MODULE

TLEd 315 ARTS IN DAILY LIVING

Persius M. Garcia

INTENDED LEARNING OUTCOMES

At the end of the learning module the students should be able to:
1. Review the meaning of arts, principles, elements and importance of art in daily living.
2. Develop a sense of, craftsmanship, creativity, ingenuity, innovation and resourcefulness
and the value of works.
3. Develop mastery in skills in creative artworks.
4. Create original arts works using the elements, principles and design of visual art.

Chapter I
Introduction to Arts

Art is a diverse range of human activities in creating visual, auditory or performing

artifacts (artworks), expressing the author's imaginative, conceptual ideas, or technical skill,
intended to be appreciated primarily for their beauty or emotional power. Other activities related
to the production of works of art include the criticism of art, and the study of the history of art.

The three classical branches of visual art are painting, sculpture and architecture. Music,
theatre, film, dance, and other performing arts, as well as literature and other media such as
interactive media, are included in a broader definition of the arts. Until the 17th century, art
referred to any skill or mastery and was not differentiated from crafts or sciences. In modern usage
after the 17th century, where aesthetic considerations are paramount, the fine arts are separated
and distinguished from acquired skills in general, such as the decorative or applied arts.

Though there is no generally agreed definition of what constitutes art, and ideas have
changed over time, general descriptions mention an idea of imaginative or technical skill stemming
from human agency and creation. The nature of art and related concepts, such as creativity and
interpretation, are explored in a branch of philosophy known as aesthetics.

https://en.wikipedia.org/wiki/Art

The Importance of Art in Daily Life

Original Article by David Norris, published December 12, 2011; theartcurator.com

The word ‘Art’ is most commonly associated with pieces of work in a gallery or museum,
whether it’s a painting from the Renaissance or a modern sculpture. However, there is so much
more to art than what you see displayed in galleries. The truth is, without being aware of it, we are
surrounded by art and use it on a continual basis. Most people don’t realize how much of a role art
plays in our lives and just how much we rely on art in all of its forms in our everyday lives.
Art in the Home

Chances are you will have some form of art in your home. Obviously the first things that
might come to mind will be a painting, print or photograph on the wall. If you don’t have any of
these things adorning your walls, don’t panic, you’d be surprised at how much art you actually
have in your home if you look around! 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, decorative tea towels or that cute pink heart covered teapot to the sleek computer
case or angle-poised desk lamp can be considered a form of art.

The Joy of Art

You may be wondering why all of these things are so important to our daily lives and that you
could probably survive just fine with essential items that were non-artistic. That is just the reason
why art is so valuable! While art may not be vital to fulfill our basic needs, it does make life joyful.
When you look at a painting or poster you’ve chosen to hang on your living room wall, you feel
happy. The sculpture or figurines on the kitchen windowsill create a sense of joy. These varieties
of art forms that we are surrounded by all come together to create the atmosphere that we want to
live in, which is personable to us.

Art and Music

The importance of art in our daily lives is very similar to that of music. Just like art, music
can make life extremely joyful and can have a huge effect on our mood. In the workplace in
particular, music is something that can help people set the mood for what they are about to do. If
you have something hard or difficult to work on or are feeling tired, an energetic song will likely
wake you up and add some enthusiasm to the situation. Similarly, when stress is high, many people
find that relaxing to calming music is something that eases the mind.

Inspirational Art

Inspirational art, such as posters are often found in work spaces to encourage employees to
continue being productive. There is now an increasing amount of companies using art in their
offices, as well as playing background music, as it is proven to actually work in making end results
far better quality.

There may be a piece of art that you own that you personally find motivational. Perhaps a
print with a positive affirmation or quote beautifully scrolled on it or a painting of a picturesque
scene of where you aim to travel to one day. I’ve even heard of people who put up posters of their
favorite singer or Hollywood actress to motivate them to go to the gym!

Art is everywhere, influencing us on a daily basis, whether we realize it or not. 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. Of course some art is very dark and can cause disturbing emotions,
anger or even depression but we can choose what kind of art we want to be surrounded by in our
own environment at home to make you feel good. All kinds of art can affect our mood in a positive
way, making us feel happier, calmer, or even inspired to do something.

Everywhere you go art is evident. Parks often use sculptures to add interest and to inform
people. Posters on walls give information and motivation. Music plays on the radio to keep your
energy levels up. Without even realizing it we find ourselves immersed in the power of art most
of the time!
 The elements and principles of art and design are the foundation of the language we use to
talk about art. The elements of art are the visual tools that the artist uses to create a compositio n.
These are line, shape, color, value, form, texture, and space.

The principles of art represent how the artist uses the elements of art to create an effect
and to help convey the artist's intent. The principles of art and design are balance, contrast,
emphasis, movement, pattern, rhythm, and unity/variety. The use of these principles can help
determine whether a painting is successful, and whether or not the painting is finished.

The artist decides what principles of art he or she wants to use in a painting. While an artist
might not use all the principles of design in one piece, the principles are intertwined and the use
of one will often depend on another. For example, when creating emphasis, the artist might also
be using contrast or vice versa. It is generally agreed that a successful painting is unified, while
also having some variety created by areas of contrast and emphasis; is visually balanced; and
moves the viewer's eye around the composition. Thus it is that one principle of art can influe nce
the effect and impact of another.

The 7 principles of art

Balance refers to the visual weight of the elements of the composition. It is a sense that the
painting feels stable and "feels right." Imbalance causes a feeling of discomfort in the viewer.

Balance can be achieved in 3 different ways:

1. Symmetry, in which both sides of a composition have the same elements in the same
position, as in a mirror-image, or the two sides of a face.
2. Asymmetry, in which the composition is balanced due to the contrast of any of the elements
of art. For example, a large circle on one side of a composition might be balanced by a
small square on the other side
3. Radial symmetry, in which elements are equally spaced around a central point, as in the
spokes coming out of the hub of a bicycle tire.

See the article, Balance, for some visual examples of how the elements of art can be used to achieve
balance.

Contrast is the difference between elements of art in a composition, such that each element is
made stronger in relation to the other. When placed next to each other, contrasting elements
command the viewer's attention. Areas of contrast are among the first places that a viewer's eye is
drawn. Contrast can be achieved by juxtapositions of any of the elements of art. Negative/Positive
space is an example of contrast. Complementary colors placed side by side is an example of
contrast.

Emphasis is when the artist creates an area of the composition that is visually dominant and
commands the viewer's attention. This is often achieved by contrast.

Movement is the result of using the elements of art such that they move the viewer's eye around
and within the image. A sense of movement can be created by diagonal or curvy lines, either real
or implied, by edges, by the illusion of space, by repetition, by energetic mark-making.

Pattern is the uniform repetition of any of the elements of art or any combinatio n
thereof. Anything can be turned into a pattern through repetition. Some classic patterns are
spirals, grids, weaves. For examples of different pattern types see the Artlandia Glossary of Pattern
Design. A popular drawing practice is Zentangles, in which an abstract or representational outline
is divided into different areas, each of which contains a unique pattern.
Rhythm is created by movement implied through the repetition of elements of art in a non-unifor m
but organized way. It is related to rhythm in music. Unlike pattern, which demands consistency,
rhythm relies on variety.

Unity/Variety You want your painting to feel unified such that all the elements fit together
comfortably. Too much unity creates monotony, too much variety creates chaos.You need both.
Ideally, you want areas of interest in your composition along with places for your eye to rest.

https://www.liveabout.com/principles-of-art-and-design-2578740
Elements of art are stylistic features that are included within an art piece to help the artist
communicate. The seven most common elements include line, shape, texture, form, space, color
and value, with the additions of mark making, and materiality. When analyzing these intentiona lly
utilized elements, the viewer is guided towards a deeper understanding of the work.
Line
Lines are marks moving in a space between two points whereby a viewer can visualize the
stroke movement, direction and intention based on how the line is oriented. Lines describe an
outline, capable of producing texture according to their length and curve. There are different types
of lines artists may use, including, actual, implied, vertical, horizontal, and diagonal and contour
lines, which all have different functions. Lines are also situational elements, requiring the viewer
to have knowledge of the physical world in order to understand their flexibility, rigidity, synthetic
nature, or life.
Shape
A shape is a two-dimensional design encased by lines to signify its height and width
structure, and can have different values of color used within it to make it appear three-dimensio na l.
In animation, shapes are used to give a character a distinct personality and features, with the
animator manipulating the shapes to provide new life. There are different types of shapes an artist
can use and fall under either geometrical, defined by mathematics, or organic shapes, created by
the artist. Simplistic, geometrical shapes include circles, triangles and squares, and provide a
symbolic and synthetic feeling, whereas acute angled shapes with sharp points are perceived as
dangerous shapes. Rectilinear shapes are viewed as dependable and more structurally sound, while
curvilinear shapes are chaotic and adaptable.
Form
Form is a three-dimensional object with volume of height, width and depth. These objects
include cubes, spheres and cylinders. Form is often used when referring to physical works of art,
like sculptures, as form is connected most closely with three-dimensional works.
Color
Color is an element consisting of hues, of which there are three properties: hue, chroma or
intensity, and value. Color is present when light strikes an object and it is reflected back into the
eye, a reaction to a hue arising in the optic nerve. The first of the properties is hue, which is the
distinguishable color, like red, blue or yellow. The next property is value, meaning the lightness
or darkness of the hue. The last is chroma or intensity, distinguishing between strong and weak
colors. A visual representation of chromatic scale is observable through the color wheel that uses
the primary colors.
Space
Space refers to the perspective (distance between and around) and proportion (size)
between shapes and objects and how their relationship with the foreground or background is
perceived. There are different types of spaces an artist can achieve for different effect. Positive
space refers to the areas of the work with a subject, while negative space is the space without a
subject. Open and closed space coincides with three-dimensional art, like sculptures, where open
spaces are empty, and closed spaces contain physical sculptural elements.
Texture
Texture is used to describe the surface quality of the work, referencing the types of lines
the artist created.[1] The surface quality can either be tactile (real) or strictly visual (implied).[3]
Tactile surface quality is mainly seen through three-dimensional works, like sculptures, as the
viewer can see and/or feel the different textures present, while visual surface quality describes how
the eye perceives the texture based on visual cues.[8]
Value
The scale between dark (black) and light (white) values.
Value refers to the degree of perceivable lightne ss of tones within an image. The element
of value is compatible with the term luminosity, and can be "measured in various units designatin g
electromagnetic radiation". The difference in values is often called contrast, and references the
lightest (white) and darkest (black) tones of a work of art, with an infinite number of grey variants
in between. While it is most relative to the greyscale, though, it is also exemplified within colored
images. https://en.wikipedia.org/wiki/Elements_of_art

Figure 1. Color wheel

https://choelscherart.com/wp-content/uploads/Color-Wheel-basic.jpg
Objectives
After reading the above information, the student should be able to:
1. Define the meaning of art and the Important of Arts in Daily Living.
2. Enumerate the element and principle of art.
3. Discuss the importance of arts in daily living.
4. Understand the proper use of color wheel in art design.
.
Evaluation
1. What are the elements of arts?
2. What are the principles of design?
3. What are the importance of arts in your daily living?
4. Why color wheel is important in coloring?

Chapter II
DRAWING TECHNIQUES

Drawing is a very popular art activity. Before you begin the writing the letters of the
alphabet or your name, you already know how to draw. You start learning how to manipulate
different writing materials through drawing activities. Your very first experience in art begins
with a drawing.
Drawing appeals to you very much because it allows free spontaneous movements that you
enjoy. Through drawing, you begin experimenting with a variety of line strokes and movements
– bold, fine, big, small, long, short, straight, and curved. As you grow at your own pace, you move
forward using different art materials such as pencil, crayons, pastels, pen and ink, brush and paint,
charcoal, chalk, or a combination of any of these art media. With improved control of these, you
advance using the different techniques in drawing.
A simple discussion of each of these drawing techniques is presented her. Varied
suggestions on other drawing possibilities are also included.

PENCIL DRAWING
The pencil is one of the most versatile and useful art materials. It is used in drawing or in
making preliminary sketches. Once you master drawing technique using pencil, it is easier to
proceed to other drawing techniques using a variety of art materials such as crayon, paste, pen,
charcoal, or chalk. Pencil drawing allows free movement of your hand in producing varied lines
and forms. Sometimes, pencil drawing done in very light strokes can be preliminary to painting.
Objectives
After doing this activity, the student should be able to:
1. Learn the techniques in pencil drawing.
2. Use pencil in a variety of ways to create an interesting art work.
3. Be aware of line as an important tool in drawing.
Materials
Medium hard pencil such as HB or Mongol No. 1. The degrees of harness may range from
7B-very soft to 9H-very hard. Any kind of paper will do. Experiment on smooth and rough, thick,
and thin, absorbent varieties.
Procedures
Think of any subject for drawing – people, animals, object around you, things in nature, or
any imaginary idea that interests you. Start anywhere on the paper, using varied spontaneous line
strokes. Make your pencil lines longer and clearer. Small, timid strokes will make your drawing
dull and will not show your subject clearly. However, do not press the pencil too hard against the
paper so that your lines will not be greasy shine. Do not retrace lines to make them more distinct.
Use eraser sparingly to preserve the spontaneity and vigor of the drawing. Fill in a spaces.
Other Suggestions
1. Use sharp and pointed pencil.
2. Make bigger, bolder line strokes for the principal figures to make them more distinct.
3. For the background, use longer, finer lines.
4. Do not trace or copy other pupil’s work.
5. Drawing studies using models like figurine, flower vase, toys, plants, building and the
like, will help you gain mastery of the pencil drawing technique.
Useful Term
1. Spontaneous – free; voluntary
2. Distinct – clear; distinguishes; marked out.
3. Sparingly – rare; not too often
4. Subject – idea or theme for drawing or painting.

Figure 2. Graphite Pencil Drawing Techniques

https://www.pinterest.ph/lrkilburn/boards/
Evaluation
1. Are you lines varied and spontaneous?
2. Are the lines retraced?
3. Did you press the pencil against the paper too hard?
4. Does your drawing clearly show the principal figure?
5. What is the subject of your drawing?

CRAYON OR PASTEL DRAWING

Simple lines may not be attractive to you. Isn’t it that drawing done in color appeals more
to you? Colors give additional quality to drawings. You have been trained to see variety of colored
objects in your surroundings that you like to see them drawn also in colors. Crayons or pastels
can be used very effectively in this type of activity.
Objectives
This art activity will give you the ability to:
1. Learn a drawing technique using crayon or pastel.
2. Control your hand in creating a variety of line strokes.
Materials
Crayons or pastels in different colors, any kind of paper, and fixative if available.

Procedure
Have a definite subject in mine for your crayon or pastel drawing. Use a variety of crayon
or pastel colors.
Use crayons or pastels in pieces. Preferably about two inches long, both flat and pointed -
pointed pieces to draw lines, and flat, to cover whole areas. You can start anywhere on the paper.
It is advisable to make the principal figures first before making the background.
Use free line movements. Do not be afraid to use crayons or pastels in producing differe nt
lines. Combine fine and big lines to obtain more effective results. Use as many colors as you like.
Stronger color tones are obtained by pressing the crayons or pastels hard in swift, continuo us
motion. To obtain lighter colors, move slowly and press the crayons or pastels slightly against the
paper. Fill in all spaces. To prevent pastels from smudging, fix them with spray or fixative.

Figure 3. Crayon or Pastel Drawing Techniques

https://www.google.com/search?q=crayon+coloring+techniques
Other Suggestions
1. Use good color combination, preferably combining one light color with a dark color.
Example: orange-blue, yellow-violet.
2. Wax crayons and pastels may be combined in one drawing.
3. Crayons or pastels may be applied overlapping each other to produce other colors.
4. Use darker colors for the principal motif or figurine and lighter colors for the
background, or vice versa.
5. Colored or clear cellophane may be used instead of fixative to protect your pastel
drawing.

Useful Terms
1. Smudge – to smear or stain
2. Fixative – spray liquid to make drawing permanent or stable
3. Motif – design; central theme or subject
Evaluation
1. Can you easily distinguish the principal motif from the background?
2. What other colors did you produce by overlapping simple colors?
3. Did you use varied line strokes?
4. Does pastel smudge after putting fixative (or cellophane) on the drawing?

PEN DRAWING
Pens are among the art materials considered the easiest to handle and control. Usually,
they come in black and blue. They also come in red, green, violet, orange, yellow, brown, and
pink. Their tips are either big, fine, flat, and pointed. Pens are perfect for your drawing activities
since they make figures clearer, sharper, and brighter.

Objectives
At the end of this drawing activity, the student should be able to:
1. Know the technique in producing pen drawing.
2. Create spontaneous line movements through pen drawing.

Materials
Any color of writing or drawing pen, including ball pen; a fairly smooth and non –
absorbent paper.

Procedure
Pen drawing technique is very similar to pencil drawing. Choose a subject first and
interpret it through drawing on your paper. If you use pencil sketches, make them very light. Do
not follow the pencil strokes literally or generally. It is advisable to draw directly with pen to
preserve the spontaneous character of your work. This means you should not retrace your lines.
Make the outstanding figures firs, using shorter but bigger outlines. To make the figures stand
out, cover the whole areas of the outlines with a variety of colors. You can easily distinguish the
subject from the background by using smooth, flowing, fine lines for the latter. Choose other
colors, too. As in pencil drawing, try not to press the pen too hard on the paper to protect its tip.
For more effective results, fill in all spaces.

Figure 4. Pen Drawing Techniques

https://www.google.com/search?q=pen+techniques+drawing
Other Suggestions
1. Pen and ink are not advisable for overlapping technique.
2. Combine pens and pastels in a drawing for better textural effect.
3. Never dip pen in water.
4. For refillable pens, have ink of the same color. Use a handy dropper, refilling directly
from the ink bottle.
Useful Terms
1. Non-absorbent – that which is not capable of sucking up liquid, such as water or paint.
2. Literal – following exactly the pencil stroke.
Evaluation
1. Why is the pen easier to use than any other art materials?
2. When is pencil used in pen drawing?
3. What technique did you learn in distinguishing the principal figures from the
background?
4. Why is it advisable to use non- absorbent paper for pen drawing?

BRUSH DRAWING
Brush drawing has an immediate appeal to you. More often, you have the tendency to paint
the outlines, thus, giving your painting the character of drawing. The use of paint brush creates a
fascinating experience. With only one brush, line strokes can be varied, depending on the pressure
you put on it. Drawing can be done in any direction or position – vertical, slanting, to the left, to
the right, upward, downward. Varied colors can be produced if you know the technique.
Objectives
This drawing activity will enable you to:
1. Handle and control brush for drawing properly.
2. Produce varied line strokes with the brush.
3. Learn how to take care of paint brushes.
Materials
Sable brush ( water color or poster color brush) or bristle brush with long, medium- lo ng
and short bristle; black or colored inks or paints; any kind of paper; mixing plate and clean water
container.

Procedure
Brush work should be spontaneous. Draw any subject you like, either real or from your
imagination. Use only one color first. Brush drawing techniques depend on the type of brush or
paper. Try and experiment brush drawing on absorbent or non-absorbent paper. To avoid a
monotonous effect, you can emphasize outlines or details by using varied line strokes and
directions. Always observe contrasts between figures and background – light against dark or vice
versa. Varied tones or shades of a color used may be obtained by observing this techniques: dip
brush in clean water first and then in a mixture of your chosen color and water. Mix well. Lastly,
dip the pointed tip of your brush in paint with the same color. In using this brush for drawing,
make your line movements swift. Slightly press the brush against the paper to show clearly the
varied color tones or shades. A second color may be introduced either for lines or wash.
Other Suggestions
1. Care for brush. Buy a good quality brush. A good brush has hairs that form a sharp
point or edge when wet. It shows great resilience, that is, it can return at once to its
original shape. The brush constitutes a compact mass suitable for absorbing as much
liquid or paint as possible. Always clean the brush immediately after use. Do not allow
it to stand in water, not even during drawing.
2. Do not make the brush too wet nor too dry.
3. Use only one direction for brush strokes.
4. Brush strokes may be overlapping each other.
 Figure 5. Paint Brush Tips and Different Pattern
https://www.pinterest.ph/pin/213709944790673728/
Useful Terms
1. Sable – black animal hair
2. Bristle – a short stiff coarse hair
3. Swift – fast
4. Resilience – an act of springing back or to recover its shape and size.
Evaluation
1. What type of brush do you use? Does it have the qualities of a good brush?
2. How do you take care of your paint brush?
3. Are there varied line strokes and color tones or shades?
4. Can you clearly distinguish the figures from the background?

CHARCOAL DRAWING

Charcoal is one of the art materials that is easy to manage. It usually comes in pencil form
with big, soft lead. Charcoal produces gray lines, not black. It is best for drawing the human
figure or pictures. It is suitable for your drawing studies of hands, eyes, nose, and mouth. Unlike
pencil drawing, charcoal drawings have clearer view of the figure or object drawn. Try to use
charcoal to feel its versatile quality.

Objectives
After doing this activity, you should be able to:
1. Use charcoal as an important medium in drawing.
 2. Learn how to use charcoal for finishing lines or for preliminary sketches.
Materials
Charcoal; a large sheet of a fairly rough paper such as newsprint or newspaper; fixative
(optional)
Procedure
Prepare the paper on the flat table. Start drawing your subject anywhere on the paper. The
technique is similar to that of crayon or pastel drawing; however, you may use charcoal either in
free technique or in work demanding considerable discipline. Charcoal is suitable for preliminar y
sketches for work to be carried out using other art materials. Use very light line strokes for
sketches. However, depending on the pressure, you can vary your line strokes – light, medium,
and dark. Use darker shades for finishing lines to give a clearer effect to figures or forms. Since
charcoal smudges easily, use fixative.
Other Suggestion
1. Make the drawing outlines very light. It is easier to make light tones dark than vice
versa.
2. Hold charcoal in vertical or slanting position to produce lines. To cover areas or to
make bigger line strokes, hold it in an almost horizontal position.
3. Finish drawing the entire picture first before going into details.
4. You may use cellophane instead of fixative.
Useful Terms
1. Tone – light value
2. Shade – dark value
3. Preliminary – introductory. Preparatory

Figure 6. Charcoal Drawing

https://www.portraitflip.com/product/pet-charcoal-portraits/
Evaluation
1. How do you produce different line strokes?
2. In making the outline or sketch of your drawing, why do you start with light strokes
first?
3. How will you protect your charcoal drawing from smudging?
4. Can you distinguish a charcoal drawing from a pencil drawing? How?

MIXED MEDIA DRAWING TECHNIQUE

Drawing using the different art materials is an exciting experience. Not only can the line
strokes and colors be varied, but also the drawing can have an entirely new appearance. Use a
combination of art materials to produce varied textural effects. Experiment on different art
activities and art materials will further develop your sensitivity and control of the various
techniques in drawing.
Objectives
Each of the mixed media drawing techniques should give you the ability to:
1. Know the possibilities and limitations of varied art materials in drawing.
2. Learn the different techniques in mixed media drawing.
3.Gain greater ability and mastery in each of the drawing techniques learned.
Materials
The art materials will depend on the mixed media drawing technique you will use. Refer
to the lists of needed materials for the different drawing techniques given in the preceding pages.
Procedure
The procedure in mixed media drawing is similar to any of the drawing procedures and
techniques learned using only one medium or art material. Two or more techniques are combined,
using two or more drawing materials. The following are suggested drawing techniques using
mixed media:
1. Pen and Pencil Drawing
2. Pencil and Brush Drawing
3. Pen and Brush Drawing
4. Crayon and Brush Drawing
5. Pencil and Pastel Drawing
6. Pastel and Colored Pen Drawing
7. Charcoal and Pastel Drawing
8. Charcoal and Brush Drawing
9. Chalk (colored) and Crayon Drawing
10. Chalk (colored) and Pastel Drawing
11. Chalk (colored or white) and Brush Drawing
In all of these mixed media drawing techniques. It is essential that you have a definite
subject to make. Use a variety of line strokes and color values. For further clarificatio n,
refer to the procedures described in the previous pages.

Other Suggestions
1. Techniques in holding art materials:
(a) Vertical position – for brush, crayon, pastel, charcoal, chalk
(b) Diagonal or slanting position – adaptable in all media
 (c) Semi-horizontal position – for pencil, charcoal, chalk, crayon, pastel
(d) Horizontal or flat position – crayon, pastel, chalk

2. Observe extra care in pen brush drawing. Draw in brush first. See to it that the
paint is completely dry before adding the details in pen.
3. Drawing activities may be made more interesting by:
(a) Getting subject ideas from nature such as flowers, land and rock formatio n,
movements of water, landscape, etc.
(b) Drawing outdoor scenes such as in the playground, garden, sidewalk, school
canteen, market scene, etc.
(c) Using varied materials and objects to produce interesting surface textures
such as bark of trees, leaves, leather, and cloth with rough texture, wood,
hollow block, and others. This textural technique is suitable for crayon,
pastel, charcoal, pencil, and chalk

Useful Terms
1. Medium(s) – art material; medial, mediums(pl)
2. Sensitivity – responsiveness
3. Vertical – standing position
4. Diagonal – slanting position
5. Semi-horizontal – near – flat position
6. Horizontal – flat position

Evaluation
1. What mixed media drawing technique did you use? Enumerate the art materials you
used.
2. Have you gained mastery of each of the drawing techniques?
3. What technique was easiest for you to do?
4. How did you produce textural effect on your drawing?

Part Two
PAINTING TECHNIQUES

As you progress in your experience and exposure to different drawing activities, your
attention moves gradually from creating line strokes to playing with colors.
Color has great appeal to you because you live in a world full of colors. In your exciteme nt
to catch the beauty of the colors of the leaves, flowers, butterflies, the skies, the trees, dresses, and
toy, you create your own colors. At first you put colors to objects as you please. You do not mind
if this object is red or yellow or that object be blue or green. You just love to play with colors to
dance, hop, glide, step, run with them. Later, you move closer to reality and you begin applying
colors to things as you see them.
You make further leaps by combining colors, lines, and forms in a creative, artistic way.
You add also textures and values to give a feeling of depth and solidity t your art work. Now you
are beginning to understand the difference between fantasy and reality, objectivity and creativity.
You can now also distinguish a simple drawing from a creative painting.
To continue your creative growth, several painting techniques and painting suggestions are
given.

PAINTING WITH CRAYONS OR PASTELS

Crayon and pastel are two familiar art materials to you. You have used them in drawing
activities to make simple sketches and linear compositions. They are easy to handle and manage
in creating different line strokes. But this time, they will be utilized for painting. You will use
them more extensively, not just for creating lines but for painting objects and figures in solid form.
You will use rich colors and shapes to give more life and meaning to your art work.

Objectives
At the end of this activity, you should be able to:
1. Learn the technique in painting with crayons and pastels.
2. Gain confidence in combining colors and forms in a pleasing way.
Materials
Crayon or pastels, any kind of paper, particularly that with fairly strong variety.

Procedure
The technique in painting is usually to draw first either in pencil or in crayon or in pastel.
The next step involves the filling in of the areas by shading with colors. Make every stroke clear.
Keep the shading within the chosen outline. Shade very closely so that the paper is almost
completely covered. Rub the crayon or pastel well to obtain bright, clear effects of colors. Omit
margins.

Figure 7. CRAYON OR PASTEL PAINTING Example

https://verycreate.com/pastel-painting-tutorial-best- fall-pictures-to-paint/
Other Suggestions
1. Pastel colors are very easy to handle, but they smear easily. Take care of your hands.
Do not hold pastel when your hand is wet.
2. Preliminary pencil sketch is not necessary. You may paint directly on the paper to
preserve the spontaneity of the crayon of pastel strokes. However, pencil sketches may
be adopted to serve as guide for proper balance and proportion of the composition.
3. Never substitute colored pencils for crayons. They are not ideal for painting. Not only
do they give dull color effects, but they also involve constant sharpening which results
in unnecessary interruption in your work.
4. Spray pastel painting with fixative, if available. You may also protect it with
cellophane or thin plastic.

Step One: Grid

Create a grid over your reference photo or sketch so you can accurately see how to transfer the
images onto the paper. This is a bad photo, because after I was done the paper started to warp in
the humidity here, but truly, my photo and my grid lines were exactly square and equidistant.

To make a grid, measure the photo and find the center point lines horizontally and vertically
then draw them in like a crosshair on a target. Then subdivide each quadrant in half once again
and you end up with four boxes by four boxes.

I like to draw on the black and white print the edges of the petals etc because when you print a
color photo in black and white, the color values are not in their hues (pink, yellow, green etc.)
any more, they are in a black and white value range. Here, the distant pink petals were the
SAME VALUE range as the green background and in black and white the same values merge
into one shape, almost indecipherable from one another. I plan on changing the values of the
petals and the background and pump up the chroma of the hues so that the petals really pop!

Pro Hint Number One:

Draw the grid onto your paper using a different color than you plan on using for the flowers
because it helps to not get confused as you add more and more lines to the sketch.

I used a medium blue pastel pencil for the grid lines and a light grey pastel pencil by Derwent
for the shape outlines. You could use a NuPastel by Prismacolor or vine charcoal as well.

Transfer the drawing to the pastel surface going box by box and copy exactly what you see in
each box. Don’t worry about tiny details, just get the basic shapes positioned.
Pro Hint Number Two:

Keep a good area of the paper to the right blank so that you can audition colors as you paint.

Step Two:

I began laying in the background first, as I wanted to establish the lightest lights of the
background so I could key off that for the lightest lights of the petals.

Step Three: Initial Lay In

Pro Hint Number Three:

I exaggerated the value contrast between the petals and shifted the hue on nearly every petal to a
warmer or cooler yellow, orange or brown red for the ones in shadow. I love that look. Beginners
often color ALL the petals of a flower the same color, the same value because our brains tell us
“Use yellow. It’s a yellow flower. End of story.” But we want some petals to come forward and
pop, some to recede and some to become relatively unimportant to the eye.

I concentrated on the orange flower first and began to lay down the midtones of the petals. I used
soft pastels right off the bat, because I knew I wanted the toned paper to show through in many
places and I wanted a rough textured look with no blending. These shapes were pretty tiny, so I
didn’t try to do strokework shapes, I just tried to get the right color with the right value (the
relative light or dark of that color family).

I used NuPastels for some of the darkest petal areas.

Step Four: Blue Flower Lay In

Pro Hint Four:

Reduce the intensity of the lower flower by making the colors moregrey. This will help the
upper flower jump off the page. If you are painting from life, you may be tempted to make the
lower flowers exactly the same color and value, but you really need to push to see (or imagine, if
necessary) the value changes between the upper and lower flower.

I was going for a more interpretive ending result rather than a photo realistic rendering. I want to
play with color and push the envelope without going off the map of relative color. (I wanted the
flower to read orange and lower flower to read blue grey).

I used a very dark blue black for the center of the flower on its darkest side and that gave me my
darkest dark value of the piece. I know I want the lower flower to be quite a bit similar value as
the upper flower center because it is in deep shadow from the orange flower, but I don’t want to
compete with the center of the orange flower for attention, so I lighten the dark blue up just a tad,
so that it reads dark blue, but not as dark as the orange center dark. I want the viewer’s eye to
REST on the lower flower, not bounce back and forth between the two flowers like polka dots.

Step Five: Brightest Hues Of Colors And Adjusting Overall

Now I laid down some of the darkest darks to begin the 3D modeling in the lower flower. I want
to keep that blue grey flower subdued so that the attention is on the orange flower.

I’m still letting lots of paper show through so that I don’t build up layers too quickly and saturate
the paper.

The challenge is to use blues and greys without getting monotonous, so I added a touch of mauve
grey on the lightest petals for color interest. Note that it is still the correct value, however.
Step Six: Change Hue of Background To More Vibrant Aqua

I decided I wanted to really play the aqua blue against the orange, so I darkened the value of the
background to create the vibration between those two colors (opposite on the color wheel).

You can see the color of the paper in the center part of each flower and peeking through the
background.

Finished Pastel Painting 14 x 11 Inches On Colorfix Paper

Pro Hint Five:

Take a quick black and white photo of your work and check the values. Are they correct?

Here I show the Pink Flower version because I had already framed the orange version for a
gallery, and the glass produces too much glare for a good photo. You can see right away the
contrast between the pink petal flowers, the background and the lower flower. The right
background blends into the flower petals as I intended so that the focal point is on the pink petals
closest to the viewer.
 Pink Flower version 14 x 11 on Storm Blue Colorfix paper

https://verycreate.com/pastel-painting-tutorial-best- fall-pictures-to-paint/

Useful Terms
1. Linear composition – a drawing or painting or position using varied lines
2. Extensive – that which is used for many purposes; broad
3. Interruption – stop; intermission
Evaluation
1. Why are pastels and crayons easy to handle?
2. How will you protect your hands from the smear of pastel colors?
3. Are there still spaces in the painting that need to be filled in?
4. Do you make pencil sketch before painting? Why?

WATER COLOR PAINTING

Generally, water color painting means painting with art medium that can be used with or
dissolved in water such as poster color and water color paints.
Poster colors produce opaque effects that give painting a solid form. The rich colors can
be identified easily. Poster paints are usually available in different colors in bottles. One
advantage of using poster paints is that whole areas of painting can be painted over. You can
change the painting without necessarily changing the paper.

Unlike poster colors, water colors are transparent, that is the paper can show through. They
also give translucent effects on paper. Colors in layers produce all kinds of shapes and sometimes,
interesting figures are formed by accidents. It takes only drop of water to paint and a few drops
of clean water to paint an ordinary sized paper.
You can use a number of brush sizes in water color painting. With brush strokes, a painting
can be completed in just a few minutes. Dark and light colors can be obtained by using any of the
techniques presented below.
Objectives
After doing this painting activity, you should:
1. Learn the techniques of water color painting.
2. Use poster colors or water colors effectively in painting.
3. Gain control of water color mediums in painting.
Materials
Prepare water colors or poster colors, any size of brush but preferable a big brush; fairly
absorbent white or lightly colored paper; plate mixer, small piece of rag.

Techniques in Mixing Color Paints with Water

Add a few drops of clean water to one or two drops of paint. Mix them very well before
applying on paper.
To obtain dark or light colors using either poster color or water color, use any of the
following techniques:
To obtain dark color
1. Add a little amount of the same color.
2. Add a small drop of black to the color chosen and mix them very well.
3. Add one or two drops of any darker color analogous or related to the first color chosen
and mix them properly. For example, blue to blue-green; red to orange; orange to
yellow-orange.
To obtain light color
1. Add a small amount of clean water to the color chosen and mix well. In case of the
water color, the more water you add to the pigment, the more transparent the mixture
becomes, hence, the lighter it appears.

Figure 8. WATER COLOR PAINTING Cherry blossom

https://www.happyfamilyart.com/art- lessons/watercolor-art-lessons/cherry-blossom-watercolor-
painting/
 2. Add one or two drops of white to the chosen color. Thus, you obtain light blue when
white is added to blue or light green when white is added to blue or light green when
white is added to green. In case of poster color, the more white you mix to the color,
the lighter the mixture becomes.
3. Add a small drop of light color analogous or related to the first color selected. For
example, add yellow to yellow – orange to make it more yellowish (lighter); yellow to
yellow – green or yellow – orange to orange.

Procedure
Generally, there are two techniques in painting: outline and filling- in technique and direct
painting technique.
In outline and filling- in technique, make a clear brush drawing first, then fill in the areas.
Observe the distinct contrast between the figures and the background.
The other technique is direct painting. This is easier because you don’t make brush drawing
before filling in the areas. Paint directly on figures and objects by adding the part one by one.
Make your lines and colors clear and spontaneous. After painting the principal figures, add the
details by over painting, using smaller brush. Use darker colors to make overlapping strokes clear.
Add background by using colors in contrast with the principal figures in painting. You can
apply background color either before or after putting the basic figures and objects sometimes
develop accidentally out of brush strokes and layers of color. You have to watch out for these.
You may make them distinct by putting simple line strokes. When finished. Dry the painting
completely.

Other Suggestions
1. Apply colors gently but smoothly. Keep the brush not too wet nor too dry.
2. Always keep the brush and water clean. Hold and move the brush in slanting position
toward any direction.
3. Take note of the contrasts between the principal figures and the background. Use a
variety of line strokes and colors.
4. Use bigger, softer brush in applying background colors on the page. Omit margins.
5. After using, cover poster bottles or water color tubes tightly. Take only the needed
amount for painting.
6. Avoid pencil sketches for painting to preserve spontaneity. But if necessary, make
pencil sketches very light.
Useful Terms
1. Opaque – shaded or dark; not transparent
2. Transparent – clear; can be seen through
3. Translucent – shining or glowing through; luminous
4. Overpainting – overlapping brush strokes; painting over another painting
5. Analogous – a color harmony wherein colors are related to each other; one primary
color is present in other colors, for example, in blue – violet – blue – violet – blue –
green combination, blue is the dominant color.
6. Pigment – color
Evaluation
1. How does poster color differ from water color?
2. How do you obtain dark colors? Light colors?
 3. Which of the two painting techniques did you find easier to do, the outlining and filling-
in technique or the direct painting technique?
4. What is meant by overpainting?
5. Why is it advantageous to use a big brush in painting?
6. Do you see the figures clearly against the background?
7. In applying layers of water colors, did you produce various color values?

WET PAINTING
Painting on a wet background has a charm of its own. It produces unique effects that cannot
be achieved by using other painting techniques. The procedure in wet painting is very simple once
you catch the appropriate technique. One or two attempts cannot really help. Practice several
times to produce satisfactory results. Wet painting can serve as background for other painting or
drawing techniques. Basically, it involves the quick but smooth movement of the hand.

Objectives
This painting activity should enable you to:
1. Know and learn another technique in painting.
2. Gain further control of colors and line movements.
Materials
Water color paints, water color brushes, any kind of paper, particularly fairly absorbent,
container with clean water, a small piece of clean rag, tissue paper or sponge.

Procedure
Dampen the sheet of paper on both sides with absolutely clean water. Use a sponge, a
piece of rag, or even the fingers. Lay the paper flat on a covered table. If possible, do not make
any pencil sketch. Keep your particular subject in mind.
While the paper is still wet, paint figures or objects by applying color in areas or outlines.
Be guided by the flow of the color on the wet paper as your subject (for example, flowers, trees,
seascape, landscape, etc.). Do not make the paper too wet because it will be impossible to achieve
any form at all, though it has to keep damp all the time. To know when to stop is important if the
technique is to be more than a play than exercise. Stop when you are satisfied with the details of
your subject and background color.
A wet picture, when completely dry, may be used as basis for tempera, poster color, pen
or brush drawing.

Other Suggestion
1. Always have a piece of rag or tissue paper to wipe hand with. Keep work neat and
clean.
2. Use clean water all the time. Change it frequently, if necessary.
3. Apply light colors first on the surface. It is easier to overpaint them with darker colors.
4. Start making pen or brush drawing on wet painting when the latter is completely dry.
Evaluation
1. Is the water used for dampening absolutely clean?
 2. Always check if the paper is too wet or too dry.
3. What forms or figures were created by the flow of color on wet paper?
4. When is the right time to stop in wet painting?

MIXED MEDIA PAINTING TECHNIQUES

Various techniques depend on the available art materials. Since painting techniques make
use of drawing process, there are wider possibilities for more techniques using different art
materials. You can experiment on any of these and discover which technique gives you a more
satisfactory result. Knowledge of any of the mixed media painting techniques means gaining
mastery of the different drawing and painting processes.

Objectives
Any of these mixed media painting techniques should give you the ability to:
1. Enhance your knowledge of the different drawing and painting techniques.
2. Know the varied possibilities of art materials through painting and drawing.
3. Utilize different art materials most effectively.
4. Gain mastery of any of the painting or drawing techniques learned.

Materials
The needed materials depend on the selected technique in mixed media painting. You may
refer to the preceding pages for proper guidance.

Procedure
Some of the mixed painting techniques combined with the drawing processes are as
follows:
1. Poster Color Painting with Pencil Drawing
2. Poster Color Painting with Charcoal Drawing
3. Pastel and Poste Color Painting
4. Crayon and Poster Color Painting
5. Wet Painting with Pen Drawing
6. Wet Painting and Brush Drawing
7. Wet Painting with Crayon or Pastel Drawing
8. Crayon and Water Color Painting
9. Pastel and Water Color Painting
10. Water Color Painting with Pencil Drawing
11. Water Color Painting with Charcoal Painting
12. Crayon and Pastel Painting
13. Pastel and Charcoal Painting
14. Pencil and Crayon Painting
15. Pencil and Pastel Painting
Other suggestions
1. When combined with poster color and water color, pencil and charcoal are usually used
in making preliminary sketches.
 2. Pen or brush drawing is applied when wet painting is completely dry. The same is true
with crayon or pastel.
3. In using the pastel and water color painting technique, pastel is applied first. The whole
picture is then overpainted with water color.
4. Pencil is used for making sketches in crayon or pastel painting or water color painting.
5. Charcoal is used for adding finishing lines in water color painting.
6. Use fixative or cellophane in all techniques that make use of charcoal and pastel, except
when the latter is overlapped by another medium.
Evaluation
1. What painting technique using mixed media did you actually try making?
2. Which of the mixed painting techniques did you find most satisfactory?
3. Give the advantages of knowing some of these mixed media painting techniques.
4. Can you easily distinguish now one art medium from the other? Describe briefly how
one differs from the other.

BLOWING
Brush and crayons are not the only means to produce beautiful designs. By simply blowing
here and blowing there, you can create marvelous designs with drops of water color.
You can also create figures and abstract forms in a split of a second. Blown designs are best for
card-making. They give dainty glitters of attractive colors.

Objectives
After doing this activity, you will be able to:
1. Learn an exciting techniques in water color painting.
2. Crate designs for a creative composition.
Materials
Newsprint, white or colored cartolina paper, water color, brush, container with clean water.
Procedure
Plan out the colors you will use. With the aid of a brush place a drop of water color of a
designed hue on the paper. Blow the water color drop in any direction until it spreads and crates
non-objective forms. Place a second drop of same or different color on another spot and blow as
in first. Repeat until a pleasing design is made.
 Figure 9. BLOWING
https://www.youtube.com/watch?v=__eOThm6O7s

Other Suggestion
1. This blowing activity may be the basis for another painting activity. Other designs may
be added with brush or pen drawing.
2. Find out what figures were created by blowing and add other details with pen or brush
when completely dry.
3. Complimentary colors present a pleasant effect, such as violet and yellow, blue and
orange, yellow-green and red-orange, etc.
4. Paper folding and cutouts may be combined with blowing compositions for a more
interesting result.
Evaluation
1. Describe the blown design composition you made.
2. What colors did you use?
3. What other techniques did you combine with your blowing composition?

PALITAN
Usually, after a painting or drawing is finished, the activity is considered as over. However,
you can still go further and create a new composition by simply cutting and pasting.
The process is aptly called Palitan to suggest the method of putting pieces together out of
the composition to create an entirely new whole picture. It is a new technique for improving an
ordinary activity. It is much like jigsaw puzzle in which you put parts together to form a whole.

Expectancies
This art activity should enable you to:
1. Learn a new art activity known as Palitan.
 2. Create a new picture out of an original composition.

Materials
Crayon or pastel, brush and paints, two pieces of paper (one slightly smaller), a pair of
scissors, paste.

Procedure
Make a drawing or painting composition on the smaller paper. Use bold, attractive colors
and fill- in all spaces very well. If you use paint, let your art work dry before cutting.
Cut the composition into pieces and arrange these alternately or one after another. Utilize
all cut-outs. When satisfied with the arrangement, paste the units neatly on the paper. You now
have a new composition.

Figure 10. PALITAN

https://www.pinterest.ph/pin/76983474870150919/

Other Suggestions
1. Various techniques may be used in cutting:
(a) Geometrical shapes
(b) Horizontal or vertical lines
(c) Non-objective shapes
 (d) Fold the composition at the middle and cut figurative forms on one side. Repeat
on the other side and do “palitan”.
2. Observe proper margins when pasting the units on another paper. The standard
mounting procedure is to make left and right sides and top all equal and the bottom
widest.
3. Paste the sides smoothly and neatly.
Evaluation
1. What new composition were you able to make after doing “palitan?”. Describe it in
your own words. Do you think it appears better than the original painting?
2. What cutting technique did you use?
3. Check the margins and proportion.

AFRICAN ART: PHILIPPINE STYLE

School children in Africa make very interesting and attractive art activities they call
African Art. The tiny motifs which they make show their innate love for nature. As great
worshippers of natural things, they depict in their art their faith in the sun, moon, the flowers, the
rocks, and other inanimate objects, such as precious stones, sword, and metal crafts. They make
designs in varied shapes and colors to represent these things in African Art. Their respect for and
belief in the spirits and their dead ancestors are also shown in the many words, signs, and symbols
they add to their designs. It is a fascinating experience to look at African Art. Its rich colors,
signs, and shapes convey a thousand meanings to the viewer.

Figure 11. AFRICAN ART: PHILIPPINE STYLE

https://www.pinterest.ph/mrmkhs1/philippines-art/
Objectives
At the end of this activity, you should:
1. Learn a new creative painting technique known as African Art.
2. Crate compositions depicting Philippine scenes and objects through African Art.
Materials
Crayon, water color or tempera, cartolina or any kind of paper, big and small brushes, water
in a container.

Procedure
As a principal motif, make a pencil composition depicting any Philippine scene or object.
Divide the big areas into smaller parts. Apply various colors in open areas and paint the outline.
In each space, put various signs and symbols like the letters of the alphabet, numbers, and
mathematical signs. You can also add words like names and short expressions. Use finely pointed
brush and attractive colors. Fill in all spaces until the whole composition is finished.

Suggestions to Vary Procedure

1. To show detailed designs clearly, use crayon resist technique by applying black or any
dark tempara-color all over the composition.
2. If water color is used, fill in all spaces with various colors and add signs, symbols or
words with pen.
3. African Art compositions may be done all in colored pens.
4. Make designs inspired by native fruits, flowers, and local products like wooden shoes,
salakot, fan, etc.
5. Some beautiful spots and festivities in the Philippines are good sources of design, such
as sari-manok, moriones, bahay-kubo, santacruzan, and many others.
6. Signs and symbols must be done clearly and neatly.
Evaluation
1. How does African Art differ from ordinary or drawing techniques?
2. What is the subject of your composition?
3. Does your composition have harmony, balance, and rhythm in spite of various colors
and designs.
WATER COLOR PAINTING FROM NATURE
Nature and its beautiful blessings is one of God’s greatest gifts. To love, appreciate, and
care for nature are a part of the important human obligations to help make the world the beautiful,
clean, healthful place God intended it to be from the moment He created it. It is therefore the
prime duty of every one to refrain from polluting the surrounding rivers and lakes. Destruction of
the environment means destruction of lives, too.
The beauty and wonders of nature can be enjoyed through painting. One way to show
appreciation is to make a water color painting from nature.

Objectives
At the end of this activity, you will have:
1. Learned to paint nature subjects observed outside the classroom.
2. Learned to appreciate the innate beauty of nature as the primary source of inspiratio n
for creative expression.
3. Gained mastery of water color painting technique.
Materials
 Water color, brush, newsprint or any absorbent paper, container with water.
Procedure
Review the water color painting technique on pages 17-21.
Choose the subject of your interest in nature and study from what angle you want to paint
it. Observe very well the arrangement of objects and harmony of natural colors as in the barks and
leaves of trees, the rock or sand formation, the moving water, the tonal values of distant and near
objects. However, you should not paint literally the things you see. Too many details will spoil
the picture. Try to make the objects simple but creative.

Other Suggestions
1. If your school is situated in the rural area, suggest that you hold your art class outside
and enjoy the beauty of the scene.
2. If your school is in the urban area, use this activity when you go on an educational tour
to some place of interest.
3. Plan out with your classmates where you will go for painting session – near the river
bank, on the seashore, at the foot of the hill or over-looking the mountain, in the
countryside, etc.
4. Do not give too much emphasis on your finished painting. Your genuine appreciation
of the beauty of nature is already an art expression.
Useful Terms
1. Pollution – the act of rendering air, water, and the surroundings unclean, that which
causes impurity.
2. Rural – country life as in the farm
3. Urban – pertaining to cities and towns
Evaluation
1. What is the subject of your painting?
2. Describe your painting to the class. Is there balance and color harmony?
3. What things in nature did you appreciate most in your trip?

Figure 12. WATER COLOR PAINTING FROM NATURE

https://www.google.com/url?sa=i&url=https%3A%2F%2Fdoodlewash.com%2Fpaint-a-
waterfall-
watercolor%2F&psig=AOvVaw0azjFsepKqlYKLE1nPwFor&ust=1597924939536000&source=
images&cd=vfe&ved=0CAIQjRxqFwoTCNiJkbecp-sCFQAAAAAdAAAAABAI

OUTDOOR PAINTING IN CRAYON

Watching other children play is an enjoyable experience. Like you, their energy, fun, and
excitement seem endless. It is also thrilling to watch people and their varied activities – people at
the park or at the fair, women in the market, men in the street, and children in the playground, old
people in the bus or in church. Merely looking at them does not seem to be part of their interesting
world. To really enjoy being with them is to go further. One way is to record their activities, looks,
emotions, and movements through painting. In this way, watching can become productive.

Figure 13. OUTDOOR PAINTING IN CRAYON

https://www.shutterstock.com/search/crayon+painting
Objectives
At the end of this activity, you will be able to:
1. Gain mastery in the use of crayon as medium in art composition.
2. Improve on your sensitivity to other people through careful observation and
appreciation.
Materials
Crayon or pastels, newsprint or cartolina paper

Procedure
Review the suggested technique in painting with crayons or pastels on pages 15-17.
Go out and choose the outdoor scene you want to paint. Observe the people and objects
very well. Give closer attention to their activities, their familiar ways, and actions. On your paper,
make a light pencil sketch and add colors. Try to emphasize the important figures and add the
details later. Use varied shapes and color harmonies.

Other Suggestions
1. Do not make the subject of your outdoor painting large. Choose only the most
important part. Simplify the figures.
2. Fill in all spaces. Use bright and varied colors.
3. Be able to tell something about your observation of other people’s activities through
your painting.
Evaluation
1. Show your work to the class and tell something about it.
2. What peculiar way did you notice about the people at work or at play?
3. Study the colors used. Do they harmonize each other? Do the line strokes enhance the
colors?
4. Is there proper balance in your painting?
CHAPTER II
LETTERING AND DESIGN COMPOSITION

Figure 14. Creative Lettering

k.com/free-vector/hand-drawn-quote-badges- lettering-style_4983143.htm
Lettering and designing have always been a part of your wonderful world of art because
you ar sometimes full of fantasies and deep imagination that drive you to crate and recreate things
of beauty. Through varied art materials, you transform your creative ideas into forms of near
reality.
 Through designing, your curiosity to produce objective or non-objective forms through a
variety of lines and colors becomes fulfilled. You enjoy and pride yourself with the creative
designs you produce. Not only do you improve the designs of your shirts, school bag, book covers,
and other personal items, but you also become sensitive to the quality of the design and color of
the things around you. Your taste for choosing subjects and your personal things like clothes,
shoes, belt, and the like, becomes refined.
Lettering is as enjoyable as designing. The two harmonize each other very well like in
poster-making. Deferent forms of lettering are present everywhere. They come in many styles
and colors that add delight to your heart. Two basic techniques in lettering are suggested in
Chapter II. You can proceed from there.

LETTERING
Lettering is one of the most useful art activities in the classroom. Printed letters or letter
cut-outs are seen almost everywhere on the blackboard, charts, posters, placards, bulletin board,
street signs, name plated, cards for all occasions, announcements, and many others.
Everybody can make letterings of different styles and sizes. Some suggested techniques
and styles are given here. They are suitable to young beginners like you.

Objetives
At the end of this activity, you should be able to:
1. Realize that lettering is an important and useful element in designing.
2. Learn many techniques in letter printing and cutting

Important Facts About Lettering

The common basic letter styles are a) Gothic, b) Roman, c) Text, d) Script, e) Malayan,
and f) Decorative or modern lettering. Each of these has its own characteristics that can be easily
mastered though practice.

The parts of the letter are:

a) Stem
b) Swash
c) Lobe
Letters are classified as wide, normal, and narrow.
a) Wide letters
b) Normal letters
c) Narrow letters
Letters may also be classified as open and closed. The open letters are A, J, K, L, P, R, T,
V, W, Y, C, D, B, O, and Q. The rest are considered closed letters.
Spacing in lettering is another important aspect to consider. There are two ways to make
letter spacing: a) mechanical and b) optical spacing. Many lettermen advise the use of optical
spacing since letters vary in size and shape. In optical spacing, the individual letters are
compressed a little to minimize the gap between them.
POSTER MAKING

A poster is a visual aid designed to advertise something or to convey a message. Basically,

it contains lettering and an appropriate illustration or picture arranged in creative design. In the
classroom and school surroundings, posters are used to announce a celebration or convey
reminders. These are used in street signs, streamers, and billboards too.
Some posters are attractive, some are not. People fail to notice the unattractive ones.
Posters are meant to tell a message to someone. To make them eye-catching, creativity should go
with the message of the poster.

Objectives
Poster-making activities should enable you to:
1. Create attractive and informative poster designs.
2. Use lines, forms, and colors in a creative way.
Materials
Posters can be prepared in many ways using different materials. If you like to make posters
by painting, then prepare water color or crayons, brush or pen. For cut-outs, colored paper,
scissors, and paste are needed. Use an ordinary size of thick paper for background.

Figure 15. POSTER MAKING

https://www.pngitem.com/middle/iiimbwT_helping-hands-poster- making- hd-png-download/
Procedure
Make a pencil sketch of the poster design and its message on the background. The letters
of the message must be big and bold enough to be seen clearly. Any type of lettering may be used:
Gothic, Roman, Scrip, or modern or creative. The design or picture complements or further
explains the message of the poster. Make poster attractive by using pleasing colors. One color for
the lettering is advisable. If the background is light, use dark color for lettering, and vice versa.
Remember always that the aim of the poster is to clearly inform or inspire the lettering simple and
clear, the picture or illustration appropriate.

Other Suggestion
1. A poster may be painted. Paint the design or illustration first, including the
background, if any. Allot enough space for lettering of the message either on top or
near the bottom. Let the paint dry completely before adding the lettering.
2. Another way to make a poster is by using cut-outs. You may use colored art paper.
Attractive pictures from magazines may also be utilized. Make the proper layout or
arrangement of the design first, including the picture and lettering. If satisfied with the
design, paste.
3. Posters may also be printed. The best printing technique is stenciling. Make the poster
design on a stencil. Color with crayon, past, or poster color.
4. To make bigger posters, make the lettering and design proportional to the size of the
paper.
Evaluation
1. Is the message of the poster clear?
2. Do the picture and message complement each other?
3. Is the whole poster attractive?
4. Is the poster located in a place where it can easily be seen?

Figure 16. DECORATIVE POSTERS

https://philippines.fnst.org/content/youth-expression-asean-eu-partnership
COMPOSITION WITH CUT-OUTS
After making several compositions with brush, pencil, and crayons, you can pick up a pair
of scissors and do some cut-out designs for a change. Cutting different forms and lines is an
exciting activity. You can make beautiful designs and compositions with almost every possible
material and scissors can cut. Cut-out compositions produce interesting effect so different from
painting and drawing. Have fun and creativity and see what you can do with your scissors.
Objectives
At the end of this activity, you should be able to :
1. Make creative design and composition with cut-outs.
2. Cut human and animal figures and other objects.
Materials
Basically, you need assorted colored paper, but other materials may be used for adding
details. A pair of scissors, paste, and a fairly thick paper are also needed.
Cut out figures and other objects from assorted colored paper and arrange them just like
the sketch. Arrange and rearrange the units until you are satisfied. Paste neatly.

Figure 17. COMPOSITIONS WITH CUT-OUTS

https://www.margiesamuelswatercolor.com/blog/2015/1/22/henri- matisse-the-cut-outs- museum-
of-modern-art-new-york
Other Suggestions
1. Background may be light or dark. Use dark background for light-colored units to be
pasted, and vice versa.
2. Colorful magazine pictures may be used instead of colored paper.
3. Still-life composition is a creative arrangement of non-life objects like fruits, bottles,
vases, etc.
4. Paper cut-outs can be used effectively in poster-making and figure study.
Evaluation
1. What design composition did you make?
2. What Philippine scene did you depict in your composition?
3. Is there balance and harmony in the arrangement?
 4. Are the units pasted properly on the background?
(Figure 20: CUT-OUT COMPOSITIONS WITH LINES, FORMS AND COLORS)

NON-OBJECTIVE OR ABSTRACT DESIGN

Some common forms and objects do not appeal to be senses. They seem to be very
ordinary. There is too much repetition of shapes and colors that it becomes difficult to distinguis h
one from the other.
One simple way to see something new and extra-ordinary is to crate non-objective or
abstract designs. You may use different colors and blend them beautifully with abstract or free
forms to present a new and exciting look. You will have new creative discoveries and experiences
with colors.
Objectives
At the end of this activity, you should be able to:
1. Crate non-objective or abstract designs in free expression.
2. Develop sensitivity to colors and forms.
3. Use texture in improving design
Materials
Crayons or pastels, paints, or colored pens, and a fairly thick paper
Procedure
Create an abstract or non-objective design all over the paper. Make the outlines firs. Free
forms may be arranged in a pleasing way. Fill in the spaces with an assortment of colors with tonal
values and good color combination. Rub crayon or pastel very well to produce bright colors.
Textures may be added for more effective results. Some textural effects com from rubbing crayons
or pastel over a rough surface such as sandpaper, textured wood, placemat, or hollow block.
Textures may also be created by adding varied lines over the covered area.
Add finishing lines to make the creative design clearer.

Figure 18. NON-OBJECTIVE OR ABSTRACT DESIGN

https://www.thesmartteacher.com/exchange/resource/140/Painting-What-You-Hear-Non-
Objective-Art-and-Kandinsky
Other Suggestions
1. Geometric designs may be used for designing.
2. Other good sources of abstract designs are common subjects like fishes, building,
vehicles, formation of clouds, furniture, etc.
3. Colored paper cut-outs may be used in combination with paints or pastels and crayons.
4. Always apply even colors.
Evaluation
1. Describe the finished abstract design.
2. Tell the class what you wish to communicate through your design. Tell something
about what led you to make the design.
3. Is there harmonious blending of colors and forms? Are there varying tonal value of
color? Varied sizes of forms?

DESIGN FOR CLOTH

Do you select your own clothes? If you do, what designs and colors appeal to you most?
Do you usually get the one you really like?
Selecting clothes for your everyday wear is a common problem. Some designs and colors
do not appeal to your eye. Some textures are not good to your touch. There are probably times
that you wish you were the one designing the prints or styles of your own clothes to satisfy your
taste.
Designing for cloth prints and styles is an exciting experience. It is also satisfying since it
involves the selection of the exact colors and designs that you desire. You can even transfer a
design directly to a piece of cloth, dress or shirt by direct painting, sewing, and patching. Cloth
designing also involves direct painting, sewing, and patching on a dress or piece of cloth.

Objectives
This art activity should make you:
1. Learn cloth designing as an art activity.
2. Develop an artistic, refined sense of color and design in clothes.
Materials
A piece of paper, pencil, crayon or pastels, colored pens, paints, brush, container with clean
water.
Procedure
On a piece of paper, make a pencil sketch of the design you like best for your cloth. Prepare
a color scheme for the design, three or more colors will do. Suit the colors to the quality of the
design. Observe proper color combination that will complement your design.
You can transfer your design to a piece of cloth or to your dress (preferably plain, either
by direct painting or stenciling method, using textile paints). See procedure for stenciling
described below.

Other Suggestions
 1. Make the design in black and white first to see its general effect before you do it in
color.
2. Simple creative designs have usually an attractive appeal.
3. In making a design directly on a piece of cloth or on your plain dress, paint the design
using textile paints. The brush strokes are slightly finer and done in careful, slower
movements.
4. Stenciling Method. Sketch your design first on a stencil. Cut out the parts you want
seen. Arrange the stencil on the area where you wish to put the design. Pin it properly
on your cloth. Apply textile color either by painting or spraying on open areas of the
stencil. In painting, use pastel colors or textile paints. Ordinary enamel paint may be
used in spraying. When the design is completed and dry, cover it it a clean sheet of
paper and press smoothly with moderate iron for five minutes.

Note: see also Stenciling method on pp. 61-63

Evaluation
1. Is your cloth design original?
2. Do the color complement the design?
3. Show to the class the design you made on your dress and let your classmates give their
suggestions to help you improve the design.
4. What textile design appeals to you most, realistic, or abstract design?

Figure 19. DESIGN FOR FABRIC

https://www.youtube.com/watch?v=FpWIi5goXnw
 CHAPTER III

PRINTMAKING TECHNIQUES

One of the areas of the arts that is fast improving and attracting interest today is
printmaking. Children, especially, naturally love to play and tinker with colors. You create
different designs and repeat these over and over again until you unconscious ly produce prints.
You repeat a design using different colors to see its effects and similarities. Your natural desire to
reproduce your own designs can be utilized to advantage. One way is though printing processes.
It is essential for every school to include printmaking processes in its art program. In every
art class, “processes that allow the child to reproduce the form that he creates are important in the
arts and craft program.” These printmaking processes not only give opportunities for creative
development, but they also make children’s creations productive.
With the presence of improved but less expensive materials such as dry tempera paints, inks, and
water colors that are easily soluble in water, carving tools, rollers, and paper, printmaking can be
as easy-to-do classroom activity. Prints are best for making cards for all occasions, gift wrappers,
book covers, and wall decors.

VEGETABLE AND FRUIT STAMP PRINTS

Vegetables and fruits are not only for eating. They can be used as printmaking tools in
crating beautiful designs for your book covers and greeting cards. You can produce as many
designs as you like by learning the techniques in printing with carved vegetables and fruits. With
a knife or carving tool, carve simple designs of names or initials on a vegetable cut and then print
them on personalized stationery. Print making can be fun and useful in many ways.
Objectives
At the end of this art activity, you should be able to:
1. Gain knowledge and skill in the simple printmaking processes.
2. Utilize vegetables and fruits by crating designs for printmaking processes.
Materials
1. Any available fruit or vegetable such as potato, carrots, turnip, balimbing, orange,
calamansi, etc.
2. Water color, brush, water container, knife, and any kind of paper.
Procedure
Slice the potato or carrot in halves. On the smooth surface, make a design with your knife
by removing some parts and leaving the parts that will print. If you are using orange or calamans i,
sut it only in halves and remove the seeds. The beautiful cress-sectional features of a calamans i
or orange can produce simple floral designs. With the brush, apply color on the design. Make the
color slightly thicker and not too dry nor too wet. Stamp the vegetable or fruit printing tool on the
paper by making an all-over or creative design. Lift the printing tool carefully from the paper to
avoid smearing of paint.
 Figure 20. VEGETABLE AND FRUIT STAMP PRINTS
https://www.firstpalette.com/craft/fruit-vegetable-prints.html

Suggestions to Vary Procedure

1. Use different colors with varying values (dark, medium, light). Apply on paper one
after another or overlapping each other to achieve a more interesting result.
2. Different fruits and vegetables may be used together. Okra, banana stalk, pechay or
celery stems, ampalaya, unripe papaya, camote, cassava, and many others.
3. Plastic modeling clay commonly known as plasticene is best suited to printing designs.
It is pounded into small flat cakes about an inch thick. Many designs are carved on
them. Smoothen the surface to remove clay crumbs. Apply color and print.

Useful Terms
1. Carve – to shape by cutting
2. Cut (n) – a block or plate from which a picture or design is printed
3. Tonal value – color value such as light, medium, or dark
Evaluation
1. What vegetable or fruit did you use for print making?
2. Did you use only one color for printing? If you tried two or more colors, was there a
pleasing harmony between them? Were there interesting color values?
3. Is the printed design clear and colorful?

LEAF PRINTING
When leaves begin to fall, it is time for you to go out and pick them up. The touch of the
leaf and the sight of its structure gives you a unique feeling. Look at the delicate arrangement of
the midrib, the veins, and the veinlet’s. Leaf formations are fun to study, but it will be a lot more
interesting if yu can reproduce leaf texture through printing. In printed forms, you can see vivid ly
how leaves differ from each other in shape, size, color, and structure.
Expectancies
This sensory art activity should give you the ability to:
1. Stress the use of the sense of touch as an important tool in leaf printing.
2. Use a familiar object to develop a sense of rhythm through repetition

Figure 21. LEAF PRINTING DESIGN

https://www.firstpalette.com/craft/leaf-prints.html

Materials
Leaves of various sizes and shapes with prominent textures will leave remarkable prints on
paper. Prepare also water color or black ink, brush, and container with water. Cover the work
area with newspaper.

Procedure
Select several leaves with beautiful structural formation, different sizes and shapes. With
the brush, apply thicker paint on the reverse side of the leaf. Place it paint side down on a piece
of paper. Lay a small piece of clean paper on top of the leaf so you can gently rub it. Don’t move
it so as not to smudge the paint. Move your fingers slightly on the leaf surface to produce the
outline of the veins. Lift the leaf slowly. Repeat the process and apply color, if necessary. Use
other leaves for other desired colors. Make a creative or allover design on the paper. Varying
tonal values of color will add fascinating effect on the overlapping leaf prints.

Other Suggestions
1. A variety of leaves with different sizes, shapes, and textures may be used together for
more interesting prints.
2. A big leaf print may be a basis of another creative design by drawing or painting.
3. Leaf printing is best for cards, book and table covers, gift wrappers, writing pads, etc.
 4. Dried leaves and flowers make beautiful designs on cards. Arrange them on a piece of
paper with leaf prints on it. Paste with glue.
Evaluation
1. Examine the individual leaf prints. Are you successful in reproducing the leaf
formations?
2. Are there varying shapes and sizes of the leaves used?
3. Is there pleasing harmony in the colors used? What is the effect of varying tonal values
of colors to the leaf prints?
4. Are there paint smudges all over the prints?

Figure 22: BLOT AND PRINTDESIGN

https://laughingkidslearn.com/squishy-painting- for-kids-that-teaches-symmetry/

BLOT AND PRINT

Imaginary designs can be produced by blobs of varicolored paints. This is not science
fiction, though. But in an instant, you can produce rare colorful designs by mixing paints on paper.
Not only that you can also make several prints of the designs in few seconds. The color effects in
blot and print can never be attained with a paint brush.
To see is to believe, so it is said. This activity will bring you to the wonderful world of
colors.

Objectives
After making blots and prints, you should be able to:
1. Know a simple form of printing.
2. Continue to learn about creative mixing and blending of colors.
3. Create an effective, imaginative picture through a new way of using paints.
Materials
Tempera or water color paints ( preferably in tubes ), brush, clean water in a container,
newsprint or colored paper.

Procedure
Take a piece of white or colored paper as a background. Using tempera or water color
paints, drip selected colors from the brush or matchstick, or directly from the tube. Some drops of
colors may be overlapping each other. Create a design or picture on the paper while the paints are
still wet, place another sheet of paper on top and rub it gently. When the paper is removed, it bears
a brilliant impression in exciting colors. It the paints on the two prints are still thick and rich, place
again another sheet on each, rub gently and remove. Two to six prints can be produced in one
design, but never with exactly the same effect. Several color harmonies may be used.

Other Suggestions
1. Smaller paint designs may be made on small pieces of paper such as the bookmark size.
2. You may attempt at realistic interpretations while blotting and printing. Using differe nt
colors, you can make flowers, leaves, vases, faces, and other objects and figures.
3. Formal balanced designs may be produced by folding the paper at the middle. Put the
design on one side and fold the paper. Rub it gently to transfer the design.
4. The prints will also accidentally produce figures or objects. Improve on them by using
brush.
5. A few drops of water on the first prints may be added to produce other prints.
6. Blot and print designs are best for making bookmarks, cards for all occasions, book
covers, and name tags.
Useful Terms
1. Blob – a drop, as of viscous or sticky fluid
2. Varicolored – many colored
Evaluation
1. Describe the blot and print design you made. What imaginary figure or object does it
show? Take note if the several prints you made out of this design have exactly the
same appearance.
2. How many prints were you able to make?
3. Compare blot-and-print with other printing techniques. Which gives the fastest,
exciting prints?

CRAYON OR PASTEL STENCILLING

Stencilling is another exciting technique in printing process. Stenciled designs can be
printed on your shirts or blouses, hankies and scarf, or on small name tags. Once the stencil is
ready, you can make several prints easily. You can produce as many designs as there are stencils
that you can use. If you know how to do spattering, it may be easy for you to do stenciling.
However, you can do stenciling even if you do not know how to spatter.

Objectives
At the end of this art activity, you should be able to:
 1. Enhance your painting and printing techniques though stenciling.
2. Create existing designs through stencil processes.

Figure 23. STENCILLING ON CLOTH

MATERIALS
Wax crayons or pastels, any kind of paper, stencil paper (wax paper will do), ordinary or
stencil knife, razor blade, pins, and clips.

Procedure
Stenciling is a more systematic way of printing. The design is sketched on the stencil
paper. Decide on its color scheme. The colors must complement the design and the background
paper. Using a sharp knife, cut out the parts of the design you like to be printed. When you finis h
cutting, attach the stencil onto another sheet of paper. Use paper clips to secure the stencil. Color
through the open areas in heavy, even strokes. Fill in closely to the edges to produce a clear design.
Remove clips.
Make other prints of the same design on the same or another paper. Experiment on other
color combinations and arrangements.

Other Suggestions
1. When stenciling is done on cloth, attach stencil onto it with pins. Apply heavier, eve n
color. Use pastels or textile paints. After coloring, put a damp piece of cloth on the
stenciled design and press with a warm iron to make it permanent.
2. Textile paints give more permanent, attractive results on cloth.
3. Enamel paint may be used also by spraying on the stencil design. An old but still usable
sprayer may be used.
4. Lettering designs may be stenciled also. You may have your name printed on some
simple expressions like HELLO, I’M SMART & GOOD, STUDY WELL, I’M
CHRISTIAN, and so on.
Useful Terms
1. Stencil – a thick material, particularly paper, with a design on it, which serves as a
pattern for producing such design.

Figure 24. Stencil

https://en.wikipedia.org/wiki/Stencil

2. Complement – to suit very well

3. Stencilling- produces an image or pattern by applying pigment to a surface over an
intermediate object with designed gaps in it which create the pattern or image by only
allowing the pigment to reach some parts of the surface. The stencil is both the resulting
image or pattern and the intermediate object; the context in which stencil is used makes
clear which meaning is intended. In practice, the (object) stencil is usually a thin sheet
of material, such as paper, plastic, wood or metal, with letters or a design cut from it,
used to produce the letters or design on an underlying surface by applying pigment
through the cut-out holes in the material. https://en.wikipedia.org/wiki/Stencil
Evaluation
1. Do your stenciled prints show clearly your design?
2. What colors did you use? Do they harmonize with each other? Do they compleme nt
the background?
3. Try spray stenciling. How do its effects differ from crayon or pastel stenciling?

RUBBER STAMP/ LINOLEUM-CUT PRINTING

Too often, Linoleum -cut prints were done in the art class when there was an occasion or
when there were complete printing tools and materials. It was only recently that linoleum- c ut
printing became popular and used effectively to create exciting designs at any time during the year.
Less expensive tools and materials are now available. This art activity is interesting because you
can produce as many prints as you like from only one design.
Expectancies
After doing this activity, you should have the ability to:
Objectives
1. Know the technique in linoleum-cut printing/ rubber stamp
2. Make creative designs for reproduction
Materials
Linoleum block, about 5” x 7” or bigger, are basically needed. Soft wood like palo china,
lawanit, and linoleum are good materials for elementary wood-cut printing. Prepare also carving
tools, pointed cutter may be used water color (lack or colored ink or paint can be used instead),
brush, roller or smooth, round bottle, cardboard, a piece of a rag, and several pieces of paper.
These printing tools and materials may be prepared cooperatively by the whole class. Work on a
flat table covered with newspaper.

Procedure
Sketch a design on the surface of the linoleum or flat rubber. Carve it out with the use of
the carving tools. Be careful to avoid any accident. Study well what portions of the design should
be cut away and what portions are to be left. Portions cut away will produce white and portions
left will produce black or any color used. Have proper balance between the dark and white areas.
Varied cut strokes (fine, big, short, long, horizontal, vertical, slanting) may be used to create
texture on the design. Always move the carving tool away from your body. When the design is
finished, smoothen the surface with sandpaper. Wipe it dry with clean rag.
Apply ink or paint on carved design. Spread it evenly. Lay a piece of paper on top and
cover it with a cardboard. With a roller, press the paper on the wood-cut design for at least one
minute. Lift the paper slightly in one corner and see if the lines of the design show clearly. Remove
the paper carefully and let it dry on a clean, flat surface. Make other prints from the same design.

http://collagebarcelona.com/dev/wp-content/uploads/2016/01/Printing-Methods-Block-Printing-
Katharine-Watson5-800x490.jpg
Other Suggestions
1. One design may be done in several colors. Simply remove the first color used by
cleaning it with water (for water color) or thinner (for paint or ink). Wipe and dry it
well. Apply another color for printing.
2. If ink roller is not available, an ordinary rolling pin (for baking) or an empty bottle may
be used to press the paper on the wood-cut design. An old spoon may also be used.
3. Smaller wood-cut design may be used for making cards for all occasions
 4. A bigger wood-cut design may be done by a group of pupils. This is a more
encouraging activity.
5. Linoleum or rubber cuts may be used instead of wood.
6. Another similar printing technique is by the use of ordinary glass. No carving process
will be done. Make a good design, apply ink or paint directly on the glass surface. Lay
piece of paper on it. Remove the paper on both ends in a swift smooth movement. If
there are still paints left on the glass, repeat the process. You can change the design by
simply washing the glass.
7. Watch video on youtube https://www.youtube.com/watch?v=soVrto5reI0

Useful Terms
1. Wood-cut – this is the process of cutting away the part of the wood that will not print
and by inking the remaining parts or the raised surface. The paper is placed on the
wood surface and it is pressed with a roller or a wooden spoon.
2. Scraps – discarded or left-over materials; fragment
3. Linoleum – a hard, smooth, washable floor covering made of a mixture of ground cork,
wood. Gums, color pigments, and oxidized linseed oil laid on burlap or canvas backing.
4. Thinner – a liquefied substance for thinning or removing paint. Examples: turpentine,
lacquer thinner.

Evaluation
1. Examine your finished prints. Is there even distribution of paint or ink all over the
design? Are the lines and forms clearly shown?
2. Is there balance between the white and dark areas?
3. How did you make the textural effects in your design?
4. How many prints were you able to make from one design? Did you use other colors?

Figure 25: RUBBER STAMP OR LINOLEUM- CUT PRINTING

https://images.freeimages.com/images/premium/previews/1672/16724160-approved-rubber-
stamp.jpg