two are upright (post), supporting the one which is spanning the two (lintel); may be used for stone, wood, and metal compression and tension to support the load with out breaking; posts must be rigid and strong against compression 3. Arch and Vault Construction  permits a greater span between the supporting posts then the previous; the arch transmits the pressure of weight above the opening downwards mainly as compression with a minimum tension  keystone hold the stone units of the arch; wedge-shaped piece at the summit of the arch  arches of the same size laid together form a vault; common is a barrel vault; barrel vault connected in a right angle form a groined vault; dome is a hemispherical vault which is supported by a circular wall 4. Skeleton Construction  made possible by the development of two modern materials, structural steel and ferroconcrete  skeletons are made of beams of steel which are strong and light; walls of stone are no longer necessary; doors can be of any size; concrete is fluid, thus shell structure or any shape may be formed skyscrapers,

Philamlife

supported only on both ends  ex. Cultural Center of the Philippines

 lintel must be sufficiently strong in both

 ex.

 seen in bridges where two halves are

Buildings,

National Press Club, Chapel of the Holy Sacrifice 5. Cantilever Construction  makes use of steel and concrete but is particularly characterized by the projection of a unit of the architectural design beyond its support  cantilever requires that the tensile strength of the material be enough to withstand the