Arts 8 Quarter 3 Module 7: Creating Arts and Crafts Using Local Materials of South Asia, Central Asia and West Asia

Arts Quarter 3 – Module 7: Creating Arts and Crafts Using Local Materials of South Asia, Central Asia and West Asia

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[illustration: students learning at home, some outdoors under a tree and some at a desk, with a globe and a lamp]

CO_Q3_Arts8_Module7

Arts – Grade 8 Alternative Delivery Mode Quarter 3 – Module 7: Creating Arts and Crafts Using Local Materials First Edition, 2021

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Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names, trademarks, etc.) included in this module are owned by their respective copyright holders. Every effort has been exerted to locate and seek permission to use these materials from their respective copyright owners. The publisher and authors do not represent nor claim ownership over them.

Published by the Department of Education Secretary: Leonor Magtolis Briones Undersecretary: Diosdado M. San Antonio

Printed in the Philippines by

Department of Education – Caraga Region Learning Resource Management Section (LRMS)

Office Address: J.P. Rosales Avenue, Butuan City, Philippines 8600 Tel. No.: (085) 342-8207 Telefax No.: (085) 342-5969 E-mail Address: caraga@deped.gov.ph

Development Team of the Module

Writer: Maricar S. Carlon Editors: Paulita L. Vernal, Lenycres V. Libres, Charito B. Cabug os Reviewers: Cecilia M. Saclolo, Remeliza M. Ranoco Illustrator: Stephen B. Gorgonio Layout Artist: Ivan Paul V. Damalerio, Janssen Louel C. Dabuet Management Team: Francis Cesar B. Bringas, Isidro M. Biol, Jr., Maripaz F. Magno, Josephine Chonie M. Obseñares, Bernard C. Abellana, Ma. Teresa M. Real, Dominico P. Larong, Jr., Gemma C. Pullos, Dulcisima A. Corvera

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Arts

Quarter 3 – Module 7

Creating Arts and Crafts Using Local Materials of South Asia, Central Asia and West Asia

Introductory Message

This Self-Learning Module (SLM) is prepared so that you, our dear learners, can continue your studies and learn while at home. Activities, questions, directions, exercises, and discussions are carefully stated for you to understand each lesson.

Each SLM is composed of different parts. Each part shall guide you step-by-step as you discover and understand the lesson prepared for you.

Pre-tests are provided to measure your prior knowledge on lessons in each SLM. This will tell you if you need to proceed on completing this module or if you need to ask your facilitator or your teacher’s assistance for better understanding of the lesson. At the end of each module, you need to answer the post-test to self-check your learning. Answer keys are provided for each activity and test. We trust that you will be honest in using these.

In addition to the material in the main text, Notes to the Teacher are also provided to our facilitators and parents for strategies and reminders on how they can best help you on your home-based learning.

Please use this module with care. Do not put unnecessary marks on any part of this SLM. Use a separate sheet of paper in answering the exercises and tests. And read the instructions carefully before performing each task.

If you have any questions in using this SLM or any difficulty in answering the tasks in this module, do not hesitate to consult your teacher or facilitator.

Thank you.

What I Need to Know

[illustration: hand pointing with a finger icon]

This module was designed and written with you in mind. It is here to help you master the nature of Arts. The scope of this module permits it to be used in many different learning situations. The language used recognizes the diverse vocabulary level of students. The lessons are arranged to follow the standard sequence of the course. But the order in which you read them can be changed to correspond with the textbook you are now using.

After going through this module, you are expected to create arts and crafts that can be locally assembled with local materials, guided by traditional techniques. (A8PR-IIIc-e-1)

What I Know

[illustration: hand holding a pencil icon]

Directions: Choose the letter of the correct answer. Use a separate sheet of paper.

1. What makes basket weaving so special?
   A. It can store items.
   B. It can decorate your home.
   C. It can collectively carry things.
   D. It has evolved in cultures around the world.

   
   

2. Tush kyiz are traditionally made in what country?
   A. Cambodia
   B. Kyrgyzstan and Kazakhstan
   C. Thailand
   D. Turkmenistan

   
   

3. The following are some common examples of ceramic, except __________.
   A. brick
   B. earthenware
   C. gravel
   D. porcelain

   
   

4. The color and design of Tush kyiz are chosen to symbolize ____________.
   A. freedom
   B. peace and harmony
   C. purity
   D. traditions and rural life

   
   

5. How do you define calligraphy?
   A. It is the art of producing three dimensional articles using paper as primary medium.
   B. It is the craft of decorating fabric or other materials using a needle to apply thread or yarn.
   C. It is the design and execution of lettering with a broad-tipped instrument, brush or other writing instrument.
   D. It is the process and the products of forming vessels and other objects with clay and other ceramic materials, which are fired at high temperatures to give them a hard, durable form.

   
   

6. The following are ceramic techniques except _______________.
   A. cross-stitch
   B. hand building
   C. pinching
   D. slip casting

   
   

7. It is a visual art related to writing.
   A. Calligraphy
   B. Embroidery
   C. Paper craft
   D. Pottery

   
   

8. It is the craft of decorating fabric or other materials using a needle to apply thread or yarn.
   A. Calligraphy
   B. Embroidery
   C. Paper craft
   D. Pottery

   
   

9. The following are paper craft simple techniques except ______________.
   A. layering
   B. molding
   C. stitching
   D. twining

   
   

10. Shyrdak rug are made up of _______.
    A. cotton
    B. satin
    C. silk
    D. wool

    
    

11. It is the basic technique of calligraphy in which the guideline shows the correct position for upper limit of the 6x height.
    A. base line
    B. cap line
    C. slant line
    D. x-line

    
    

12. Although, this method might sound somewhat complicated, the steps and textures described will become clear during the practical process of ceramic-making.
    A. glazing
    B. slip carving
    C. trimming
    D. throwing

    
    

13. The art of making felt products is closely related to the dwelling of the nomads, the yurt. Carpets of felt, decorated with ornaments, are called ________.
    A. basket
    B. ceramic
    C. shyrdaks
    D. tush kyiz

    
    

14. What do you think is the benefit of studying arts and crafts?
    A. It helps develop skills.
    B. It inspires to think critically.
    C. It makes you more creative and productive.
    D. all of the above

    
    

15. It is any of the various hard, brittle, heat-resistant and corrosion-resistant materials made by shaping and then firing a nonmetallic mineral, such as clay at a high temperature.
    A. brick
    B. ceramic
    C. fiber
    D. glass

    
    

Lesson 1 – Creating Arts and Crafts Using Local Materials

In this lesson, you will be introduced to the techniques and materials of arts and crafts found in South, Central and West Asian. Using the local materials around the country, or even around your house, what local materials could be used as alternatives to challenge our creativity in recreating these arts and crafts? What are the basic techniques that will help and guide in developing and creating these arts and crafts?

What’s In

[illustration: hand holding a puzzle piece icon]

Directions: Answer the following questions and write your answers on the space provided in each column. Do this on a separate sheet of paper.

1. What are the specific influences and characteristics of Arts and Crafts found in each region below?

South Asian Arts	Central Asian Arts	West Asian Arts
_____	_____	_____
_____	_____	_____
_____	_____	_____
_____	_____	_____

2. What are the arts and crafts in South, Central and West Asia? Give as many as you can.

South Asian Arts	Central Asian Arts	West Asian Arts
1. 2. 3. 4. 5.	1. 2. 3. 4. 5.	1. 2. 3. 4. 5.

What’s New

Match the finished product in Column A to their process in Column B by connecting a line. Write the letter of your answers on a separate sheet of paper.

Column A	Column B
1. [illustration: two woven baskets on a wooden table]	A. Embroidery
2. [photo: hands shaping a clay pot on a potter’s wheel]	B. Paper Craft
3. [photo: hands stitching a floral heart design in an embroidery hoop]	C. Calligraphy
4. [photo: six-panel collage of folded and cut paper flowers and leaves]	D. Basket weaving
5. [illustration: “Lettering Font” sample of script letters, Aa to Zz]	E. Pottery

[transcriber’s note: the Column B items are not numbered and are printed beside the pictures in the order A to E]

What is It

Arts and Crafts of South Asia

Paper Craft in India

[photo: collage of paper flowers and folded paper leaves]

Source: Facebook

[photo: collage of folded paper stars, paper boxes, and decorated paper holders]

Source: Youtube

Paper craft is prevalent in India since ancient period. It is the art of producing three dimensional articles using paper as primary medium. The paper craft involves simple techniques such as cutting, gluing, stitching, molding and layering. Use of such simple techniques on vibrant colored papers helps the craftsmen produce beautiful objects. Different styles, forms and techniques existing in the craft makes paper craft one of the best crafts of India.

Local materials that can be used in making Paper Craft:

Card stock paper | Glue | Papercraft scissors

[photo: stacked sheets of card stock paper]

[photo: bottle of Glue All]

[photo: several pairs of papercraft scissors]

Tweezers | Corner punchers | Mat

[photo: set of tweezers]

[photo: four corner punchers with decorative edges]

[photo: rolled mat]

Cutters | Trimmer | Paper knives

[photo: cutters and scissors on a metal ruler]

[photo: paper trimmer]

[photo: three utility knives]

The art of Indian Basket Weaving

[photo: hands weaving a basket with long strips of material]

Source: https://mymodernmet.com/basket-weaving/

[photo: two woven baskets on a wooden table]

Source: https://www.fwwm.org/all-events/basketweaving-2

Baskets do equal duty when it comes to being functional and being decorative. Baskets can be used for a variety of purposes in your home, such as a holder for your keys and other essentials, a fruit basket, or just a fun item to brighten up a countertop or bookshelf. A uniquely woven basket is just the versatile item you need to spice up your home!

What makes basket weaving so special is that it has evolved in cultures around the world, as we all collectively found the need to carry things, store items and decorate our homes. Each culture brought with it its own way of creating baskets with the materials they have around them; some cultures used cedar and the bark of trees, while others found that reeds and rushes were in abundance.

Two styles of basket weaving include the three (3) main weaving unique techniques:

• Coiled basketry, using grasses, rushes and pine needles. Coiling is not weaving. It is a procedure combining the wrapping of a core material and a sewing process.

[photo: hands holding a round coiled basket]

Source: https://www. coiled/basket/weaving/techniques

• Plaiting basketry, using materials that are wide and braid-like: palms, yucca or New Zealand flax. The plaiting technique involves crossing strips of material over and under each other, creating what resembles a “checkerboard” pattern. The plaiting technique is utilized in order to make flat wefts, which can be used to create the bottom, sides or cover of a basket.

[photo: square woven basket with a checkerboard pattern]

Source: https://www. coiled/basket/weaving/techniques

• Twining basketry, using materials from roots and tree bark. This is a weaving technique where two or more flexible weaving elements (“weavers”) cross each other as they weave through the stiffer radial spokes.

[photo: round woven basket with horizontal bands]

Source: https://www/twining/basket/weaving

Local/Alternative Materials that can be used to create a basket:

Any type of grass

[photo: sedge grass]

[photo: hands weaving bamboo strips]

Different kinds of vines

[photo: kudzu vines]

[photo: honeysuckle flowers]

Woody vines

[photo: tangled woody vines]

Reeds plant | Oak plant

[photo: reeds beside water]

[photo: oak leaves and an acorn]

Earthen Pots of Pakistan

[photo: hands shaping a clay pot on a potter’s wheel]

Source: https://www.istockphoto.com/photos/pottery-wheelweaving-2

Pottery making in the region of South Asia is an ancient skill. The people in Pakistan are engaged in making earthen pots (Matkas) on the pattern of their predecessors. Many artifacts including earthen pots and other items made from clay are displayed in museums.

Pottery is the process and the products of forming vessels and other objects with clay and other ceramic materials, which are fired at high temperatures to give them a hard, durable form. The processes are: preparing the material, working with clay, drying, firing, cooling, decorating and glazing.

Basic Pottery Techniques:

• Throwing – A mound of soft, fresh clay is turned or thrown, on the wheel to form the basic shape of the pot. The potter uses his hands and a variety of tools to form the shape. The resulting pot, called greenware, is removed from the wheel and left to dry slowly.

[photo: hands shaping a clay mound on a potter’s wheel]

Source: Lakeside Pottery

• Trimming – Once the greenware is dry and firm enough to handle (leather hard), it is placed back on the wheel and trimmed to its final form using a variety of tools to work the spinning pot. After trimming, it is again set aside to dry further.

[photo: hands trimming a clay pot on a wheel]

Source: Lakeside Pottery

Although this method might sound somewhat complicated, the steps and textures described will become clear during the practical process of ceramic-making. You can gain an online education in the theory of ceramics, but it is difficult to fully understand the techniques used in this process without taking a more hands-on approach. When you are working with clay, these theoretical approaches will often become obvious. You can then turn to more advanced techniques in order to further your pottery skills and expertise.

• Slip carving or Sgraffito – Sgraffito is basically a technique used to incise into a surface of applied slip. The process usually starts by applying a layer of a contrasting colored – slip on top of a surface of leather hard clay. The piece is then set aside to stiffen up until its leather is hard. If you cover the piece in plastic wrap, you can often leave the piece to harden for days.

[photo: hands carving a floral design into slip on a clay vessel]

Source: Lakeside Pottery, Pinterest

Once the piece is firm enough and the surface is not tacky, a design or pattern can be carved through the slip and into the clay body beneath. Once the design is pulled away by incising, there is a beautiful contrast between the slip and the clay. This contrast is stronger after firing and glazing.

• Bisque Firing – When the trimmed pots are bone dry, they are placed in a gas or electric kiln for bisque firing. Depending on the type of clay used, this initial firing will be from 1800 to 2300 degrees Fahrenheit. The kiln may take a day or more to cool. The pots, now called bisqueware, are hard and relatively strong after this initial firing. Note that during the firing, the pot may shrink as much as 15%. It’s important for the potter to plan ahead.

[photo: pots being fired over flames in an open kiln pit]

Source: https://www.thesprucecrafts.com/an-overview-of-the-firing-process-2746250 Tutorial.htm

• Glazing – The bisqueware can be dipped or painted with glazes. Stains and special coloring materials called underglazes can also be used to decorate the pots. Normal paints cannot be used for glazing pottery, the pigments are destroyed by the high temperatures of the glaze firing. Some of the best materials for bright, vivid colors (such as lead) are now known to be poisonous. Potters now use guaranteed lead-free, safe chemicals for glazing containers and tableware.

[photo: hands glazing a round pot, first stage]

[photo: hands glazing a round pot, second stage]

[photo: glazed round pot with a handle]

• Slip Trailing – A raised pattern is formed on the greenware by trailing a line of slip onto the greenware before bisque firing. Other decorative techniques include painting greenware or bisqueware with underglazes (high-temperature paints), or applying dyes either under or over glazes.

[photo: hands trailing slip onto a cup on a patterned sheet]

Source: Pottery Crafters

• Raku – Bisqueware is glazed and fired in a kiln to approximately 1800 degrees Fahrenheit, then removed and placed in a sealed container of combustible materials to draw the oxygen from the piece. Raku pieces may exhibit intricate crackled surfaces or metallic lusters and sheens, depending on the glazes used. Unglazed areas absorb carbon from the combustion and become black.

[photo: glazed pots being removed from a fire pit]

Source: https://www.thesprucecrafts.com/raku-2746086 Tutorial.htm

• Smoking or Pit Firing – Greenware is burnished to a smooth polished surface, often using smooth stones. The greenware may be bisque fired, or it may be placed directly in the smoke pit. In either case, a fire of charcoal or wood is used to heat the pottery to temperatures of up to 1300 degrees Fahrenheit. The pottery is covered in slow-burning materials, such as sawdust, damp straw or manure. As the material slowly smolders, the pots absorb carbon and other by products from the combustion, taking on rich grey, brown, red and black colors. Pit Firing is the technique used to produce the famous blackware of the New Mexico pueblos.

[photo: pots smoking over a grill-type fire pit]

Source: https://ceramicartsnetwork.org/tag/smoke-firingtechniques/ Tutorial.htm

Tools you may need to make pottery at home:

• towels and possibly an apron
• a small bucket for holding water or slurry as you work
• two to three large buckets for cleanup water
• one or more sponges for carrying water to the clay and for cleaning
• a large, soft brush (Sumi or bamboo are good)
• a wooden modeling (trimming) tool
• a potter’s needle
• a cut-off wire
• a box to keep your tools

Arts and Crafts in Kyrgyzstan

[photo: shyrdak felt rugs with patterns laid on a wooden floor outdoors]

[photo: felt rugs with ornamental patterns on a patterned surface]

Source: https://en.wikipedia.org/wiki/Shyrdakdesign .htmlwheelweaving-2 Source: http://www.eastmarketinggroup.com/News?id= 121lwheelweaving-2

Arts and crafts of Kyrgyz people has evolved over the centuries. It was formed based on the needs of people’s everyday life and the nomadic way of life influenced it much. Among the major forms of arts and crafts are felt art, weaving, patterned embroidery, making of mat, leather products, jewelry and wood carving.

The art of making felt products is closely related to the dwelling of the nomads, the yurt. Carpets of felt, decorated with ornaments, are called “shyrdaks”.

It takes the wool from approximately five sheeps to make one shyrdak rug. The process is slow and labor-intensive. Traditionally shyrdak rugs have been made by women. Once collected, the wool is picked clean washed, dried then dyed. The Shyrdak is usually designed in an inlaid patchwork highly contrasting color such as red and green, yellow and black, brown and white. Once the wool is dried a brightly colored pattern is laid on to a plain background this is then soaked with soap and water rolled up and literally pressed this process is repeated.

Once the pattern starts to hold, the rug is reversed soaked and rolled again after some hours the shyrdak rug is left to dry. Two contrasting layers of felt are the laid, on top of one another and a pattern is then marked on the top layer in chalk. This is painstakingly and laboriously cut out with the felt maker frequently sharpening the knife which will blunt quickly.

This creates a stunning positive/negative style visual image usually full of symbolic motif images that represents things around them. Representations of sheep and shepherds are particularly common in Kazakhstan. The felt that is cut from the top layer is not wasted and is used to create another mirror image shyrdak with the reverse colors of the original shyrdak.

Basic materials used in making Shyrdak rug:

• wool (Merino wool is one of the world’s most common types of wool)

[photo: skeins of wool yarn stacked on a wooden surface]

• dye (contrasting colors)

[photo: bowls of powdered dye in various colors]

• soap

[photo: two bars of soap]

Tush kyiz

[photo: embroidered tush kyiz panel with geometric and floral motifs]

[photo: embroidered tush kyiz wall hanging with a decorative border and a V-shaped top]

Source: https://en.wikipedia.org/wiki/Tush_kyiZ Source: https://collections.artsmia.org/art/99489/tush-kyiz-kyrgyzstan

Tush kyiz are large, elaborately embroidered wall hangings, traditionally made in Kyrgyzstan and Kazakhstan by women to commemorate the marriage of a son or daughter. Colors and designs are chosen to symbolize Kyrgyz traditions and rural life.

Flowers, plants, animals, stylized horns, national designs and emblems of Kyrgyz life are often found in these ornate and colorful embroideries. Designs are sometimes dated and signed by the artist upon completion of the work, which may take years to finish. The tush kyiz is hung in the yurt over the marriage bed of the couple, and symbolize their pride in their Kyrgyz tradition.

The tush kyiz embroideries have been a family tradition among Kyrgyz people for centuries, but among the last two generations, the tradition has been confined to rural women. Shyrdaks (felt rugs) are still being made because these have always been an item for sale to the general public. Tush kyiz, on the other hand, have always been created as a deeply personal family heirloom, symbolizing a newly married couple’s union with family, regional and national tradition.

Arts and Crafts in West Asia

Calligraphy

Calligraphy is a visual art related to writing. It is the design and execution of lettering with a broad-tipped instrument, brush or other writing instrument. A contemporary calligraphic practice can be defined as “the art of giving form to signs in an expressive, harmonious and skillful manner”.

[illustration: sample “Lettering Font” alphabet set in a script typeface, showing uppercase and lowercase letters Aa through Zz]

Techniques – The basic of calligraphy and hand writing

In order to achieve optimal results, it is advisable to learn the basic techniques of calligraphy first.

• Base line – the writing line upon which the body of a letter sits

[chart: diagram; untitled, script letters “gh” over guidelines; labels: “Ascender and Capline”, “x-height”, “Baseline”, “Descender”]

• Ascender line – the guideline which sets the height of an ascending letter

[illustration: letters “Aghfy” over horizontal guidelines, with the label “Ascenders”]

• Cap line – the guideline which sets the height of a capital letter

[illustration: script capital letter “A” with labels “cap line”, “upstroke” and “downstroke”]

• Ascender – the portion of a letter that is between the 7 x-line and the 2- ascender line

  
  

• Descender – the portion of a letter that lies below the 1 base line

  
  

• X-height – the height of a letter or the portion the script that is located between the 1 base line and the 2ascender line (the height of the lowercase x)

  
  

• X- line – the guideline showing correct position for upper limit of the 6x height

  
  

[chart: labeled diagram of the letters xlfqgEO; type terms and guidelines]

• ascender line

  
  

• ascenders

  
  

• serifs

  
  

• cap line

  
  

• x line

  
  

• x-height

  
  

• cap height

  
  

• type size

  
  

• base line

  
  

• descender line

  
  

• descenders

  
  

• Slant line – the guideline showing the correct slant
  Slant – the slope of a letter, measured from the vertical

  
  

[illustration: handwritten word “slant” on grid paper with slant guidelines]

• ASCENDER

  
  

• X-HEIGHT

  
  

• BASELINE

  
  

• ANGLE

  
  

• Nib width – the width of the writing pool

  
  

[chart: labeled diagram of a handwritten letter “h” with nib width measurements and a pen]

• ascender

  
  

• 2 nib widths

  
  

• x-height

  
  

• 4 nib widths

  
  

• baseline

  
  

• 2 nib widths

  
  

• descender

  
  

• nib angle – 30°

  
  

• slant – vertical

  
  

• Ductus – the number, the direction and sequence of the strokes which make up a letter

  
  

[illustration: sample alphabet pages in blackletter/Gothic lettering styles, with a printed heading at the top]

• Hairline – a very thin line

[illustration: two calligraphic strokes with labels HAIRLINE and SHADE, marked with red arrows]

• Pen Angle – the angle at which the nib meets the paper, relative to the base line

[chart: diagram of a pen nib at 90° to the baseline; labels]

• Baseline

  
  

• 90°

  
  

• One pen nib width

  
  

• Downstroke – a stroke directed downwards towards the base line or descender line

  
  

[illustration: letter stroke with red arrows showing downstroke direction between dashed guidelines]

Local/Alternative materials that can be use in calligraphy and hand writing:

[illustration: row of cartridge pens] [illustration: dip pens] [illustration: felt tip pens] [illustration: bottle of ink] [illustration: pencil, eraser and ruler] [illustration: stack of paper]

Calligraphy pen

Cartridge pens | Dip Pens | Felt tip Ink | Pencil, eraser and ruler | Paper

Ceramic

[photo: two decorated ceramic vases in a display case] Source: Wikipedia

[photo: decorated ceramic pitcher with floral pattern] Source: www.pamono.se

A ceramic is any of the various hard, brittle, heat-resistant and corrosion-resistant materials made by shaping and then firing a nonmetallic mineral, such as clay, at a high temperature. Common examples are earthenware, porcelain and brick.

Here are some ceramic techniques:

• Handbuilding – The relationship between hands and clay is the basis of the ceramic art form. When you put your hands to clay, the natural inclination to form, shape, and ultimately create something from the fine-grained soil is inescapable. Hand built objects can be produced by pinching balls of clay, joining slabs or creating coils. “Handbuilding, a combination of coil, carving,

pounding and squishing, has taken center stage in the art world,” says Adam Welch, an art lecturer at Princeton University and director of Greenwich House Pottery, the oldest non-profit ceramics studio in the country (since 1909). “It seems most adequate to fight the slickness of conceptual art and most adaptable toward a return to an inner impulse.” And while certain vessels would be easier to achieve using one of these processes over another, Welch notes that “it all depends on style, taste, and one’s tolerance.”

[photo: hands shaping a clay bowl on a potter’s wheel] Source: https://www.thesprucecrafts.com/basic-hand-building-techniques-27459282/companies/89.htmlcrafts/

• Pinching – Shape a piece of clay into a smooth ball about the size of your hand. As you hold the clay sphere, press your thumb into the center of the ball, about halfway down to the bottom. As you revolve the ball with one hand, press the walls out evenly with your thumb on the inside and your fingers on the outside. Smooth the surface with a damp sponge.

[photo: two stages of pinching a clay bowl, labeled 7 and 8] Source: https://ceramicartsnetwork.org/daily/pottery-making-techniques/handbuilding-techniques/pinch-pot-technique-fundamental-way-make-beautiful-pitcher/

• Slab construction – Begin with rolled-out, flat and wet or moist pieces of clay (you can roll them out by hand-tossing or using a rolling pin or slab roller). Soft slab naturally warps and bends during the making and firing, so roll out the slabs on each side repeatedly. Stack with a smooth and wrinkle-free material in between each slab to prevent any tearing or distortion. Then cut each individual piece into shapes, and connect or form them into an object. Score and slip the joined areas to ensure the object will dry out without losing its form.

[photo: box-shaped object built from clay slabs] Source: https://www.pinterest.ph/pin/147844800238652524/

How Hard Slab Works

Use only dried and firm slabs of clay for this technique. Once the clay is leather-hard, cut out your pieces and join them by scoring and slipping. This technique offers less warpage than soft slab construction.

• Coil Construction – Use your fingers to roll out soft clay into long, thick strips about ¼ – ½ inches wide (think: long, thick pasta noodles), and smooth out a plate of clay. This will be the base on which the coils will be stacked. After layering the coils one on top of the other, ensure that they are joined securely by scoring and slipping them together.

[photo: clay pots built with coils and decorative spirals] Source: https://www.pinterest.ph/pin/270990102558554757/

• Wheel Throwing/Hand Throwing – Drop a kneaded ball of clay with some force onto the center of the wheel head. With a bowl of water, wet hands and clay as the wheel spins quickly. Cup clay in your hands and use your legs and core to keep your body steady and to provide extra strength in order to bring

it into a tower shape. Pushing the clay down and in simultaneously with the palms of your hands, let extra clay and water disperse from the shape being formed. Keep the clay centered for an even rotation and appearance. Use one hand to find the center of the ball and open it with your fingers as the other hand holds it intact. Once the bottom is compressed, the walls are raised, thinned, and shaped as much as you like, and the top is evened out, let finish and dry.

[photo: hands throwing clay on a potter’s wheel] Source: https://theartofeducation.edu/2020/01/20/6-tips-to-get-your-students-throwing-on-the-wheel-with-success/

• Slip Casting – Pour liquid clay (the slip) into a securely fastened plaster moulds After a few minutes, allow the clay to form and solidify within the moulds interior wall and then pour out any remaining liquid clay. After a few more minutes, remove the hardened clay from the mould, trim unwanted areas if necessary, and air-dry.

[photo: four cylindrical clay forms on a plaster mold base] Source: https://en.wikipedia.org/wiki/Slipcasting

Local/Alternative ceramic materials:

• Clay
• Powders
• Kiln (oven)
• Glaze

What’s More

[illustration: hand stacking blocks]

You have observed that being creative in making arts and crafts can be useful in your livelihood. You only just need to develop your creativity and perseverance. In the succeeding activities, you are going to widen your imagination in appreciating how important those crafts.

Activity: Name Writing in Calligraphy

Materials:

• Calligraphy Pen
  • Cartridge pen (disposable ink pen)
  • Felt pen (sign pen)
• Cartolina/Illustration board
• Pencil, Eraser, Ruler

Directions:

1. Prepare your working area.
2. Think of a design of your name.
3. Apply the basic techniques in doing your work.
4. Make your work creative.
5. Clean up after work.

Your artwork will be evaluated using these criteria:

Rubric

INDICATORS	5	3	1
1. Directions were followed accurately.
2. Basic techniques were used and are clearly evident.
3. Artwork shows creativity and effort.

Numerical	Descriptive	Grade Improvement
5	Excellent	95%
3	Good	85%
1	Needs Improvement	75%

What I Have Learned

[illustration: hand holding a light bulb]

Directions: Fill in the blanks with the missing words to complete the statements. Find your answers from the box below.

Color	Shape	Line	Tush Kyiz
Paper craft	Calligraphy	Embroidery	Pottery
Harmony	Balance

1. _____ is an element of art consisting of hues, of which there are three properties: hue, chroma or intensity and value.
2. _____ is a large elaborately embroidered wall hanging.
3. _____ are marks moving in a space between two points whereby a viewer can visualize the stroke movement, direction, and intention based on how the line is oriented.
4. _____ is the craft of decorating fabric or other materials using a needle to apply thread or yarn.
5. _____ is an element of art in which a two-dimensional design encased by lines to signify its height and width structure, and can have different values of color used within it to make it appear three-dimensional.
6. _____ is the art of producing three-dimensional articles using paper as primary medium.
7. _____ is the process and the products of forming vessels and other objects with clay and other ceramic materials, which are fired at high temperatures to give them a hard, durable form.
8. _____ in art and design is the visually satisfying effect of combining similar, related elements. For instance: adjacent colors on the color wheel, similar shapes, etc.
9. _____ is a feeling of equality in weight, attention, or attraction of the various visual elements within the pictorial field as a means of accomplishing organic unity.
10. _____ is a visual art related to writing.

What I Can Do

Activity: Basket Weaving

After learning about basket weaving, you will now experience how to make one.

Materials:

• Any type of grass
• Bamboo
• Vines

Directions:

1. Prepare your working area.
2. In making your basket, you can choose among the three (3) unique weaving techniques.
3. Make your work creative.
4. Clean up after work.

Your artwork will be evaluated using these criteria:

Rubric

INDICATORS	5	3	1
1. Directions were followed accurately.
2. Basic techniques were used and are clearly evident.
3. Artwork shows creativity and effort.

Numerical	Descriptive	Grade Improvement
5	Excellent	95%
3	Good	85%
1	Needs Improvement	75%

Assessment

Directions: Choose the letter of the correct answer. Use a separate sheet of paper.

1. It is a sewing and embroidery technique in which a series of looped stitches form a chain-like pattern.

   • A. Chain Stitch
   • B. Cross Stitch
   • C. Buttonhole
   • D. Running Stitch

2. It is the basic stitch in hand-sewing and embroidery on which all other forms of sewing are based.

   • A. Chain Stitch
   • B. Cross Stitch
   • C. Buttonhole
   • D. Running Stitch

3. The following are some common examples of ceramic except; _____________.

   • A. brick
   • B. earthenware
   • C. gravel
   • D. porcelain

4. This is a weaving technique where two or more flexible weaving elements (“weavers”) cross each other as they weave through the stiffer radial spokes.

   • A. Coiling
   • B. Plaiting
   • C. Twinning
   • D. Glazing

5. A two-part thread, consisting of a central core wire, with a coiled wire around it.

   • A. Milliary Wire
   • B. Bullion Thread
   • C. Pearl Purl
   • D. Torsade Thread

6. It is the writing line upon which the body of a letter sits

   • A. Cap line
   • B. Base line
   • C. Ascender Line
   • D. Slant Line

7. The following are ceramic techniques _______________.

   • A. cross-stitch
   • B. hand building
   • C. pinching
   • D. slip casting

8. It is the guideline which sets the height of an ascending letter

   • A. Cap Line
   • B. Base line
   • C. Ascender line
   • D. Slant Line

9. It is a series of flat stitches that are used to completely cover a section of the background fabric.

   • A. Chain stitch
   • B. Running stitch
   • C. Buttonhole
   • D. Satin stitch

10. The following are paper craft simple techniques except ____________.

    • A. layering
    • B. molding
    • C. stitching
    • D. twining

11. Shyrdak rug are made up of _______.

    • A. cotton
    • B. satin
    • C. silk
    • D. wool

12. It is the basic technique of calligraphy in which the guideline shows the correct position for upper limit of the 6x height.

    • A. base line
    • B. cap line
    • C. slant line
    • D. x-line

13. Although this method might sound somewhat complicated, the steps and textures described will become clear during the practical process of ceramic-making.

    • A. glazing
    • B. slip carving
    • C. trimming
    • D. throwing

14. ________ is basically a technique used to incise into a surface of applied slip.

    • A. Slip Carving
    • B. Throwing
    • C. Trimming
    • D. Raku

15. A stroke directed downwards towards the base line or descender line.

    • A. Slant Line
    • B. Downstroke
    • C. Nib width
    • D. Cap line

Additional Activities

Activity: Embroidery Making

Materials:

• Scissors
• Aari (needle)
• Beads and stones
• Fabric glue
• Threads

Procedures:

1. Prepare your working area.
2. Apply the basic embroidery techniques in doing your work.
3. Make your work creative.
4. Clean up after work.

INDICATORS	5	3	1
1. Directions were followed accurately.
2. Basic techniques were used and are clearly evident.
3. Artwork shows creativity and effort.

Numerical	Descriptive	Grade Improvement
5	Excellent	95%
3	Good	85%
1	Needs Improvement	75%

Answer Key

[transcriber’s note: the answer key is printed rotated 180 degrees in three boxes; the entries below are listed in the order printed in each box]

WHAT I KNOW

• D 1.
• B 2.
• C 3.
• D 4.
• C 5.
• A 6.
• A 7.
• B 8.
• D 9.
• D 10.
• D 11.
• C 12.
• C 13.
• D 14.
• A 15.

WHAT I HAVE LEARNED

• Color 1.
• Tush kyiz 2.
• Line 3.
• Embroidery 4.
• Shape 5.
• Paper craft 6.
• Pottery 7.
• Harmony 8.
• Balance 9.
• Calligraphy 10.

ASSESSMENT:

• A 1.
• D 2.
• C 3.
• C 4.
• A 5.
• B 6.
• A 7.
• C 8.
• D 9.
• D 10.
• D 11.
• C 12.
• C 13.
• A 14.
• B 15.

References

Book Source:

Belinda R. Anido et. al. Music and Arts of Asia of the Department of Education: Book Media Press, Inc. 2013

Websites:

Havell, Ernest Binfield. “A Handbook of Indian Art”. London: Murray, 1927. https://www.oxfordbibliographies.com/view/document/obo9780199920105/obo-9780199920105-0010.xml

“Central Asia Cultures” 2009-2020 https://www.centralasiacultures.com/kazakhstan

“The Middle East”, Tate 2015 https://www.khanacademy.org/partner-content/tate/global-modernisms/the-middle-east/a/the-middle-east

For inquiries or feedback, please write or call:

Department of Education – Bureau of Learning Resources (DepEd BLR) Ground Floor, Bonifacio Bldg., DepEd Complex Meralco Avenue, Pasig City, Philippines 1600 Telefax: (632) 8634-1072; 8634-1054; 8631-4985 Email Address: blr.lrqad@deped.gov.ph * blr.lrpd@deped.gov.ph