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ARTS IN Daily Living Module
BS Secondary Education (Cotabato State University)
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ARTS IN DAILY LIVING
ARTS IN DAILY LIVING
[MAJ-HE 308]
MILENE ANN DAZO GERTOS
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DISCLAIMER:
The content of this learning module is meant to supplement and not to replace books. Further,
information found here are compiled by the authors and the original author and websites are
being recognized. This is strictly for classroom use only and should not be used for other
purposes.
Course Overview:
Course No.
Course Code
Descriptive Title
Credit Units
School Year/Term
Mode of Delivery
Name of Instructor/Professor
Course Description
TLE-3-B-5, TLE 3-A-5
MAJ HE 308
ARTS IN DAILY LIVING
3 units
Academic Year 2020-2021 (2ND Semester)
Modular Learning
Milene Ann D. Gertos
This course is an application of art principles
and design to family and individuals needs.
Course Outcomes
1.
2.
3.
4.
Know the areas of family and individual
needs in which arts and its principles and
design is applicable. (BTI 1.5.1)
Acknowledge the importance of arts and
its principles to the family and individual
needs that arises in our society. (BTI
4.1.1)
Recognize the arts that give great impact
to our daily lives by applying them. (BTI
3.2.1)
Show skills on some preferred areas of
arts applied in our daily living. (BTI 4.5.1)
SLSU Vision
A high quality corporate science and technology
university
SLSU Mission
SLSU will:
 Develop Science, Technology and
Innovation leaders and professionals;
 Produce high impact technologies from
Research and Innovations;
 Contribute to sustainable development
through responsive community
engagement programs;
 Generate revenues to be self-sufficient
and financially-viable;
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TABLE OF CONTENTS:
Title Page-------------------------------------------------------------------------------------------------------0
Disclaimer------------------------------------------------------------------------------------------------------1
Course Overview----------------------------------------------------------------------------------------------1
Syllabus----------------------------------------------------------------------------------------------------------2-13
Table of Contents---------------------------------------------------------------------------------------------14
Introduction---------------------------------------------------------------------------------------------------15
Module Guide--------------------------------------------------------------------------------------------------15-17
Pre-Test--------------------------------------------------------------------------------------------------------17-18
Learning Plan------------------------------------------------------------------------------------------------18-32
Lesson Title
Intended Learning Outcomes
Key to Remember/vocabulary list
Overview
Discussion
 Activity
 Analysis
 Abstraction
 Application
Resources/References
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MODULE I: ARTS IN DAILY LIVING (MID-TERM MODULE)
Introduction:
This Midterm Module in <Arts in Daily Living= covers 5 Chapters. Each chapter has few lessons.
For your reference in terms of the titles of the 5 chapters and the lessons that each contains,
refer below:
Chapter 1- Introduction to Art
1.
Definition of Arts
2.
Classifications of Arts
Chapter 2- Importance of Arts in our Daily Lives
1.
Value of Art to our Daily Living
Chapter 3- Visual Communication and Perception
1.
Definition of Visual Communication and perception
2.
Application of Visual Communication and Perception to our Daily Lives
Chapter 4- Meaning and Applications of Drawing
1.
Definition of Drawing
Chapter 5- Evolution of Printmaking and Arts in the Workplace
1.
Definition of Printmaking and Arts
2.
Application of Printmaking and Arts
MODULE GUIDE
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This module in Maj-HE 308 Arts in Daily Living is made for you- 3rd year Education Learners to
adapt with the <New Normal= Arrangement of Learning that Southern Leyte State University is
adhering to. This module is consists of Lessons under the 5 Chapters that are found in the
Syllabus of this course. It also has a Pre-Test and Post-Test that will surely measure your
knowledge about the course prior to and after learning. Read these following general
instructions that will guide you while studying this course-MAJ HE 308 (ARTS IN DAILY
LIVING).
1.
To further understand what the module is aiming to teach you, read and understand the
Introduction.
2.
To be guided on how to navigate and study as well as learn from this module, carefully
read and understand the Module Guide.
3.
To be assessed on how far have you understood the Module prior to learning, answer
the Pre-Test.
4.
You are also directed to follow the methods of sending your answers which is found
below:
Methods on sending your answers (Online)
1.
Take a clear picture of your output per page. (for clearer results, used
<CamScanner= app available on Google Play/ App Store)
2.
If you have many pages, please organize on sending your outputs. (page 2 should
be sent after page 1)
3.
Send through moodle learning management system.
4.
Deadline: May 28, 2021
Methods on sending your answers (Offline)
1.
Compile all your outputs accordingly and place it in a sealed long brown
envelope.
2.
Write your full name, course and section, and instructor’s name at the back of
the envelope.
Ex. CHRISTELLE DE GUZMAN
BTLED 3-A
MILENE ANN D. GERTOS
3.
Send your outputs thru LBC or JRS Express address to: Milene Ann D. Gertos,
College of Teacher Education, SLSU Sogod, Sogod, Southern Leyte.
4.
Deadline: May 28, 2021
5.
6.
7.
To be assessed on how far have you understood the chapter after learning, answer the
Post-Test of each module.
To further your learning of the overall lessons you can visit the websites of the lessons,
links are found in the resources/ references part at the end of each lesson.
For the reflection-makings, refer to this rubrics below:
Focus
Content
Exceptional (5)
Clearly state the
purpose of the activity
Never diverges from
the topic
Demonstrate a
thorough self-analysis
including a summary of
the activity supported
by specific and
Proficient (3)
Implies but does not
clearly state the
purpose of the activity
Never diverges from the
topic
Demonstrate a
reflective analysis
including a summary of
the activity supported
by details
No Credit (1)
Does not state or imply
the purpose of the
activity.
Diverges from the topic
Lacks development and
self reflection
Does not includes
summary of the activity
or has insufficient
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Organization
Conventions
illustrative details.
Draws conclusions and
makes connection to
future plans
Draws conclusions and
makes a conclusion to
future plans.
details
Presents the reflection
in a compelling, highly
organized manner.
Includes the following
elements:
 Attentiongetting
introduction,
which includes
thesis
statement
 Effective
transition
 Reflective
conclusion
Uses articulate and
appropriate language,
sophisticated word
choice. And sentence
structure.
0-1 errors in:
 Gammar
 Punctuation
 Mechanics
Presents the reflection
in a well-organized
manner.
Include the following
elements:
 Introduction
with thesis
statement
 Transitions
 Conclusions
Presents the reflection
in a poorly organized
manner.
Elements are missing
that impact
understanding:
 No Introduction
 No transition
 No Conclusion
Uses appropriate
language, word choice,
sentence structure.
2-3 errors in:
 Grammar
 Punctuation
 Mechanics
Uses slang and
unsophisticated word
choice.
4 or more errors in:
 Grammar
 Punctuation
 Mechanics
DepEd 2007
9. In answering the activities given in each lesson, follow this general instruction below:
Requirements on Answering:
1.
Write your reflection in an A4 bond paper.
2.
On the upper left of the bond paper, write your full name with signature and
under it is your course and your section.
Ex. CHRISTELLE DE GUZMAN
BTLED 2-A
3.
On center, write the module number and title.
Ex. Module #1- Definition of childhood and adolescence
4.
On the upper right, write the date you have started answering the module.
5.
Bottom center, write the page number (applicable to 2 or more pages only)
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Chapter I:
LESSON 1: - Introduction to Art
Definition of Arts
Intended Learning Outcomes: At the end of the lesson, the learners shall be able to:
a) Understand Arts
b) Recognize the different Arts that exist in the Society
c) Show some personalized Art pieces inspired by this lesson
Vocabulary list:
Overview:
In this lesson you will be able to understand Arts, also in this lesson you will recognize the
different Arts that exist in the Society, you will going to show your own made Art pieces inspired
by what you learn from this lesson.
I.
Activity:
a. Let’s check how sharp your memory is, please be honest and do not cheat in our
activity. This is kind of easy so I know you can fill the list up to 100 entries if you
like. All you need to do is list down the name of art pieces along with its creator.
Please do not cheat, do not visit the goggle. Give me an honest answer. This is for
me to check if you were once interested in ART somewhere in your existence.
Take note that your answer must not be limited to paintings only. Any art pieces
will do even sculpture, literary piece or even ceramics. You can include whatever
form of Art it is that you can remember on your mind base from the lessons you
learned before or from the searches you have had before. Strictly, don’t use
goggle while answering this now. Your score will depend on how long your list
is. Best of Lucks!
Please use the format provided below:
Name of the Art Piece
Its Creator
1.
2.
3.
4.
II.
Analysis:
a. These questions below are intended to check your interest in Art. So you have to
answer these, base on your personal opinions and your own ideas. You don’t
need to visit the goggle and search for the answers. I want an honest answer so
be reminded to answer exactly what your mind knows and what your heart says.
You can write your answer in a paragraph form or you can do it in bullet form
whatever it is you like it to be. The content is what matters to me. Each question
is worth 10points.
i. What is Art for you?
ii. How do you view Art as a student?
iii. What does Art contribute to our existence?
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iv. How relevant is Art in terms of education?
v. How do you want Art to be perceived by students around the world?
III.
Abstraction:
What is Art?
Art is a highly diverse range of human activities engaged in creating visual, auditory, or
performed artifacts— artworks—that express the author’s imaginative or technical skill, and
are intended to be appreciated for their beauty or emotional power.
The oldest documented forms of art are visual arts, which include images or objects in fields like
painting, sculpture, printmaking , photography, and other visual media . Architecture is often
included as one of the visual arts; however, like the decorative arts, it involves the creation of
objects where the practical considerations of use are essential, in a way that they usually are not
in another visual art, like a painting.
Art may be characterized in terms of mimesis (its representation of reality), expression,
communication of emotion, or other qualities. Though the definition of what constitutes art is
disputed and has changed over time, general descriptions center on the idea of imaginative or
technical skill stemming from human agency and creation. When it comes to visually identifying
a work of art, there is no single set of values or aesthetic traits. A Baroque painting will not
necessarily share much with a contemporary performance piece, but they are both considered
art.
Despite the seemingly indefinable nature of art, there have always existed certain formal
guidelines for its aesthetic judgment and analysis. Formalism is a concept in art theory in which
an artwork’s artistic value is determined solely by its form, or how it is made. Formalism
evaluates works on a purely visual level, considering medium and compositional elements as
opposed to any reference to realism , context, or content.
Art is often examined through the interaction of the principles and elements of art. The
principles of art include movement, unity, harmony, variety, balance, contrast,
proportion and pattern. The elements include texture, form, space, shape, color, value and line.
The various interactions between the elements and principles of art help artists to organize
sensorially pleasing works of art while also giving viewers a framework within which to analyze
and discuss aesthetic ideas.
What Does Art Do?
A fundamental purpose inherent to most artistic disciplines is the underlying intention to
appeal to, and connect with, human emotion.
A fundamental purpose common to most art forms is the underlying intention to appeal to, and
connect with, human emotion. However, the term is incredibly broad and is broken up into
numerous sub-categories that lead to utilitarian , decorative, therapeutic, communicative, and
intellectual ends. In its broadest form, art may be considered an exploration of the human
condition, or a product of the human experience.
The decorative arts add aesthetic and design values to everyday objects, such as a glass or a
chair, transforming them from a mere utilitarian object to something aesthetically beautiful.
Entire schools of thought exist based on the concepts of design theory intended for the physical
world.
A fundamental purpose common to most art forms is the underlying intention to appeal to, and
connect with, human emotion. However, the term is incredibly broad and is broken up into
numerous sub-categories that lead to utilitarian , decorative, therapeutic, communicative, and
intellectual ends. In its broadest form, art may be considered an exploration of the human
condition, or a product of the human experience.
The decorative arts add aesthetic and design values to everyday objects, such as a glass or a
chair, transforming them from a mere utilitarian object to something aesthetically beautiful.
Entire schools of thought exist based on the concepts of design theory intended for the physical
world.
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What Does Art Mean?
The meaning of art is shaped by the intentions of the artist as well as the feelings and ideas it
engenders in the viewer.
The meaning of art is often culturally specific, shared among the members of a given society and
dependent upon cultural context. The purpose of works of art may be to communicate political,
spiritual or philosophical ideas, to create a sense of beauty (see aesthetics), to explore the
nature of perception, for pleasure, or to generate strong emotions. Its purpose may also be
seemingly nonexistent.
The nature of art has been described by philosopher Richard Wollheim as <one of the most
elusive of the traditional problems of human culture.= It has been defined as a vehicle for the
expression or communication of emotions and ideas, a means for exploring and appreciating
formal elements for their own sake, and as mimesis or representation. More recently, thinkers
influenced by Martin Heidegger have interpreted art as the means by which a community
develops for itself a medium for self-expression and interpretation.
Art, in its broadest sense, is a form of communication. It means whatever the artist intends it to
mean, and this meaning is shaped by the materials, techniques, and forms it makes use of, as
well as the ideas and feelings it creates in its viewers . Art is an act of expressing feelings,
thoughts, and observations.
What Makes Art Beautiful?
Beauty in terms of art refers to an interaction between line, color, texture, sound, shape, motion,
and size that is pleasing to the senses.
What makes art beautiful is a complicated concept, since beauty is subjective and can change
based on context. However, there is a basic human instinct, or internal appreciation, for
harmony, balance, and rhythm which can be defined as beauty. Beauty in terms of art usually
refers to an interaction between line, color, texture , sound, shape, motion, and size that is
pleasing to the senses.
Aesthetic Art
Aesthetics is the branch of philosophy that deals with the nature and appreciation of art, beauty,
and taste. Aesthetics is central to any exploration of art. The word <aesthetic= is derived from
the Greek <aisthetikos,= meaning <esthetic, sensitive, or sentient. = In practice, aesthetic
judgment refers to the sensory contemplation or appreciation of an object (not necessarily a
work of art), while artistic judgment refers to the recognition, appreciation, or criticism of a
work of art.
Numerous philosophers have attempted to tackle the concept of beauty and art. For Immanuel
Kant, the aesthetic experience of beauty is a judgment of a subjective, but common, human
truth. He argued that all people should agree that a rose is beautiful if it indeed is. There are
many common conceptions of beauty; for example, Michelangelo’s paintings in the Sistine
Chapel are widely recognized as beautiful works of art. However, Kant believes beauty cannot
be reduced to any basic set of characteristics or features.
For Arthur Schopenhauer, aesthetic contemplation of beauty is the freest and most pure that
intellect can be. He believes that only in terms of aesthetics do we contemplate perfection of
form without any kind of worldly agenda.
Beauty in art can be difficult to put into words due to a seeming lack of accurate language. An
aesthetic judgment cannot be an empirical judgment but must instead be processed on a more
intuitive level.
Art and Human Emotion
Sometimes beauty is not the artist’s ultimate goal. Art is often intended to appeal to, and
connect with, human emotion. Artists may express something so that their audience is
stimulated in some way—creating feelings, religious faith, curiosity, interest, identification with
a group, memories, thoughts, or creativity. For example, performance art often does not aim to
please the audience but instead evokes feelings, reactions, conversations, or questions from the
viewer . In these cases, aesthetics may be an irrelevant measure of <beautiful= art.
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Who Is an Artist?
An artist is a person who is involved in the wide range of activities that are related to creating
art.
An artist is a person who is involved in the wide range of activities that are related to creating
art. The word has transformed over time and context, but the modern understanding of the
term denotes that, ultimately, an artist is anyone who calls him/herself an artist.
In ancient Greece and Rome, there was no word for <artist.= The Greek word <techne= is the
closest that exists to <art= and means <mastery of any art or craft.= From the Latin <tecnicus=
derives the English words <technique,= <technology,= and <technical.= From these words we can
denote the ancient standard of equating art with manual labor or craft.
Each of the nine muses of ancient Greece oversaw a different field of human creation. The
creation of poetry and music was considered to be divinely inspired and was therefore held in
high esteem. However, there was no muse identified with the painting and sculpture; ancient
Greek culture held these art forms in low social regard, considering work of this sort to be more
along the lines of manual labor.
During the Middle Ages, the word <artista= referred to something resembling <craftsman,= or
student of the arts. The first division into <major= and <minor= arts dates back to the 1400s with
the work of Leon Battista Alberti, which focused on the importance of the intellectual skills of
the artist rather than the manual skills of a craftsman. The European academies of the 16th
century formally solidified the gap between the fine and the applied arts, which exists in varying
degrees to this day. Generally speaking, the applied arts apply design and aesthetics to objects of
everyday use, while the fine arts serve as intellectual stimulation.
Currently, the term <artist= typically refers to anyone who is engaged in an activity that is
deemed to be an art form. However, the questions of what is art and who is an artist are not
easily answered. The idea of defining art today is far more difficult than it has ever been. After
the exhibition during the Pop Art movement of Andy Warhol’s Brillo Box and Campbell’s Soup
Cans, the questions of <what is art?= and <who is an artist?= entered a more conceptual realm.
Anything can, in fact, be art, and the term remains constantly evolving.
IV.
Application:
a. Make your own art piece. You are free to choose whatever art piece you wanted
to make. You can have a painting, a drawing; a sculpture it doesn’t matter to me,
what matters is that you are the creator of that Art Piece. You have to make
name for your Art Pieces after you made it. Take a clear photo of your finished
product. Then answer these relevant questions below:
i. What is the name of your Art Piece?
ii. What makes you decide to come up with such a name?
iii. What inspired you to come up with your Art Piece?
iv. What is the message that you Art Piece convey?
v. What do you want the audience of you art piece to understand
once they saw it?
Resources/ References:
Warhol.
(2014).
What
is
Art?
Retrieved
 Andy
https://courses.lumenlearning.com/boundless-arthistory/chapter/what-is-art/
from:
Lesson 2:
Classifications of Arts
Intended Learning Outcomes: At the end of the lesson, the learners shall be able to:
a) Demonstrate knowledge about the Classifications of Art
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b) Design an art Piece that manifests one of the
Classification of Arts
Vocabulary list:
Overview:
In this module you will be able to demonstrate knowledge about the Classifications of Art. You
will also design and art piece that manifests one of the Classifications of Art.
I.
Activity:
a. Visit the Google or read the abstraction content below, then decide for yourself
which among all the classifications of art is the most influential and is most
chosen field to pursue by people who love Art. If you already have a choice make
a list of evidences you found as proof of your claim. You can include in your list
all local products or anything under the sun that you can use as a proof that
these classifications of art exist widely and are used by many. This is a way of
viewing the society you live in a different way as you used to view it.
Utilize this format provided below:
Classification of Art (Your own Choice)
Proofs
1.
2.
3.
4.
II.
Analysis:
a. One way or another, it is for sure that you had recognized Art in your life; no
matter it is in its simplest form when you happen to meet it or experience it. IT
make us all admit that even without searching Google, we can define what art is
and how it has influences our lives in many ways. Answer the questions listed
below truthfully. You can have it with your own idea only or you can visit the
Google.com if you think it’s highly needed. Your score in this depend on how
substantial your answer is. 10 points per item if each answer is worth it.
i. Among the classifications of Art which one is the most interesting for you
and Why?
ii. If you are born an artist and would be assign to choose one classification
to major in, which one would you choose? Why?
iii. In relation to your answer in the previous question, how would you use
the knowledge learned to help the society you live in?
iv. How would you use Art to influence all students like you to recognize the
value of Education?
v. How would you manifest Art in your life as a student?
Abstraction:
What Are The Classifications Of Art?
The various classifications of art include: fine art, visual art, plastic art, performance art, applied
art and decorative art.
Fine Art
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The Ballerina by Teresa Bernard
This category includes works of art that are created primarily for aesthetic reasons. Fine arts
include:
 Drawing – charcoal, chalk, crayon, pastel, pencil, or pen and ink
 Painting – oils, watercolor, gouache, acrylics, ink and wash, tempera, or encaustic paints
 Printmaking – woodcuts, stencils, engraving, etching and lithography, or screenprinting, foil imaging, or giclee prints
 Sculpture – bronze, stone, marble, wood, or clay
 Calligraphy – beautiful and stylized handwriting
Visual Art
The visual arts include all the fine arts, in addition to the following:
 New media – digital art, computer graphics, computer animation, virtual art, Internet
art, interactive art, video games, computer robotics, 3D printing, and art as
biotechnology
 Photography art
 Environmental art
 Contemporary forms of expression – assemblage, collage, conceptual, installation
 Plastic Art
 The term plastic art includes art works that are molded and not necessarily plastic
objects. This category consists of three-dimensional works like clay, plaster, stone,
metals, wood and, paper (origami).
Performance Art
This classification consists of an art form that refers to public performance events which occur
mostly in the theater. Performance arts include:
 Traditional performance art – theatre, opera, music, and ballet
 Contemporary performance art – mime
 Hyper-modern performance art – happenings
 Applied Art
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This category encompasses the application of aesthetic designs to everyday functional objects.
Applied arts are intended for the use of a career. It includes architecture, computer art,
photography, industrial design, graphic design, fashion design, and interior design.
Decorative Art
This classification refers to functional but ornamental art forms, such as jewelry, ceramics,
mosaic art and other items that are embellished by ornaments and other designs. It also
includes works in glass, clay, wood, metal, textile fabric, furniture, furnishings, stained glass and
tapestry art. This form of art is often used by interior designers for home, commercial and retail
outlets, as well as, office décor
Classification of Fine Art Paintings by Genre
How are fine art paintings categorized?
The most common method for classifying fine art paintings is by genre (or theme). Genre is
a French word that means <type= or <kind=, and what this means is, it refers to the type of image
a painting portrays as its subject matter. Whether it is a landscape, portrait, still life, seascape,
etc., paintings are categorized by what is depicted in them.
Common Painting Themes
Abstract Art is artwork that looks like it has been accidentally created by a two year old.
It has no defined meaning and seeks to break away from the traditional representation of
physical objects in real life. More often than not, abstract art is a collection of meaningless
shapes, texture and colors thrown haphazardly onto a canvas. Its purpose is to let the viewer
interpret its meaning for him/herself. Pictured is an example of abstract art.
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Cityscapes, or as it is sometimes called Urban Landscapes, are paintings whose subject matter
is the physical aspects of the city, urban life, city sections (like a city block, street corner,
outdoor café, rooftops, etc.) or other urban area. A Townscape is similar to a cityscape, only it is
of a township with a smaller population and perhaps less modern architecture as well. Shown is
an example of a cityscape or urban landscape.
Genre Art is scene art of everyday life which depicts real life in action with ordinary people at
work or in recreational situations. These type artworks include intimate scenes of daily life,
costumes, domestic settings, interiors, celebrations, tavern scenes, markets and other street
situations. It could also show a busy street, a beach party, a dinner gathering, or anyplace where
living goes on. The subject matter is often are portrayed realistic style. See example of genre art.
History Paintings which are also called Historical Paintings portray a moment in man’s history
and are not to be confused with a genre painting which depicts scenes of everyday life. History
paintings can include a range of historical subjects and topics and often illustrate a part of a
story or significant event. An example of historical or history painting is shown.
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Landscape paintings depict the beauty of the great outdoors with its natural scenery of
mountains, valleys, meadows, trees, rivers, forests, sky and weather. It can even include the
countryside, farms, and structures that one would expect to find there. For instance fencing, a
bridge, barn, windmill, or farmhouse. See example of landscape painting. Title: The Grand Teton
Mountains
Marine Art or Maritime Art derives its inspiration from the sea. This genre of art depicts life
on the open seas, boats and ships, fishermen, etc. It includes art showing shipping on rivers and
estuaries, beach scenes and all art showing boats and ships. It almost always includes some
element of seafaring vessel. Ship-portraits is a type of marine art that is still popular in which a
single vessel is portrayed. Notice example of marine or maritime art.
Naïve Art is works of art characterized by a childlike simplicity that possesses minute detail,
bright saturated colors, disproportionate figures and lack of perspective. It portrays simple,
easy-to-understand and often romanticize scenes of everyday life. The absence of perspective
often creates the illusion that figures within naïve paintings are weightless or floating. Naïve
artists are often self-taught artists with very little or no formal art training. An example of naïve
art is pictured to the right.
Portraits are artistic representations of a person, especially the face. Besides the likeness, the
essence of a portrait also captures the mood and personality of the subject. A portrait of an
individual may be of the face-only, or it may be head and shoulders, or the full-body. Many
portraits are composed of the person in a still position and often the subject is looking directly
at the painter. Included in this genre are Group-portraits (consisting of more than one
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individual), self-portraits and pet-portraits. A Self-portrait is one in which the artist does an
artwork of him/herself. Pet-portraits of a beloved pet could also be in this category,
however, animals usually fall into the wildlife category.
Religious Art or Sacred Art is any artistic representation using religious inspiration to express
a message intending to elevate the morals of the one observing the artwork. The subject matter
can be either a scared story or a profession of the artist’s faith. Religion means any set of
individual beliefs, either Christian or non-Christian, which are regarded as sacred, holy, spiritual
or divine. Shown is an example of religious art and is titled The Communion Table.
Space Art (sometimes referred to as Astronomical Art) is a genre of art that attempts to
communicate ideas and appreciation related to the infinite variety and vastness of outer space
by depicting interstellar and interplanetary elements as its subject matter. All this is made
possible with the invention of telescopes making it possible to look off our world. Artists can
now render what is seen out there and attempt to capture the wonders and majesty of our
universe. Planets, stars, constellations, spacecraft, astronauts, black wholes, moons, comets, and
other heavenly bodies can found in space art. Some other art terms related to this category
include lunar landscape, moonscape, moonset, etc. The sample shown is a commission painting
titled: First Footprint On The Moon.
Seascape paintings are much like landscapes, only this genre of art depicts the sea with marine
landscapes, beach scenes, fish and marine animals, or views of the ocean itself. Fish and other
marine animals can also be categorized as wildlife. Seascapes should not be confused with
Maritime Art which depicts life out on the open sea, not necessarily a marine landscape. The
example to the right is titled: Oregon Coast Looking South of the Sea Lion Caves.
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Still Life paintings feature an arrangement of everyday inanimate objects laid out on a table or
similar surface. The objects used can be either natural or man-made. Examples of natural
objects could be flowers, food, wine, rocks, seashells, dead animal skulls, etc. and manufactured
items could be drinking glasses, books, bottles, pottery, coins, dishes, musical instruments and
so forth. The sample shown is titled: Still Life With Fruit and Candle.
Wildlife Art is characterized as works of art which portray the natural world and the wildlife or
domesticated animals that inhabit it. It is one of the earliest forms of art dating back to
prehistoric cave paintings. Portraits of animals or fish (whether wildlife or family pets) could
also fit into this genre. The wildlife art sample shown is titled Raging African Elephant.
III.
Application:
a. Choose among the classification of Art. Choose what you think is the one that not
only catch your interest but the one that literally catch your heart. Because your
choice is very important for this activity, you have to make your own Art Piece
and it should reflect the classification of your choice.
You should take a clear photo of your Art Piece and you should make a title for it
too. Use this format provided below in submitting:
 Classification of your Choice
 Title of your Art Piece
 What inspires you while making your Art Piece.
 Picture of your Art Piece
Resources/References:
 TERESA BERNARD. (SEPTEMBER 1, 2015). What are the Classifications of Art. Retrieved
from: http://teresabernardart.com/what-are-the-classifications-of-art/

TERESA BERNARD. (AUGUST 9, 2015). Classifications of Fine Arts Painting by Genre.
Retrieved from: http://teresabernardart.com/classification-of-fine-art-paintings-bygenre/
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Chapter 2: Importance of Arts in our Daily Lives
Lesson 1:
Value of Art to our Daily Living
Intended Learning Outcomes: At the end of the lesson, the learners shall be able to:
a) Determine the Values of Art in our Daily Living
b) Building a better perception about the Importance of Art
to our Daily Lives
c) Relate real life situation in which Values of Art is
Manifested
Overview:
In this module you will be able fully Determine the Values of Art in our Daily Living, Building a
better perception about the importance of Art to our Daily Lives and the ways to attain it and
Relate real life situation in which Values of Art is being manifested in simple way.
.
I.
Activity:
a. Evaluate your own self. No need to ask anyone’s assistance or even search the
net because this activity is very easy to comprehend. It only needs a thorough
evaluation of your own self and how important Art is to you. You have to lit
down the reasons you have on your own about how important Art is to you.
Follow the format below: Your score on this depends on how long your list is.
You can have all the reason you can think of as long as it is the importance of Art
to your own life. You even go down to the specifics if you wanted to create a long
list.
Importance of Art to your Life
1.
2.
3.
4.
II.
Analysis:
a. Let’s evaluate our own self and answer these questions listed below. You can
also browse Goggle if you find it necessary or you can even have a resource
person if you find it needed. Your score is 10 points per item so make sure your
answer is worth the highest score.
i. How important is art to you and to your co-students?
ii. How have you encountered Art? Can you recount the first time you made
an art piece?
iii. How memorable is it to have your own art piece? Can you spell out the
feeling of accomplishing something?
iv. What inspires you while making the first Art piece that you had
accomplished?
v. What satisfaction have you felt upon seeing the Art piece that you made
with your own hands?
III.
Abstraction:
The Importance of Art in the Daily Life
The Importance of Art in Daily Life
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Art surrounds life, all people in every location, without us being aware of it. Since time
immemorial, art has existed as long as man has. It is a huge part of our culture, which shapes our
ideas, and vice versa, and provides us with a deeper understanding of emotions, self-awareness,
and more.
Many people fail to realize how art impacts their daily life. Everyone uses art on a continual
basis. The majority doesn’t know how much of a role art plays in their lives and just how much
we rely on art, in all of its forms, in our everyday lives.
Why is art important in our daily lives? Because we are surrounded by art, and without it, the
human race will not be as you know it.
Art in the Home
Arguably, almost everyone has some form of art in their home—a painting, a framed
photograph, a table centerpiece, and even the main layout and design of a house is art. Art is not
purely for looking at and admiring, a lot of it is functional too, especially when it comes to our
homes. Everything from a delightfully patterned quilt on the bed or even your decorative tea
towels and teacups can be considered a form of art. Our brain is just conditioned to think that
these type of items are not art when it’s only for decoration.
Art and Music
Music, same as art, is a universal language and its importance to our daily lives is undeniable.
Subconsciously, we hear music through television shows, commercials, radio and through other
media. Sounds, songs and music can make life extremely joyful and can have a huge effect on our
mood.
It has a positive impact to people’s moods and perspective. It can boost productivity and one’s
motivation and determination. Similarly, when stress is high, many people find that relaxing to
calming music is something that eases the mind.
Site-Specific Art
Art, in any form, can give people emotions that can lift up their spirit and make them more
driven than ever. One of the most common trends in the tourism industry is hospitality art,
which utilizes art to invite guests and engage them more throughout their stay. Corporate art
inspires workers and boosts productivity using art inside the workplace. Hospital art, or healing
art is also one way of helping patients recover faster and their family and healthcare workers to
regain their composure and stay calm.
Art is everywhere, influencing us on a daily basis, whether we realize it or not. And this is the
mere reason why art is important in our daily lives. With the art that we are surrounded by,
whether it’s a painting, music or even videos can have a huge impact on our mood and emotions.
People think that science and technology are superior to art. But art makes life worthwhile. It
may not be vital to fulfill our basic needs, but it does make life joyful. As we continue our
journey of a fast-paced life with moments of quick decisions and fragmented thoughts, art
allows every moment to be memorable. Understanding our emotions can help us heal, grow and
improve ourselves. Increasing our self-awareness through art can lead to more success
personally and professionally.
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Art can make a community more beautiful. It also makes the places we visit and spend time
more interesting. Through art, we gain a better understanding of cultures, history and tradition;
as well as help people in the present build better and more complete lives.
I have always heard sayings like "Why study art? Why not Engineering, Science or Commerce?",
"Art won't get you anywhere," "Art is useless," "You won't get a proper job" etc. I have also
heard of situations of the school board planning to cut arts in schools, thinking that students
won't do well in their education. Well you know what, you all are wrong! Arts makes a huge
impact in our lives! Here are the reasons why art is Important.
1. Arts improves your creativity skills.
Whether it is cooking, painting or music, we do art as if its our own.
2. Arts gives you joy.
I smile whenever I sing my favorite song. Any kind of art can give you so much happiness.
3. Arts relieves stress.
Don't you go to another world when you just sing or listen to a favourite tune?
4. Arts gives you the opportunity to showcase your talent.
Even words doesn't give that much opportunity like art does. By showing our talent, we show
that there is something special about us.
5. Arts gives you confidence.
When I sing or perform, I feel so good about myself. I feel there are no worries, hence I perform
confidently.
6. Arts helps you do well academically.
Trust me, just a few hours of art will help you relieve stress and give you happiness. With that
your mind will be clear, and that would help you focus on your studies, and that would help you
get good grades. If you don't do art for few hours, your mind would be stressed and you
wouldn't be able to focus and do well.
7. Arts helps you to communicate with other people.
I connect with people through music. I have met most of my friends because of music.
8. Arts helps you learn visually
Thanks to art, I have become a visual learner. Learning Visually helped me a lot in studies.
9. Arts helps you to express your emotions
I use singing to showcase my emotions, whether I am happy, sad or angry. And above all...
10. Art is a different language
Art says things that even words cannot say. You don't need a language to understand Art. Just a
small painting, or a food item, or improvising a tune or a step, can express a lot of things without
words.
Arts have helped me a lot! As you may be aware, I have special needs! Due to that, I could
neither communicate well, nor do well academically. If there was something I could do well, it
was music. Music has changed my life. Now I want to use music as a way of connecting with
people. If it helped me, it could help a lot of other people who went through difficulties.
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Arts is not a waste of time. It is not useless. Arts are very essential to our lives. Yes, I may not get
a wonderful job, but as long as it gives me happiness, and gives the best out of me, and at least
getting some payment, what's the problem?
So my request is to please take the arts seriously. Don't treat the arts as useless thing. Don't
think that it destroys education, because it doesn't!
To the education board, please don't ever think of cutting the arts. If you care about your
student's education, then please consider the arts in your school. The arts bring out the best in
everyone. Hope you understand.
And for all the parents, relatives, neighbors etc. Try to consider your
son/daughter/acquaintance's choice. If that's what makes them happy please support them.
Don't be so money-minded, and don't worry about the society says. Hope you guys understand
too, how essential art is.
With art, we could bring in a lot change! It could help millions of people! Hope one day, the arts
could be considered seriously by most of the people!
IV.
Application:
a. Make your own Art piece that shows your message of how Art has been
important to your own Life. Strictly no words on that Art piece and you can
choose whatever Art piece you think is expressive of your own reason why Art is
important. You have to make it by your own, be honest and don’t ask anybody’s
help in doing this activity. Your score depends if the output is authentically yours
and how relevant it is to your own reason why Art is important.
Resources/References:
 seo@accentartandframe.com. (December 2, 2016). The Importance of Art in Daily Life.
Retrieved from: https://accentartandframe.com/blog/index.php/the-importance-ofart-in-the-daily-life
 Swara Swami. (May 31, 2016). 10 Reasons Why The Art is Important in our Daily Lives.
Retrieved from: https://www.theodysseyonline.com/10-reasons-why-arts-areimportant-in-our-lives
Chapter 3: Visual Communication and Perception
Lesson 1:
Definition of Visual Communication and Perception
Intended Learning Outcomes: At the end of the lesson, the learners shall be able to:
a) Define Visual Communication and Perception
b) Building a better perception about Visual Communication
and Perception
c) Make an Art Piece that represents Visual Communication
and Perception.
Overview:
In this module you will be able to fully define visual communication and perception, Building a
better perception about visual communication and the ways to attain it and Relate real life
situation in which visual communication and perception is being manifested in simple way.
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.
I.
Activity:
a. Visual Communication has been an effective way of wrapping up long messages
into a single photo or representation in which audience are interested to spend
their time looking at because it is not time consuming and it is highly
informative. Now, let’s see if this claim is true. Do a quick survey, utilize Google
forms and send it to all of your FB friends, ask them to answer your survey for a
while. Your Google forms must have questions like: (1) do you prefer to look at
visual representations rather than read lengthy information? And then you can
add up any question you wish to have. At the end, tally all the response and
submit the tally in here. Show me numbers, how many prefer visual
communication and how many are still into reading information no matter how
long they are. Submit a screenshot of your Google form too, just to make sure
you did a real survey. Best of Luck!
II.
Analysis:
a. Answer the following questions listed below: Be truthful in answering, there is
no need to ask anyone else or even Google your answers because these
questions are purely personal. You can even answer them while closing your
eyes.
i. What do you think about Visual Communication? Is it really important?
ii. What are the privileges that you got as a student from the concept of
Visual Communication?
iii. Where are you between a Pro and a Con to the concept of Visual
Communication? Can you defend your choice with a simple explanation?
iv. Visual Communication has benefitted many, do you agree? If yes, can you
site a proof? If no, can you say the reason why?
III.
Abstraction:
VISUAL COMMUNICATION
By definition, visual communication is the practice of graphically representing information to
efficiently, effectively create meaning. There are many types of content in the realm of visual
communication, with examples including infographics, interactive content, motion graphics, and
more. The possibilities are endless. But no matter the medium, all incorporate at least some of
the following elements: interactivity, iconography, illustration, supporting text, graphs, data
visualization, and animation.
Which type of visual communication is right for your company or campaign depends on the
goal(s) you’d like to achieve. It also depends on your target audience. Ask your creative content
partner for recommendations.
Examples of where visual communication can be used include conferences and trade shows,
websites, social media posts, office presentations and meetings, and so much more. That’s why,
today, the definition of content marketing success includes visual communication. So when
updating your content strategy, make sure your organization isn’t left behind. Explore the
articles below to learn how to implement visual communication across your organization.
What is Visual Perception?
Visual perception is the ability to perceive our surroundings through the light that enters our
eyes. The visual perception of colors, patterns, and structures has been of particular interest in
relation to graphical user interfaces (GUIs) because these are perceived exclusively through
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vision. An understanding of visual perception therefore enables designers to create more
effective user interfaces.
Physiologically, visual perception happens when the eye focuses light on the retina. Within the
retina, there is a layer of photoreceptor (light-receiving) cells which are designed to change light
into a series of electrochemical signals to be transmitted to the brain. Visual perception occurs
in the brain’s cerebral cortex; the electrochemical signals get there by traveling through the
optic nerve and the thalamus. The process can take a mere 13 milliseconds, according to a 2017
study at MIT in the United States.
Different attributes of visual perception are widely used in GUI design. Many designers apply
Gestalt principles (i.e., how humans structure visual stimuli) to the design of GUIs so as to create
interfaces that are easy for users to perceive and understand. The visual perception of
affordances (action possibilities in the environment) is another example of how the
understanding of visual perception is a critical item in any designer’s toolkit.
Visual communication is a way to communicate ideas graphically in ways that are efficient and
help to convey more meaning. It’s a critical element of any content marketing strategy.
This is because visuals can help to evoke emotions in your audience, provide stronger examples
for your message and so much more.
There are at least three crucial reasons to incorporate visual elements into your content
creation process. Let's get started.
Why Is Visual Communication So Important?
A common challenge we face with creating content is that we put resources into exceptional
work that fails to make the impact we want.
How can we avoid this and make sure the content we’re creating makes the impact we need?
There are three core challenges at the root of this problem.
Limited attention
Difficulties remembering your content
Failure to understand what you’re trying to say
First we’ll explore how to address these challenges. Afterwards, we’ll unpack concrete ways to
launch effective visual communication strategies.
Visual Communication Addresses Three Core Challenges
In the modern content landscape, we have some challenges that can prevent us from having as
much impact as we want. There are 3 particular challenges that visual communication helps us
address.
Challenge 1: Limited Attention
The first challenge we need to overcome is the limited attention span of your audience.
According to the classic 2015 study by Microsoft, the average human has an 8 second attention
span.
In the years since, attention spans have been narrowing. According to a 2019 study in Nature
Communications the lack of attention trend is accelerating.
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Since we know distractions are a problem, we want to explore how visual communication can
help us make our content as distraction-proof as possible.
The good news is that visual communication helps us to transform our content into a
distraction-proof, problem-solving tool.
Because the likelihood of distraction online is often correlated with the quality of visual
information in your content, the use of visuals helps them refocus and return to the main ideas
in your content.
Visual communication has two crucial benefits when it comes to memory.
First, it increases the likelihood that your content will create long term memories in your
readers. That way, your readers will reflect on what they read and come back later for more
content.
Additionally, strong visual communication will increase reading comprehension and memory
while your readers are still reading the content. This is critical because it allows them to
experience more insights and epiphanies.
It’s crucial to keep them following along if you want them to experience breakthroughs on the
problems they’re looking to address.
Visuals support these insights because they summarize the critical points you want to
communicate. This helps readers to make their own connections applying your ideas to their
unique situation.
Help your readers connect with your content by using this modern design concept map.
Our brain has an important area called the visual cortex. It's a large area in the very back, and
it's the part of the brain responsible for processing images.
But there's another area called the Broca’s area that is much, much smaller. That’s responsible
for reading words.
We want to make it easy on our readers and help them access that huge region of the brain as
opposed to making them struggle.
Neuroscience lecture complete.
There are additional reasons why word-heavy content makes it hard on readers.
When we see the word, <tree,= we have to generate our own imaginary representation of the
word based on our memories. This is because words are abstract.
The word itself is just a placeholder for everything we know about trees. If we make our readers
generate meaning from abstraction after abstraction they will become exhausted and go back to
Slack, Instagram or email.
Infographics
Create fun infographics centering with this step-by-step process infographic template.
IV.
Application:
a. Make an info-graphic design of something you wanted students like you to know,
you can choose a bible verse, a saying, a quote or even a lesson that you wanted
to share to every students who can be reached by the info-graphics you made.
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You must make your info-graphic attractive in its form so that everyone would
spend their minute or two just to take a look of your work and eventually read
the message you wanted to convey. Upload it in your social media account, you
are free to choose whichever platform you prefer, you can have your facebook,
your instagram or even your twitter. After a day screen shot the post include the
reactions your post has gained in just a day and attach that same photo to your
answer. Your audience impact will give you a higher score because it means
many have viewed your info-graphics.
Resources/References:
 Brian Nuckols (2016). What is Visual Communication and Why is it Important?.
Retrieved by: https://visme.co/blog/visual-communication/
Lesson 2:
Application of Visual Communication and Perception to our Daily Lives
Intended Learning Outcomes: At the end of the lesson, the learners shall be able to:
a) Determine the applications of visual communication and
perception in our Daily Lives.
b) Apply visual communication to some areas of their
studies where they think it’s useful.
Overview:
In this module you will be able fully Determine the applications of visual communication and
perception in our Daily Lives and Apply visual communication to some areas of their studies
where they think it’s useful.
.
I.
Activity:
a. Do a quick search and wrap up some details about which areas are visual
communication commonly used in. Make a list of the fields, areas, work or
anywhere that use the visual communication. Let’s find out if this has been very
useful to everyone and if pursuing a career on this will give you a bright future.
Follow the format provided below: Make a conclusion write after filling in this
list; your conclusion must be about what you find out about visual
communication.
List of Areas that Uses Visual Communication
1.
2.
3.
4.
II.
Analysis:
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a. To sum it up, let’s answer the following questions listed below:
i. How visual communication has proven its usefulness in your studies?
ii. How would you describe the benefits of visual communication in one
word? Why have you chosen this word as the perfect description, please
reason out.
iii. How would you promote the use of visual communication in the field of
education?
iv. As a student, what can you say about the process of making your own
visual representation? Is it hard or easy? Why?
III.
Abstraction:
With so many businesses and organizations now operating online, visual communication is
more important than ever. Whether you’re an executive looking to align your team on new
organizational processes, or a marketer looking for ways to differentiate on social media, you
may wonder how best to use visuals to really connect with your audience.
What is visual communication? Visual communication defined:
 Visual communication is the practice of using visual elements to convey a message,
inspire change, or evoke emotion.
 It’s one part communication design–crafting a message that educates, motivates, and
engages – and one part graphic design–using design principles to communicate that
message so that it’s clear and eye-catching.
 Effective visual communication should be equally appealing and informative.
 Visual communication is really about picking the right elements (usually text, icons,
shapes, imagery and data visualizations) to create meaning for your audience.
Some common visual communication strategies include:
 Using data visualization to show the impact of your work
 Using shapes and lines to outline relationships, processes, and flows
 Using symbols and icons to make information more memorable
 Using visuals and data to tell stories
 Using color to indicate importance and draw attention
What are some of the most common types of visual communication?
When you think about visual communication, your mind might first jump to design-heavy
content like social media graphics or infographics.
And while visual communication certainly plays a role in those cases, there are a ton of other
types of content that fall under the visual communication umbrella.
Some common types of visual communications in the workplace include:
 Infographics
 Process Diagrams
 Flow Charts
 Roadmaps
 Charts and Graphs
 Visual Reports
 Presentations
 Mind Maps
These can look very different when used in different industries, but they all use the same visual
communication strategies and design principles to accurately present information and create
meaning for audiences.
Let’s take a look at some visual communication strategies used across different types of
organizations.
Nonprofit organizations
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Nonprofit organizations often combine data visualization and visual storytelling to gain the
trust of their audiences and establish the credibility of their organization.
This might take the form of a statistical infographic or an impact report that they share with
their donors and supporters:
They may also create public-facing informational posters or brochures to build awareness
Another place where visual communication is key for larger nonprofits is to update
stakeholders on campaign or research results. These reports often combine storytelling with
data visualization to inform and convince. around their organization and foster support for their
cause.
Another place where visual communication is key for larger nonprofits is to update
stakeholders on campaign or research results. These reports often combine storytelling with
data visualization to inform and convince.
Healthcare organizations
A visual communication strategy often applied in healthcare is the use of plain language and
simple iconography to communicate with audiences with lower health literacy.
For example, a public health unit might create an infographic factsheet to ensure that
recommended protocols are followed, like these recent COVID-19 guidelines from Public Health
Ontario:
In fact, the CDC recommends the use of visuals to boost understanding of health information for
external communications in healthcare.
These types of visual guides aren’t just helpful for external communication. Similar tactics can
be used to remind staff of workplace best practices, like patient safety and infection prevention
practices.
Business consulting organizations
Business development organizations may use diagrams like process maps to communicate highlevel strategy to clients, which can help make their value more tangible.
A simple roadmap or summary of strategy recommendations can go a long way towards
communicating and aligning with clients.
Why does visual communication matter?
Visuals can help create understanding where words alone cannot.
They can help bridge the gap between concepts and words, especially when appealing to an
audience with diverse needs and backgrounds.
It’s clear that visual communication is top-of-mind for many. When we surveyed marketers
about their use of visual content, 74% of the marketers we surveyed stated that more than 70%
of their content contained some form of visual.
Plus, it’s been demonstrated time and time again that in addition to making information more
engaging, visuals can actually help with the comprehension of information.
But when should you consider making your content more visual?
You can use visual communication to:
 Engage your audience
 Communicate complex information
 Tell a story and convey emotion
 Simplify information
 Communicate the impact of your data
Let’s take a look at how this can apply in the workplace.
How to use visual communication in the workplace
You might think that visual communication isn’t really necessary in your day-to-day work.
But visuals, in the right hands, can be used as a tool to influence what your audience pays
attention to, thinks about, and understands.
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1. How to make boring topics engaging
Creating engaging content that shows the value of your business can be a challenge when you
work in a <boring= or technical industry like finance, business development, engineering or
healthcare.
But it’s this kind of challenge where visual communication shines. Creating unique visuals can
help you position yourself as the innovative solution in the market.
Here are some simple strategies to consider:
Use stylized icons to make technical information feel concrete and approachable
This infographic about credit card merchant processing, for example, takes advantage of a
playful icon style and a modern design treatment to capture your attention and keep you
reading.
This might be the perfect way to signal to young business owners that you’re different from the
traditional big banks, and that you’re right for them. It feels so much more approachable than a
wall of text on a web page.
Just applying some basic visual communication strategies can make this <boring= technical
information a bit more accessible and relatable to your target audience–ready to boost
engagement on social media, your blog, or your newsletter.
Use visual metaphors to get your audience thinking
Visual metaphors are another way to make old ideas feel fresh and exciting, and can even help
foster deeper understanding of your subject matter.
The use of women running in the infographic below, for example, helps me think about NPS
scores in a new way:
To sum up, here are some visual communication tips for how to make boring topics engaging:
Use visuals and icons to make technical information feel approachable
Choose a graphic design style that will resonate with your target audience
Think outside of the box: use a unique visual presentation to get your audience thinking
If your visual presentation is unique, your information doesn’t have to be revolutionary to give
you an edge over your competitors.
2. How to communicate process changes and improvements
Being able to quickly re-align your team on process changes has never been more important.
Visuals can make processes easier to understand and more memorable. They can also help
boost employee alignment and engagement.
Here’s how you can use process documentation to help align your team.
Show both high-level and low-level changes with hierarchical process diagrams
Breaking down processes into discrete visual steps can make new processes much easier to
grasp.
And breaking down steps into even smaller sections can help you communicate both high-level
concepts and specific details in the same place, like in this process diagram below.
Providing these process documents to employees can help quickly align teams on new
strategies, like an action plan to address a crisis or a shift into a new market, while also acting as
a reference point in the future.
Provide checklists to help your team keep track of complex processes
Providing a checklist of steps for your team to follow can help you delegate work with
confidence, while giving your team the confidence to know that they’re doing things right.
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Checklists are particularly helpful for communicating complex or proprietary internal
processes, as they can help remove any anxiety from the process.
Build out a library of internal training documents that you can update periodically
Building out a library of training documents, while it might take a bit of time up front, can really
save time and money in the long run, because a team that’s aligned is a team that’s productive.
Onboarding guides, FAQs for new employees (like the fun onboarding FAQs below), and other
process documentation can all help make remote onboarding easier, and help new employees
feel comfortable and in control.
To summarize, here are your tips for communicating process changes on the fly:
Show high- and low-level changes with hierarchical process diagrams
Provide presentation slides as a post-meeting reference guide
Help your team keep track of changes with checklists
Build a library of internal training documents that you can update periodically
3. How to simplify complex information with visuals
Perhaps the most powerful use of visual communication is to simplify complex information.
Just take this image that HubSpot posted on Twitter recently, for example. With one simple
visual, they manage to position their product as the perfect solution to three problems
experienced across three different teams:
The four key steps for simplifying complex information with visuals are:
Remove as much text as possible
Use shapes like circles and rectangles to indicate groupings
Use lines and borders to indicate flows and relationships
Use color and size to draw attention to key information
Read More: How to Summarize Information Visually
4. How to visualize data and insights
Effective data visualization does more than just display some data from a spreadsheet.
It should communicate insights and capture ideas. It should communicate the why behind the
trends.
It should help you answer the question often asked by busy people with competing demands:
why should I care?
Use the right chart for your data and your goal
The first thing to consider when visualizing data is what visual form will best communicate your
insight.
At Venngage, we’ve developed the ICCOR method to help you choose the best charts for your
infographic. The ICCOR method is a framework aimed to help you use a visualization type that
aligns with your communication goal.
Your communication goal might be to:
Inform: convey a single important message or data point that doesn’t require much context to
understand
Compare: show similarities or differences among values or parts of a whole
Show Change: visualize trends over time or space
Organize: show groups, patterns, rank or order
Reveal Relationships: show correlations among variables or values
Each of these different goals will be best communicated with a different type of chart.
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The recent rapid transition to remote work has propelled visual communication from a <nice-tohave= into an integral part of communication at work.
I hope you’ve already started thinking about how you can use visuals to amplify your
communications.
Just remember to keep these design and visual communication principles in mind:
Use modern design and visuals to make boring information engaging and differentiate yourself
from your competitors
Simplify your information to make an impact
Use data visualization techniques to show the value of your work
Create designs with a cohesive visual brand and reuse them to keep your communications
consistent
IV.
V.

Application:
a. Create a visual representation of your choice or simply choose one among these
choices below:
 Info-graphics
 Process Diagrams
 Flow Charts
 Roadmaps
 Charts and Graphs
 Visual Reports
 Presentations
 Mind Maps
You can choose whatever visual representation you prefer. You can also choose
whichever topic you wanted to have. Just make sure that your output is relevant
to your topic and that your output serves its purpose of informing the people by
just looking at your made representation.
Resources/References:
MIDORI NEDIGE. (AUG 27, 2020). How To Use Visual Communication?: Definitions,
https://venngage.com/blog/visualExamples,
Templates.
Retrieved
from:
communication/
Chapter 4: Meaning and Applications of Drawing
Lesson 1:
Definition of Drawing
Intended Learning Outcomes: At the end of the lesson, the students shall be able to:
a) Define drawing
b) Draw some subject that catch their interest
Key to Remember/vocabulary list:
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Overview: In this lesson, you will be able to define drawing and draw some subject that catch
your interest.
I.
Activity
a. Do a quick browse on the internet about the famous drawings in the whole
world. List them down using the format provided below. Wrap up the activity by
making a reflection of what ideas had you internalize after you looked at the
most famous drawings in the whole world. What can you say about those
valuable Art pieces? It is not necessary to submit a lengthy answer but it is very
necessary to hand in a substantial one. Happy searching!
Famous Drawing in the World
II.
Analysis:
a. Given that everyone has already made a drawing in our entire existence. No
matter how simple it is or how wonderful it is, let’s answer these evaluative
questions below:
i. Consider the memory that you have of your first ever drawing, what
inspired you that time to draw?
ii. Why have you chosen that subject as your theme in the drawing that you
are making?
iii. What can you say about drawing? It is meaningful or is it a waste of time?
Reason out your side of the story.
iv. What have you use drawing for? I mean do you only draw as a pass time?
Or you wanted to convey a message to whoever can see it? Elaborate!
III.
Abstraction
What is Drawing?
From pencil to ink, charcoal to pastel, drawings represent an important part of our offering at
IdeelArt. But, what is drawing actually? Though most often associated with figurative artistic
movements, drawings are nonetheless a critical tool for artists and creatives across a wide
range of disciplines, whether as a means of exploring and developing new ideas, or as finished
products in themselves. Long occupying a position at the heart of the visual arts, and deemed by
many as the most primal and direct form of visual expression, drawing is often considered a
simple, or even simplistic art form. However, when it comes to defining what constitutes a
drawing, things are not as simple as they may seem.
What is Drawing? Is There a Precise Definition?
At IdeelArt, we define a drawing in terms of the materials used to create it. Works created using
pencil, pen, graphite, charcoal, chalk pastel, and oil pastel or other dry media are all classed as
drawings, irrespective of the technique used to apply the material or the support to which the
material is applied. Over the years, however, artists, art-lovers, and critics have adopted a wide
range of definitions for the shape-shifting medium.
Michelangelo once famously declared: <let whoever may have attained to so much as to have the
power of drawing know that he holds a great treasure.= Indeed, in Renaissance Italy, home to
some of history’s greatest draftsmen and drawings, the practice was highly valued not only as a
means of planning more substantial works, but also as an worthwhile pursuit in its own right.
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The term <disegno=, which translates as <drawing= was used to denote both works characterized
by a lack of color, and the formation of lines, and sketches representing the inception of an idea
or artwork, thus capturing some of the medium’s important physical as well as functional
properties.
The Evolution of Term <Drawing
However, whilst the notion of drawing may conjure images of black-and-white or sepia tones,
since the Renaissance, the term <drawing= has come to encompass a broader range of artistic
styles and techniques, including those making use of color. With the advent of oil pastels and
colored pencils, color made its way into the drawings of some of history’s most important
artists, for example French painter Edgar Degas who commonly used colored pastels in his
many preparatory studies, works which, though sometimes painterly in appearance, are clearly
marked out as drawings by their distinctly linear nature.
Aside from the question of material, the use of line is amongst the most compelling criteria used
to class artworks as drawings. Such diverse works as Picasso’s Line Drawing of Françoise Gilot
and Da Vinci’s Vitruvian Man are united by their distinctive use of line rather than blocks or
areas of color or shade, and indeed scholars and artists alike have often defined drawings in
terms of their use of line. Pointillism provides several notable exceptions to this rule, however,
with works intuitively to be classed as drawings, yet consisting solely of a collection of dots.
The Significance of Drawing
Throughout history, drawing has occupied a central role in the early stages of the artistic
process, the immediacy of the medium granting artists the ability to commit ideas and motifs to
paper and to record the world around them before putting brush to canvas. Several such
<cartoons= have even become famous in their own right, for example a preliminary drawing for
Hans Holbein’s portrait of Henry VIII, currently on display in London’s National Portrait Gallery,
which has outlived the original painting, destroyed in a fire in 1698.
Yet whilst such figurative works may be more commonly associated with the medium, we
should not overlook the importance of abstract drawing in art history. Drawings paved the road
to abstraction for artists such as Picasso, whose famed bull studies, progressing from a lifelike
visual representation of the animal to a powerful and abstract composition of lines via a series
of gradual steps, represent an important milestone in the development of abstract art. Indeed,
drawing has played a prominent role in the work of many of the most celebrated abstract artists
in history, including the likes of Richard Serra and Anish Kapoor.
However we choose to define drawing, there is no doubt that the medium has brought us some
of our most important works and ground-breaking innovations over the course of art history.
Though often dwarfed by painting or sculpture in terms of prestige, sale prices, representation
in institutions, as British contemporary artist Grayson Perry remarks, <until we can insert a USB
into our ear and download our thoughts, drawing remains the best way of getting visual
information onto the page.=
A classic drawing is an artwork created from lines or areas of tone created with a drawing
instrument such as a graphite pencil, charcoal, colored pencil, silverpoint, eraser, dry pastel, or
another dry medium on a piece of paper. In a broader definition of the term, a drawing is a twodimensional artwork created from lines or tone that is dominated by a dry medium but can
include wet mediums such as ink, and washes of paint.
Draw as Part of the Human Experience
At its most basic, drawing is simply about leaving a visible mark with a tool. A burnt stick was
one of the first drawing tools, used in primitive cave paintings in locations such as Lascaux.
Children begin to make marks as soon as they can hold a crayon. Drawing is the outward
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physical manifestation of the inborn urge to create and communicate and is a basic skill used in
all the visual arts and design.
In recent years, with artists experimenting more with methods and materials and mixing
different media, the distinction between drawing and painting is often blurred. You can draw
with a paintbrush, and you can achieve painterly effects with drawing media such as water
soluble crayons and pencils. Generally, a drawing is considered to be a work of linear marks or
tones on paper, regardless of the actual medium or technique, but the act of drawing can occur
on any support, and drawing is an important part of painting, whether you paint
representationally or abstractly.
Types of Drawing
Just as there are different types of painting, there are also different types of drawing, ranging
from more representational to more abstract. They can be broken down into three different
types: realistic, symbolic, and expressive modes of drawing.
Realistic Drawing
Realistic drawing is what most people in Western cultures think of when they think of drawing capturing what we see with our eyes and representing the three-dimensional world onto a twodimensional surface using the elements of art such as line, shape, color, value, texture, space,
and form. People have long valued the ability to be able to reproduce through drawing their
environment and surroundings, and this is how drawing is generally taught. Many artists keep
sketchbooks for that purpose, either as studies for bigger works and paintings or as finished
artworks in their own right. Indeed, this is an important type of drawing and involves learning
how to see and how to accurately transfer what you see onto a two-dimensional surface. There
are many excellent books that teach a student how to see and how to draw. Betty Edward's
book, Drawing on the Right Side of the Brain (Buy from Amazon) is one of them, as is Bert
Dodson's, Keys to Drawing.
Symbolic Drawing
Symbolic drawing is actually much more common than you might expect. If you can write your
name you are using symbolic drawing. The letters or marks you make stand for your name. Paul
Klee (1879-1940) was an artist who used a variety of symbols–a shorthand notation of lines,
marks, or shapes that stand for something else–in his paintings and drawings. You can create
your own symbols and use them within a composition. Symbolic drawings can still be
recognizable as the object or event they represent but in a simplified, more graphic form.
Expressive Drawing
Expressive drawing often communicates ideas or emotions that are not visible or tangible.
Expressive drawings may capture movement and energy, feelings, memories, or even the
spiritual realm. Gesture drawings can be quite expressive, capturing the energy of a figure's
movement, or the delicate motion of a flower.
The distinction between these different types of drawing is not always distinct and a single
drawing can incorporate any or all three of these modes. For example, a gesture drawing, while
being representational might also be quite expressive - but one mode will generally be
dominant.
Purposes of Drawing
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There are many uses for drawing. Drawing is a form of communication that preceded writing
and that continues to serve as another form of communication. "Drawings can do amazing
things. They can tell stories, educate, inspire, reveal, entertain, and inform. They can describe
appearances, offer commentary, convey drama, and relate history. Arrangements of line and
mark can speak of things visible, imaginary, and even invisible."(1) Furthermore, from concept
to completion, drawings are the mainstay of all things designed by humans, from the things we
view onstage or in theaters, to the objects and buildings of the actual world in which we live.
The drawing process, itself, is meditative, enriching, and edifying. When you are drawing
something you become absorbed in the process of drawing, and come to know your subject
through truly seeing it.
IV.
Application
Resources/References:


Audrey Stone. (May 12, 2016). What is Drawing?. Retrieved by:
https://www.ideelart.com/magazine/what-is-drawing
Marion Boddy-Evans. ( March 29, 2018) What is Drawing?. Retrieved from:
https://www.liveabout.com/definition-of-drawing-2577536
Chapter 5- Evolution of Printmaking and Arts in the Workplace
Lesson 1:
Definition of Printmaking and Arts
Intended Learning Outcomes: At the end of the lesson, the learners shall be able to:
a) Define Printmaking
b) Produce their very own Printmaking products
Key to Remember/vocabulary list:
Overview: In this lesson, you will go to define what Printmaking is and then you will produce
your very own printmaking products.
I.
Activity
a. Make a quick closet check and let’s make a survey of how many clothes in your
closet are printed. Let’s describe each print that is I each of the printed clothes.
Make use of the format provided below
Name of Clothes (TShirt/Shorts/Pants)
II.
Description of Print
Analysis
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a. Answer the following questions listed below just to check your interest about
prints. These are very easy ad you don’t need to ask other people or even search
the net since you can do this on your own. Your ideas count.
i. What can you say about printed fabrics/clothes? Are they attractive or
they’re not nice to look at? Reason out why you say so.
ii. Are there many printed clothes on your closet? What makes you decide
to buy these clothes and wear them?
iii. I am personally fond of plain clothes and neutral colors of them, how
would you persuade people like me to buy your printed clothes products
considering you are a businessman.
iv. Is printmaking a good business to venture with? Why or why not?
b.
III.
Abstraction
Printmaking, an art form consisting of the production of images, usually on paper but
occasionally on fabric, parchment, plastic, or other support, by various techniques of
multiplication, under the direct supervision of or by the hand of the artist. Such fine prints, as
they are known collectively, are considered original works of art, even though they can exist in
multiples.
To the modern reader, the word print might suggest mechanically mass-produced commercial
products, such as books, newspapers, and textiles. In this article, however, print refers to the
original creation of an artist who, instead of the paintbrush or the chisel, has chosen
printmaking tools for expression.
The fine print is a multiple original. Originality is generally associated with uniqueness, but a
print is considered original because the artist from the outset intended to create an etching,
woodcut, or other graphic work and thus conceived an image within the possibilities and
limitations of that technique. Without doubt, early printmaking was strongly influenced by a
desire for multiple prints. Artists quickly discovered, however, that when a drawing is
translated into a woodcut or engraving, it takes on totally new characteristics. Each technique
has its own distinctive style, imposed by the tools, materials, and printing methods. The
metamorphosis that takes place between drawing and print became the strongest attraction for
the creative artist. It is important to understand that artists do not select printing methods
arbitrarily but choose the ones in which they can best express themselves. Thus, any of the
proofs printed from an original plate is considered an original work of art, and, although most
fine prints are pulled in limited quantities, the number has no bearing on originality, only on
commercial value.
What is the difference between a reproduction and an original print? In the very early days of
printmaking, this was not a serious problem, because the print was not looked upon as a
precious art object and prices were low. The question of originality became an issue only in the
18th century, and in the 19th century artists started to hand sign their prints. Since then, the
signed print has been accepted by most people as the proof of its originality.
With regard to the names with which they signed their works, Japanese artists followed a
bewildering custom: adopting and discarding names at will. Artists simply adopted names of
other artists they admired. Thus, in the art history of Japan, it is common to find several
unrelated artists bearing the same name and one artist bearing many names; during his long
life, Hokusai, for example, used about 50 different names. In fact, a signature by itself means
little or nothing. For instance, Pablo Picasso issued many signed reproductions of his paintings;
on the other hand, many of his original etchings have been published in split editions, some
signed and some not. These unsigned etchings are original, while the signed reproductions are
not. The crucial difference is that Picasso made the plate for the original print, while the signed
reproduction was photomechanically produced.
In 1960 the International Congress of Plastic Arts drafted a resolution intended to regulate
contemporary prints. The crucial paragraph reads:
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The above principles apply to graphic works which can be considered originals, that is to say to
prints for which the artist made the original plate, cut the woodblock, worked on the stone or
any other material. Works that do not fulfill these conditions must be considered
<reproductions.=
Although this is a straightforward statement, later developments have proved it to be highly
controversial. Since the rise of the Pop and Op movements, a great number of photographically
produced prints have been published and sold as signed originals. Because museum curators,
art critics, and artists have not taken a firm stand on the question, any print that the artist
declares to be original is now accepted as such, regardless of how it was made. Although the art
world is divided on the solution, nearly everybody agrees that something should be done to
clarify the situation. The state of New York, for example, has passed a law requiring complete
disclosure by the dealer of how, and by whom, the print was made.
Many artists believe that the answer lies in the giving of honest information. In the 17th and
18th centuries in the West, most prints carried all the relevant information on their margins.
The names of individuals were followed by Latin abbreviations indicating their role in the work.
Common examples are del. (delineavit): <he drew it=; imp. (impressit): <he printed it=; and sculp.
(sculpsit): <he engraved it.= This type of information, together with the total edition number,
should be furnished by the artist or the dealer to the buyer. Clearly, it is impossible to make
completely rigid rules to define originality. Probably the most realistic solution is to establish
degrees of originality, based on the degree of the artist’s participation in the various steps in the
creation of the finished print.
There may also be confusion about edition numbering. In contemporary printmaking, an
original print in limited edition should carry information about the size of the total edition and
the number of the print. A problem can arise because, in addition to the regular edition, there
are <artist’s proofs= or the French <H.C.= (hors de commerce) proofs. These are intended for the
artist’s personal use and should be no more than 10 percent of the edition, but, unfortunately,
this practice is often abused. All of the prints pulled between working stages are called <trial
proofs.= These can be of great interest because they reveal the artist’s working process and of
great value because the number of proofs is small.
With prints of old masters in the West, originality is a very complex and difficult issue. These
artists did not publish their prints in limited editions but printed as many as they could sell and
without signing or numbering their works. There are arguments even between experts about
the authenticity of many old prints. Important works of the masters are documented in catalogs
and, although these must be revised from time to time, they furnish the only firm information
available. After the edition is printed, the modern artist usually either destroys the plate or
marks (<strikes=) it in a distinctive manner to guarantee that any reprint from the plate is
identifiable.
The 19th-century U.S. painter and etcher James McNeill Whistler was one of the first Western
artists to hand sign his prints. Signing is now regulated by a convention. Upon completing the
edition, the artist signs and numbers each print. Usually the signature is in the lower right
corner; the edition number is on the left. Some artists put the title in the centre.
Major Techniques Of Printmaking
The techniques of printmaking are divided into three major processes: relief, intaglio, surface.
The surface processes are subdivided into two categories: planographic (lithography) and
stencil methods. The methods are often combined.
Relief processes
In relief processes, the negative, or nonprinting part of the block or plate, is either cut or etched
away, leaving the design standing in relief. Or, instead of cutting away the background, the relief
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print can be created by building up the printing surface. The relief is the positive image and
represents the printing surface. The most familiar relief-printing materials are wood and
linoleum, but many other materials can be used, such as aluminum, magnesium, and plastics.
Any metal or plastic plate incised or worked in relief can be first inked in the depressions
(intaglio inked) and then surface rolled, thus combining relief and intaglio processes.
Relief printing lends itself particularly to a bold conception of design, expressed more in areas
than lines. This varies, however, depending on the material used: metal allows more intricate
detail than wood, for example.
Woodcut, which appeared in the 8th century in the East and in the early 15th century in the
West, is the earliest known relief-printing method. In this method, the design is first either
painted directly onto the wood block or pasted on it. Then the surface of the wood is cut away
around the design. For fine details and outlines the knife is used; larger areas are removed with
gouges. The depth of the relief depends on the design: open areas must be cut deeper than the
fine details so that the roller will not deposit ink in these areas. Although woodcuts are
generally conceived in bold lines, or large areas, tonal variations can be achieved with textures,
a variety of marks made with gouges, chisels, or knives. In contemporary woodcuts many other
methods, such as scraping, scratching, and hammering, are also used to create interesting
textures.
Originally, woodcut was a facsimile process; i.e., the cutting was a reproduction of a finished
design. With most contemporary woodcuts, however, artists create their designs in the process
of cutting.
As wood is a natural material, its structure varies enormously and this exercises a strong
influence on the cutting. Wood blocks are cut plankwise. The woods most often used are pear,
rose, pine, apple, and beech. The old masters preferred fine-grained hardwoods because they
allow finer detail work than softwoods, but modern printmakers value the coarse grain of
softwoods and often incorporate it into the design.
The printing of woodcuts is a relatively simple process because it does not require great
pressure. Although presses are used, even hand rubbing with a wooden spoon can produce a
good print. The ink used to print woodcuts must be fairly solid and sticky, so that it lies on the
surface without flowing into the hollows. The printing ink can be deposited on the relief either
with dabbers or with rollers. Japanese rice or mulberry papers are particularly suitable for
woodcuts because they make rich prints without heavy pressure.
Colour woodcut
The standard procedure for making a woodcut with two or more colours is to cut a separate
block for each colour. If the colour areas are distinctly separated and the block is large, one
block can be used for more than one colour. All blocks must be the same size to assure that in
the finished print the colours will appear in their proper relation to one another, that is,
properly registered.
The first, the key block, is generally the one that contains most of the structural or descriptive
elements of the design, thus serving as a guide for the disposition of the other colours. After the
key block is finished and printed, the print is transferred to the second block. This procedure is
repeated until all of the blocks are finished.
The registering system depends on the method of printing used. On a press the registering
presents no problem: the wood block is locked into position and the uniformly cut paper is
automatically fed into the proper position by the press. For hand rubbing, several registering
methods can be used. One method uses a mitred corner nailed to a table or special board. A
sheet of paper is attached to one side of this corner, after which the wood block is placed
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securely in position and the print is made. Once the first colour has been printed, the paper is
folded back and the first block is replaced with the second, and so on.
In woodcut colour printing, artists must consider whether they can print wet on wet or whether
the print should dry before it is overprinted. Usually a second colour can be printed
immediately, but if the ink deposit is heavy, the print will have to dry before additional colours
can be printed. This problem arises mainly with oil colours, which dry more slowly than waterbase colours. When using oil paints, artists have to understand how variations in viscosity affect
the overprinting of colours.
Movable small blocks have also come to be used by a number of printmakers. These involve
some planning in order to print them in register with the large blocks. The easiest way is to put
a light cardboard that is exactly the size of the main block (the key block) in position. Once the
small blocks are registered, their location can be marked on the cardboard. Then the small
blocks can be glued down to the cardboard in order to avoid the danger of shifting.
The conception and technique of the Japanese colour woodcut was totally different from that of
the European woodcut. Except for chiaroscuro prints, no real colour woodcut existed in Europe
before the 19th century. In the West, the woodcut was primarily a reproductive facsimile
process: usually, the artist made a completed drawing that was copied by the cutter. The
Japanese print, on the other hand, was the result of intricate, perfectly coordinated effort by the
designing artist, the cutter, and the printer. Instead of painting a complete picture to be copied,
the artist furnished a separate drawing for each colour. The engraver or cutter pasted each
drawing on a wood block and cut away the white (negative) part. In this process the drawing
was destroyed. Printing started only after all of the blocks had been cut. As the Japanese used
water-base colours, often blending tones, printing itself was a very delicate and crucial
operation, requiring perfect coordination and speed. Only after the completion of this process
could the artist see the total image.
Wood engraving
Wood engraving is a variation of woodcut. The main difference is that, for wood engraving, the
block—usually pear, apple, cherry, sycamore, or beech—is cut cross-grained rather than
plankwise; on the end-grain block the artist can thus cut freely in any direction, allowing him to
do much more intricate work with much finer tools. The image is created by fine white lines and
textures. On most wood engravings, the whites appear as the positive image against a dominant
black. The blocks are usually cut at the same height as printing type so that they can be printed
on a press. Invented in the 18th century, wood engraving was primarily used by illustrators.
Linoleum cut
Since linoleum is easy to cut and does not have a grain, the linoleum cut often is used to
introduce children to printmaking. The process was held in low esteem until, in the 1950s,
Pablo Picasso made a series of brilliant colour linoleum cuts.
The printing of linoleum cuts is similar to the printing of woodcuts or wood engravings. They
can be printed by hand rubbing or, properly mounted, can be printed on a press. The colour
printing process follows the woodcut principles.
Metal cut
At times artists have used soft metals, such as lead or zinc, to make prints that are similar to
woodcuts or wood engravings. In the 19th century, lead cuts were often used for newspaper
illustrations. The distinguished Mexican artist José Guadalupe Posada, for example, used lead
frequently for his prints. Lead was used primarily because it was inexpensive and easy to work.
Because metal cuts were printed like woodcuts or wood engravings, it is often difficult to tell
from the print which material was used.
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Cardboard (paper) cut
Elementary school children are often introduced to printmaking by making cardboard cuts, and
sophisticated artists use the same material to print complex abstract images. Cardboard and
paper are not only inexpensive, readily available, and workable with simple tools but, when
properly prepared, have also proved to be remarkably durable. Cardboard cuts can be made
either by building up or cutting out. In the first process, cutout pieces are glued to a support.
When the plate is finished, it is coated with a plastic varnish to make sure the surface is tough
and nonabsorbent. In the cutting-out method a heavy laminated cardboard is used, and the
cutout sections are simply peeled off to the desired depth. When finished, the cut is varnished.
The printing of cardboard plates follows the same principle as woodcuts or linoleum cuts.
Relief etching
When large areas of a metal plate are etched out (see below Etching), leaving the design in relief
to be surface printed, the process is generally called relief etching. Usually the method is used
for areas, but it can be also used for lines. The English artist and poet William Blake was the first
printmaker to experiment extensively with relief etching. He devised a method of transferring
his handwritten poems, together with the illustrations, onto the metal plate to be etched.
In contemporary printmaking, relief etching is used extensively for colour printing. The
different levels of the plate can be inked with different colours. Relief etching is also a popular
method of making inkless intaglio prints (shallow bas-reliefs on paper).
Rubbing
Simply by placing a fine paper over an incised or carved surface and rubbing the paper with
heelball (wax and carbon black) or daubing it with special ink, an artist can use practically any
surface for printing—including, as in Japan, the body of a fish. Rubbings were probably the
earliest prints made in ancient times. In India rubbings were made of tombstones and temple
bas-reliefs, and in China rubbings were used to reproduce calligraphy as early as the 2nd
century CE. In addition to fish rubbings, the Japanese made rubbings of metal ornaments.
Today many museums sell rubbings of bas-reliefs in their collections. In the United States
rubbings often are made of colonial and early 19th-century gravestones, and in Europe they are
applied to brass plaques mounted in stone slabs.
Dotted print (criblé)
A traditional technique of the goldsmith long before engraving for printing purposes was
developed, criblé was also used to make the earliest metal prints on paper. Criblé was a method
of dotting the plate with a hand punch; with punch and hammer; with a serrated, flatheaded tool
called a matting punch; with various gouges; or, sometimes, with a hollow, circular-headed ringpunch. Criblé plates were relief printed like woodcuts. On most dotted prints, a black
background dominates a fine lacelike design.
Intaglio processes
Intaglio printing is the opposite of relief printing, in that the printing is done from ink that is
below the surface of the plate. The design is cut, scratched, or etched into the printing surface or
plate, which can be copper, zinc, aluminum, magnesium, plastic, or even coated paper. The
printing ink is rubbed into the incisions or grooves, and the surface is wiped clean. Unlike
surface printing, intaglio printing—which is actually a process of embossing the paper into the
incised lines—requires enormous pressure. The major working methods for intaglio printing
are engraving, etching, drypoint, and mezzotint. Intaglio processes are probably the most
versatile of the printmaking methods, as various techniques can produce a wide range of effects,
from the most delicate to the boldest. The intaglio print also produces the richest printed
surface, as it is three-dimensional.
Engraving
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In engraving, the design is cut into metal with a graver or burin. The burin is a steel rod with a
square or lozenge-shaped section and a slightly bent shank. The cutting is accomplished by
pushing the burin into the metal plate. The deeper it penetrates into the metal, the wider the
line; variations in depth create the swellingtapering character of the engraved line. After the
engraving is finished, the slight burr raised by the graver is cleaned off with a scraper. The
engraved line is so sharp and clean that it asserts itself even if cut over a densely etched area. In
the print, the engraved line is notable for its precision and intensity. In engraving, the hand does
not move freely in any direction but pushes the graver forward in a line; a change of direction is
achieved by the manipulation of the plate with the other hand. Although copper, zinc, aluminum,
and magnesium plates are used—and in the past soft iron and even steel were used—the best
all-around metal is copper. It has the most consistent structure and is neither too soft nor too
hard.
Drypoint
Next to engraving, the drypoint is the most direct of the intaglio techniques. In printing,
however, it represents the opposite end of the spectrum. Engraving is precise; drypoint is
rugged, warm, and irregular.
Drypoint is made by scratching lines into metal plates with steel- or diamond-point needles. In
this method the penetration into the plate is negligible; it is the metal burr raised by the point
that holds the ink. Because the burr is irregular, it prints as a soft, velvety line. The angle of the
needle has much more effect on the width of the line than the pressure does. If the needle is
perpendicular to the plate, it throws burr on both sides, which then produces a thin double line;
for wide lines the optimum angle is 60 degrees. Many artists use an electric graver to make
drypoints. The oscillating point of the tool punches little craters into the plate. Because the line
consists of thousands of these small craters, it is richer than the conventional scratched line
made by the needle and stands up better to printing.
Copper plate is the best for drypoint. The plates are fragile because the burrs are easily flattened
down by the printing pressure. Even a too vigorous wiping can damage a plate. Thus, unless the
artist is satisfied with a very limited number of proofs (three or four), the plate must be faced
with steel, a process in which steel is deposited by electrolytic means on the copper plate. This
coating is very thin and, if it is properly done, the burrs are hardened without affecting printing
quality. Zinc and aluminum, however, cannot be steel-faced.
Mezzotint
In mezzotint the metal plate is roughened with fine burrs until it prints a rich, velvety black. The
plate is then worked back toward the lighter values with scrapers and burnishers. For this
reason, mezzotint is also called manière noire, or the <black manner.=
Mezzotint flourished throughout the 18th and 19th centuries and was primarily used for
portraits or to reproduce paintings. None of the important printmakers of the past used the
technique. After the invention of photoengraving, the technique of mezzotint was nearly
forgotten, but a few printmakers have started to work again with this exotic medium.
The first step in preparing a mezzotint plate is to rough up the whole plate surface as evenly as
possible. The tool used is the rocker, a blade with a curved serrated edge. The rougher the
rocker, the heavier is the burr. The rocker is held with its cutting edge at a right angle to the
plate, and the curved edge is rocked systematically over the entire surface. If this is properly
done, the entire plate is covered with uniform burrs. Then the work with scrapers and
burnishers begins. Where lighter tones are desired, the burr is gradually removed, and in the
white areas the plate is burnished back to its original finish.
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As with drypoint, mezzotint plates must be steel faced if a large edition is desired. The printing
of mezzotints differs slightly from the printing of etchings or engravings. Since the layer of burr
on the mezzotint acts as a blotting paper, the ink must be selected with this fact in mind. The
inking and wiping must be done gently with soft rags. Printing pressure should be considerably
less than that used for engravings or deeply etched plates.
Crayon manner and stipple engraving
Invented in the 18th century, crayon manner was purely a reproduction technique; its aim was
the imitation of chalk drawings. The process started with a plate covered with hard ground (see
below Etching). The design was created using a great variety of etching needles (some of them
multiple). After the design was etched in, the ground was removed and the design further
developed with various tools. Fine corrections and tonal modifications were made with scrapers
and burnishers. Finally, engraving was used for additional strengthening of the design. Pastel
manner is essentially the same as the crayon manner except that it is usually used to imitate
pastel drawings.
Stipple engraving, also a reproduction method, is closely related to the crayon manner. The
exact date of its invention is not known, but it is reasonably certain that it came after the crayon
manner. The first step in stipple engraving was to etch in the outlines of the design with fine
dots made either with needles or with a roulette, a small wheel with points. The tonal areas
were then gradually developed with tiny flick dots made with the curved stipple graver. For
very fine tonal gradations, roulettes were also used. The only artist of any importance to use
pure stipple engraving was Giulio Campagnola in the 16th century.
Etching
Etching is a process in which lines or textures are bitten (etched) into a metal plate with a
variety of mordants (acids). The metal plate is first covered with an acid-resistant coating
(ground). The design is then scratched or pressed into the ground, exposing the metal in these
areas. Finally, the plate is submerged in an acid solution until the desired depth and width in the
exposed areas is reached.
Although the basic principle of etching is very simple, there are many possible variations that
have a strong influence on the final result. The materials themselves offer a wide range of
possible variations: for example, copper, zinc, aluminum, or magnesium plates can be used; and
nitric acid, hydrochloric acid, or ferric chloride can be used for the etching process. Other
variations include the strength of the mordants, the biting time, the kinds of grounds and the
ways in which they can be worked, and, finally, all the possible methods of printing.
Although all of these matters seem purely technical, every tool or material that is used, every
step that is followed, is an integral part of the creative process. The biting action of the acid is
just as much part of the drawing as is the incising into the ground. The selection of the paper or
the method of wiping the plate can completely change the nature of a print.
Hard-ground etching
Any acid-resistant coating used to make an etching is called a ground. In the past a great variety
of different grounds were used, and each master had a personal formula. Most of them had wax
as a basis, combined with various oils and varnishes. Today, the most commonly used ground
consists of two parts Egyptian asphaltum, two parts beeswax, and one part resin. These
ingredients are either dissolved and mixed or fused by heat. Ground comes in either lump or
liquid form.
The plate is cleaned before the ground is applied because grease or dirt can affect the ground’s
adhesion, making it peel or crack. If ground in solid form is used, it is melted on low heat and
rolled out evenly. Liquid ground is brushed on the plate, and then the ground is heated to make
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it more even and to evaporate the solvents. In both cases, after the plate cools, the ground
should be solid rather than sticky.
Normally, a good ground is dark enough to offer sufficient contrast with the plate to see the
work. If, however, a black ground is desired, it can be achieved by darkening the ground with
the smoke of a candle.
In etching the ground, any number of tools and instruments may be employed. The old masters
were restricted, but the contemporary printmaker uses a whole arsenal, including electrical
drills and gravers. The line produced by the etching needle is threadlike and uniform in
thickness. The exception is a line made by the tool called échoppe, developed by Jacques Callot,
which may be used to imitate the engraved line. Other instruments are used to introduce a great
variety of marks. The character of the etching is further influenced by the choice of the metal
and the type of acid used. For controlled, regular bite, it is common to use Dutch mordant (nine
parts of water saturated with potassium chlorate to one part of hydrochloric acid) on copper.
For a rugged, irregular bite, nitric acid (one part to nine parts of water) is used on zinc. A plate
can be etched in stages by covering some of the already etched areas with stop-out varnish
(rosin dissolved in alcohol), which resists the acid, and then etching the rest for a longer period.
This procedure can be repeated many times. Most artists develop their plates by repeated bites.
After the etching is finished, the ground is removed with solvent (such as kerosene or benzene),
and the plate is printed.
The first print is a state, or trial, proof. If further work is desired, the plate is cleaned and
covered again with ground, the previous work remaining visible through the new ground. The
whole process is repeated as many times as is necessary.
Soft-ground etching
Soft-ground etching is basically the same as hard-ground etching except that the ground
contains about one-third grease, which keeps it in a semihard, or tacky, condition.
Initially, in the 19th century, soft ground was used primarily for offset drawings. The artist
placed a paper on the grounded plate and made a drawing on the paper with a sharp pencil or
other drawing instrument. Under the pressure, the paper picked up the ground and produced a
soft granular line. Then the plate was etched normally with a fairly weak acid.
Soft ground has come to be used more often to etch various textures into the plate. Textured
materials are placed on the soft ground and the plate run through the press. A thin, even ground
picks up the finest textures. The design is controlled by applying a stop-out varnish to areas that
should not be etched. The remaining textures are etched into the metal in the same way as in
conventional hard-ground etching. This technique lends itself well to collage-type effects on the
plate.
Relief etching
To make a relief etching, the areas not to be removed by acid are protected with liquid ground
or varnish. The varnish used has to be tough (asphaltum, or ground) because the relief bite
takes a long time, and when large areas are bitten, the plate has a tendency to heat up. If various
levels are desired, relief etching can be done in stages, as in regular etching.
Aquatint
Aquatint is a process used to etch tonal areas on the plate. The first step is to give the plate a
porous ground by dusting it with rosin powder and fusing the powder to the plate by means of
heat. When the plate is etched, the acid goes through the pores in the ground and bites tiny
cavities in the metal. These cavities hold the ink. A variety of tones and textures can be created,
depending on the density, width, and depth of the cavities.
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The aquatint method was invented in the 18th century, and, although a great number of pure
aquatint plates were done, the technique was mainly used with line etching. Theoretically, there
is no limit to the range of tones that can be etched with aquatint.
For the aquatint process, the plate is cleaned, as in hard-ground etching, and then dusted with
rosin. Care in this step is crucial, as an incorrectly distributed rosin ground will produce uneven,
spotty tones. To achieve even tones, a fine-grain rosin is used. The quantity should cover about
50 percent of the surface, neither too thin nor too thick. The dusting can be done either with a
dust box or with dust bags.
The dust box is a completely enclosed container with a sliding tray (usually made of steel mesh)
that holds the plate in position above the dust tray, which is filled with fine rosin dust. After the
plate is placed in the box, the rosin dust is agitated either by a bellows, by an electric fan, or by
shaking.
Dusting bags are made of various materials; the finer the material, the finer the dust coming
through. The dusting bags have the advantage of allowing the artist to visually control the
amount of dust deposited and also to use different textures in different areas.
After dusting, the plate is placed on the heating plate, and the rosin is fused to the metal. When
the plate has cooled, the design is applied with a stop-out varnish. To achieve various tones the
plate is bitten in stages, much as in hard-ground etching but with one important difference:
aquatint is much more delicate, and the time element is more critical. A biting time of a few
seconds can produce a fine gray, but a proportionately longer time is needed as the artist
proceeds toward the darker tones.
Plastic sprays are also used to make aquatints. These lacquers and enamels are sold in
pressurized spray cans and are sufficiently acid resistant to use for moderately long bites. They
are easy to control and simpler to use, but they must be used in spray booths or other
wellventilated places.
Lift-ground etching (sugar-lift aquatint)
In lift-ground etching, a positive image is etched on an aquatint plate by drawing with a watersoluble ground. In the conventional aquatint technique, the artist controls the image by stopping
out negative areas with varnish, thus working around the positive image. But for lift-ground
etching, the artist uses a viscous liquid (such as India ink, gamboge, or ordinary poster paint
mixed with sugar syrup) to paint directly on the plate. After the painting is finished and dried,
the whole surface is covered with thin, liquid hard ground. When dry, the plate is placed in
lukewarm water that dissolves the painted design, lifting the ground and dislodging it from the
places that had been painted, thus exposing the metal surface to be etched. Aquatinting can be
handled two ways: either the whole plate can be aquatinted before painting with lift ground or
it can be aquatinted after the design is lifted. Lift-ground etching is particularly well-suited to
free, spontaneous, calligraphic designs.
Acids and the etching process
The acid bite of the plate is a critical stage in the making of an etching. The printmaker must be
familiar with the characteristics of the materials that are being used. On a zinc plate nitric acid is
used. In the process of biting, this acid develops air bubbles over the bitten area. Under the
bubbles the acid action is slower, and, therefore, if the bubbles are not constantly moved around
by brushing, the etched line will be uneven. Nitric acid also has a tendency to underbite, that is,
to bite not only straight down but also sideways. For this reason, areas of dense texture must be
watched very closely.
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Nitric acid also can be used on copper, but, except to bite out large areas, Dutch mordant is
much better suited for this metal. The action of hydrochloric acid on copper is much more even
and controlled than that of nitric acid. Thus, for a bold, rough bite, nitric acid on zinc is fine; but
for delicate, controlled etching, Dutch mordant on copper is preferred.
Learn More!
Metal graphic
This method was originated by Rolf Nesch, the German-Norwegian printmaker. In all the
intaglio methods previously discussed, the artist’s design was created by making incisions in the
plate. Nesch’s method is the reverse of this process: the design is built up like a montage, by
cutting out metal shapes and soldering them on the plate surface. Instead of the etching needle
and the graver, the tools are shears, wire cutters, and a soldering iron. These plates are in deep
relief and thus produce a heavily embossed print. Often such plates are combined with
conventionally etched or engraved sections. In addition to metal shapes, wood and plastics may
be used. Because of the extremely high relief, the printing of the plates requires specially
prepared presses. A few contemporary artists work in such a high relief that the ordinary
etching press cannot print their work and standard printing papers cannot be used. In some
cases the high relief is created by compressing paper pulp into molds with hydraulic presses.
The use of embossing is not new. Some Japanese woodcuts have sections that have been
decorated with <goufrage= (blind pressing). In contemporary printmaking, embossing has
become a major interest, and many artists are exploring the possibilities of the intaglio print by
using shallow paper bas-reliefs to exploit the interplay of shadow and light.
Printing by intaglio processes
The most important piece of equipment in intaglio printing is the etching press, a simple
machine whose basic principle has not changed for centuries. Motorization and the use of
pressure gauges are the only major improvements. The press consists of a solid steel plate,
called the bed, that is driven between two rollers; a screw mechanism on both sides of the top
roller adjusts the pressure. Large modern presses are motor driven.
The print is made by placing the inked plate face up on the bed. Dampened paper is placed
carefully on the plate and covered with several layers of pure wool printing felts. The bed is
then driven through the rollers. The felts, which are squeezed between the metal rollers and the
plate, push the paper into the crevices of the plate, forcing the paper into contact with the ink
and thus transferring the image.
A fairly heavy pure rag paper is normally used. It is soaked until its fibres are softened and then,
before printing, it is blotted until no surface water is visible. For inking, the plate is placed on a
heater and kept warm throughout the inking and wiping steps. Heat makes the ink looser and
thus facilitates both of these processes. Wiping is the operation in which the ink is removed
from the surface of the plate, while leaving it in the recesses. Usually a carefully folded starched
cheesecloth (tarlatan) is used. When a clean, crisp print is desired, the plate is given a final
wiping with the palm of the hand.
Inks for intaglio printing are especially made for this purpose. The consistency of the ink must
be such that it comes off the surface of the plate cleanly during the wiping operation, but at the
same time it must have enough body to retain its relief on the paper. The printing ink must also
have sufficient viscosity to stick to the damp printing paper to produce a clear and rich image.
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After the print is pulled, it is dried, either between blotters or taped to a large, stiff board. This
choice depends on the size of the print and the type of paper used.
Intaglio colour printing
The intaglio colour print is made with two or more intaglio plates successively overprinted on
the same paper. Each plate represents one colour and its possible gradations. In principle, it is
possible to take four plates—the three basic colours, yellow, red, and blue, plus black—and
make a print that will have the full range of colours. If the colour areas are distinctly separated,
more than one colour can be printed from one plate. This method involves an extremely
meticulous inking and wiping process.
One of the greatest problems with intaglio colour printing is registering the successive colours
in their precise location. If the colours can be printed immediately, wet on wet, then it is
relatively simple, but often this is not possible. If the first plate has high relief and is overprinted
while wet, the second plate will crush it completely. In this case the first print must be
thoroughly dried and then rewetted for the second printing. Because the paper shrinks in the
drying process, it is difficult to get it back to the original size when rewetted.
Several methods of registering can be used, depending on the particular problem. For wet-onwet printing the process is simple. After both plates are inked, the first plate is placed on the
press bed and its position is marked. Paper is placed over the plate and secured at one end with
masking tape, or, if there is enough margin, the paper is run through so that one end remains
caught under the printing roller. The print is then folded back and the first plate is replaced with
the second.
Another method uses mats. The paper to be used in the edition is cut to the same size. A
cardboard or metal mat is cut, corresponding to the size of the wet paper. The plate position is
either cut out or marked on the mat. Registration consists of lining the paper up with the mat.
The most precise registering is with pinholes. Two pinholes are punched in opposite corners of
the mat. Corresponding pinholes are punched through all the printing papers. In printing, the
paper is picked up with two heavy needles through the punched holes. The needles are then
inserted in the corresponding holes on the mat and the paper is released. The holes should be
placed close to an edge that will be trimmed after the print is dry.
Stencilled colours with an intaglio plate
Stencilling is one of the simplest ways to use a number of colours combined with an intaglio
plate. This method has advantages and also limitations. The main advantage is that it eliminates
the registering problems of intaglio colour printing. On the other hand, it is limited to flat,
sharply defined colour areas. One method does not replace the other, but each may be used to
solve a particular problem.
The procedure itself is very simple. The intaglio plate is inked and wiped normally. The desired
colour shape is cut out on a stencil paper. The stencil is placed on the already inked plate and
the colour is rolled onto the surface of the plate using a gelatin or soft rubber roller. For surface
rolling, regular artist oil colours can be used. The use of stencils allows a great number of
colours to be printed with a single run on the press. This is done by surface rolling colours
through stencils onto the intaglio inked and wiped plate surface.
For more complex colour combinations, it is possible to combine colours stencilled directly on
the paper with colours offset from the intaglio plate. For more sophisticated stencilling, silk
screen can be used also in combination with the intaglio plate. When intaglio and stencilling are
combined, the process is often designated as mixed or combined technique. This is essentially
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the same procedure as conventional stencilling except that with silk screen more complex
designs and textures can also be stencilled on the plate (see below Stencil processes).
Intaglio and surface colour with relief etching
In this technique the main colour structure is defined by the plate surface, which is etched to
different levels. The linear or textural elements moving from one level to another bind the
whole together.
The sequence of printing begins with the intaglio inking and wiping of the plate. Next, the first
surface colour is rolled on with a soft gelatin roller that penetrates the lower levels of the relief.
The high areas are inked with a hard rubber or composition roller. The sequence of rolling can
change, according to the demands of the particular colour problem.
In addition to plate levels and roller variety, control of colour viscosity is an important factor.
The thorough description of this method is so complex that the reader is referred to some of the
technical books listed in the Bibliography.
Surface-printing processes
Surface printing comprises those techniques in which the image is printed from the flat surface
of the metal, stone, or other material. The major surface method is lithography, a planographic
process. Although many experts place silk screen and stencilling in a separate category, they can
be considered surface-printing processes. In lithography, the control of the design is achieved
by the chemical treatments of the drawing surface. In stencilling, the design is created by holes
in the stencil and the printing ink is either rolled or squeezed through the stencil onto the paper.
Silk screen is a special form of stencilling.
Lithography
Lithography is based on the fact that water and grease do not mix. The image is drawn or
painted on the stone or metal plate with greasy litho crayon or a greasy black ink (tusche). Once
the drawing is finished, it is fixed with an etch to prevent the spreading of the grease. A heavy,
syrupy mixture of gum arabic and a small quantity of nitric acid, the etch is used to protect the
drawing from water and to further desensitize the undrawn areas to printing ink. The nitric acid
opens the pores of the stone, enabling the gum and the grease to enter easily. The gum arabic
surrounds the greasy sections, forming an insoluble surface film that sticks to the negative areas
and crevices of the grain. This coating around the image repels the water applied during
printing and establishes a grease reservoir. It does not smear, and it prevents seepage that
would blur the image.
Because of the antipathy of grease and water, the image attracts oily ink but repels water. Thus,
when the stone is dampened with a sponge and an ink-charged roller is passed over it, the ink is
deposited on the greasy drawing but not on the wet stone.
In lithography, the assumption is that the drawing made on the stone or plate will be closely
duplicated on the print. While intaglio processes yield prints unlike any drawing technique,
lithography is quite reproductive. Although it is a complex method, if lithography is well done,
the effect of the print is deceptively simple and direct, making the technique attractive to artists
who wish to avoid the more idiosyncratic printmaking methods.
A highly skilled technician is needed to produce a good lithograph, and most lithography is done
in workshops where well-trained workers are available. The artist usually works on the stone
or plate under the guidance of master printers. When the artist finishes a drawing, the master
printers etch the stone and do the printing. In the basic technique, the first step is the
preparation of the stone or plate. If a stone has been used before, its surface must be reground.
The stone is placed in a sink and thoroughly wetted, and carborundum powder is sprinkled over
it. Then, either with a levigator (a heavy steel disk with a handle) or by rubbing two stones
together, the surface is thoroughly reground. From time to time the surface should be tested
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with a steel straightedge to make sure it is level; otherwise it will print unevenly. After the stone
has dried, it is ready for work. It is very important to keep the stone clean because any dirt,
particularly grease, will show up on the print. Smudges and dirt can be cleaned off with erasers
and abrasives.
Metal plates (zinc or aluminum) can also be used, and these, too, may be reground. Although
metal plates are satisfactory, stone is far superior, particularly for producing subtle tones and
details.
With litho crayons and tusches artists can work on the stone as they would on paper. A whole
arsenal of effects is available, including pen, pencil, splashing, sprinkling, spraying, texture
transfers, and scraping. After the drawing is finished and before etching, the image must be
protected from the etching solution by rubbing rosin and then talcum powder on the stone. The
acid-resistant rosin protects the drawing; the talcum absorbs the excess grease, allowing the
adhesion of the gum etch to the edges of the drawing.
Next, the whole surface of the stone is coated with undiluted gum arabic, applied with a wide,
soft brush. The subsequent etching process is done in stages. The weakest acid solution is
usually brushed first on the lightest areas of the drawing. After an appropriate interval, the next
strength solution is brushed on, and this continues until the strongest etch has coated the
darkest areas.
After the allotted time has elapsed, the excess etch solution is blotted with newsprint paper. The
surface is then wiped down and buffed with cheesecloth to a smooth, even layer. When properly
handled, the stone should appear dry. It should be allowed to stand for two hours before
washing out, the next step.
The washout is done by pouring a small amount of turpentine or Lithotine over the drawn
areas. Gently rubbing the drawn areas with a clean dry rag removes the drawing through the
gum-etch coating. The image is preserved by the absorbed grease in the porous limestone.
Next, the stone is rubbed with liquid asphaltum or printing ink dissolved in turpentine. This
procedure saturates the image and protects it at the same time.
After the stone is dry, it is ready to be inked (rolled up). First, it is dampened with a wet sponge.
(In between the rollings, the stone should be redampened.) Ink rolling should be carried out
according to a set pattern, gradually building up the image. To facilitate the even distribution of
ink it is important to use a roller wider than the image.
The lithographic press prints with scraping pressure. The press itself consists of a metal frame
that accommodates a travelling steel plate (the bed), which passes with the stone under a
scraping bar (or yoke). The bed can be lowered (to position the stone) and raised (to print). The
pressure on the scraping bar can be adjusted.
Lithographs can be printed on either dry or damp paper. The advantage of dampening is that it
is possible to use less ink and less pressure, thus minimizing the risk of clogging the image.
To print, the printing paper is first placed on the stone, followed by a newsprint paper, and then
a blotter. Last comes the tympan, a sheet of smooth, tough material that can withstand great
pressure without stretching. After the bed is raised to printing position, grease is spread evenly
in front of the scraping bar on the tympan to allow it to slide easily. Then the print is made.
The prints of the French artist Henri de Toulouse-Lautrec demonstrate that lithography offers
endless possibilities in colour printing (see photograph ). Because the effect of lithography is
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much more painterly than either woodcut or intaglio printing, it is natural that the strong
preoccupation with pure colour in contemporary art has created a revival of interest in this
medium. The planning and the principle of colour separation are similar to those for the colour
woodcut or intaglio colour.
Henri de Toulouse-Lautrec: Jane Avril
Henri de Toulouse-Lautrec: Jane Avril
Jane Avril, lithograph poster by Henri de Toulouse-Lautrec, 1893; in the Toulouse-Lautrec
Museum, Albi, France.
SuperStock
Stencil processes
In stencilling, one of the simplest methods of duplication, the design is cut out of paper (or any
other suitable thin, strong material) and is then printed by rubbing, rolling, or spraying paint
through the cutout areas.
Silk screen is a sophisticated stencil process, developed about 1900 and first used mainly for
advertising and display work. About 1950, fine artists started to use the process extensively,
giving it the name serigraphy.
The silk-screen process got its name from the fine mesh silk that, when tacked to a wooden
frame, serves as a support for a cut paper stencil. The stencil is glued to the silk. In the basic
process, the open mesh of the silk lets the paint through, while the paper stencil blocks it out. A
design can also be blocked out on the screen with glue or other suitable substance.
A common method of stencil preparation is to cut the stencil with a knife. In this method the
artist can use commercially produced screen process printing plates or conventional stencil
papers. For fine, accurate work, process plates, which consist of a film on a backing, are
preferred. Areas to be printed are cut out of the film and peeled off, leaving the rest of the film
on the backing paper. After the plate is attached to the screen, the backing paper is removed;
thus, the screen is covered with film except in the printing areas. Process plates are available in
different colours to make registering easier, and they are attached to the screen either by heat
or by the use of a special solvent.
Another method that is quite common is the so-called tusche-and-glue method, which is similar
to lift-ground aquatint etching. The design is painted on the screen with tusche and, when dry,
the whole screen is covered with glue. When the glue dries, the design is washed out with either
kerosene or turpentine. The tusche comes in liquid form for brushing or in solid crayon form.
The use of the crayon results in screen prints that deceptively resemble lithographic prints.
Stencil plates can also be made photographically. These plates are made by placing a
photographic positive on a photosensitized gelatin stencil plate in a vacuum printing frame.
Exposure to light hardens the gelatin under the transparent areas but leaves the gelatin soft
under the dark areas. In warm water the soft areas wash out. The stencil is attached to the
screen in the same manner as other stencils.
To make a silk-screen print, the wooden frame holding the screen is hinged to a slightly larger
wood board. The printing paper is placed on the board, under the screen. The consistency of the
ink is important: it must be liquid enough to pass through the screen but not so liquid that it
runs. The ink is pressed through the screen with the squeegee (a rubber blade, usually the same
width as the screen, set in a wooden handle). Any number of colours can be used, a separate
screen for each colour.
Special techniques
Monoprint (monotype)
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A monoprint is a unique print. The artist paints on a surface such as metal, plastic, or glass and
then transfers the wet design to paper, either by rubbing or with an etching press. The primary
reason for making a monoprint is that, when the image is offset from the plate to the paper, the
print achieves a separate quality and luminosity totally unlike a painting made directly on
paper. In the 19th century, Edgar Degas did considerable experimentation with monoprints and
produced a great number of superb ones. He often worked over the proofs with paint or pastel.
There has been a strong revival of interest in this method.
Cliché-verre
The method of printing known as cliché-verre was used by a few artists in the 19th century
during the period when photography was a new and exciting invention. The cliché-verre
method follows the principle of photography but does not have its tonal variations. The print
was made by covering a piece of clear glass with an opaque pigment or emulsion; the design
was then scratched through with a sharp etching needle or stylus. When the drawing was
finished, the glass plate (negative) was placed on a photosensitized paper, exposed to light, and
then developed. The result was a (positive) print with strong black-and-white contrasts. Some
of the best cliché-verre prints were made by the French landscape painter Camille Corot.
The cellocut
The cellocut method was named by its originator, U.S. printmaker Boris Margo, one of the first
to experiment extensively with plastics.
In this method, liquid plastic that has been dissolved in acetone is poured onto a rigid support
backing, such as fibreboard or cardboard. The solidified plastic can be textured, raised into
relief, and worked with various tools. It can be engraved, scratched, sanded, and filed. The
resulting plastic plate can be printed either as a relief or as an intaglio plate, or even both. It can
be printed alone or in combination with other techniques. Thin layers of plastics can easily be
placed on top of intaglio plates and printed together.
Collagraphy
Like the metal graphic process, collagraphy is an additive method; the printing surface is built
up. It is essentially an intaglio method, but it can be combined with relief printing. The printing
surface is created by gluing various materials and textures to a support. Today, with the variety
of new material available, the possibilities are limitless.
The support (plate) for collagraphy must be thin and strong. A porous material, such as
cardboard, must be treated with a sealer. To build up a tough, durable printing surface, a strong
adhesive such as polyvinyl acetate must be used.
Among the materials that can be used for tonal areas are sawdust, sand, carborundum,
sandpaper, and ground walnut shells. For specific textures, materials such as tarlatan, laces, and
crushed paper can be glued into the adhesive.
After the plate has been constructed, the surface is sealed. The sealer can be either brushed or
sprayed on. Plastics are preferred because they are tough and are not dissolved by the solvents
generally used to clean the plate.
The printing of collagraphs is essentially the same as for intaglio printing.
Plaster print
Good proofs of an intaglio plate can be made by plaster casting, for fine plaster of paris will pick
up the most delicate details. This method will produce a particularly attractive proof if the plate
has deeply etched or engraved sections.
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To make a plaster print, the plate is inked in the same manner as it would be for normal
printing. The inked and wiped plate is placed face up on a glass plate, and a precut wood frame
is placed around the plate to contain the plaster. After the plaster is poured, it is allowed to cool
and set, after which the plate is gently removed.
Process prints
Process-printing methods are primarily used for commercial reproduction. Today, however,
many artists use commercial methods to produce fine art. Silk-screen printing itself began as a
commercial process, and today it is one of the most popular techniques in printmaking because
its character is well suited for hard-edge geometric images. Photomechanical processes are
incorporated in the work of many contemporary printmakers.
Linecut
The linecut technique is the simplest and least expensive of all the photoreproductive processes.
As it cannot register tone, it is used mostly to reproduce black-and-white line drawings. If tones
are needed in a linecut, they are achieved with the use of screens consisting of dots (Ben Day
screens). The linecut is similar to the woodcut in that both are used in relief printing.
Linecuts are usually made on zinc plates coated with an emulsion of albumin or gelatin mixed
with potassium bichromate. This emulsion hardens on exposure to light. The light passing
through the transparent part of the negative hardens the emulsion. The areas of the emulsion
that are protected by the black on the negative remain in their soluble state. The plate is then
rolled with greasy ink and soaked in water. The unexposed soft emulsion is washed out by the
water. The plate is then dried and dusted with powdered rosin, which adheres to the remaining
inked emulsion areas. Heating causes the rosin to melt, forming an acid-resistant coating. The
plate can then be etched so that the design stands up in high relief.
IV.
Application
a. Make a Printed Art Piece on a Fabric of your own Choice, you can have it on your
T-shirt or you can have it on a table cloth or any fabric you wish to be printed.
You can utilize these YouTube links as your reference: or you can search another
one which fully caters your need of knowing how to do it.
 https://youtu.be/xxKVW7gTfVo
 https://youtu.be/qiX7ioyWSDU
Take a clear photo of your output and submit its picture along with a reflection
about how did you find printmaking after doing this activity? It is not necessary
to have your reflection too long but just right enough for me to know the
learning you got from the activity.
Resources/References:
 Gabor F. Peterdi. (May 11, 2021). Printmaking. Retrieved from:
https://www.britannica.com/art/printmaking
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