MODULE

Course Code :
Course Title : ARTS IN THE K-12 CURRICULUM
Course Credit : 3 units, 3 hours/ week (18 weeks, 54 hrs.)

A. Arts in the K-12 Curriculum

1. Conceptual Framework of Arts Curriculum
2. Philosophy and Rationale of Arts Curriculum Framework
3. Grade Level Content Performance Standards and Learning
Competencies
B. Elements of the Arts
1. Line
2. Color
3. Warm and Cool Colors
4. Color Harmonies
5. Texture
6. Perspective
7. Space
8. Form
9. Volume
C. Organization in the Arts
1. Principles of Design
2. Harmony
3. Balance
4. Proportion
5. Rhythm
6. Emphasis
Conceptual Framework Of Music In The K-12 Curriculum
The focus of curriculum to the learner is to consider them as recipient of
the knowledge, skills, and values necessary for artistic expression and cultural
literacy. It is designed to be a student-centered curricula that is based on
spiral progression of processes, concepts and skills and grounded in
performance-based learning. It is expected that the learner is empowered, by
actively participating and involving in various activities to effectively correlate
music to the development of his/her own cultural identity and the expansion of
his/her vision of the world.

Philosophy and Rationale of Music Education Curriculum Framework

The Arts has been present since the beginning of civilization as it is an

essential means for man to live and communicate with others. It has been used
to enhance man’s life and surroundings, to express his thoughts, dreams, and
spiritual beliefs, and to share his own and his community’s aspirations,
celebrations, and events. Arts records, reflects, and rearranges man’s life and
existence.
The Arts is a visualization of a people’s history and uniqueness, a
reflection of their creativity and accomplishments, and a visible expression of
their distinct way of thinking, communicating, reasoning, and worshipping. It
is expressed in a unique symbol system that is visual, kinetic and tactile.
Howard Gardner, and educator and psychologist, affirms the arts develop the
child’s spatial, interpersonal, linguistic and kinesthetic intelligences for the
Arts develop a distinct way of seeing, thinking, communicating, and creating in
a person. Furthermore, Art develops and increases a person’s ability to apply
creative and new solutions, for new problems in our world. Schools, therefore,
need to develop the multiple intelligences of a student through the arts. The K-
12 Arts Curriculum seeks to address these needs of our students for the 21 st
Century.
The 21st Century is a different world: it is highly visual, with a
proliferation of images seen not only in static media like magazines, books,
paintings and posters. Now images are kinetic and accessible in various media
like, television, outdoor advertisements, movies, cellphones and new
technologies. Artists create, upload and share via the internet, images, sounds,
texts, films, videos, pictures, artworks and designs. These are readily available
and interactive, involving the viewer to react, comment and utilize these visuals
through the internet. Teaching Art to students in one way for them to process
and interpret the barrage of images and sounds, in a critical and intelligent
manner.
The focus of the K-12 curriculum is Philippine Art, Culture and Heritage,
appreciating the diversity of our local artists, our arts, crafts and indigenous
materials to strengthen the student’s, identity of being Filipino, before he/she
is introduced to the art of other countries. It will guide future teachers to
provide students with art experiences, concepts, and processes that art
presented in a spiral progression of difficulty and depth from Kindergarten to
Grade 12.

The Arts in the K-12 Curriculum will be thought in a child-centered and

hands-on in creating art using locally available materials. It develops the
student’s imagination and individual expression, and his/her critical thinking
skills through inquiry into the aesthetic qualities of his work, the work of
others and of artists from the Philippines and other parts of the world. It
culminates in connecting art to other subject areas and provides exposure and
apprenticeship to professionals in various art-related fields so the student can
discover and consider the different career opportunities in the arts.

The Curriculum Framework of Music and Art

 Key Stage Standards in the Arts Curriculum

There are three key stages of standards in the Arts curriculum. These are
the lower primary level (Kindergarten to Grade 3), upper primary level (Grades
4 to Grade 6), and the junior high school (Grades 7 to 10) as shown above.
Fundamentals processes and understanding of the basic elements and
concepts through performing, creating, and responding aimed towards the
development of appreciation of art and acquisition of basic knowledge and
skills are mostly taught at the primary level while salient features of art of the
Philippines and the world, through appreciation analysis, performance for self-
development, the celebration of Filipino cultural identity and diversity, and the
expansion of one’s world vision are the main points of learning at the
secondary level.
 Contents of Music and Arts per Grade Level

The Learning Area Standard

The learner demonstrates an understanding of basic concepts and
processes in music and art through appreciation, analysis and performance for
his/her self-development, celebration of his/her Filipino cultural identity and
diversity, and expansion of his/her world vision.
Activity 1.
1. Explain the importance of teaching Arts Education in the K-12 Basic
Education Curriculum?
2. How do you see yourself as a future Art Education Teacher? Looking at
the key stage standards and contents, what skill/s do you have that you
know you can very well use when you teach Art? What skill/s do you
have to learn more? How will you equip yourself.
3. Draw and Tell:
 a. If you will draw yourself as a future Art teacher, what symbol or
figure will represent you to describe what you feel as an Art
Teacher?

Elements of the Visual Arts

Whenever we see an art object, we cannot fail to notice several things:
shape or form, texture, space, and lines which the artist used in expressing his
ideas. These are called the elements of the visual arts. Like medium, elements
are present in every art form. All arts have certain elements of their own.
1. Line

Line is an important element at the disposal of every artist. Through the

lines of a painting or sculpture, the artist can make us know what the work is
about. He uses lines to represent figures and forms.
Lines always have direction. They are always moving. Lines, as used in
any work of art, may either be straight or curved.
One usually lies prone when asleep or when at rest and stands erect
when in action. One stands stiff and straight when resistant or stern, relaxes
when in a playful mood and the lines of his/her body fall into easy curves.
When one is in motion, he or she braces against it. The greater the opposing
force, the sharper will be the angle of his/her body and the straighter will be
the line.
We have learned that certain emotional states always find expression
through definite positions. We associate the emotions with the lines that define
their accompanying positions. When given a work of art, we call upon our
unconscious with its accompanying emotional state. Straight lines are always
associated with the ideas of steadiness and force, curved lines with flexibility,
buoyancy, and grace. The straight line moves in one direction only. It may
either be horizontal, vertical, or diagonal.
Horizontal lines are lines of repose and serenity. They express ideas of
calmness and quiescence. Horizontal lines are found in reclining persons, in
landscapes, calm bodies of water and in the distant meeting of the earth and
sky in what is commonly called the horizon.
 Vertical lines are lines poised for action. They are poised, balanced,
forceful, and dynamic. Vertical lines seen in a person standing straight, a tall
tree, and statues of saints and heroes give an impression of dignity. Vertical
lines also tend to express as well as arouse emotions of exaltation and
inquietude and this is evident in monumental architecture.
Diagonal line suggests action and movement. They give animation to any
composition in which they appear. Almost every object in action assumes a
diagonal line. A running person makes a diagonal line with his body and legs.
The degree of action is shown by the angle of the diagonal.
Curved lines suggest grace, movement, flexibility, joyousness, and grace.
They are never harsh or stern since they are formed by a gradual change in
direction. They tend to impart these qualities to any work where they are used.
Line may also be classified into three groups: lines which follow or repeat
one another, lines which contrast with one another, and transitional lines
which modify or soften the effect of others.
Repetition occurs when two or more lines are drawn within a corner
following the lines of the corner. Lines that are in opposition to each other form
a contrast. When a curved line cuts across a corner from an opposition line to
another, it forms a transition line. Transitional lines modify the sharpness of
vertical and horizontal lines giving a harmonizing effect.
2. Color

Delight in color is a universal human characteristic. Color is a property

of light. When light goes out, color goes with it.
The white light of the sun contains all the colors of the spectrum: violet,
indigo, blue, green, yellow, orange, and red. These colors are so blended that
they yield no sensation of color. When a beam of light passes through a prism,
the different rays of color are separated so that we are able to see and identify
them. When light strikes a surface, some of the color rays are absorbed while
others are reflected. Others pass through, especially when the object is
transparent. Most surfaces absorb all the color rays except those which yield a
single-color sensation and therefore appear to be of that color. The color of an
object therefore is determined by the rays which are reflected to the eyes of the
beholder. Objects that appear to be black absorb practically all the color rays
and reflect none, while object that appear white reflect all the color rays
equally. Gray is due to the partial reflection of the color rays. White, gray, and
black have no color quality. They are called the neutral colors.
Color has three dimensions or attributes: hue, value, and intensity.
 Hue is the dimension of color that gives color its name. When we say the
flower is yellow, we are naming its hue. Color names such as red, blue green,
violet, and yellow indicate the color characteristic called hue. Blue, red, and
yellow are the primary hues.
3. Warm and Cool Colors
Colors many either be warm or cool. Red, orange, and yellow are the
warm hues. They are associated with objects like the sun, fire and other
sources of heat. They tend to impart warmth to any composition in which they
are used. They are conspicuous, cheerful and stimulating, vivacious, joyous,
and exciting. They are suggestive of impetuous or instinctive action. They are
called advancing colors because they have an effect of advancing or coming
towards you. The cool colors are those where the blue predominates like green,
blue-green, blue, and blue-violet. They cause surfaces covered with them to
appear to recede. They suggest distance. They are calm, sober, restful, and
inconspicuous.
4. Color Harmonies
There are two kinds of color harmonies: related color harmonies and the
contrasted color harmonies.
Related color harmonies. These may either be monochromatic or
adjacent. Monochromatic harmony is made up of several tones of one hue, like
for instance orange, tan, brown, and other tones from the orange family.
Monochromatic harmonies are the simplest and easiest to use. Different tones
of the same hue all have something in common, so it is east for them to agree.
In adjacent or neighboring harmony, two or three neighboring hues on
the color circle are used together. For example, tones of green, yellow, and
orange can produce a delightful harmony. They have something in common
because there is yellow in green and in orange. Good adjacent harmonies can
be produced by using other groups of neighboring colors like yellow, orange,
and red: or orange, red, and violet.
Contrasted color harmonies. Colors which lie directly opposite each
other in the color circle are called complementary colors. Red and green,
orange and blue, violet and yellow are complementary colors. They contrast
with each other strongly; therefore, they are more difficult to use harmonious
than the related color combinations. However, when they are properly
harmonized, they give very beautiful effects.
Value refers to the lightness or darkness of a color. It is a quality which
depends on the amount of light and dark in color.
 An understanding of values will help the artist to use colors to the best
advantage. It will offer important suggestions for the arrangement of color
values in interior decoration. The floor should be the darkest in the room, the
walls should be lighter, and the ceiling, the lightest. If the color of the floor is
lighter than the wall, it will not give the feeling of being a solid foundation,
which is one of the prerequisites of a good floor.
Tints are values above the normal and shades are values below the
normal. Pink is a tint of red, maroon is a shade of red. Sky-blue is a tint, navy-
blue is a shade.
The value of a hue can be changed. We raise it by adding more light to it
so that it reflects more light and lower it by reducing the light it can reflect.
The third and last dimension of color is intensity. It refers to the
brightness or darkness of color. It gives color strength. Colors differ in
intensity. Intensity differences may be described as full intensity, two-thirds
intensity, two-thirds neutral, and neutral. Two colors may be both blue but one
is more intense than the other. When a hue is in its vivid form, it is said to be
in full intensity. When it is dulled, it is said to be partly neutralized. The more
black or white is added, the weaker is the intensity.
Color plays an important role in the work of an artist. Although painting
is known as the art of color, color is also important in sculpture and
architecture. Buildings are painted; bronze is selected for its rich brown color
and marble for its whiteness.
5. Texture
Texture is the element that deals more directly with the sense of touch. It
has to do with the characteristic of surfaces which can be rough or smooth,
fine or coarse, shiny or dull, plain or irregular. Texture is best appreciated
when an object is felt with the hands.
Texture is found in all the visual arts. A painting, a building, or a piece of
sculpture have textures which are felt and described in a variety of ways.
Texture is due primarily to differences in medium. In architecture, the different
feel of wood, concrete, and metal, determines the texture of the building. The
sculptor can also produce differences in texture in his works. He can leave
marks on the surfaces of a statue or he can polish it to give it a shiny and
smooth texture. Together with the other elements, texture can contribute to the
total effect of the finished work of art.
The aesthetic value of texture lies first of all in the fact that it makes
gradation of color possible. Flat colors are never beautiful. Texture gives a
surface unevenness which causes the color of the surface to be broken into
gradations of light and shade, giving it a charm of its own.
 Texture is very real the sculptor and architect because wood, stone,
brick, concrete, and metal feel different to the touch. To the painter, texture is
an illusion. He must make an object look like the way it would feel when one
touches it.
6. Perspective
Perspective deals with the effect of distance upon the appearance of
objects, by means of which the eye judges spatial relationships. It enables us to
perceive distance and to see the position of objects in space. There are two
kinds of perspective: linear perspective and aerial perspective. To get depth or
distance, an artist uses both linear and aerial perspective.
Linear perspective is the representation of an appearance of distance by
means of converging lines. The tracks of a railroad appear to the viewer as
seeming to rise and meet in the distance. Linear perspective has to do with the
direction of lines and with the size of objects. Painters usually show the effect
of space and distance by using converging lines and diminishing size. Parallel
lines below eye level seem to rise to a vanishing point in the horizon, while
those above eye level seem to descend to the vanishing point. Objects appear
smaller as they recede into the distance. People or objects, at the background
of a painting, seem to be shorter than those in front.
A facet of linear perspective which is applied chiefly to the human figure
is foreshortening. Foreshortening is the representation of objects or parts of the
body as smaller from the point of view of the observer. The more nearly an arm,
limb or body is place at right angles to the observer, the shorter it looks.
Aerial perspective is the representation of relative distances of objects
by gradations of tone and color. Objects become fainter in the distance due to
the effect to the atmosphere. Objects appear to be lighter in color and the
outline more vague as they recede into the distance or into the atmosphere.
7. Space
In painting as in architecture, space is of great importance. The exterior
of a building is seen as it appears in space, while the interior is seen by one
who is inside an enclosing space. Painting does not deal with space directly. It
represents space only on a two-dimensional surface. Sculpture has very little to
do with space relationship or perception of space.
8. Form
Forms applies to the over-all design of a work of art. It describes the
structure or shape of an object. All the visual arts are concerned with form.
Sculpture and architecture deal with three-dimensional forms although
sculpture deals with exterior form alone because we do not get inside a statue
but we always get inside a building. The sculptor is restricted to masses in
relation to other masses as a means of interpretation.
9. Volume
The term volume refers to the amount of space occupied in three
dimensions. It therefore refers to solidity or thickness. We perceive volume in
two ways: by contour lines or outlines or shapes of objects, and by surface
lights and shadows. This is the primary concern of architects because a
building always encloses space. The building must have everything neatly in
place no matter at what angle the lights fall on it or from what view we look at
it. The outlines or shadows change every time the viewer shifts his position.
The viewer, therefore, may obtain not one but many different impressions from
a single work.
Activity 2
1. Using the elements of visual arts, think of a beautiful thing that
surround your home, the other beautiful things you have seen in other
places which you have admired. Share what you have visualized in your
thoughts as beautiful and share it to your classmate. Illustrate your
beautiful thoughts into something you can draw.
2. Explain how you are able to use the elements of visual arts in your
illustration.

Organization in the Visual Arts

1. Principles of Design
The organization of the various elements of the visual arts is governed by
different principles of design. Through these principles, the artist can form
more beautiful and interesting color harmonies and more beautiful
combinations of shapes, texture, and lines.
Design makes it easier for an artist to express his ideas in such a way
that the observer becomes interested in his work. It also makes objects in our
environment more comprehensible. Sculpture organizes the human or animal
form; architecture organizes space through the arrangement of the parts of a
building, both interior and exterior, in order to produce a pleasing and
interesting pattern.
The design of an object makes it possible for an observer to tell its
function. An industrial establishment is designed to express a businesslike
atmosphere of efficiency, and a church is designed to create in the worshippers
a religious feeling and attitude.
Through the combination of lines, colors, and forms, an artist can give
the observer new, varied, and satisfying experiences. There is no end to the
ways by which artists can give people experiences that will uplift their spirits
so that they forget the tedium of their everyday existence.
2. Harmony
Harmony is essential to beauty. In the visual arts, it is achieved by
establishing a pleasing relationship between the various elements. There is
harmony if the various parts of a design will give an appearance of belonging
together. In other words, there must be unity. Repetition of angles and curves,
shapes, lines and colors will give a harmonious effect. If overdone, though,
repetition may become monotonous and it may fail to hold the attention and
interest of observers. To relieve monotony, there must be variety. Variety is said
to be the spice of life and of art. Variety may be achieved by the diversity of
materials used and slight contrasts in color, texture, shape, and space
arrangements. Media with different textures and colors may be used.
In painting and in interior decoration, the complementary hues when
used will give contrast. The intensity of a hue may also be varied. A sculptor
may obtain variety through the use of contrast in texture, such as smooth and
rough, in his work. An architect, instead of using a long line of windows, may
relieve the monotony by grouping the windows and introducing spaces between
groups. The monotony produced by vertical lines or columns in buildings may
be relieved by transition lines. If the wall papers in a room is figured, the use of
plain curtains will make it more beautiful and restful. The artist must be
careful that the variety he introduces does not destroy the harmonious effect.
3. Balance
A pleasing relationship between the various elements of a work of art is
not the only requirement for beauty. These elements must also be so arranged
that a feeling of balance and equilibrium exists between them. We are all
familiar with the word balance. If all the parts are equally distributed around a
central point, we achieve balance. If weights are equally distributed on each
side of a center or fulcrum, as in a seesaw, we have balance. Balance gives a
feeling of stability and rest.
Balance may either be formal or informal.
Formal balance. It is also called symmetrical balance. This is achieved
by making both sides exactly alike. Objects of the same size and shape, when
arranged on two sides of a center, will produce formal balance. We see formal
balance in double-breasted suits and coats where we have a row of buttons on
both the left and right sides, and in a mantle where two flower vases are placed
at equal distance from the center.
Informal or asymmetrical balance. It is also sometimes called occult
balance. It is more difficult to achieve than formal balance; however, the
results are more interesting. It is achieved when objects of unequal weights or
unequal attractions are placed at the correct distances from the center as when
a large object or an object with a stronger attraction is placed near the center,
while the smaller object or one with less striking attraction is moved farther out
from the center.
4. Proportion
Proportion is determined by the comparison of the sizes of different parts
of an object or of an arrangement. A figuring is not in itself big, but it may be
too big for the pedestal it is standing on. The chairs in a room may be too big
for that room or for the other pieces of furniture in the room. Harmonious
proportion is achieved when one part of an objects does not seem too big or too
small for the other parts. Objects which are “out of proportion” are not pleasing
to look at.
In painting, the principle of good proportion is useful in combining colors
successfully and in determining the margins for mounting. Exactly equal
margins at the top, sides, and bottom will produce a monotonous effect. Using
exactly the same amount of color in a combination will also produce a
monotonous and uninteresting effect.
In sculpture, the comparative sizes of the different parts of the object
should be considered. The relation of the size of the statue and the background
or surroundings is also important. A statue may be too big for its background
or too small or its surroundings such that it may look out of place. In interior
decoration, the design of the wallpaper, the length of the curtains, the size of
the rug, and the size of the room.
5. Rhythm
In the visual arts, rhythm is achieved by the regular harmonious
recurrence of lines, form, and colors. Rhythm is organized movement, a beat, a
repetition. Through the repetition of lines or forms, a pattern is produced,
which the eye follows as it moves from the right to the left. A series of units
repeated one after another also produce rhythmic movement.
Through the use of color, charming patterns will be formed that will
carry the eye from one part a room to another. Repetition of color in different
parts of the room, like red roses in a vase on top of a table, spots of red in the
curtains, and throw pillows with red design, produces a rhythmical effect
which is not only charming but pleasing. The eye will be drawn about the room
from one red spot to another. Care must be taken though not to use equal
amounts of red as this will contradict the principle of proportion.
6. Emphasis
 Whenever we look at a room, some parts easily catch our attention and
interest while other parts are not noticed at all. This quality of design is called
emphasis or subordination. Emphasis is produced by the design or form that
catches our attention while the rest are subordinated. The pattern emphasized
usually forms the center of interest. Emphasis may be defined as giving the
proper importance to the parts or the whole.
A clever interior decorator always creates a center of interest in a room.
One part or design in the room is emphasized and the rest are subordinated.
You can just imagine the confusion you will experience if all the objects in a
room are of the same size and have the same pattern and color. Every detail
will be as important as the other. Monotony is also likely to be experienced.
Emphasis is important in all art forms. This is most noticeable in the art
of advertising. The aim of advertising is to call attention to a particular product
or object. It is therefore necessary to emphasize one feature in an
advertisement so that it will stand out from the rest.
Emphasis is important because it relieves monotony. It can also be used
to call attention to pleasing centers of interest.
Activity 3
1. Visit an online gallery or museum. List down 20 the names of the artists,
title of their paintings and the medium used. Use the matrix below to
submit your output.

Name of Name of Title of Medium Used Link /URL

Museum Artist Artwork of the Art
Work
visited

2. Make a summary / reflection of your experience in visiting online

gallery/museum.