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Midterm > Art App 2 > Flashcards

Art App 2 Flashcards

1
Q

is a T’boli textile dream weaver who hails from Lake Sebu, South Cotabato.

A

Lang Dulay

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2
Q

She relives the history of their tribe by means of weaving; her intricate design shows such thing. She received the award last _____.

A

1998

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3
Q

is a Tagabawa Bagobo textile weaver who came from Bansalan, Davao del Sur.

A

Salinta Monon

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4
Q

Despite the absence of formal education or training, she leamed the art of weaving from her mother and soon perfected it.

A

Salinta Monon

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5
Q

As she became an expert of weaving, she shared her knowledge to her fellow Bagobo women so that their culture will be preserved. Just like Lang Dulay, she obtained the award in the same year.

A

1998

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6
Q

is a musician and dancer who comes from Lubuagan, Kalinga.

A

Alonzo Saclag

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7
Q

He teaches a lot of people especially his fellow tribesmen in the performing arts so that the culture of their ancestors will not be forgotten. He got the award last ________.

A

Alonzo Saclag
2000

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8
Q

is an epic chanter from Calinog, Iloilo. He’s well-versed with Sulod- Bukidnon, one of the country’s indigenous languages.

A

Federico Caballero

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9
Q

Expertise of Federico Caballero is ________ specifically the epics that talks about his people and their culture.

A

oral literature,

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10
Q

Federico Caballero got the award last ________.

A

2000

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11
Q

is a musician of the Yakan Muslim tribe from Lamitan, Basilan.

A

Uwang Ahadas

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12
Q

The proliferation of Western-based instruments did not discourage him from mastering the Yakan musical instruments: kwintangan (for women) and agung (for men). He received the award last 2000.

A

Uwang Ahadas

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13
Q

The proliferation of Western-based instruments did not discourage him from mastering the Yakan musical instruments:

A

kwintangan (for women) and agung (for men). He received the award last 2000.

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14
Q

is a Tausug textile weaver from Parang, Sulu. Even though her place is infamously known for terrorists, it did not hamper her to learn and master the art of __________.

A

Darhata Sawabi
pissyabit weaving

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15
Q

She continuously teaches her mastery of weaving to other people in order to promote, their culture. She received the award last ________.

A

Darhata Sawabi
2004

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16
Q

is a proficient metalsmith from Apalit, Pampanga.

A

Eduardo Mutuc

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17
Q

He is a specialist in religious and secular art. Regardless of the low income that he received from his profession he is contented because his passion is towards his work, not for the money per se. He was awarded last ____.

A

Eduardo Mutuc (2004)

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18
Q

is a mat weaver of the Sama tribe who’s from Tandubas, Tawi-Tawi.

A

Haja Amina Appi

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19
Q

Haja Amina Appi is respected throughout her community for her unique designs, the straightness of her edging (tabig) and the fineness of her _______. She was awarded last _______.

A

sasa and kima-kima
2004

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20
Q

is a casque maker who came from San Quintin, Abra.

A

Teofilo Garcia

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21
Q

Even if there is no celebrity endorser, Teofilo is his own endorser of the product that he is making _____.

A

tabungaw

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22
Q

Teofilo Garcia Somehow, it has gotten the attention of the people around him and to those who pass around. It made them realize that it’s a better alternative than the conventional umbrella or cap. He got the award last _______.

A

2012

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23
Q

is an expert mat weaver from Upper Lasang, Malapatan, Sarangani. Her natural instinct and talent paved the way for her creativity in mat weaving. Her expertise is heavily sought by the people who wanted to emulate her. She was awarded last ________.

A

Estelita Bantilan (2016)

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24
Q

an Ilocana textile weaver from Pinili, Ilocos Norte.

A

Magdalena Gamayois

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25
Q

Magdalena Gamayois taught herself the traditional patterns of ________________ which is the most challenging pattern. Being self-taught, her own dedication to share her expertise has earned her an award last ______.

A

binakol, inuritan (geometric design), kusikos (spiral forms similar to oranges) and sinan-sabong (flowers),

2012

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26
Q

is a textile weaver who hails from Parangbasak, Lamitan City, Basilan. She possesses the complex knowledge of the entire weaving process, aware at the same time of the cultural significance of each textile design or category. She became a recepient of the award last _____

A

Ambalang Ausalin (2016)

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27
Q

is an Ikat weaver from Landan, Polomolok, South Cotabato.

A

Yabing Masalon Dulo

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28
Q

Republic Act No. 7355 or also known as ________.

A

Gawad sa Manlilikha ng Bayan, (GAMABA) or the National Living Treasures Award.

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29
Q

is the implementing agency of the said law (RA 7355).

A

The National Commission for Culture and the Arts (NCCA)

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30
Q

conducts the search for the finest traditional artists of the land, adopts a program that will ensure the transfer of their skills to others and undertakes measures to promote a genuine appreciation of and instill pride among our people about the genius of the ______

A

*The NCCA, through the GAMABA Committee and an Ad Hoc Panel of Experts,

*Manlilikha ng Bayan (NCCA, 2020).

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31
Q

As envisioned under ______ shall mean a citizen engaged in any traditional art, uniquely Filipino whose distinctive skills have reached such a 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 the same degree of technical and artistic competence (NCCA).

A

R.A. 7355, Manlilikha ng Bayan

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32
Q

In return, the GAMABA Awardees are required to participate in different cultural celebrations both in local and national events.

A

Fact

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33
Q

These are the Qualifications to Become a Manlilikha ng Bayan based on the NCCA Guidelines (NCCA, 2020):

A
  1. He/she is an inhabitant of an indigenous/traditional cultural community anywhere in the Philippines that has preserved indigenous customs, beliefs, rituals and traditions and/or has syncretized whatever external elements that have influenced it.
  2. He/she must have engaged in a folk-art tradition that has been in existence and documented for at least fifty (50) years.
  3. He/she must have consistently performed or produced over a significant period, works of superior and distinctive quality.
  4. He/she must possess a mastery of tools and materials needed by the art and must have an established reputation in the art as master and maker of works of extraordinary technical quality.
  5. He/she must have passed on and/or will pass on to other members of the community their skills in the folk art for which the community is traditionally known.
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34
Q

Even if the traditional artist is incapable of teaching his/her masterpiece due to advanced age or sickness, he/she can still be rewarded if:

A
  1. He/she had created a significant body of works and/or has consistently displayed excellence in the practice of his/her art, thus achieving important contributions for its development.
  2. He/she has been instrumental in the revitalization of his/her community’s artistic tradition.
  3. He/she has passed on to the other members of the community skills in the folk art for which the community is traditionally known.
  4. His/her community has recognized him/her as master and teacher of his/ her craft.
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35
Q

The __________ is composed of a Grand Collar featuring circular links portraying the arts and an eight- pointed conventionalized sunburst suspended from a sampaguita wreath in green and white enamel.

A

insignia of the Order of the National Artists

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36
Q

The central badge is a medallion divided into three equal portions___________, with three stylized letter Ks-the “KKK” stands for the CCP’s motto: __________ (“the true, the good and the beautiful”), as coined by then first lady Mrs. Imelda Romualdez Marcos, the CCP’s founder.

A

• red, white and blue, recalling the Philippine flag
“katotohanan, kabutihan, at kagandahan”

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37
Q

The composition of the Grand Collar is _______ In place of a rosette there is an enameled pin in the form of the insignia of the order.

A

silver gilt bronze.

38
Q

Process of Nomination and Conferment of The Order
These are the followingcriteria for the selection of National Artists from the Official Gazette of the Philippines:

A
  1. Living artists who are Filipino citizens at the time of nomination, as well as those who died after the establishment of the award in 1972 but were Filipino citizens at the time of their death;
  2. Artists who, through the content and form of their works, have contributed in building a Filipino sense of nationhood;
  3. Artists who have pioneered in a mode of creative expression or style, thus earning distinction and making an impact on succeeding generations of artists;
  4. Artists who have created a substantial and significant body of work and/ or consistently displayed excellence in the practice of their art form thus enriching artistic expression or style; and
  5. Artists who enjoy broad acceptance through: prestigious national and/or international recognition, such as the Gawad CCP Para sa Sining, CCP Thirteen Artists Award and NCCA Alab ng Haraya; critical acclaim and/or reviews of their works; and respect and esteem from peers.
39
Q

These are the following honors and privileges given to the National Artists from the Official Gazette of the Philippines:
.

A
  1. The rank and title of National Artist, as proclaimed by the President of the Philippines;
  2. The insignia of a National Artist and a citation;
  3. A lifetime emolument and material and physical benefits comparable in value to those received by the highest officers of the land such as:
    a. a cash award of One Hundred Thousand Pesos (P100,000.00) net of taxes, for living awardees;
    b. a cash award of Seventy-Five Thousand Pesos (P75,000.00) net of taxes, for posthumous awardees, payable to legal heir/s;
    c. a monthly life pension, medical and hospitalization benefits;
    d. life insurance coverage for Awardees who are still insurable;
    e. a state funeral and burial at the Libingan ng mga Bayani;
    f. a place of honor, in line with protocolar precedence, at national state functions and recognitión at cultural events
40
Q

Types of Lines

A

Vertical Lines
Horizontal Lines
Diagonal lines
Zigzag lines
Curved lines

41
Q

Their movement direction is upward or downward. Common applications are upright trees or standing body of humans, buildings or infrastructures.

A

Vertical Lines

42
Q

-The art-meaning movement direction is from left to right or vice-versa. Common applications are body lying down and the horizon.

A

Horizontal Lines

43
Q
  • These are slanted lines. They create an impression of rising or falling. The Leaning Tower of Pisa conveys a diagonal or slanted line.
A

Diagonal lines

44
Q
  • These are corinected combinations of diagonal lines. They create angular perspectives of lines. Common examples are thunders or animated drawings of stars.
A

Zigzag lines

45
Q
  • These are lines that do not appear linear; hence, directions are not clearly established. Examples of which are the outlines of clouds, leaves and edges of flowers (Ragans, 2005).
A

Curved lines

46
Q

These are applications of lines to create edges or ridges of an object. These provide a certain degree of separation from one object to another

A

Contour Lines

47
Q

are usually expressive movements which are intended to capture motion, activity and the feeling found in it. In artworks that emphasize the lines of the hand, touching the face can convey feelings of anxiety or worry. Or hands raising that are emphasized by lines can be done to manifest feelings of excitement and activity.

A

c.Gesture Drawing

48
Q

Calligraphy means beautiful handwriting. It is often associated with writing Asian characters usually with Chinese, Japanese, Korean and Thai language. In their culture, writing is not just about knowing the alphabet. For them writing is a process of creating art using lines and different strokes to represent character languages. In the Philippines, there are different versions of baybayin with different ethno-linguistic bases

A

Calligraphic Drawing

49
Q

means beautiful handwriting

A

Calligraphy

50
Q

The Philippine Calligraphy is rooted on _______

A

Indian, Sulawesi and Kawi, Indo, Arabic and Islamic writing arts.

51
Q

The first object covers a second object. In effect, the first object becomes closer nearer to the viewer. or

A

Overlapping

52
Q
  • Large objects often are perceived to be nearer than the relatively smaller ones.
A

Size

53
Q
  • Objects placed on the lower plane of the space create impression of them being nearer. The more distant are those at the eye or top level of the space.
A

Placement

54
Q

with clearer details are usually nearer while those with finer and less details seem to be farther.

A

Detail Objects

55
Q

-Brightly or vividly colored objects seem nearer than the dull ones.

A

Color

56
Q

As parallel lines move away from your point of view; they move closer to the horizon which makes a perception of distance farther away from you.

A

Converging Lines

57
Q

The farthest convergence can be called the _____ (Ragans, 2005).

A

vanishing point

58
Q

Expressive Qualities of Shape, Form and Space

A

A. Outline and Surface
B. Openess
C. Activity and Stability

59
Q

_________ in the surfaces may bring different kinds of messages. For example, using free-form shapes may express the presence of _______. These could also symbolize _______.

A

Outlines and variations
life and fluidity
calmness and comfort.

60
Q

Especially, when the objects defined by the ______ shapes are those coming from nature, the art can convey that sense of pleasantness and could even invite the viewer to imagine himself or herself within the story of the art (Ragans, 2005).

A

free-form

61
Q

Organizing colors are part of the planning phase in the creation of art. Making a cohesive story or song is like identifying a color scheme appropriate to the story of the art piece. Planning these colors according to a scheme will allow you to create a cohesive piece of artwork.

A

Color Schemes

62
Q

This a technique where only one color is used. Even the hue, tints and shade are consistent all throughout. With a limited option for colors, this provides a strong and unifying expression to the art. However, this strategy may lessen the variation quality of the work. (Please see color rendition at the inside back cover.)

A

a. Monochromatic Colors

63
Q

, the hues used are usually those that are side by side in the color wheel and operate in a common hue. Examples are blue, blue-green, blue-violet, and red have something in common. This can be limited to three hues to create unity among the common color range (Ragans, 2005).

A

b. Analogous Colors

64
Q

are used when the theme of art is intended to create strong expression of contrast. In theory, complementary colors tend to establish a vibration with each other. These vibrations can translate into arousal of emotions. Example is that red and green are complementary colors. When red symbolizes fire and green symbolizes the life attached to plants and animals, these patterns create a sense of arousal to your emotions. However, not all complementary colors provide loud arousal, these can be mitigated when intensity and values are altered (Ragans, 2005).

A

c. Complementary colors

65
Q

From the name itself, art must be focused on three general colors spaced on equal intervals on the color wheel. Compared to complementing, triads do not convey strong differentiation of colors. This can cover primary, secondary and tertiary hue triads (Ragans, 2005).

A

d. Color Triads

66
Q

is used when you combine a hue with each side of its exact complement. This now offers more variety and more dynamics to color range and selection. For example, the complement of red orange is blue green. The hue next to blue green are blue and green. These can be used to create the perfect nature art piece with red orange as the sun, blue for the waters and green for the trees (Ragans, 2005).

A

e. Split Complements

67
Q

The color wheel can be divided” into two groups, namely______.

A

Warm and Cool Colors

68
Q

The ______ contains the hues of red, orange, and yellow,

A

warm group

69
Q

Warm colors usually convey warm situations such as _______.

A

fire or the sunshine

70
Q

The cool colors, on the other, evoke cooler situations such as (Ragans, 2015). (Please see color rendition at the inside back cover.)

A

snow, water, and grass

71
Q

while the cool colors may range from

A

blue, green, and violet.

72
Q
  • In the color spectrum, there is such a thing as primary colors namely, red, blue and yellow. They are also considered as primary hues. The secondary hues are made by mixing two primary colors. There are also six intermediate or tertiary colors by mixing a primary color with secondary color. To organize these colors or hues, the color spectrum can be bent to create a color wheel that illustrates how the mixing is employed (Ragans, 2005). (Please see color rendition at the inside back cover.)
A

Hue

73
Q

Value describes the lightness and darkness of a color. There will be times that. certain colors will seem to be darker to represent a darker or gloomier theme of the art piece. Essentially, not all hues should have the same value within a space.

A
74
Q

Naturally, _______ seems to be the lightest hue as it reflects the lightest and _____ is the darker hue as it reflects the least light.

A

yellow
violet

75
Q

are considered neutral colors.

A

Black, white and gray

76
Q

reflects colors

A

White light

77
Q

while _____ absorbs all of it.

A

black

78
Q

____ will reflect light depending on its value. The darker it is, the more it absorbs, the less it reflects and vice versa (Ragans, 2005).

A

Grey

79
Q

To alter values, ____ may be added with black or white.

A

hues

80
Q

is the process of producing a light value such as creating a bright sunny day with mixing white and blue to the skies

A

Tinting

81
Q

while _____ is the process of producing a darker value such as mixing violet, blue, gray and black to create night skies (Ragans, 2005).

A

shading

82
Q

refers to how bright or dull the use of hue is. If a certain surface of an object reflects yellow light, then the surface projects intense and bright yellow. But if the surface reflects other colors, yellow will be more subdued.

A

Intensity

83
Q

can be high of low density such that in bright and dull colors, respectively (Ragans, 2005).

A

Intensity

84
Q

are those that are opposite to each other in the color wheel. The complement of a hue may absorb all the light waves that the hue reflects. Example, red and green are complements. In effect, green may absorb red waves and may reflect the blue and yellow.

A

Complementary colors

85
Q

This explains how some people will have conditions such as color vision deficiency or color blindness. There may be tendencies for people to perceive green as _____ In some instances, those with color vision deficiency may perceive green as ______ due to distorted absorption and of lights (Ragans, (2005)

A

red or red as green.

86
Q

are those that defy gravity such as slanting or falling or running shapes

A

Active shapes

87
Q

can also be shown through the angles of the feet and the flow of hair and tails among the horses. Essentially, movement in shapes can be done by portraying them in diagonal positions.

A

Activity

88
Q

, on the other hand, seem to be motionless and stable.
The direction going through is horizontal. They tend to evoke calm and fixated feelings. It projects quietness and stable peace. This could probably be the reason that houses tend to have paintings decorated in their homes that evoke peace by using subjects in stable horizontal positions such as landscapes (Ragans, 2005).

A

Static shapes

89
Q

project invitation. For example, if you draw and empty chair, most viewers may tend to vicariously imagine sitting on that chair. If you see an art piece with an open door, it may give you a sense of wonder of what could be inside or behind the door. Some handcrafted art such as weaving even employ openness in their cloths. This allows them to look through the fabric and experience the intricate weaving patterns of it.

A

Open shapes

90
Q

, on the other hand, project more solid and self-contained field of perception. Closed doors and windows tend to be more restrictive to interpretation. A person with folded arms tight to his body portrays emotion of tension, mystery, or privacy. Like Egyptian caskets, called sarcophagus, are usually defined by arms close or folded onto the body. Death for them should be afforded with dignity but at the same time must be impressed with privacy and protection like closed or restricted shapes (Ragans, 2005).

A

Closed shapes and forms

Midterm (8 decks)

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