Art Appreciation Production Process

Report #6-11 - refers to the stages required to complete a media product from idea to the
final master copy
#6
3 MAIN STAGES OF PRODUCTION:
ARTS AND ARTISAN  Pre- Production
 Artist - planning, scripting, story boarding and etc.
- is a person who creates art. This word is used most often for persons and  Production
activities of 'high culture'. That is for example drawing, painting, sculpture, - actual shooting/ recording
acting, dancing, writing, filmmaking, photography, and music.  Post- Production
Artisan - everything between production and creating the final master copy
- is someone that works with their hands to create unique, functional and/or
decorative items using traditional techniques. Artisans are masters of their #7
craft and create products such as clothes, toys, tools or furnishings.
MEDUIM, TECHNIQUE, APPROACH (IN VISUAL ARTS, AUDITORY, AND COMBINED
MANAGER, CURATORS, BUYERS, COLLECTORS, ART DEALERS ARTS
Manager
- a person responsible for controlling or administering all or part of a Visual Arts
company or similar organization. - is an art or work of art that is visual in nature, such as ceramics, drawing,
Curators painting, sculpture, printmaking, design, crafts, photography, video, film
- a keeper or custodian of a museum or other collection. making and architecture
Buyers - Visual arts, was named as for it is become composed in space and can be
- a person who makes a purchase. seen.
Art Dealer - There arts was experienced through the eyes, as primary and sense of
- a person or business that buys and sells. touch like sculpture.
- The current usage of the term "visual arts" includes fine art as well as the
PRODUCTION PROCESS (PREPRODUCTION, PRODUCTION AND POSTPRODUCTION) applied, decorative arts and crafts, but this was not always the case.
- Before the Arts and Crafts Movement in Britain and elsewhere at the turn
of the 20th century, the term 'artist' was often restricted to a person
working in the fine arts (such as painting, sculpture, or printmaking) and
not the handicraft, craft, or applied art media

EXAMPLES OF VISUAL ARTS

 STAINED GLASS
- Stained glass art uses assembled pieces of colored glass to create pictures.
The translucent glass pieces allow light to produce various color values to
affect a glorious atmosphere. These pieces are assembled with strips of
lead or iron placed in positions that will hold the glass pieces. Subjects
were religious personages and images complementing the teachings of the
Church.
 DRAWING  SCULPTURE
- Drawings are the outlined designs of paintings. It is the most fundamental - It is a 3-dimensional work of art made of material like stone, metal, glass,
of the skills in the visual arts and is the route artists take to acquire wood, bronze, clay, iron, steel, paper, metal, marble, wood and even soap,
technique. It often sets the final designs in paintings, the rough draft of a chocolate, butter, balloons, ice, snow and sand. These are carved,
proposed work. The mediums used in drawing are pencil, lead, ink, pastel, assembled, constructed, fired, welded, molded, or cast and its final forms
chalk, charcoal, crayons and silverpoint. are often painted. Most of these are called statues, 3-dimensional images
of persons or animals shaped from solid substances.
 ACRYLIC FEATURES
- This is the most common medium, easily accessible and inexpensive. It is  Auditory
versatile as this synthetic paint may be mixed with water to tamper - is define that is connection of sounds and speaking. Auditory is the
thickness or thinness. It is flexible and can be applied to any space. It is capacity to hear and understand a certain tone. In art auditory is define as
quick to dry and does not crack or turn yellow with age. the element of sound.

 WATERCOLOR FEATURES  Combined Arts

- Pigment in watercolor is mixed with water rather than with oil. It dries - define as the combination of two medium into another form of art such
quickly, hence, it is a difficult medium to control. It is characterized by the like movies, drama, music, animation etc.
transparency of its texture which is controlled by the amount of water that
the artist mixes with the paint.
MEDUIM AND TECHNIQUES OF VISUAL ARTS/ COMBINED ARTS
 OIL. Features
- Color pigments are ground and mixed with linseed oil to produce a liquid- Medium
like constituency whose viscosity (thickness or fluidness) can be thinned by - Depending on objective of the sculptors, they use medium such as bronze
turpentine or any other solvent. It is a flexible medium. It is slow to dry, and stone (like marble, limestone and granite), precious materials (like
but it can be applied by any kind and size of airbrush. It can cover or gold, silver, jade and ivory), hard wood (like narra, molave), glass,
overlay previous layers, thus, create translucent effects in the terracotta, ceramics.
combinations of colors, or even erase what a painter may wish to change

 TEMPERA MEDIUM OF ART IN 2-D

- Pigments are taken from organic pigments mixed with egg. It is usually
applied on wooden panels surfaced with gesso (combination of gypsum
and gelatin). It dries quickly.

 FRESCO
- Fresco painting is produced when organic pigments are mixed with water
and applied to a damp plaster wall. This allows water to seep into the
surface and become a part of the wall and remains so until the wall falls.
This was the process that Michelangelo used in painting the ceiling of the
Sistine Chapel in Rome. 
 ENCAUSTIC
- Encaustic process adds colored pigments to heated beeswax. The mixture
is then applied to porous surfaces like wood. This is an ancient technique
used to paint portraits and other images on coffins.
MEDIUM OF ART IN 3-D
 - Stone teaches her practice to her cousin’s daughter-in-law and sister-in-law. She
- Granite was awarded in 2012.
- Marble
- Jade Uwang Ahadas, Musician
- Ivory - Yakan musical instruments aren’t the easiest or most affordable to
- Metal maintain, but Uwang Ahadas of Lamitan, Basilan made it his life’s work to
Mediums used in 3D
- Bronze master them. From an early age, he and his siblings were encouraged to
- Copper play these instruments, and he developed a passion for them, training
- Gold himself by observing older members of the community.
- Silver - At age 20, he broke tradition by reaching excellence in playing the
- Lead kwintangan, an instrument typically played by a woman. The instrument,
- Plaster made up of logs arranged beneath a tree near a rice field, is used to call for
abundant grains and rice growth. He is also dedicated to sharing his
Technique knowledge to younger folk; his teaching style is hands-on and supportive,
- A process or a method of using in a manner that he wishes to finish an giving his students his full attention. He was awarded in 2000.
artwork such Blowing, Itching, Printing, Transferring design, Tinkering,
Splattering, Throwing, Coloring, Flowing, Cutting, Auditory. Eduardo Mutuc, Metalsmith and Artist
- Having finished up to elementary school, Eduardo Mutuc, a farmer at the
GAMABA NATIONAL ARTIST time, became an apprentice to furniture carvers to earn additional income.
He had no prior knowledge of the work he was getting into, but this didn’t
Gawad sa Manlilikha ng Bayan (GAMABA) or also known as National Living stop him from expanding his experience and becoming one of the most
Treasure Award respected creators of religious and secular art today. He uses wood, silver,
- is the search for the finest traditional artists of the land. As envisioned and bronze to create exquisitely detailed and lifelike pieces of varying
under R.A. 7355, “Manlilikha ng Bayan” shall mean a citizen engaged in any sizes: altars, mirrors, retablos, and even carosas. Mutuc is based in Apalit,
traditional art uniquely Filipino whose distinctive skills have reached such a Pampanga. He was awarded in 2004.
high level of technical and artistic excellence and have been passed on to
and widely practiced by the present generation in his/her community with Lang Dulay, Textile Weaver
the same degree of technical and artistic competence. - In Lang Dulay’s family, the weaving of the t’nalak (a fine abaca cloth) took
place before or after farm work, when the weather was cool and the
GAMABA ARTISTS conditions were better for the product. Dulay, who grew up in Lake Sebu,
South Cotabato, was taught to weave by her mother when she was 12.
Magdalena Gamayo, Textile Weaver - As demand grew for new designs, she persisted and kept working with
- Based in Pinili, Ilocos Norte, Magdalena Gamayo took up weaving when traditional patterns, even though they were harder to complete — she
she was 16, guided by her aunt’s patterns. She received her first loom from knew around a hundred, including bulinglangit (clouds), kabangi (butterfly),
her father three years later, which she would end up using for 30 years. crocodiles, and flowers. She valued purity, so much so that she never
She taught herself traditional patterns, such as kusikus (whirlwind), washed her t’nalak with soap. She was awarded in 1998, and passed away
marurup (Milky Way), and sinan paddak ti pusa (cat’s pawprint), building in 2015
on the more common inuritan (geometric design) and sinan-sabong
(flowers). Samaon Sulaiman, Musician
- Gamayo’s skill and instinct are none more apparent than they are in her - Musician Samaon Sulaiman was a master of the kutyapi, a two-stringed
ability to replicate designs she’s only seen once. Her binakol, or woven lute that requires highly technical skill to play. The Maganoy, Maguindanao
cloth, continues to draw praise and awe for its above-average thread count native learned from his uncle, Pinagunay, at age 13, developing and
and uniform weave. To keep Ilocos’ abel weaving tradition alive, she learning different forms and styles of playing the instrument. The sound is
melodic and rhythmic, its effect meditative and captivating.
 - He was also proficient in playing instruments such as the kulintang, agong Salinta Monon, Textile Weaver
(a suspended gong with a wide rim), gandingan (a gong with a narrow rim), - Salinta Monon was 12 when she began learning to weave the inabal, a
and tambul. Sulaiman’s fascination for his craft led him to become an traditional Bagobo textile. In her home in Bansalan, Davao del Sur, Monon
influential teacher. He was awarded in 1993, and passed away in 2011. would isolate herself from family to be able to concentrate on creating her
cloths and skirts, which took three to four months and a month to finish,
Haja Amina Appi, Pandan mat weaver respectively.
- Weaving pandan mats is a long and difficult process that is handed down - Her favorite pattern, despite or because of its difficulty, was the binuwaya
from woman to woman across generations: Pandan leaves are harvested (crocodile), and she continued weaving until her death in 2009. For her,
and made into narrow, long strips, sun-dried, pressed, and dyed before not only was it a source of income, it was a source of pride as well. She and
finally becoming suitable for weaving. The resulting mats are used for her younger sister were the only Bagobo weavers left in their community,
sleeping and saying prayers, or given as gifts to newlyweds. and she dreamt of having a structure built for teaching new would-be
- Haja Amina Appi of Ungos Matata, Tandubas, Tawi-Tawi created intricate weavers. She was awarded in 1998.
mats that boast beautiful geometric designs, vibrant colors, and fine
symmetry. She was awarded National Living Treasure in 2004. She Masino Intaray, Chanter and Musician
experimented with her work and developed her own tints to create the - A member of the Pala’wan tribe, musician and epic chanter Masino Intaray
hues she had in mind. Appi passed away in 2013, but her art lives on was a master of the basal, a gong music ensemble played during rice
through her children and other young women in her community. cooking (tambilaw) and sharing (tinapay) rituals, which gather the
community as they serve offerings to Pala’wan rice god Ampo’t Paray.
Federico Caballero, Chanter and Educator - Intaray also performed the kulilal, a lyrical poem expressing love,
- Epic chanter Federico Caballero of Calinog, Iloilo was best known for his accompanied by two-stringed lute and bamboo zither, and the bagit, an
expertise in the Sugidanon, a Central Panay epic traditionally chanted instrumental piece about nature. His memory and determination guided
while lying on a hammock, and his work in the preservation of oral him in chanting through many successive nights, reciting epics, stories,
literature, documenting 10 Panay-Bukidnon epics in an extinct language myths of origin, and the teachings of ancestors. Intaray, who was awarded
with close ties to Kinaray-a. in 1993, passed away in 2013.
- His love of folklore began when he was young, hearing tales of grand
adventures as bedtime stories, and his mother taught him to recite epics in Darhata Sawabi, Textile Weaver
lieu of doing household chores. In his spare time, he also works with the - Darhata Sawabi’s mission was to lead young women towards making a
Department of Education’s Bureau of Non-Formal Education, teaching living out of her craft. The Parang, Sulu-based textile weaver’s primary
elders to read and write. He was awarded in 2000. creation was the headpiece pis siyabit — pis stands for the pattern, which
is said to be derived from India’s mandala, depicting spirituality through
Ginaw Bilog, Poet geometric forms, and siyabit refers to the hook and technique. She gained
- The Mangyan script is one of the four remaining syllabic scripts in the recognition for the precision of her work and her passion for preserving
country, and Ginaw Bilog’s work has been crucial to its preservation. Based traditional designs, as well as teaching the youth and was awarded in 2004.
in Mansalay, Oriental Mindoro, the poet was known for writing ambahan She passed away in 2005.
(a metaphoric poem comprising seven-syllable lines), first in a notebook,
then on traditionally used bamboo tubes. Teofilo Garcia, Gourd hatmaker
- The poems, often recited with music at social gatherings and used to - In San Quintin, Abra, Teofilo Garcia would often walk around town wearing
convey messages among the Hanunuo Mangyan, had topics like advising his gourd casques. Through word of mouth and his participation in the
the young, bidding a friend goodbye, and asking for a place to stay. Bilog, annual local harvest festival, Garcia was able to introduce the tabungaw
who was awarded in 1993, passed away in 2003. plant as a good and sturdy material for functional, elegant, and protective
hats. He produces everything he needs — planting and harvesting the
gourds, splitting and refining rattan for the lining, and weaving nito and
bamboo for accents himself — and usually takes seven days to finish a hat.
Awarded in 2012, he continues to experiment and work on new designs.
 - If you don’t want to completely change the layout of the seats, try a
Alonzo Saclag, Traditional dancer and Musician simple but effective change like using round tables. The roundtables
- It was through observation, time, and experience — rather than education help attendees naturally interact with one another. Therefore,
or training or any kind — that Alonzo Saclag of Lubuagan, Kalinga mastered attendees are more easily able to make connections keeping them
local musical instruments, along with dance patterns associated with engaged.  
rituals. Some of these are rarely performed, but done so with special
purposes, whether it’s preparing for retaliation, a victorious vindication for Book compelling speakers and talents
the community, or forging successful peace pacts. - While conventional seating layouts still exist and serve some events
- Saclag understands the importance of his practice and is a strong advocate well, there are many options beyond the basics that can enhance your
of passing on his knowledge and continuing the use of traditional dress and event. Consider unique seating layouts that encourage interaction.
adornments. His efforts have included formal education, reaching radio Different layouts can serve different purposes for your event so when
stations, and the formation of the Kalinga Budong Dance Troupe. He was choosing your layout think about what you need.  
awarded in 2000. - For example, a boardroom style layout with inward facing tables is
one of the most effective unique convention layouts for smaller
groups. This design creates a space in which the attendees recognize
EVENTS/EXHIBITS MANAGING AUDIENCE that participation is acceptable, desired, and even expected.
TIPS TO MANAGE AUDIENCE IN EVENTS - If you don’t want to completely change the layout of the seats, try a
simple but effective change like using round tables. The roundtables
Make it Fun help attendees naturally interact with one another. Therefore,
- By planning some interactive games that the audience will have fun with. attendees are more easily able to make connections keeping them
Any event can benefit from adding in games or competitions— engaged.  
otherwise known as event gamification .
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Here are some examples;
 Create a scavenger hunt that lasts for the entire duration of the event ELEMENTS OF ART
and have the last clue be related to the final keynote speech.
 Conduct product training sessions using virtual reality of augmented Visual arts
reality. - Visual arts are two-dimensional arts such as paintings and drawings, as
 Organize a raffle with winners being announced in between major well as three-dimensional arts such as sculpture and architecture. These
sessions. arts appeal first and foremost, though not exclusively; to the sense of sight,
 Hire professionals (magicians, musicians, acrobats, etc.) to provide and an artifact is an object in the visual medium. All the visual arts are also
spontaneous and high quality entertainment throughout the event. spatial arts or arts of space. In spatial arts, the entire work of art is present
simultaneously; attention to the parts of it is successive—it is impossible to
concentrate on the whole at once, at least on first viewing—but the entire
Have a unique layout object is nevertheless there, and it is up to the viewer which part he shall
- While conventional seating layouts still exist and serve some events examine first. In three-dimensional art, such as sculpture and architecture,
well, there are many options beyond the basics that can enhance your the entire object is present, but it is impossible to even to see (much less
event. Consider unique seating layouts that encourage interaction. to look at) all of it at once: the back of a statue cannot be seen at the same
Different layouts can serve different purposes for your event so when moment as the front and the exterior of a cathedral cannot be viewed by
choosing your layout think about what you need.   someone inside it.
- For example, a boardroom style layout with inward facing tables is - The elements of art are the basic components of art-marking. It is
one of the most effective unique convention layouts for smaller impossible to create a work of art without using at least one of the seven
groups. This design creates a space in which the attendees recognize elements of art. In order to be successful in art creation, an artist must be
that participation is acceptable, desired, and even expected.
 able to intelligently use the elements of art. Artwork can also be analyzed - The visible spectrum of radiation reflected from an object. Three
according to the use of the elements in a work of art. properties of color are:
 Hue – The name of the color (red, green, etc.)
1. Line.  Intensity or Saturation – The purity (brightness or dullness) of the
- A continuous mark made on a surface by a moving point; it may be flat color. Pure red is bright; red mixed with a little green becomes less
(pencil line) or three-dimensional (a rod, groove, ridge, etc.) Line may be intense, more neutral.
explicit - a line painted along the edge of the road - or implied by the edge  Value or Brightness – The lightness or darkness of a color. How much
of a shape or form. Lines are used to outline (diagrammatic or contour white or black shows through or is mixed in. Can be used to depict
lines), create shading and show form (structural lines, hatching and cross- light and shadow on a color and help show volume/form.
hatching), decorate, express emotion, and direct the viewer's eye. Lines - Other terms used to talk about color include tint, shade, tone, temperature
can be categorized as horizontal, vertical, diagonal, curved, and zigzag. (warm, cool, neutral), and various color harmonies or schemes, such as
- Lines can be hard, sharp, straight, and geometric; they can be organic, monochromatic, analogous and complementary.
smooth, soft, flowing, loopy, and wavy. 6. Value.
- Lines can remain a constant thickness (descriptive, analytical, objective, - How light or dark an object or element is, independent of its color. Shading
showing little of the action used to create them) or vary in thickness along uses value to depict light and shadow and show volume/form.
their length (flowing, calligraphic, lyrical, showing emphasis and something - In general, work using a full range of values will stand out more and be
of the gesture used to make them). visually richer and more pleasing. Purposely using a limited range of values
- Expressive, gestural lines shout the force, speed and emotion put into their (all darks, grays, or lights) can set the mood of the piece, from mysterious
making. They swoop, slash, scar, skip, skid, stutter, sing, whisper, drip, to peaceful to ethereal. Work that uses only very bright and very dark
bleed, splash across the surface. Lines that are sketchy and unsure express values, with no grays or middle tones, is very contrasts and can be very
uncertainty and weakness, and are generally less pleasing. More confident bold, stark and stylized.
lines left to build up as the artist attempts to capture her subject can
display character, process of investigation, and interest. Low Key and High Key
- Lines can loop closed around a shape and have no end-points (outline), or - Pictorial works that exhibit mostly dark values (dark or minimally lit subject
at the ends they can be flared, frayed, splayed, rounded, tapered, or cut off on dark background) are called low key, while works with brightly lit
at any angle. subjects and washed-out or white backgrounds are called high key. High
- Lines divide the space and volume they are in. At the same time, they can key is used in female portrait photography, for example, and can convey
unite and tie elements together. delicacy, innocence and dreaminess. Low key work can create a sense of
2. Shape. the nocturnal and secretive, of things hidden just beyond sight.
- An enclosed space defined by a line or by contrast to its surroundings. 7. Texture.
Shapes are two-dimensional (flat): circle, square, triangle, organic blob, The tactile sensation or feel of a surface (rough, smooth, spiky, etc.) or how
etc. In everyday usage, the word 'shape' is also used to talk about three- something appears to feel.
dimensional form, often as something of shorthand for referring to the
two-dimensional outline or silhouette of the object. When discussing art, THE PRINCIPLES OF DESIGN
you’re meaning will be clearer if you reserve using 'shape' to talk about 1. Balance.
two-dimensional shapes on a plane. - The distribution of interest or visual weight in a work. If all the visually
3. Form. interesting elements of a work are centered in one spot, the work is off-
- A three-dimensional object: a defined volume of space. balance and the viewer's gaze will be stuck in one place, ignoring the rest
4. Space. of the piece. A balanced piece of work will have art elements arranged
- The distance or area around or between elements of an artwork. The such that different areas draw the viewer's eye around or through the
illusion of depth created on a flat surface through the use of perspective, whole piece. Some types of balance are symmetric, asymmetric, and radial.
overlapping elements, size, and level of detail, color and value. - The concept of visual balance is often illustrated using a seesaw. Like a
seesaw, when two elements of an artwork have the same visual weight
5. Color. and are on opposite sides of the center, equally distant from it, they
 balance. Likewise, a smaller element can balance out a larger one if the - In a still picture such as a painting or photograph, where nothing is actually
smaller one is farther from the center and the larger one nearer. In two- moving, various strategies can be used to give the viewer a sense of
dimensional art, the center of the work serves as the fulcrum (the visual movement and speed, or to move the viewer's eye through the work.
center). In three-dimensional art, visual balance and the physical balance These include lines, diagonals and unbalanced elements; blurring;
of mass both come into play, and the balance of one does not assure the placement; direction; and motion lines and afterimages.
balance of the other. 6. Repetition, Rhythm and Pattern.
2. Contrast. - Repeating art elements in regular or cyclical fashion to create interest,
- The difference in quality between two instances of an art element, or using movement, and/or harmony and unity. Rhythms can be random, regular,
opposing qualities next to each other. For example, black and white alternating, flowing, and progressive. Classes of pattern include mosaics,
(contrasting values), organic/curvy and geometric/angular (contrasting lattices, spirals, meanders, waves, symmetry and fractals, among others.
lines/shapes/forms), and rough and smooth (contrasting textures). 7. Proportion and Scale.
- The greater the contrast, the more something will stand out and call - Proportion is the relationship of sizes between different parts of a work.
attention to itself. This applies to whole works of art as well as areas within For example, how wide it is compared to how tall it is. Some proportions,
an artwork. Areas with greater contrast in value (stronger darks and lights) such as the golden ratio and the rule of thirds, are thought to be more
will tend to appear more forward in space, as over distance atmospheric naturally pleasing. Scale is the size of something compared to the world in
haze lessens contrast (atmospheric perspective). Contrast can also be used general - an artwork might be termed miniature, small scale, full scale or
to set the mood or tone of the work. High contrast makes a work more life-size, large scale or larger than life, or monumental.
vibrant, vigorous, brash, lively - it "pops" more. Low-contrast work is more 8. Variety and Variation.
quiet, calm, subtle, reflective, and soothing. - Using a range of different qualities or instances of an art element to create
3. Emphasis, Dominance and Focal Point. a desired visual effect - e.g., a variety of shapes, colors, etc. Variety can add
- Emphasis is created by visually reinforcing something we want the viewer interest and break the monotony of simple repetitions.
to pay attention to. Focal points are areas of interest the viewer's eyes skip
to. The strongest focal point with the greatest visual weight is the
dominant element of the work. Elements of secondary importance could VISUAL ELEMENTS OF ART
be termed sub-dominant, and elements with the least visual weight - The Visual Elements of line, shape, tone, color, pattern, texture and
subordinate. Isolation, leading lines and convergence, contrast, anomaly, form are the building blocks of composition in art. When we analyses any
size, placement, framing, focus and depth of field and absence of focal drawing, painting, sculpture or design, we examine these component parts
points are some of the strategies used to help create these degrees of to see how they combine to create the overall effect of the artwork
importance.
4. Harmony and Unity. The Visual Elements have a relationship to one another:
- Harmonious elements have a logical relationship or progression - in some  Most images begin their life as line drawings.
way they work together and complement each other. When a jarring  Lines cross over one another to form shapes.
element is added - something that goes against the whole - it is said to be  Shapes can be filled with tone and color, or repeated to create pattern.
dissonant, just like an off-note in a musical performance. Unity is created  A shape may be rendered with a rough surface to create a texture.
by using harmonious similarity and repetition, continuance, proximity and  A shape may be projected into three dimensions to create form.
alignment, and closure of design elements in different parts of the work so
that the parts RELATE to each other and create a unified whole, that can be
-Each of the elements may also be used individually to stress their own
greater than the sum of the parts, rather than an ill-fitting and meaningless
particular character in an artwork. Different elements can express qualities
assortment of elements.
such as movement and rhythm, space and depth, growth and structure,
5. Movement.
harmony and contrast, noise and calm and a wide range of emotions that
- Using art elements to direct a viewer's eye along a path through the
make up the subjects of great art.
artwork, and/or to show movement, action and direction. Also, giving
AUDITORY ARTS
some elements the ability to be moved or move on their own, via internal
or external power.
 - Auditory art is music except for songs or opera. While the medium of visual others see it as an index of social decline and youth criminality. Local
art is sound, the medium of auditory art is sound. In this group, there are government agencies and public transport authorities make significant
no real objects that can be viewed and or touched. “…Unlike the existence financial outlays in graffiti prevention initiatives and graffiti removal
of paintings and sculptures, the existence of musical sounds is intermittent. schemes. Financial costs can also be considerable to private households,
In what sense, then, does the music exist between performances? It exists local traders and schools. It has been estimated that “graffiti vandalism
only in the sense that it is reproducible from the written score…” costs the Australian community approximately $200 million annually”
(Britannica).Music is a temporal form of the arts, or arts of time. (Keep South Australia Beautiful, 2000). Hundreds of incidents of graffiti and
vandalism are processed as crimes each year. The majority, however, elude
COMBINED ARTS either civil or criminal sanction.
- Combined arts combine the above three types of arts. This group is the art
of performance. “…Drama combines the art of literature (verbal art) with POETRY-PERFORMANCE
the visual arts of costuming, stage designing, and so on. Opera combines - Performance poetry is poetry that is specifically composed for or during
the art of music (its predominant component) with the art of literature performance before an audience. During the 1980s, the term came into
(the libretto) and the visual arts of stage design. Dance combines the visual popular usage to describe poetry written or composed exclusively for
spectacle of moving bodies (the principal component) with musical performance and not for print distribution. Whereas poetry readings
accompaniment, sometimes with accompanying words and often with featured poets reading their printed books for a live audience, some of
stage design. Song combines words with music. The motion picture which were recorded on audio media, performance poets use a different
combines the visual component (a series of pictures presented in such style of writing poetry that is less conducive to print and better suited for
rapid succession that they appear to be moving) with the verbal their oral presentations. Conversely, much performance poetry does not
component (the script) and usually an intermittent musical background as work well when printed in books. Performance poets are often not
well. academically trained in writing poetry. Their poetic allusions are to pop
culture rather than to the great literature of the past. Consequently, many
#9 performance poets are denied credibility by Academics, but are able to
build a greater audience for poetry by communicating to a wider range of
ARTS people.
- Art is generally understood as any activity or product done by people with
a communicative or aesthetic purpose—something that expresses an idea, DIGITAL ARTS
an emotion or, more generally, a world view. It is a component of culture, - Digital art is work made with digital technology or presented on digital
reflecting economic and social substrates in its design. It transmits ideas technology. This includes images done completely on computer or hand-
and values inherent in every culture across space and time. Its role changes drawn images scanned into a computer and finished using a software
through time, acquiring more of an aesthetic component here and a socio- program like Adobe Illustrator. Digital art can also involve animation and
educational function there. 3D virtual sculpture renderings as well as projects that combine several
technologies. Some digital art involves manipulation of video images.
PERFORMANCE ART
- Performance art refers to an artwork dependent on the presence of the
artist hisself or herself, rather than an artifact made by him or her. A genre #10
of art-making in which the artwork is the artist performing—usually live
but often in a film or video. Transcreation
Transcreation
GRAFFITI -  is a term used chiefly by advertising and marketing professionals to refer
- Graffiti is both art and crime. It is also an issue of great significance to local to the process of adapting a message from one language to another, while
communities, local government, police, public transport agencies, and maintaining its intent, style, tone, and context. A successfully transcreated
young people. Individuals within these groups can be affected in various message evokes the same emotions and carries the same implications in
ways by graffiti: some find the activity and/or its results attractive, while the target language as it does in the source language. Increasingly,
 transcreation is used in global marketing and advertising campaigns as  Taglines
advertisers seek to transcend the boundaries of culture and language. It  General Branding Materials
also takes account of images which are used within a creative message,  Humor
ensuring that they are suitable for the target local market.  Country-Specifi c Phrases
- Terms with meanings similar to transcreation include ‘creative translation’,  Wordplay
‘cross-market copywriting’, ‘international copy adaptation’, ‘free-style
translation‘, ‘marketing translation’, ‘internationalization’, ‘localization’, AN EFFECTIVE TOOL FOR GLOBALIZATION
and ‘cultural adaptation’. For each of these words and phrases, the aim is - Transcreation services only accounted for roughly four percent of the
similar: taking the essence of a message and re-creating it in another language industry in 2016, and only around 30 percent of Language Service
language and/or dialect. In fact, the term "transcreation" comes from the Providers offer the service, according to Common Sense Advisory.
joining of the words "translation" and "creation". It is not only a mere act - That doesn’t mean, however, it’s not an effective tool for global content
to translate a message, but it is also a creative process where the creation – just ask Braniff execs. The method is just another way to localize
professional needs to take into account the cultural differences of the global materials, and CSA reports more and more language companies are
countries, make use of them and have marketing benefits for the adding it to their repertoire of services.
company. - No matter what you need translated, it’s always important to take into
consideration your audience, project scope and end goal when deciding on
Transcreation Defined which localization method is best for you.
- Strong translators are a necessary piece of any brand localization project, - Transcreation is a special type of translation that preserves the message
but sometimes translation alone doesn’t cut it. This is especially true when from one language and transfers it into another language, either through
it comes to idioms or figures of speech that aren’t universally realized. This written content or visual design.
is where transcreation comes in. - Transcreation translates the cultural context of a text (e.g., advertisement,
flyer, website) from one language to another. Good transcreation
Transcreation (translation + creation) prioritizes the ideas, concepts, feelings, and reactions of these texts over
- is the act of changing a text to make its meaning culturally appropriate for word-for-word translation, but it maintains the design elements of your
a target market. Translation, on the other hand, is the verbatim transfer of original content for consistency. This ensures that your message has the
text from one language to another. Transcreation takes into consideration same impact and resonance, no matter where in the world it’s received.
the slight subtleties that could slip through unnoticed and cause, like in - Transcreation is a key part of any company’s international strategy. It can
Braniff’s case, some big problems. be introduced early or late in their content planning, but in either case
transcreators should work closely with your marketing team to preserve
Transcreati on the intent behind your content.
- takes more ti me and resources than a word-for-word document - Effective transcreators need to be native in the target language, possess
translati on, but the extra work can pay off . When materials are excellent language skills, and be familiar with the cultural background and
transcreated, clients work with nati ve speakers and creati ve history of the target audience. Transcreators must also understand
copywriters to get their message across. marketing and advertising, be intimately familiar with both your company
- The method is usually used in the marketi ng and adverti sing and the target society, and they should possess a strong level of creativity.
fi eld as a way to adapt creati ve messages or slogans to global
audiences. But transcreati on might also be used in a situati on Background
where a message’s creator and its intended recipient speak the - Transcreation is a relatively new term and its precise meaning is still being
same language; for example, Britons might not understand defined. In 2000 the term was registered as UK Trademark No. 2222617 by
some American phrases and vice versa. United Publicity Services Plc; this registration as a trademark expired in
February 2010.
- When first used in the 1960s and 1970s transcreation was a term coined to
Transcreati on can be of use when translati ng the following: describe the translation of creative ad copy. UPS Translations (now part of
 Idioms Intonation Translations) subsequently developed the term into a specific
 process for tackling the translation of highly creative language, rather than - Transcreation refers to the process of taking a message that was created in
merely a general term to describe creative translations. one language and conveying it in another language, without the loss of
- An alternative explanation of the etymology of transcreation is it is thought salience. While, in theory, any message is a candidate for transcreation,
by some to have originated in the computer and video game industry in the bulk of transcreative work performed to date has been in the
the 1980s. According to this view, early manufacturers found that merely advertising industry in media such as brochures, TV and radio ads aimed at
translating the words (written and spoken) used in the games was not end clients, and posters and flyers distributed to resellers. Websites are
sufficient to satisfy the majority of users in targeted markets. To make the also the subject of much transcreation.
games more enjoyable and relevant to users in different cultures, the
- As markets continue to broaden, advertisers face special challenges. To be
makers began to tailor images and modify story lines to match the culture
effective, advertising must reach hearts as well as minds. Thus, the ability
and expectations of those users.
to transcend language and cultural boundaries is paramount to achieving
- In the 1990s, marketers and advertising agencies with international
an effective global marketing strategy. Not only must copy be translated
accounts began using the term transcreation to distinguish their work in
correctly, but other factors must also be considered, such as culture,
this field from translation. The implication is that, when bringing an
mores, dialects, idiom, humor, and context. Any perceived lack of respect
existing advertising campaign to a market outside the source language,
for heritage, local values, beliefs and cultures may have a negative impact
much more is needed than a translation.
on consumers. To meet these challenges, companies that market
- Transcreation is now a mainstream term in the Anglophone advertising
internationally are increasingly using transcreation, whether via their
and translation community. The American market research company,
advertising company or with a company specializing in transcreation.
Common Sense Advisory, one of the major publishers of industry
references for language service providers (LSPs), has recently published a - The goal of transcreation is to transfer the intent, style, vocal tone, and
large selection of articles featuring transcreation. The term is also emotional salience of the message from the source language to that of the
recognized in Asian countries, including China. In 2010, the Chinese design targeted audience.
and advertising publication, Modern Advertising Magazine, discussed the
- The process thus requires expertise in marketing, as well as linguistic skills
term in an article for the first time.
and a firm grasp of targeted cultures.
- As the concept of transcreation has taken hold, advertising agencies and
marketers, realizing its importance, have added departments dedicated to - Most transcreation is performed by in-market copywriters specializing in
this service. Also, companies have sprung up that specialize in the practice. As is the case with translation, the work is performed by a
transcreative projects. These companies produce no original copy person whose native language is that of the targeted audience. To produce
themselves, but are rather hired by international marketers and their effective transcreation, local language copywriters need to have an
advertising agencies to perform the process. extensive knowledge of their market, excellent language skills, and the
- An example of how the concept has permeated other spheres is the ability to creatively adapt messages for their target market, all the while
collaboration between Marvel Comics and Gotham Entertainment Group in possessing skills in advertising copywriting.
2004, to produce a comic book for the Indian market featuring an Indian-
- Transcreation is used to market to different countries as well as different
born Spider-Man whose “real” name is PavitrPrabhakar. Thus, rather than
cultures within a country. Thus, the increasing Hispanic population in the
battling the Green Goblin in the canyons of New York City, Prabhakar, clad
U.S. provides many opportunities for same-country transcreation.
in a dhoti, fights the demon Rahshasa against backdrops such as the
TajMahal. "Unlike traditional translations of American comics, Spider-Man
India will become the first-ever 'transcreation', where we reinvent the
origin of a Western property," said SharadDevarajan, the chief executive of
the Gotham Entertainment Group. The goal in this case closely matched
that of cross-cultural marketers: to make Spider-Man more relevant to the
Transcreation and Translation
Indian audience, establish a deeper emotional connection with readers,
and thus sell more comic books. - Translation and transcreation are related processes, but they are not
identical. Translation in the Western world has a centuries-long history and
Purpose
has been marked in practice by two “ideal” approaches – metaphrase
 (word-for-word translation) – and paraphrase (i.e. “say in other words”). - (also called harmony)
Due to idiom and the wide variety of local usages, word-for-word - is an important principle of design that gives the artwork a sense of
translation has long been considered inadequate and the best translations cohesion or coherence. It is the wholeness or completeness of a picture.
take into account the vocabulary, grammar, syntax, idiom and local usage - Unity and harmony in art are used by artists to tie a composition together
of the target audience while remaining faithful to the text, and context, of and help the composition make sense as a whole piece of art.
the original document. - Unity in design occurs when the elements in a space work together in such
a way that resulting look is balance and harmonious. It is difficult to
- Transcreation expands upon translation by focusing not so much on the
achieve unity without harmony.
literal text, but on discerning the emotional response by viewers in the
Harmony
source language and working to elicit the same response from viewers in
- is the principle which producesan impressionof unity through the selection
the target market. It is about “taking a concept in one language, and
and arrangement of consistent objects or ideas. And hapve 5 aspects such
completely recreating it in another.”
as harmony of line and shape, size, color, texture, and idea.
- Absolute fidelity to the text is secondary to eliciting the desired emotional - Harmony is accomplished by the repetition of a particular design element
response by the target audience. Because differences between cultures are such as color, shape, texture, etc., therefore harmony is what creates the
so numerous, eliciting the same emotional reaction may also necessitate sense of unity.
changes in the context of the message. According to transcreation agency
Words in Translation, this contextual change can range from modern emoji Transitional lines - softens and modifies other lines.
to deep-seated colour symbolism.
Designed by Schaub & Srote
- Companies seeking to market a product across different languages and
cultures have a spectrum of viable services from which to choose, ranging
RHYTHM and VARIATION
from mechanical translation on one end to the full resources of a
multinational advertising agency on the other. Transcreation agencies,
Rhythm
which add marketing and copywriting expertise to the translation process,
- the principle of design that refers to a regular movement implied through
lie at the center of this spectrum. The right choice depends on the nature
the repetition of elements of art in a non-uniform but organized way. It is
of the message, how it will be used to reach the target language, the
related to rhythm in music. Unlike pattern, which demands consistency,
marketing objective of the advertiser and the financial resources of the
rhythm relies on variety.
company requiring the service.
There are 5 different methods of showing rhythm; Alternating, Flowing,
Progressive, Random, and Regular.
#11
 Alternating
The Principles of Design
- Alternating rhythm uses 2 or more interchangeable patters or designs
- The principles of design are ways to organize the elements of art (line,
that are repeated throughout a piece. In this piece, the same design is
shape, color, form, space, value, texture) to create a wide range of effects.
used, but the use of different colors creates an alternating rhythm.
 Flowing
Design
- Flowing rhythm is a rhythm in which movement is shown, most often with
- is a method; to reach a specified objective. Design is how we solve problem
organic shapes.
in our own way- objectively.
- A plan or drawing produced to show the look and function or workings of a
 Progressive
building, garment, or other object before it is built or made.
- Progressive rhythm shows a sequence of motifs/forms through a
progression of steps.
UNITY AND HARMONY
 Random
Unity
- Random rhythm is when a picture has no pattern what-so-ever.
  Regular - is the size relationship between the various parts of an artwork. Artists can
- Regular rhythm is a regular arrangement of parallel lines.It has identical use the scale and proportion to create sensations such as depth, realism,
motifs and equal amounts of space between.It also has a steady beat, and disorientation, and drama.
it can be boring is overdone. Proportion in art
- is the comparative harmonious relationship between two or more
There are two classification of rhythm the formal and informal rhythm. elements in a composition with respect to size, colour, quantity, degree,
1.) Formal/ Uniform Rhythm setting, etc.; i.e. ratio. A relationship is created when two or more
- the repetition of a motif in regular arrangement. elements are put together in a composition. This relationship is said to be
2.) Informal/ Free Rhythm harmonious when a correct or desirable relationship exists between the
- the repetition of a motifwith variation in its form and arrangement. elements. This refers to the correct sizing and distribution of an element or
object, which creates good proportion. Good proportion adds harmony
VARIETY and symmetry, or balance, among the parts of a design as a whole.
- Variety refers to the elements of a composition that differ from one - Proportion is usually not even noticed until something is out of proportion.
another. Variety creates visual interest and energy. When the relative size of two elements being compared seems wrong, or
- A lot of variety can make an artwork look busy or overwhelming. When out of balance, it is said to be "out of proportion". For example if a person
paired with unity, variety offers the viewer points of interest. has a head larger than their entire body, then we would say that they were
out of proportion.
BALANCE AND PROPORTION
As a principle of art, balance
- refers to the distribution of weight in a composition. While actual weight is
a factor in sculpture and architecture, the principle of balance most often
refers to the visual heaviness of shapes and forms in an artwork. An
artwork’s balance affects the equality and tension of the composition and
can lend a feeling of calm or chaos to the work.

THREE TYPES OF BALANCE

1. Symmetrical Balance
- An artwork with symmetrical balance is well-balanced and looks even and
stable. When one side of an artwork mirrors the other, it has absolute EMPHASIS AND SUBORDINATION (FOCAL POINT)
symmetry. When the symmetrical balance is not exact, it is called bilateral Emphasis
symmetry. - is defined as an area or object within the artwork that draws attention and
2. Asymmetrical Balance becomes a focal point.
- An artwork with asymmetrical balance is “heavier” or “lighter” in some Subordination
areas, looks unstable, and can make the viewer uncomfortable. - is defined as minimizing or toning down other compositional elements in
Asymmetric balance adds a dynamic look to artworks and often draws order to bring attention to the focal point.
attention to focal points in the composition. Focal point
3. Radial Balance - refers to an area in the composition that has the most significance, an area
- An artwork with radial balance is arranged around a central component. that the artist wants to draw attention to as the most important aspect.
Forms and objects in a radially balanced composition appear to radiate out
of the circular focal point of the artwork. With radial balance, one can
imagine the artwork as equal pieces of a pie.

Proportion