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Ge 6 Module 14

Visual elements like line, shape, tone, color, pattern, texture and form are the basic components of Philippine traditional motifs and crafts. Lines can indicate forms and emotions. Shapes can be organic or geometric. Tone modifies color to set mood. Color elicits strong emotions. Patterns repeat visual elements for unity and movement. Texture is an art's surface quality. Form gives structure and dimension. Indigenous scripts, tattoos, paintings, carvings and ornamentation demonstrate local artistic traditions. Pottery, weaving and other crafts feature cultural symbols and designs.

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2K views20 pages

Ge 6 Module 14

Visual elements like line, shape, tone, color, pattern, texture and form are the basic components of Philippine traditional motifs and crafts. Lines can indicate forms and emotions. Shapes can be organic or geometric. Tone modifies color to set mood. Color elicits strong emotions. Patterns repeat visual elements for unity and movement. Texture is an art's surface quality. Form gives structure and dimension. Indigenous scripts, tattoos, paintings, carvings and ornamentation demonstrate local artistic traditions. Pottery, weaving and other crafts feature cultural symbols and designs.

Uploaded by

levi_rodriguez_18
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Visual Elements in

Philippine Traditional
Motifs and Crafts
Module 14
LINES
Line is the base of any illustration. It is the first visual feature in art and
the most flexible. A line can be found in a piece of art in several
respects. It may serve as an indicator of form, pattern, shape, structure,
development, depth, distance, rhythm, motion, and various emotions.

We have a psychological response to different types of lines:

Curved lines suggest comfort and ease


Horizontal lines suggest distance and calm
Vertical lines suggest height and strength
Jagged lines suggest turmoil and anxiety
SHAPES
Shape may be organic or human-made, ordinary or angular, smooth (2-
dimensional) or rigid (3-dimensional), representational or abstract,
geometric or organic, transparent or opaque, positive or negative,
decorative or symbolic, colored, patterned or textured.

TONE
Tone is the color's lightness or ambiguity. An artwork can be
modified to change its expressive character with its tonal values.
COLOR
Color is the most important visual factor of our emotions. Therefore, we
use color to construct an artwork's mood or atmosphere.

PATTERN
Pattern consists of the repetition or echo of the elements of a piece
of art to convey a sense of unity, harmony, contrast, rhythm, or motion.
In art, there are two main models: natural patterns and human-made
patterns. Natural and human patterns may be either regular or irregular,
organic or geometrical, structural or decorative.
TEXTURE
Texture is an art's surface appearance — the ruggedness or smoothness
of its material. In two ways, we perceive texture: optically (by sight) and
physically (by touch).

FORM
Form is the intrinsic dimension of a structure and the space in it.
GRAPHIC AND
PLASTIC ART
Folk Writing
The Philippines has numerous indigenous scripts collectively called as suyat,
each of which has their own forms and styles of calligraphy. Various ethno-
linguistic groups in the Philippines prior to Spanish colonization in the 16th
century up to the independence era in the 21st century have used the scripts
with various mediums.

These four scripts:


Hanunó'o/hanunoo of the Hanuno'o Mangyan
Buhid/build of the Buhid Mangyan
Tagbanwa script of the Tagbanwa
Palaw'an/pala'wan (ibalnan) of the Palaw'an
Buhid script sample Hanunó'o calligraphy
written on bamboo

Tagbanwa calligraphy
written on a musical
instrument
Folk Painting and Drawing

A portion of the Angono Petroglyphs (6000-2000 BC)


Folk Painting and Drawing

Painting made with the Waray people Painted buraq wood sculpture Painted ivory statue of St. Joseph
’s kut-kut technique, developed in from Muslims of Bangsamoro (17th century)
Samar
TATOOING

Whang-Od crafting a tattoo


(21st century)

Pintados
Igorot Tatoo
PHYSICAL ORNAMENTATION
Kattagang. Woven Pasil, Kalinga headgear
with frozen fabrics. The object's nature and
color are specific to the cultures of Kalinga.
Personal decoration of the person that is
also used to store personal items like
tobacco.

Appaki Necklace. A collar


made from Appaki plant
Tangkil. An ornament with the upper seeds. In the villages in the
arm of a man made out of boar’s Cordillera, this is widely used.
tusks. With a weave and a rattan tie. Strings longer than the Ifugao
Men wear a pair of this during Duke (this collection), normally
ceremonies and rituals, for instance part of the shirt.
during the rice begnas ritual.
PHYSICAL ORNAMENTATION

SUKLONG - A luxurious knit headgear of dyed, tusk and beads.


In the middle is a pin with an eagle pattern. It was worn by people
Arm Beads. Arm ornament worn by
Tingguian women of Abra's ethnic
and used primarily as a market for personal products like
group. It is made of glass and pottery. cigarettes. It is worn on the back of the head and secured
through the front with the black beads. In the Bontoc –
Kankanaey sector, several other designs are available. Some
elders also wear Suklong at fiestas and occasions in Bontoc and
neighboring villages
PHYSICAL ORNAMENTATION

Boaya Necklace. A necklace that consists of boar's


tusks and runo in the center. Men wear it alongside
Dukaw or Chukaw. An anthropomorphic bronze figure tangkil during ceremonies and rituals, such as the
tied to a tiny wood. It is part of a dung-dung, worn on ceremony of begnas for the rice manufacture. It is
a female head during the celebration of her marriage worn during ceremonies by priests and warriors.
called Uya-uy. It was seen mainly by the Kadangyan Older versions of this product consist of crocodile
elite of Ifugao. The dukaw's headdress is attached to teeth, so the ornament is given the crocodile local
the long bead loops. term's names.
POTTERY
KALINGA POTTERY
Kalinga Pottery Clay vessels of
Kalinga are classified into three
types:

rice cooking (ittoyom),


vegetable / meat cooking (oppaya),
and water storage (immosso) pots.
Ifugao’s Symbol Present in their Traditional
Textile
Lightning- The symbol is used to signify the sacrifices a man can make
to meet his superior gods, which is impossible. One must communicate
with the superior gods with the aid of a messenger deity.

Star Pattern- A star is also considered to be a son of the sun and the
moon, often regarded as a deity.

Symbol- The image is a design only made to wear by a warrior


headhunter and his wife or daughter.

Lizard symbolizes riches and good fortune for the Ifugaos


Put design on the pot using coloring materials according
to your preference. You can play with the elements of art
to make your output colorful and interesting
ALTERNATIVE RESOURCES

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