Module 1
THE NATURE OF ARTS
“What am I? Why
am I what I am? Why am
I in this world? Where do
I go from here?” These
are some of the
questions man has
sought answers to
“make sense” out of
life’s apparent confusion.
We learn what it is to be human by studying humanity. But to
do this, we cannot depend on direct contacts with fellow human
beings. Our contacts within our short lifetime will naturally be
confined to a limited set of people, places and events. Thus, we have
to reach out to people of different cultures in different times and
places through whatever means would bring us nearer to them. This
is made possible for us in the humanities.
Broadly speaking, they are records of man’s quest for answers
to the fundamental questions he asks about himself and about life.
The content of humanities is anything that is inherently human –
man’s experiences, his values, sentiments, ideals, goals. The
humanities are thus expressions of man’s feelings and thoughts.
In our century, the humanities serve to provide the student
with certain skills and values through the arts. Thus, it provides
more than just an appreciation of what is “the true, the good, and
the beautiful”. They are aimed to shape the students’ subjective
energies (feelings, attitudes and aspiration) in accordance with a
particular view of the social world in which he dreams, acts and
fulfills himself.
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Lesson 1
INTRODUCTION TO THE HUMANITIES
What to expect:
This section will discuss the foundation of Art in Humanities,
and how it started as a field of knowledge.
Let’s Start!
CONCEPT MAP
Before we begin with our first lesson, what comes into your mind when you hear
the word art? Fill out the concept map below of the things or concepts that are associated
or related to arts.
It’s time to learn!
Art is everywhere – we find it in the clothes and accessories we wear, in the
design of our furniture, in the style of the houses we build and the vehicles we use.
We find art objects in the home and in the community, in religion, in trade and in
industry.
The coins we pay to the jeepney driver, as well as the religious medal we wear
on a chain around our neck – these are examples of relief sculpture. Our paper bills
and postage stamps are examples of engraving. In every town plaza we see a
monument of some hero, and a fountain. The buildings we pass by on our way to
school are examples of architecture.
All of these things are part of man’s effort to lessen the drabness and tedium of
everyday living and to transform his environment into a more interesting place to live
in.
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Think and Reflect
On the following statements below, complete the sentences that
support and explain them as the importance of arts.
Art as Expression
g
G
g
Art as Communication
g
G
g
Art as Beauty
g
G
g
It’s time to learn!
THE SUBJECT OF ARTS
When people look at a painting or a sculpture for the first time, the initial question
that they usually ask is “What is it?” or “What does it show?”. To a majority of people, the
appeal of most work lies in the representation of familiar objects. Their enjoyment of a
painting, sculpture or literature comes not from their perception of the “meaning” of it
but from the satisfaction they get out of recognizing the subject.
The subject of arts refers to any person, object, scene or event described or
represented in a work of art. Some arts have subject, others do not. The arts that do not
have subject are called representational or objective arts.
Kinds of Subject
The subjects depicted in works of art, particularly in visual arts, can be grouped into:
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1. Landscape, seascapes or cityscapes. Artists have always been fascinated with
their physical environment. Since ancient times, landscapes and seascapes have been
the favorite subjects of Chinese and Japanese painters.
2. Still lifes. Some artists love to paint groups od inanimate objects arranged in an
indoor setting. While flower and fruit arrangements are among their favorites, they
also portray such objects as dishes of food on a dining table, pots and pans on a kitchen
table. The still lifes of Chinese and Japanese painters usually show flowers, fruits and
leaves still in their natural setting, unplucked from the branches.
3. Animals. The earliest known paintings are representations of animals on the walls of
caves. The grace and vigor of animals in action have attracted artists. It also has been
symbols in conventional religious art. The dove stands for Holy Trinity. The fish and
the lamb are symbols of Christ; the phoenix, of the Resurrection; and the peacock, of
the immortality through Christ.
4. Portraits. People have always been intrigued by the human face as an index of the
owner’s character. As an instrument of expression, it is capable of showing a variety
of moods and feelings. It does not have to be beautiful but it must be truthful. Portraits
are also used to mark milestones in people’s lives. Baptism, graduation and weddings
are often occasion for people to pose for their portraits.
5. Figures. The sculptor’s chief subject has traditionally been human body, nude or
clothed. The human’s form, structure and flexibility offer the artist a big challenge to
depict it in many ways.
6. Everyday life. Artists have always shown a deep concern about life around them.
Many of them have recorded their observation of people going about their usual ways,
performing their usual tasks like children at play, street vendors, students going home
from school and so on.
7. History and legend. History consists of verifiable facts, legends of unverifiable ones,
although many of them are accepted as true because history has held them so.
Because of that, artists find it very interesting to use it as their subject.
8. Religion and mythology. Art has always been handmaiden of religion. Most of the
world’s religions have used the arts in worship, to instruct, to inspire feelings of
devotion, and to impress and convert the non-believers.
9. Dreams and fantasies. Dreams are usually vague and illogical. Most artists
nowadays use their imagination in creating a work of art because there are no limits
imposed on it, it can go beyond the real and the possible.
Subject and Content
While subject refers to the objects depicted by the artist, content refers to what the
artist expresses or communicates on the whole in his work. Content also reveals the
artist’s attitude towards his subject.
The subject of the painting Bravehearts by Joey Velasco is the bald Jesus with cancerstricken kids. Its content is the unusual portrayal of Jesus who frequently appeared as
long-haired man. Why did Velasco depict Jesus with this image? What is Christ’s
relationship to these children? What is the underlying message of the artist? The
answers to these questions are considered to be content.
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Bravehearts by Joey Velasco
Let’s Do It!
Recall one (1) poem, story, painting, song, movie, sculpture,
architecture or any visual art that has moved you or very significant
to you. Write a short description about it and explain why it is
important to you.
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Lesson 2
THE MEDIUMS OF VISUAL ARTS
What to expect:
This section will focus on the mediums of Visual Arts, it
examples and the notable work of arts in visual arts.
MEDIUM DEFINED
The term medium refers to the materials which an artist uses. They are classified into
three:
1. Visual or space arts – those whom can be seen and which occupy space. These
are grouped into two categories;
a. The two-dimensional arts, such as painting, drawing, printmaking and
photography
b. The three-dimensional arts, such as sculpture, architecture and crafts like
ceramics and furniture-making
2. Auditory or time arts – those whose mediums can be heard and which are
expressed in time. These are music and architecture.
3. The combined arts – those whose mediums are can be both seen and heard,
and which exist in both space and time. These include the dance, drama, opera,
and movies.
THE MEDIUMS OF THE VISUAL ARTS
• PAINTING
In painting, many mediums have been used, but we shall consider only four: fresco,
tempera, oil and watercolor.
1. Fresco. It is which the pigment is mixed with water and applied to wet plaster. It
is the most noble and monumental that is adapted to large wall surfaces. It
should be done carefully because it must be done quickly while the plaster is
wet and once applied, it cannot be changed.
2. Tempera. Tempera painting is applied which the pigment is mixed with egg and
applied to a very hard smooth surface, usually several layers of rubbed plaster
or gesso. It was popular during the medieval and early Renaissance period,
requires a meticulous skill of a craftsman. The color is applied with tiny strokes
of pointed brushes and dries immediately.
3. Oil. Oil is the most popular medium today because the pigment comes readymixed in tubes. It dries slowly, so that if the artist is dissatisfied, he can repaint
his errors or scrape all off for a fresh start.
4. Water Color. The pigment is mixed with water and applied to smooth or rough
white paper. It has been used since the mid-19th century. It is very difficult
medium but in the lands of a master is both fluid and transparent. Since the
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artist must work rapidly and cannot change anything, there is a freshness and
spontaneity in water color not felt in oil.
Examples of Fresco painting:
Michelangelo: The Creation of Adam,
detail of the ceiling fresco by
Michelangelo, 1508–12; in the Sistine
Chapel, Vatican City
The Toreador Fresco, restored
wall painting from the Palace at
Knossos, Crete, c. 1550 BCE
Tempera Painting:
'Idealized Portrait of a Lady', 1480
SANDRO BOTTICELLI (1445-1510)
(egg tempera on a poplar panel)
The Crucifixion - tempera and gold leaf on
wood panel by the Master of the Codex of
Saint George, c. 1340–45; in the Metropolitan
Museum of Art, New York City.Photograph by
KaDeWeGir
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Oil Painting:
The Arnolfini Portrait, oil on oak panel
by Jan van Eyck, 1434; in the National
Gallery, London. De Agostini/Superstock
Diego Velázquez: Las meninas (with a self-portrait of
the artist at the left, reflections of Philip IV and Queen
Mariana in the mirror at the back of the room, and the
infanta Margarita with her meninas, or maids of
honour, in the foreground), oil on canvas
Water Color:
Thomas Girtin, Jedburgh Abbey
from the River, 1798–99, watercolor on
paper
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Autumn landscape - Stanisław
Masłowski, Pejzaż jesienny z
Rybiniszek, watercolor, 1902
ARTS RELATED TO PAINTING
Mosaic
Mosaic art is related to painting only because it
creates pictures on flat surface. Mosaics are wall or floor
decorations made of small cubes or irregularly cut pieces of
colored stone or glasses called tesserae. These are fitted
together to form a pattern and glued on a surface with
plaster or cement.
Mosaic art was an important feature of Byzantine
churches.
STAINED GLASS
Stained glass derived its effect from the variations in the
light that shines through it. It is a translucent glass colored by
mixing metallic oxides into the molten glass or by fixing them
onto the surface of a clear glass.
It developed as a major art when it appeared as an
important part of the Gothic Cathedral. Stained glass windows
gave the much-needed light that was missing from the
Romanesque churches. They were also a means of religious
instruction, depicting scenes from the Bible and from the lives of
the Saints.
Mosaic of Christ Pantocrator
from Hagia Sophia
Chartres Cathedral - The
stained-glass rose window in
Chartres Cathedral, France.
TAPESTRY
The wall of palaces, castles, and chapels in Europe were
decorated in the Middle Ages with hangings called tapestries.
These hangings added color to the drab interiors and also served
to retain in the room whatever heat was generated from the
fireplace.
Tapestries are fabrics into which colored design have been
woven.
Henry VIII is seated beneath
a tapestry cloth of state
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Think and Reflect
Write a short description and the purpose of the “Venus of
Willendorf”
Q
Q
Venus of Willendorf
Venus figurine dating to 28,000–
25,000 BCE found in Willendorf, Austria;
in the Natural History Museum, Vienna.
© Photos.com/Thinkstock
It’s time to learn!
•
SCULPTURE
Materials Used in Sculpture
The materials used in sculpture are stone, wood, metal and recently, junk. Marble has
always been the favorite material, especially in countries like Greece and Italy where
there is plentiful of supply near at hand. Because of its hardness, it has a good
appearance and great permanence, but when polished to a high gloss it looks soft and
yielding as in Michelangelo’s “Pieta”. In Western Europe, statues were frequently made
of the same materials as the church, usually limestones or in wood and painted.
The Technique of Sculpture
A work of sculpture is a three-dimensional form constructed to represent a natural or
imaginary shape. It can be classified as free-standing and carved in relief
o Free-standing sculpture – it can be seen in more than one position or angle.
Statues of saints in our churches are examples of this. It is also called as sculpture
in the round.
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o Relief sculpture – the figure of this project from a flat background. When the
forms are slightly raised, the sculpture is called bas relief. Coins and medals are
examples of this. Those figures that project to the extent of one-half their
thickness or more, it is called high relief sculpture.
Methods in making a sculpture:
1. Carving – it is a subtractive process. It involves removing unwanted portions of
the raw material to reveal the form that the artist has visualized. Wood, stone
and ivory are the materials employed in this process.
2. Modeling – on the other hand, is an additive process. It means building the form
using highly plastic material such as clay or wax.
3. Casting/molding – it begins with the production of a negative mold. The artist
covers the original model with a mold, usually a ceramic material into the desired
shape, and then allowed to solidify. The solidified part is also known as
a casting, which is ejected or broken out of the mold to complete the process.
4. Fabrication – this is also an additive process, but it has its own characteristics
which is different from modeling. It employs any method of joining or fastening,
such as nailing, stapling, soldering and welding. The artist builds his form piece
by piece. He may even combine different materials together.
The Reign of Jupiter - marble bas-relief
depicting Jupiter (center) and Mercury (left),
dating to the northern French
Renaissance, c. 1550–70; in the Metropolitan
Museum of Art, New York City.
•
Discobolos (Myron)
Roman copy after a Greek bronze
original of about 450 BCE. Marble.
Height 5' 1"
(Rome, Museo Nazionale delle Terme)
ARCHITECTURE
The usefulness and beauty of a building are directly related to the choice and handling
of the materials employed in the construction. And the nature of the materials chosen
inevitably determines the following construction principles:
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Construction Principles of Architecture
1. Post-and-lintel – the oldest construction system, which makes used of two vertical
supports (posts) spanned by horizontal beam (lintel). Most of our houses are built
on this principle.
2. Arch – it consists of separate pieces of wedge-shaped blocks called voussoirs
arranged in a semi-circle. The keystone, which is the last set stone at top center,
locks the pieces together into a single curved structure. An arch can be classified
into:
o Groin vault – formed by intersecting arches
o Dome – hemispherical roof resembling a ping pong ball half, built on
framework formed by a series of arches rising from consecutive points on
a base called drum.
3. Truss – a system of triangular forms assembled into a rigid framework and
functioning like a beam and lintel. It is used in bridges, assembly plants,
gymnasium, theater, and halls where wide spaces must be spanned with very few
interior supports.
4. Skeleton construction – it employs reinforced concrete and steel. Concrete
construction makes use of concrete poured while still in its semi-fluid state into a
hollow frame. Steel rods are embedded in the concrete to make the structure
strong enough to support great weight. Steel beams are used for the framework
of the building. The steel skeleton or cage formed is sufficiently strong to hold up
the floor, roof and the partitions; it does not buckle under tremendous weight.
5. Cantilever – it makes use of beam extended horizontally into space beyond its
supporting post, yet strong enough to support walls and floor. Steel and
ferroconcrete are ideal cantilever materials. Cantilever relies on the material’s
resistance to breaking and on the safe anchoring of its support end.
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Let’s Do It!
Answer the following questions:
1. What was the original function of ancient sculptures?
Q
2. One method in making a sculpture is carving. Why is it regarded as the most
difficult of the sculptural processes?
Q
3. In constructing bridges, for example, the San Juanico and Biliran Bridge, why is
it that steel cables are best for its supports?
Q
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Lesson 3
THE ELEMENTS OF VISUAL ARTS AND PRINCIPLES OF DESIGN
What to expect:
This section will discuss the elements of visual arts and the
principles of design that artists apply to visual arts.
It’s time to learn!
Man has always tried to understand and control his environment. Using
nature as his guide, he has formulated an idiom with which to express and
communicate this vision and the reality that surrounds it. The painter or sculptor
sees shape, color, texture and space in nature. He uses them, manipulates them and
organizes them into a work of art. These are called the elements of visual arts.
THE ELEMENTS OF VISUAL ARTS
LINE
The shape of a work of art may be defined by line. Lines have many qualities
which the artist exploits. They may be short or long, fine or thick, heavy or light, wavy
or jagged, straight or curved. They usually delineate shapes. Used across or within
shape, they give the effect of solidity or create an illusion of volume, or rough or
smooth texture. A series of heavy lines drawn close to each other creates an impression
of roughness. While few strokes can give a sensation of softness and delicacy.
Lines may move in several directions. When the line continues in only one
direction, we call it straight line. It could be vertically, horizontally or diagonally. These
directions can express emotional states or evoke emotional responses.
o Horizontal line – this creates an impression of serenity and perfect
stability, since we associate it with forms in nature, such as that of
sleeping person, or with the horizon.
o Vertical line – this appears poised and stable. We generally feel that a
straight tree is a strong one, or that a person who stands tall is one who
has confidence in himself.
o Diagonal line – it implies action. A man who’s running bends forward
and thus assumes a diagonal position. Diagonal lines show movement
and instability. It also can convey a feeling of unrest, uncertainly and
movement.
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o Curved line – results when there is gradual change of direction. Because
it is gradual, it shows fluidity. We can see this in curved in a woman’s
figure, in the rounded petals of flowers, and in the shape of a crescent
moon. Curve lines give us a feeling of grace and movement.
When the change in line is abrupt, an angular line result. The abruptness
creates tension and an impression of chaos, confusion or conflict. Lines,
whatever their direction, control our eye movement and help us relate the
various elements in a work of art with one another.
Let’s Start!
What lines do you see in this sculpture by Guillermo Tolentino’s
Bonifacio Monument? What do they convey?
It’s time to learn!
COLOR
Color is a series of wave lengths which strike our retina. Every ray of light
coming from the sun is composed of different waves which vibrate at different speeds.
We can confirm this scientific fact if we allow a beam of light pass through a prism.
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The ray of light will break up and be seen on a sheet of white paper as bands of
different colors. The colors – red, orange, blue, indigo and violet – constitute the color
spectrum.
Since a beam of light contains all the different colors, why do we see natural
objects as having one color? Any object has a color quality called pigmentation, which
enables it to absorb some of the colors and reflect only one.
Some objects do not have color. Some are black, white or gray. These are not
present in the color spectrum. They do not have any color quality. Instead they differ
in the quantity of light and they reflect. They are called neutrals since they do not
reflect any distinct color. Black reflects no light at all; white reflects all color, and gray
results from a partial reflection of light.
Physical Properties of Color
The color spectrum shows us a few colors and yet we know that there are many more
color variations that exist. For example, there are many kinds of blue which differ in
character from pure blue. We have sky blue, light blue, navy blue or dark blue. Every
color we see may be described in terms of its physical properties.
o Hue is the quality that gives a color its name. the colors of spectrum are
therefore called hues.
o Value is the lightness or darkness of a color. A color combined with black will
reflect less light that the same color combined with white. When black is
combined with a color, a shade is produced; when added with white, a tint is a
result.
o Intensity is the strength of a color’s hue. It refers to the quality of light in a color.
Red, for instance, may be seen as bright red if only red rays of light are reflected.
But if any of the complimentary green rays were reflected in it, the effect will
be a duller color.
Many colors may be formed by mixing two or more colors. However, there are
three colors which we cannot form from mixtures because they are, in a sense, pure
colors. These are red, blue and yellow. They are called primary colors. When these
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colors are mixed in pairs, they can produce colors that we know of. A mixture of all of
these results in gray.
The colors formed from the combination of two primaries are called secondary
colors. We can also mix a primary and secondary color. These colors result into an
intermediate color.
TEXTURE
Texture refers to the way two subjects feel to the touch – that is, whether the
surface is smooth or rough, grooved or ridged, furry or silky. This is very real to the
sculptor and architects because marble, metal, wood, brick and glass feel different as
we touch them. To the painter, texture is an illusion. He must make an object look the
way it would feel if we could touch it.
VOLUME
This refers to the solidity or thickness of the artwork. This is the architect’s
primary concern because a building encloses a space. His problems are too technical
for our concern, but suffice it to say that the building must look shipshape from
whatever angle the light falls on it or from whatever vantage point we look at it, inside
or out.
The sculptor with volume because his figures actually occupy space and are
observed from any direction depending on where the beholder stands. Areas of light
and shadow depend on the direction of the sunlight.
To the painter, volume is an illusion because the surface of the canvas is flat. To
give his figures thickness, he uses certain colors or lines to emphasize an illusion of
volume.
PERSPECTIVE
To get the depth or distance, an artist uses perspective. It could be linear or
aerial.
Linear perspective – objects become smaller as they recede into the distance. Parallel
lines below the eye level seem to rise to a vanishing point on the horizon, while those
above the eye level seem to descend to the vanishing point.
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Leonardo da Vinci: Adoration of the
Magi
Perspective of a church interior
showing the vanishing point.
Encyclopædia Britannica, Inc.
Another facet of linear perspective which applies chiefly to the human body is
foreshortening. The more nearly an arm, limb or body is placed at right angles to the
observer, the shorter it looks.
The Lamentation over the Dead Christ
By Andrea Mantegna
Tempera on canvas
68 cm × 81 cm (27 in × 32 in)
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Aerial perspective - objects become fainter in the distance due to the effects of the
atmosphere.
Banks of the Seine in Autumn, oil painting by
Alfred Sisley; in the Städel Museum, Frankfurt am
Main, Germany. Städel Museum, Frankfurt am
Main, Germany
Landscape with the Flight into Egypt, oil on
panel by Joachim Patinir, 1520; in the
Koninklijk Museum voor Schone Kunsten,
Antwerp, Belgium. 17 × 21 cm.
PRINCIPLES OF DESIGN
Design is the overall visual structure of a work of art. It is a means by which the
artist makes comprehensible the ideas he wishes to express and communicate. The
design of an object makes it what it is at the same time that it is made interesting and
stimulating. The precise organization of colors in a painting can brighten up a room
and lift our spirit to great heights. These are the following principles of design:
HARMONY
It refers to the adaptation of the visual elements to each other, the agreement
between the parts of a composition which results in unity. It is achieved by the
repetition of characteristics which are similar in nature, such as shape, size and color.
For example, a girl’s appearance will not please us at all if she combines a bright
violet, silk blue with a red and orange plaid denim skirt. She will look attractive if her
dress color (bright violet and red) and materials (silk and denim) do not clash.
VARIETY
Harmony may be achieved in repetition. However, too much repetition may
result in monotony; hence the principles of variety is needed to prevent this.
The use of a quality which contrasts with or slightly different from those that
surround it prevents sameness. If a shape is repeated, variety in size can prevent
uniformity. If bright colors are used, (red, yellow, orange) a cool, dark color (blue,
green, violet) can provide a refreshing change.
RHYTHM
In visual arts, it is a continuance, a flow, or a feeling of movement achieved by
the repetition of regular visual units. It may be simple, which only one type if motif is
repeated, or it may be composite, when two or more recurring motifs exist
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simultaneously. Motif is an element repeated often enough in a composition to make
it the dominating feature of a work.
PROPORTION
It deals with the ratio of one part to another and of the parts to the whole. Ratio
implies a comparison between parts. It is expressed in size, number and position.
A low ceiling gives us the feeling that we cannot move freely and that we are
in danger of being buried under a heavy weight. On the other hand, a high ceiling, like
that of a church, gives us a sense of freedom because it seems we have plenty of room
in which we move around.
EMPHASIS AND SUBORDINATION
They are the principles that concern the giving of proper importance to parts
and to the whole. We can bring order into a room by choosing one part or spot to be
the focus of attention, allowing it to stand out in importance through its position, color
or design and making the other features of the room subordinate to it.
BALANCE
Balance is a feeling of equality in weight, attention or attraction of the various
elements. In its simplest expression balance suggests the gravitational equilibrium of
a single unit in space or a pair of objects arranged with respect to an axis or a fulcrum.
In arts, balance is more felt than seen. The parts of a visual composition are
judged not by how heavy they are but how they look.
Let’s Do It!
Answer the following questions by stating your own ideas in video or a vlog. The video
will have a maximum time of 6 minutes and minimum of 4 minutes.
1. What is the importance of using color in visual arts?
2. How is emphasis achieved in art?
3. If you are tasked to create a painting or drawing, what perspective would you
like to use, and why?
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SUMMARY
From this module, you have learned the following:
•
•
•
•
•
•
•
•
•
Humanities is the study of how people process and document the human
experience. Since human have been, able, we have philosophy, literature,
religion, art, music, history and language to understand and record our world.
The subject of arts refers to any person, object, scene or event described or
represented in a work of art.
Content refers to what the artist expresses or communicates on the whole in his
work. Content also reveals the artist’s attitude towards his subject.
The term medium refers to the materials which an artist uses. They are classified
into three: Visual or space arts – two-dimensional arts, such as painting,
drawing, printmaking and photography and three-dimensional arts, such as
sculpture, architecture and crafts like ceramics and furniture-making, auditory
or time arts such as music and architecture and the combined arts which include
the dance, drama, opera, and movies.
Painting has four mediums: the fresco, tempera, oil and water color.
There are four common techniques in sculpture: carving, modeling, casting and
fabrication.
In architecture, the common construction principles are post-and-lintel, arch,
truss, skeleton construction, and cantilever.
The elements of visual arts include line, color, volume, texture and perspective.
Design is the overall visual structure of a work of art. It is a means by which the
artist makes comprehensible the ideas he wishes to express and communicate.
These are harmony, variety, rhythm, proportion, emphasis and subordination,
and balance.
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“Congratulations, you are now done with Module 1!”
o References
o
o Ma. A. Ortiz, T. Erestain, A. Guillermo, M. Montano, S.A. Pila
(1976) Art: Perception and Appreciation. University of the
East
o Cathelyn Adajar, Dennis Corbita, Ramir Philip Jones
Sonsona, ojeopril Jane Pableo, Winston Gallinero (2018) Art
Appeciation. Mutya Publishing
o https://www.britannica.com/art/visual-arts
o https://en.wikipedia.org/wiki/List_of_architectural_styles
o https://www.widewalls.ch/magazine/five-elements-of-art
14 | P a g e Reading Visual Arts | melvie
joy palahang