Module 4: Art as an Artistic Design PDF

Module 4 Week No: 15 – 17 Title of Module: Art as an Artistic Design This module consists of two lessons namely: Lesson 1: Traditional Motifs and Okir in the Philippines Lesson 2: Soul-Making Overview The day-to-day situation of our life...

Module 4 Week No: 15 – 17 Title of Module: Art as an Artistic Design This module consists of two lessons namely: Lesson 1: Traditional Motifs and Okir in the Philippines Lesson 2: Soul-Making Overview The day-to-day situation of our life can be used for prevention and preparation and the aspects of the creation of man which can apply to day to day needs of humans and you will also recognize such artworks made by the artist and how those artworks made contributions to society. Also, soul-making is the theory that evil has to exist so that humans can develop their souls by living and becoming good, moral people. It gives humans a chance to learn from suffering and develop moral virtues. Expected Output: Okir Making, Reflection Paper, Coffee Painting, Art Talk Module Time Allotment (weeks or hours): 3 weeks / 9 hours LESSON 1: Traditional Motifs and Okir in the Philippines ABOUT THE LESSON: Decorative designs in traditional Philippine handiworks feature visual elements of art. This module focuses on various traditional artworks or handicrafts that made marks on all Filipinos and are still in use today. We will also begin to deeply value our identity once we have learned to decipher their beliefs, values, and ways of life by closely examining their works. At the end of the lesson, you will be able to: LO1. Trace the historical development of the Philippine Traditional Motifs and Okir LO2. Name the various Philippine traditional arts LO3. Describe the concept of Okir with a large degree of independence LO4. Interpret the various Okir Patterns used by the Maranao Artist LEARNING OUTPUTS/REQUIREMENTS: Okir-Making, Reflection Paper LESSON TIME ALLOTMENT: 4.5 hours Address: Hilltop Road, Brgy. Kumintang Ibaba, Batangas City 4200, Philippines Telephone Numbers: +63 43 723 1446 | 980 0041 Website: www.ub.edu.ph LEARNING ACTIVITIES: Video – React https://youtu.be/o-H6Z16a3Xs 1. Watch the video in the link provided above. 2. Provide a 3 – 5 sentence reaction about the content of the video. 3. Post your outputs in our LMS Discussion Brief History of the Philippine Arts The Philippines has various forms of arts that are developed and accumulated from the very beginning of civilization up to the present era. They mirror the nation's way of life, including indigenous types of expressions of the human experience. The motif is an element of an image that may be repeated in a pattern or design or may occur once in a work. Now, how the traditional motifs and crafts began? What are the highlighted features which made them remarkable before now and then? And how do the various traditional crafts were developed? Address: Hilltop Road, Brgy. Kumintang Ibaba, Batangas City 4200, Philippines Telephone Numbers: +63 43 723 1446 | 980 0041 Website: www.ub.edu.ph Brief History of the Philippine Arts Philippine Art has its “past” and “present” yet it still continues to develop through various contemporary artists. The past history of Philippine Art has gone through various processes for its production. With their different context in terms of style, history, and culture, the symbols and meanings of the artworks are depicted. For one to understand the importance and influence of Philippine Art to the present here are some highlights that made a mark on Philippine Art. Manunggul Cave,1960 During Pre- Colonial period the Philippine arts are used for ritual purposes or for everyday use. As local communities become established, art starts to go beyond mere craft, stone weapons or jewelry and starts to have decorative elements, meaning, and context. It also highlights such geometric designs and patterns eliciting focus from believers. When the Spaniards arrived in the Philippines in 1521, the colonizers used art as a tool to propagate the Catholic faith through beautiful images. With communication as a problem, the friars used images to explain the concepts behind Catholicism and to tell the stories of Christ’s life and passion. The following which made highlighted during the Spanish period are Damian Domingo a.k.s Damian Gabor Domingo he is the first Filipino to paint his face, the first self-portrait in the Philippines, the Founder of the Academia de Dibujo y Pintura, the first school of drawing in the Philippines (1821) "Father of Filipino Painting" ALIAS "The First Great Filipino Painter" and he established the Academia de Dibujo y Pintura in 1821. Ladawan.Damian From one colonizer to another after more than three centuries of Spanish rule, the Americans came. They set out to conquer the Filipinos through education and governance of the public school system and a system of government. Aside from Domingo, there are painters who made marks in the Philippine arts such as Fabian de la Rosa (1869 – 1937) was the first painter of note for the 20th century. He was noted for his realistic portraits, genre, and landscapes in subdued colors. He was enrolled at the Escuela de Bellas Artes y Dibujo and took lessons from Lorenzo Guerrero he emerged during the classism period in the Philippines. Modernism would have its seeds planted in the 1890s with Miguel Zaragosa’s two pointillist works. Emilio Alvero later produced several Impressionist still-life paintings. But it would take an architect to give modernism its needed boost in the country. Address: Hilltop Road, Brgy. Kumintang Ibaba, Batangas City 4200, Philippines Telephone Numbers: +63 43 723 1446 | 980 0041 Website: www.ub.edu.ph  Juan Arellano would be known as an architect but his Impressionist landscapes are as impressive as his buildings and Carlos “Botong” Francisco, (1913 – 1969), an Angono-based painter, depicted Philippine history in his “History of Manila” mural at the Manila City Hall. Fabian dela Rosa Emilio Alvero’s painting Juan Arellano And another famous Filipino artist that emerge during this time, is Juan Luna de San Pedro y Novicio Ancheta, better known as Juan Luna, who was a Filipino painter, sculptor, and political activist of the Philippine Revolution during the late 19th century. He became one of the first recognized Philippine artists. Luna painted literary and historical scenes, some with an underscore of political commentary. His allegorical works were inspired by classical balance, and often showed figures in theatrical poses. While upon the arrival of the Japanese caused tremendous fear, hardships, and suffering among the Filipinos. The Filipino way of life was greatly affected during the Japanese period. The Filipinos lost their freedom of speech and expression. The development of art was also stopped. Filipinos greatly feared "zoning". There were Filipino spies hired by the Japanese to point out those who were suspected of being part of the guerilla movement. The Japanese made some changes in the system of education. Under their rule, the Japanese imposed their own music on the country. Japanese music was heard daily in radio broadcasts. Their songs were also taught in public schools. Students, however, never took these songs to heart. In response to the Japanese propaganda, Filipino painters reacted by producing the following works: “A Day Begins” by Vicente Alvarez Dizon, 1942, genre scenes that seem neutral. Yet there were still many artists who portrayed the atrocities of war in their collections such as “Rape and Massacre in Ermita” by Diosdado Lorenzo. Address: Hilltop Road, Brgy. Kumintang Ibaba, Batangas City 4200, Philippines Telephone Numbers: +63 43 723 1446 | 980 0041 Website: www.ub.edu.ph  During this time also specifically in 1972, there is also another artist that made a mark on all Filipinos and he is Fernando Amorsolo y Cueto one of the most important artists in the history of painting in the Philippines. Amorsolo was a portraitist and painter of rural Philippine landscapes. He is popularly known for his craftsmanship and mastery of the use of light. The modern era in Philippine Art began after World War II and the granting of Independence. Writers and artists posed the question of national identity as the main theme of various art forms. Modern art is characterized by the artist's intent to portray a subject as it exists in the world, according to his or her unique perspective, and is typified by a rejection of accepted or traditional styles and values. Aside from visuals, there is a famous Filipino who emer ged about the importance of traditional music and who made us our identity he is José Maceda was a composer, pianist, and Interaction by Victorino ethnomusicologist who dedicated his life to the understanding and popularization of Filipino traditional music. Contemporary art is the work of artists who are living in the 21st century. Contemporary art mirrors contemporary culture and society, offering the general audience a rich resource through which to consider current ideas and rethink the familiar. The work of contemporary artists is a dynamic combination of materials, methods, concepts, and subjects that challenges traditional boundaries and defies easy definition. Diverse and eclectic, contemporary art is distinguished by the very lack of a uniform organizing principle, ideology, or -ism. In this period there is a Filipino architect who was awarded as a National Artist, in 2014, for his secular and notable religious works. He is Jose Maria V. His notable works are Meralco Building Pasig City, Sto. Domingo Church and Convent Quezon City, Metropolitan Cathedral of Cebu City, Villa San Miguel, Mandaluyong. Traditional crafts from different communities have found new life as gifts and decorations in modern homes. Images of our ancestors have men and women wearing a variety of meticulously designed headdresses, earrings, bracelets, and necklaces. These art wearables, highly influenced by religious beliefs and cultural practices, have reached this digital age. Arts and crafts have expanded to wood carvings, weaving, and pottery. Creative artisans, seeing the wealth of natural materials available bamboo, rattan, nipa palm, piña and abaca (pineapple and Address: Hilltop Road, Brgy. Kumintang Ibaba, Batangas City 4200, Philippines Telephone Numbers: +63 43 723 1446 | 980 0041 Website: www.ub.edu.ph hemp fibers), seashells, and marble has used them to fashion a range of handicrafts, from little baskets to massive pieces of furniture. Various types of traditional crafts have been also it's own developed such as wood carving in the Philippines which is a tradition dating back to pre-colonial times. Native Filipinos carved boats, plows, arrows, spears, and other essential items, often creating ornamental patterns for the use of the tribal hierarchy and to celebrate special occa sions, aside from that we have also called weaving from which our weaving traditions along with allied arts and crafts like embroidery, beading, embellishment, ornamentation, even jewelry design, and craftsmanship has been established as dating back to centuries before the arrival of the Spanish. But in the exhibit called “Hibla ng Lahing Filipino. The Artistry of Philippine Textiles,” that history is also shown to have “woven together” traditions and skills, artistry and sensibility that inspired our ancestors across the islands. The “Hibla” exhibit is “not only an effort to celebrate indigenous artistry through textiles and provide more Filipinos the opportunity to discover priceless information about our heritage.” And we also have jewelry and ornaments from which prior to the Philippines colonization by the Spaniards, jewelry was prevalent in barangays and tribes as part of our pagan roots. Amulets, talismans, charms the now folkloric anting-anting, and agimat were woven into the beliefs that linked people with religious ceremonies and status. And due to the introduction of the church in the Philippines. religious symbols became more than just ways to connect with the faith. They became signs not just of devotion but of the power that came with it. As the Spanish rule ended and the Americans swept in with secularization, jewelry took on a different tone as well. Religious articles took a backseat as fashion, adornment, and jewelry as we know it today took over. A sign of our rich history and a symbol of today’s predilections, jewelry creates a significant timeline by which we can trace our material culture. Filipino artistry and creativity are evident in various art forms but what makes the weaving culture distinct is its power to unite people as strong, resilient communities bound by living tradition and colorful textile patterns and motifs. Philippine Arts The National Commission for Culture and the Arts, the official cultural agency of the government of the Philippines, has categorized Filipino traditional arts into Address: Hilltop Road, Brgy. Kumintang Ibaba, Batangas City 4200, Philippines Telephone Numbers: +63 43 723 1446 | 980 0041 Website: www.ub.edu.ph TRADITIONAL ARTS (Ouano,2018) A. Folk architecture – these are simple structures built of local materials and available tools to provide shelter for inhabitants 1. Bahay Kubo (land house) also known as Kamalig serves as an icon of Filipino lowland and rural culture made of bamboo rods and bamboo mats or sawali and thatched roof made up of anahaw or nipa. 2. Bale or Ifugao House One-room house with an attic for storage the exterior of the house looks like a pyramid resting on four posts The interior is enclosed by slanting walls and a ceiling that appears to be spherical that is formed by the loft. 3. Ivatan House at Batanes Most of the houses are built with limestone walls, and cogon roofs It has narrow doors and windows with wooden shutters and are often secured by wooden bats B. Maritime transport – these are marine vessels made for the transport of goods and people living by the sea and other waterways in the surrounding regions. 1. Wooden Banca The outrigger canoe is a small wooden boat used for daily transport by people living near the coast 2. Vinta A traditional boat made by Suma-Bajau and Moros living in the Sulu Archipelago, Zamboanga Peninsula, and Southern Mindanao. This is also used for inter-island transport of people and goods. C. Weaving Textile Making and Fabric Art – Early Filipinos weaved using fibers from abaca, cotton, pineapple, and bark. Before the final garment or fabric is produced, the fibers were first knotted, boiled, dyed, dried, and weaved using hands and a wooden platform Address: Hilltop Road, Brgy. Kumintang Ibaba, Batangas City 4200, Philippines Telephone Numbers: +63 43 723 1446 | 980 0041 Website: www.ub.edu.ph  1. PINYA FABRIC Pinya weaving is the oldest industry of Aklan It is often used in our national costumes, the baro’t saya and barong Pinya are considered the Queen of Philippine fabrics because of their expensive and luxurious nature. 2. T'NALAK WOVEN CLOTH Woven by T’boli women of lake Sebu, South Cotabato, Mindanao Represents the trib’s culture and tradition It is a weaving pattern which is also known as “woven dreams” 3. TINGKEP BASKETS Handicrafted from bamboo strips in natural colors, plain or with traditional designs of the community A special basket that serves both practical and spiritual purposes in the Palawan community life Used to house the powerful female spirit Linamin et Kundu during a healing ritual called Kundu 4. HINABOL A textile from the Higaonon of Impasug-ong, Bukidnon It is a textile that has the purpose of being a gift, dowry, offering to the spirits, and bringing peace during tribal conflicts The cloth reflects the moods and feelings of the weaver 5. Carving Paete in Laguna was considered to be the wood carving capital of the Philippines. Wood is primarily and widely used in carving. Address: Hilltop Road, Brgy. Kumintang Ibaba, Batangas City 4200, Philippines Telephone Numbers: +63 43 723 1446 | 980 0041 Website: www.ub.edu.ph  D. Performing Art Performing arts are basically arts or skills that require performance in front of a public audience. These may be folk dances and music which are developed by an individual or groups of people that reflect their traditions and culture. 1. DANCING 2. THEATRE 3. LITERATURE Refers to traditional oral literature of various ethnic groups of the country. It includes the story of “Malakas and Maganda” and epics such as “Hudhod ni Aliguyon”, “Durangan” and the like. 4. Graphic and Plastic Arts Graphic arts are mainly two-dimensional (2D), like sketching, painting, photography, and calligraphy. Plastic arts include sculpture or ceramics which have three dimensions (3D) 5. Ornament- used to embellish parts of a building or object. The Ifugaos have carved Anito figures or Bulul which represent their ancestral spirit and granary gods. Aside from the discussed traditional motifs we also have a famous and well-known motif of Mindanao. It is called Okir which is a selective creative social legacy of the Maranaos of Lanao, Philippines. It is an imaginative plan of the Maranao local occupants of southern Philippines starting from the mid-sixth Century C.E. prior to the Islamization of the zone. Okir is a plan or example regularly delivered or bent in hardwood, metal, silver, and divider painting in curvilinear lines and Arabic geometric figures. Address: Hilltop Road, Brgy. Kumintang Ibaba, Batangas City 4200, Philippines Telephone Numbers: +63 43 723 1446 | 980 0041 Website: www.ub.edu.ph  The Okir motif is workmanship delineating the indigenous creativity and expertise of the Maranaos. It is an artistic work of figuring, painting, bending, and forming delineating the social and mental character of Maranao Society. It is being quite a while prior, until today, and conceivably in the coming ages of Maranao individuals. Each antique or Maranao-made trimming or gadget or adornment is planned with valid okir uncovering that the Maranaos have a particular and unique culture and human advancement is not being imitated from other cultures. Okir has patterns that are used by the Maranao artists. a. Matilak (circle) b. Poyok (bud) c. Dapal (leaf) d. Pako (fern or spiral form) e. Todi (fern leaf with spiral at upper edge f. Pako lungat (fern leaf with a cut at one edge). Common Theme of the Okir In the Philippines, an old verification of okir's style of blooming image is the torogan, which is the familial home of the most elevated champion in Maranao town. It is an image of intensity and glory typically decorated during merriments. Its unmistakable part is the panolong, a cut pillar that protrudes in the front of the house and is styled with okir theme. The okir configuration is discovered woven or imprinted in materials, cut into wooden burial ground markers and wooden boxes, and it can likewise be discovered scratched into blade or blade edges and handles, and cast or carved into different metal and silver items. On the other hand, Sarimanok is a chicken-like figure that carries a fish in its beak. The Sarimanok is an incredible winged creature that has become an omnipresent image of Maranao craftsmanship. It is portrayed as a fowl with beautiful wings and a feathered tail, holding a fish on its nose or claws. The head is lavishly embellished with parchment, leaf, and winding themes. It is supposed to be an image of favorable luck. The Sarimanok is gotten from a symbol flying creature of the Maranao individuals, called Itotoro. As indicated by the Maranao individuals, the Itotoro is a medium to the soul world by means of its concealed twin soul-feathered creature called Inikadowa. Address: Hilltop Road, Brgy. Kumintang Ibaba, Batangas City 4200, Philippines Telephone Numbers: +63 43 723 1446 | 980 0041 Website: www.ub.edu.ph  Okir Making Okir is a design or pattern often rendered or carved in hardwood, brass, silver and wall painting in curvilinear lines and Arabic geometric figures. The Okir Motif is an art depicting the indigenous originality and skill of the Maranaos. For your activity, kindly follow the directions below: 1. Create an Okir out of the materials available in your home. 2. Look at the visuals of okir carefully. Observe the elements of art - lines, forms, textures, and colors featured in these designs. 3. Choose one and draw: Okir a datu or Okir a bay 4. If you choose okir a datu practice drawing scrolls, leaves, or flower motifs. Observe balance, rhythm, and other principles of art. 5. If you choose okir a bay, practice drawing geometric designs like those found in the malong. 6. Post your outputs in our LMS Dropbox. 7. The rubric for this activity will be posted in our LMS Class. Reflection Paper DIRECTIONS: 1. Reflect on the relevance of the Philippine Traditional Motifs and Okir in the development of Philippine Artistic Design 2. Your reflection must be composed of at least two paragraphs. 3. Post your outputs in our LMS Dropbox 4. The rubric for this activity will be posted in our LMS. Address: Hilltop Road, Brgy. Kumintang Ibaba, Batangas City 4200, Philippines Telephone Numbers: +63 43 723 1446 | 980 0041 Website: www.ub.edu.ph LESSON 2: Soul – Making ABOUT THE LESSON: As Dr. Narciso stated, soul-making is an alternate way to know oneself and to look at the depths and meaning of what we do in our lives. Learners will be able to create stories, images, and artworks based on their own imaginations, expression, and experiences which can also correlate with people who understand the culture and embody tolerance and peace which also plays a major role in art production. At the end of the lesson, you will be able to: LO1. Define Soul-Making with a broad active reading vocabulary LO2. Explain the concepts of improvisation and appropriation LO3. Develop Students’ artistic potential through Soul-Making LEARNING OUTPUTS/REQUIREMENTS: Coffee Painting, Art Talk LESSON TIME ALLOTMENT: 4.5 hours LEARNING ACTIVITIES: Quote – React REMINDERS!  In one to two sentences, elaborate the quotation provided.  This activity will be done through oral graded recitation. Address: Hilltop Road, Brgy. Kumintang Ibaba, Batangas City 4200, Philippines Telephone Numbers: +63 43 723 1446 | 980 0041 Website: www.ub.edu.ph  Soul-Making Throughout history, art has performed an integral role to capture, document, and communicate events, activities, traditions and even belief systems of a number of corporations of people. In arts, in order for people to make sense of the work, it would require understanding the visual elements in which art was grounded, especially the principles of design. But how do we define soul-making? What is soul-making? They say soul-making cannot be defined and soul is beyond definition. As how Heraclitus who was a Greek philosopher said, “you could not discover the limits of the soul, even if you traveled by every path in order to do so; such is the depth of its meaning”. On the other hand, Keat was a brilliant writer who went on to explain soul-making as a process where the basic seed of divine intelligence in all humans goes through necessary experiences, especially suffering, that transform the intelligence into a unique soul. Meaning that experiences are a key component in the process of soul-making. As we all know that experiences are good and great teachers because we learn a lot from them. Moreover, Becker (2015) cited Christou’s contention that the soul is seen analogically as the seat of psychological experience, just as the body is the seat of sense perception, and the mind is that of conception. The soul is the realm of inner experience and the reflections within that experience. The soul is vulnerable, suffers, and is the stuff of emotions, feeling, and all varieties of love. It also reflects our true nature and genuineness For example, in our lives we will have many life-changing events, such as the birth of a child, falling in love, getting married or divorced, the loss of a spouse, or experiencing illness. All these events have the potential for soul-making. By understanding our life from only what happened to us, we create a false duality between outer reality and the inner life of the soul. We can therefore say, that soul-making has something to do with what is happening inside us spiritually and mentally. We don’t know how far our experiences can lead us to transform intelligence into an incomparable “Soul” Address: Hilltop Road, Brgy. Kumintang Ibaba, Batangas City 4200, Philippines Telephone Numbers: +63 43 723 1446 | 980 0041 Website: www.ub.edu.ph  Soul-Making is Poetry-Making Bogar (2007), explained that the word ‘making’ in the term we are trying to define comes from the Greek word “poieo” which means the maker of something or to be the author. Poet, poem, and poetry originated from this word. The reason behind it is that the emphasis was laid on creative and intelligent authorship. Then, in a nutshell, soul-making is a psycho poiesis or soul poetry. We are all aware that symbols and metaphors are used to create a poem to include deeper meaning. Symbols and metaphors are the best way for the soul to speak about itself, through dreams, fantasies, visions, and imagination. The soul is the place from which meaning and perspective grow that “mediates events and makes differences between ourselves and everything that happens to us. Soul-making is the process of taking in outer events and seeing through them and moving from the outside to inside, from the visible to the less visible, and from the surface to the depth. We can then be open to insight and the creation of meaning that releases the past from personal history, attachments, and identifications. Each of us is a unique poem, gradually being weaved together into a large poetic whole or soul. Every incident and event is part of that epic poem. While there may be tragedies and betrayals, troubles and failures, successes and victories there are no useless words in your poem and most of it goes on at levels we cannot see or understand. IMPROVISATION AND APPROPRIATION Improvisation can be pointed out as doing something without prior preparation. There is a decision to act upon something that may not necessarily be planned. Within the present context, improvisation has become an integral part of art. Improvisation is not a new invention most actors have been using these skills for centuries. For example, Commedia dell’Arte, dating back to the 16th century in Italy, relied on improvisation for much of its storytelling. Moreover, the unexpectedness of the changes brought about by improvisation makes the artwork a distinctive quality that creates its individuality and identity. So in the essence, improvisation is evident in the process of making the painting. During the 1960s art improvisation has taken form in galleries around New York City. A strong structure should be built upon in music, painting, or theatre for improvisation to be more effective. This concept comes from long practice and proficiency, like the jazz greats Duke Ellington and John Coltrane. Address: Hilltop Road, Brgy. Kumintang Ibaba, Batangas City 4200, Philippines Telephone Numbers: +63 43 723 1446 | 980 0041 Website: www.ub.edu.ph  One good example of an improvisation artist in painting was Lois Eby who was known for her “Six Improvisations in Black & Red”. In her testament, she said that the paintings are spare yet dynamic. With a few deft strokes, Eby describes energetic movement and joy in it as she wanted to create something alive that moves with rhythm and pulse as well as space and passion for life. She likes to experiment and improvise, and being physically and emotionally ready is critical. Starting with paper or panel, she first contemplates the space. “I either start with an ink line to which I add color and shape or with color and shape to which I later add a line. I improvise as I go along, adding a color, line, and shape to make what feels like a satisfying whole to me while striving to preserve open space, breathing room, and energy,” she says. (Parker, 2015) On the other hand appropriation or art appropriation is the practice where the other artist uses preexisting objects or images in their art with a few changes from the original work. It can be traced to the beginning of 1912 in the cubist collages and constructions of Picasso and Georges Braque where real objects such as newspapers was included to represent themselves. Most notorious of these was Fountain, a men’s urinal signed, titled, and presented on a pedestal. Later, surrealism also made extensive use of appropriation in collages and objects such as Salvador Dalí’s Lobster Telephone. In the late 1950s, appropriated images and objects appeared extensively in the work of Jasper Johns and Robert Rauschenberg, and in pop art. Figure1 Fountain by Marcel Duchamp Figure 2 Lobster telephone by Salvador Dali Figure 3 Andy Warhol’s “Campbell’s Soup Cans (1962) Address: Hilltop Road, Brgy. Kumintang Ibaba, Batangas City 4200, Philippines Telephone Numbers: +63 43 723 1446 | 980 0041 Website: www.ub.edu.ph  One of the most famous works of appropriation would have to be Andy Warhol’s “Campbell’s Soup Cans (1962). Warhol copied the original labels of the soup can but deliberately filled up the entire picture plane. The idea of putting together the soup cans is something new for the audience. Just like any product, the brand is integral to Campbell’s identity. As an artist, Warhol decided to isolate the image of the product. This attempt could in turn stimulate product recognition. (Solmerano,2019) Coffee-Painting DIRECTIONS: 1. Reflect and make a coffee painting about what you feel right now or whatever goes on your mind and make also a title about your work. 2. For the method, kindly watch the attached video link below:  https://www.youtube.com/watch?v=cX3dTnhRc-4  https://www.youtube.com/watch?v=tnOyppUWSI4 3. Materials needed:  Oslo paper/ Water color paper  Coffee powder  Paint brushes  Masking tape  Pallet watercolor/ anything improvised 4. Post your output in our LMS Dropbox 5. The rubric for this activity will be posted in our LMS Class Address: Hilltop Road, Brgy. Kumintang Ibaba, Batangas City 4200, Philippines Telephone Numbers: +63 43 723 1446 | 980 0041 Website: www.ub.edu.ph  Art Talk Through a 2-minute video, share you learning and insight regarding the topics discussed in Art Appreciation and how it become relevant to your area of specialization. REMINDER!  The recorded video must be three minutes in duration and must be uploaded to our UBian LMS.  The presentation must be in the.mp4 format with a video resolution of 1280 x 720 (720p).  You should dress formally and use adequate lighting when filming your video.  The rubric for this activity will be posted on our UBian LMS Address: Hilltop Road, Brgy. Kumintang Ibaba, Batangas City 4200, Philippines Telephone Numbers: +63 43 723 1446 | 980 0041 Website: www.ub.edu.ph References: Caslib et.,al.,. Art Appreciation. Rex Book Store. 2018 Chinngay, L & Tamayo, T. “A brief history of Jewelry in the Philippines”. December 11, 2016. Last accessed November 16, 2020. Retrieved from: https://nolisoli.ph/2244/a- brief- history-of-jewelry-in-the-philippines/ Ouano, Bernadeth. “Traditional Folk Arts in the Philippines”. January 29, 2018. Last accessed August 03, 2018. Retrieved from: https://www.slideshare.net/chocolatelover02/traditional-folk-arts-in-the-philippines Sorilla, Franz.“Weaving the Threads of Filipino Heritage” May 10, 2017. Last accessed November 10,2020. Retrieved from: https://ph.asiatatler.com/life/weaving-the-threads-of- filipino-heritage Solmerano, E.T. Art Appreciation. Mandaluyong City.Books Atbp. Publishing Corp.2019 Pangcoga, Walid. “THE OKIR (MOTIF): AN ART OF MARANAO DEPICTING THEIR CULTURE AND SOCIETY”. March 18, 2014.” Last accessed August 03, 2020. Retrieved from Tugaya Artefacts Blog: https://tugayaartefactsblog.wordpress.com/2014/03/18/the- okir-motif-an-art-of-maranao- depicting-their-culture-and-society/ Bogar, Michael. “What is Soul Making”. February 24, 2007. Last accessed August 08, 2020. Retrieved from: https://michaelbogar.blogspot.com/2007/02/what-is-soul- making_9405.html Becker, Christina. “Soul Making and the Stories We Tell”. July 04, 2015. Last accessed August 08, 2020. retrieved from; https://www.cjbecker.com/blog/soul-making/ Parker, Dian. “The Art of Mindful Improvisation: Lois Eby’s Paintings”. October 20, 2015. Last accessed August 11, 2020. Retrieved from Art on view:http://news.westbranchgallery.com/lois-ebys-paintings/ Tate.org. “APPROPRIATION”. 2020. Last accessed August 11, 2020. Retrieved from: https://www.tate.org.uk/art/art-terms/a/appropriation Solmerano Ernesto Thaddeus.,. Art Appreciation. Books ATBP. Publishing Store. 2019 Address: Hilltop Road, Brgy. Kumintang Ibaba, Batangas City 4200, Philippines Telephone Numbers: +63 43 723 1446 | 980 0041 Website: www.ub.edu.ph