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TLE – ICT ILLUSTRATION
Learning Activity Sheets
Quarter 4: Week 1-8
CREATING DRAWINGS ACCORDING TO PROPORTION
Division of Angeles City
TECHNOLOGY AND LIVELIHOOD EDUCATION (ICT Illustration GRADE 9)
Name of Learner: _______________________________________Q4: W1-3
Section:
Date:
LEARNING ACTIVITY SHEET
CREATING DRAWINGS ACCORDING TO PROPORTION
Background Information for Learners:
These days, animated objects have become so much a part of the entertainment and
the advertising world. Whether cartoon, anime’, or life-like, artist somehow find ways to
attack viewers through the sense of sight. There are viewers attracted to vibrant and dynamic
colors while others are attracted to monochrome colors. Effects also are used to make
viewers interested and attracted to various astonishing pieces. However, regardless of the
fancy colors or the designs animators or artist execute, they will always start with the basic
sketches of their characters.
Many works have come out of the artistic studies that showcase the live model of the
human body or reference. However, we consider these things as insignificant because they
are in fact mere reproductions of real life no more, no less. Thus movement is added to the
characters to bring them to life and give them a certain edge. This can work sufficiently well
for studying the movements and anatomy of whatever is presented. But do you know
movement and actions execution in the cartoon world is really different from real-life ones?
CORRECT HUMAN FIGURE OR BODY PARTS PROPORTIONS
Most artist emphasize during art sessions that the best technique to draw a human
figure is by starting to draw the head and the face. In portraiture (the art of making portrait),
it is said that a human figure is out of proportion or unnatural if it is drawn smaller or larger
than its head.
To begin with, an artist should first observe skeleton and muscle of the human face.
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The human head is built and created with general geometric shapes with correct
proportions. Keep in mind that accuracy in head drawing is learned by achieving the
correct and proper proportions.
(source:http//drawinghowtodraw.com)
In the real world, we observe and accept the fact that they bones and muscles and
geometric shapes that are identical and they are some that are not. There are some
important differences between the proportions of bones and muscles with respect to their
geometric shapes. There are factors to consider, like hair color, width, height, and
thickness.
A well-practiced artist is always committed to perfect his/her portraiture of what
he/she actually sees and not how he/she thinks the facial parts will look like. Do not be
disheartened if your first attempts would not be perfect. Just keep on practicing.
ILLUSTRATING HUMAN HEAD
As mentioned earlier in the lesson, drawing the head and face first is the best
technique to draw human figure. To illustrate a head, draw grid and guidelines to equally
divide the head in the half horizontal. This is essential to properly position and places the
different parts of the face, like the nose, eyes, ears, and mouth.
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Practice separating different parts and features to creatively draw the shape and forms of a
particular part.
(source:http//pinterst.com)
Now, try to find a photograph with candid relaxed pose, semi-formal portrait. Or a
good photograph when working with portraiture. To carefully study the different features,
look for and use a close-up shot of the face with a simplified background like in the sample
picture. Let us draw a human head using the given picture. Draw first an oval around the
shape of the head using your pencil. Then lightly create a vertical center line and
horizontal guidelines. (You may refer to the given chart.) Be sure that the symmetry or the
proportion of each face is equal size and along the guidelines, considering the left and
right sides. If you are satisfied with the lines, you can erase them.
http://silvercreekart.weebly.com/drawing-the-human-face.html
The following illustrations of human head will help you achieve a good drawing of
head gestures and proportion.
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(source:http//pinterst.com)
In drawing a human head, it is also important to consider the head’s inclination,
whether it is facing left or right, is oblique, or is viewed from above or from below.
Draw the center line. The center line’s intersection should depend on the head’s
inclination. Then, apply the basics in drawing the different parts of the human head.
DRAWING A FEMALE HEAD AND FACE
The basics in drawing a human head vary. One way is through the illustration of the
hair and eyes, which determines the human’s gender.
To start illustrating a female human head, draw an ellipse and a centerline.
1. From there, contour the chin and the cheeks.
2. To determine the hairline, draw an arc to at the top of the ellipse, higher than the head.
3. Next draw the eyes along the center line (note that the distance between eyes should be
the same as the size of one eye)
4. Followed by the nose and the mouth which should also be draw along the center line.
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5. Now, draw the ears that should be in the line with the eyes.
6. Lastly, add the hair
You may note also that drawing boxes will help you correctly position a head’s major
frontal, profile planes as well as its level surfaces.
DRAWING THE EYES
Drawing the eyes will help us imitate the true likeness of what is being drawn with
the model and reveal the true emotion and mood in the portrait we are illustrating.
Human eyes, if not drawn correctly, will not look like realistic because eyes are
exceptionally expressive.
To achieve a good proportion with the other facial parts like the eyebrows, lashes,
lids, and others, you must first sketch a proportionate circle to serve as a guideline for the
eye socket.
Here are some techniques and illustrations on how to achieve stylistic, good, and
realistic eyes.
1. Draw the eye basic shape, which is almond shaped.
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2. Draw the iris. Remember that an iris is circular even though it is not wholly shown in the
eye drawing.
3. Add eyelashes on the top and bottom eyelid. It is not necessary to draw plenty of
lashes. What is important is that you give the idea or impression of them.
4. Draw the pupil inside the iris, at the middle part
5. Add the eyebrow and the eyelid crease. The brow should be longer than the eyelid while
the crease should be shorter following the eyelid.
6. Add shading to the iris and to the area surrounding it. Shade also the pupil. You may
choose to add lines in the iris for a more realistic effect.
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DRAWING THE NOSE
1. Draw a polygon resembling a plateau with two curves going upward.
2. Draw the two curves on each side.
3. Draw a big curve at the lower part of the nose.
4. Based on the outline, draw the nose.
5. Erase unnecessary lines.
Let us try to draw a nose in a face outline. Draw first a face outline, then place the
nose on the center point of the face.
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Now, try refining and adding smooth tone values to your nose. Apply feathering to
soften the lines and enhance shading.
DRAWING THE MOUTH
1. Start the drawing of the mouth with a straight line
2. Draw the upper lip over the straight line.
3. Draw the lower lip.
4. Shade the mouth.
5. Further shape and shade the outlines of the lips to give emphasis.
DRAWING THE EARS
Here are the ways to draw a human ear.
1. Draw the shape of an ear.
2. Draw the bumps and folds.
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3. Shading preparation.
4. Shade the darkest area.
5. Add mid tones and light tones.
BODY PROPORTIONS
Appropriate and correct proportion entails and involves significant preparations and
practice, remarkable observation, and accuracy of eye-measurement. This way, good
proportion can be achieved the natural way as sizes are compared with other parts of the
body.
As shown in the illustration above, different age brackets f human subjects have varying
body proportions.
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A quick drawing of the basic skeletal structure or wire frame of the human body
with basic shapes and lines will ease the burden of drawing a challenging human body
figure. It serves as a frame like a steel edge or a wood frame of a structure that affects the
entire figure.
In the figures above, the is represented by simplified oval mass, the arm by cylinders, the
ribcage by oval, the pelvis simplified by oval mass, and the leg by cylinder.
If we study the anatomy of men and women, we will find out that the shapes of men
are ty[pically angular, whereas women’s shapes are regularly rounder. Men aand women
differ essentially in the geometry of their shapes.
The anatomy below shows that the male figure has bigger and wider shoulders, bigger
muscles, narrower hips, while the female figure has a more delicate frame with narrow
shoulder but wider hips.
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THE BODY IN MOTION
Lessons so far tackled are all about how to draw the human body , with important
illustrations that emphasized drawing essentials like how to draw correct proportions and
symmetry at the same time. Now, let us study how to illustrate a human body in motion,
such as jumping, dancing, walking or running.
To start drawing a human body in action, start illustrating lines and sticks lightly.
When the stick figure or “skeleton” is already established, start forming the head, the arms,
and the body. Remember to use pencil with a lighter shade to erase the outline or the
unnecessary line easily.
Observing, recognizing, and knowing the different shapes in drawing human figure
are essential steps in drawing. To start drawing human movement, observe the way each
part of the body moves. Observe yourself and the others around you. Interact with each
other and observe the way you all move together or separately. Internalizing the
movement o your body will also help you learn how the body parts move.
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Now, between a human being and an animal, the basic difference lines in the number
of their legs, arms and the manner in which the human being or the animal subject walks.
The animal joints and muscles respond differently from human joints and muscles move.
Learning Competencies with Code
LO3. Draw Human Figure- TLE_ICTIL9-12DP-aj
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TECHNOLOGY AND LIVELIHOOD EDUCATION (ICT Illustration GRADE 9)
Name of Learner: ____________________________ Q4: Wk.4-6
Section:
Date:
LEARNING ACTIVITY SHEET
Intellectual Property Rights (IPR)
Background Information for Learners:
In today’s world, anyone can easily share his/her created artwork to other people by
uploading it on the internet. Through the internet, people can easily see and appreciate a
work. But just as easily as they can appreciate one’s work, they can easily take credit for it
too.
People who steal other people’s work are posing a big, big problem. But do you know
that, in most cases, which we are very much unaware of, we ourselves steal the work of
others? If we download mp3s, wallpapers, graphics, movies, or TV series without proper
permission, we commit the same wrong that most people commit.
As concerned individuals, we must be aware of what our rights are when making our
own designs and artworks. But then, we must also know and respect the rights of other
people in terms of their works. It is very important then that we learn about the intellectual
property rights.
What IPR IS
Intellectual property rights(IPR) refers to the rights given to people who create works
using their artistic and creative thinking. This gives creator’s protection over their
masterpieces or creations for a certain period of time. Included here are the rights of the
artists, writers, performers as well as producers of sound effects and broadcasting
organizations.
IPR is telling you that you have rights over your creations or drawings, thus, you can
decide on anything about them. When some claims ownership over your own work, such is
a violation of intellectual property rights. You can file case called plagiarism against him/her
for claiming something which is not truly his/her.
If a person posts your work without your permission, you the right to ask it to be taken
down immediately because it is your own and only you can decide where it can be posted.
Common Types of IPR
Inventions, products and process made originally by an inventor can get a patent
grant. A patent grant limits the use and scale of the invention or product created for a given
time, until such a time that is usage will be disclosed to public.
Copyright is granted to writers and artists to have exclusive rights to their craft. The
manner in which ideas are expressed through writing, drawing, or painting coves the
copyright material.
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Industrial design right safeguards patterns, logos and designs with aesthetic and
/or commercial value. Unlike things of practical use that are covered by the IPR, industrial
design right is more of protecting a product’s blueprint.
Trademark is a symbol, design, or logo that is distinction of a product or service
provided.
Trade dress is the term that pertains distinct visual aspect or design of a structure or
a product and its packaging that gives the consumers impression of the product’s source or
the structure’s designer.
Philippine Laws on IPR
Republic Act No. 8293, also known as the Intellectual Property Code of the
Philippines, is an act tackling the Intellectual Property Code and the Intellectual Property
Office, with their functions, powers, and other purposes. This act repeals all acts and parts
of acts inconsistent therewith, more particularly.

Republic Act No. 165( as amended). This act creates a patent office and
prescribe its power and duties, regulates the issuance of patents, and
appropriates funds.

Republic Act No. 166(as amended). An Act to provide for the registration and
protection of trade-marks, trade-names, and service marks, defining unfair
competition and false marking and providing remedies against the same, and
for other purposes.

Presidential Degree No. 49. This decree narrates the “Decree on Intellectual
Property”-all possible materials/works the can be copyrighted, the scope and
limitations of the copyright, and the rules on the transfer of work and
copyright, duration, moral rights, and infringement.

Presidential Degree No. 285 This law enumerates the rules about
reproduction of copyright materials and the benefits the owner of the material
may withhold.

Articles 188 and 189. These articles under Section Two Crimes Against
National Security and the Laws of Nations discusses the penalties and the
imprisonment of those who will not abride by the laws governing copyright
Intellectual Property Code(IPC) Implementing Government Agencies
The agency of the government in charge of the implementation of the Intellectual
Property Code (IPC) is the Intellectual Property Office of the Philippines (IPOPHL). It
replaced the Bureau of Patents, Trademarks, and Technology Transfer. It is divided into six
bureaus.
1. Bureau of Patents
2. Bureau of Trademarks
3. Bureau of Legal Affairs
4. Documentation, Information, and Technology Transfer Bureau
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5. Management information System and EDP Bureau
6. Administrative, Financial, and Personnel Service Bureau
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TECHNOLOGY AND LIVELIHOOD EDUCATION (ICT Illustration GRADE 9)
Name of Learner: ____________________________ Q4: Wk.7-8
Section:
Date:
LEARNING ACTIVITY SHEET
SOURCING-OUT CONCEPT FOR OWN DRAWINGS (SD)
Background Information for Learners:
Theories of the nature, functions, and effects of art
Mimetic theories: art as imitation or representation of nature "mimes" a basic
theoretical principle in the creation of art. The word is Greek and means "imitation" (though
in the sense of "re-presentation" rather than of "copying"). Plato and Aristotle spoke of
mimesis as the re-presentation of nature. According to Plato, all artistic creation is a form of
imitation: that which really exists (in the "world of ideas") is a type created by God; the
concrete things man perceives in his existence are shadowy representations of this ideal
type. Therefore, the painter, the tragedian, and the musician are imitators of an imitation,
twice removed from the truth. Aristotle, speaking of tragedy, stressed the point that it was an
"imitation of an action"--that of a man falling from a higher to a lower estate. Shakespeare, in
Hamlet's speech to the actors, referred to the purpose of playing as being " . . . to hold, as
'twere, the mirror up to nature." Thus, an artist, by skillfully selecting and presenting his
material, may purposefully seek to "imitate" the action of life.
Procedural classes: classes involving formal criteria, such as

abstraction

expressionism

formalism

mimesis

minimalism

naturalism
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romanticism

symbolism
Expressive theories: art viewed as a representation or manifestation of the inner
state of the artist
Formalist theories: the work of art viewed as an organic unity; i.e., a self-contained,
self-justifying entity
Processional theories: the making of works of art because the creative process is
an inherently self-contained, self-justifying process.
Aestheticism: late 19th century European movement based on the idea that art
exists for the sake of its beauty alone.
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The movement began in reaction to prevailing utilitarian social philosophies and to
what was perceived as the ugliness and philistinism of the industrial age. Its philosophical
foundations were laid in the 18th century by Immanuel Kant, who postulated the autonomy
of aesthetic standards from morality, utility, or pleasure. This idea was amplified by J.W. von
Goethe, J.L. Tieck, and others in Germany and by Samuel Taylor Coleridge and Thomas
Carlyle in England. The movement was popularized in France by Madame de Staël,
Théophile Gautier, and the philosopher Victor Cousin, who coined the phrase l'art pour l'art
("art for art's sake") in 1818.
In England, the artists of the Pre-Raphaelite Brotherhood, from 1848, had sown the
seeds of Aestheticism, and the work of Dante Gabriel Rossetti, Edward Burne-Jones, and
Algernon Charles Swinburne exemplified it in expressing a yearning for ideal beauty through
conscious medievalism. The attitudes of the movement were also represented in the writings
of Oscar Wilde and Walter Pater and the illustrations of Aubrey Beardsley in the periodical
The Yellow Book. The painter James McNeill Whistler raised the movement's ideal of the
cultivation of refined sensibility to perhaps its highest point.
Contemporary critics of Aestheticism included William Morris and John Ruskin and,
in Russia, Leo Tolstoy, who questioned the value of art divorced from morality. Yet the
movement focused attention on the formal aesthetics of art and contributed to the art
criticism of Roger Fry and Bernard Berenson. It was unparochial in its affinities with the
French Symbolist movement, fostered the Arts and Crafts Movement, and sponsored Art
Nouveau, with its decisive impact on 20th-century art.
Organic Unity: : in literature, a structural principle, first discussed by Plato (in
Phaedrus, Gorgias, and The Republic) and later described and defined by Aristotle. The
principle calls for internally consistent thematic and dramatic development, analogous to
biological growth, which is the recurrent, guiding metaphor throughout Aristotle's writings.
According to the principles, the action of a narrative or drama must be presented as "a
complete whole, with its several incidents so closely connected that the transposal or
withdrawal of any one of them will disjoin and dislocate the whole." The principle is opposed
to the concept of literary genres--standard and conventionalized forms that art must be fitted
into. It assumes that art grows from a germ and seeks its own form and that the artist should
not interfere with its natural growth by adding ornament, wit, love interest, or some other
conventionally expected element.
Pragmatism: Art exists to serve a function and is conceptualized in terms of its
effects on its audience, and in terms of the purposes it is design to accomplish such as the
creation of specific shared experiences.
Pragmatic theories: art conceptualized in terms of its effects on its audience, to
accomplish purposes such as the creation of specific shared experiences.

As a means of enhancing experience and thought

As a means of escape from, or consolation for, reality

As a means of perceiving a higher, more perfect, or ideal reality

As a source of pleasure or delight

As a means of promoting cultural and historical community or continuity

As instructive, didactic, or propagandistic
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
As therapeutic; i.e., as healing or purgative

As a means of communication
Concept drawing
Concept drawings or sketches are drawings, often freehand, that are used by
designers such as architects, engineers and interior designers as a quick and simple way
of exploring initial ideas for designs. They are not intended to be accurate or definitive, merely
a way of investigating and communicating design principles and aesthetic concepts.
Concept drawings can also be used to explore more technical aspects of a design,
providing an initial response and possible solutions to problems, constraints and
opportunities such as services layout, structure, method of construction, solar paths and
shading, prevailing wind, patterns of circulation, relationships between aspects of
the site and so on.
Preliminary sketches capture and communicate the essence of an idea, focusing
on its driving features, and in the same way that an artist sketch is often more evocative
than a finished painting, concept drawings can sometimes capture the sense of an idea
more clearly than later drawings or even the completed building.
Concept drawings, using pencils or felt tip pens and paper can provide a more fluid,
expressive and faster method for investigating a problem, than more hi-tech approaches
such as computer aided design or building information modelling which can be restrictive
in terms of the precision they require and the rules they impose on the way an image
is constructed.
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Writing exclusively for Designing Buildings Wiki, RSHP’s Mike Davies explains:
“Concept design requires that the architect grapples with the real issues
of form and bulk, scale and mass and the generic appearance of a building within its
surrounding urban context, resolving and encapsulating the principles of the
scheme. Concept design implies an idea, or range of ideas, a development approach, a
guiding concept and a design intent. It resolves the issue of ‘what’ and ‘how much’ and
begins to set the stage for understanding ‘how’.
“Concept design can be simply a series of sketches, ideas and explorations, or it
can go into considerable depth, including design illustrations,
indicative plans, sections and elevations and 3D models of a development approach.”
The challenge of the subsequent design process is often one of protecting the
original concept to ensure it is not diluted or even lost altogether under the pressures of
technical, legislative, budgetary and time constraints.
Below are two example concept sketches from architect Corlandus Lang.
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Learning Competencies with Code
LO. 2.2 Consider theoretical concepts in one’s drawing
TLE_ICTIL9SD-IVf-j-2
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