- refers to the process of applying colors /

pigments on a flat surface by the means of a

brush, painting knives, or other applying
materials.
-
- Painting is a form of visual art which entails
both the act and the result of the action
(tangible product).
3 Classifications of Media/Tools To
Be Used
 1. Pigment
 2. Brush or other tools to apply pigment
 3. Surface to be painted on
 PIGMENTS
 1. OIL PAINT
 Bound with a
medium of drying
oil, such as linseed
oil
 Dry very slowly
 Uses turpentine or
thinner as its solvent
to change its
viscosity
 “MADONNA OF THE SLUMS”,
“CARCASS”, JOSE JOYA
VICENTE MANANSALA
 PIGMENTS
 2. ACRYLIC
 Fast-drying
 Dilutes (dissolves)
with water, but is
water-resistant when
dry
 Finished painting
can resemble a
watercolor*, or an oil
painting*
 “BANTAY SUMALAKAY”
“SABEL”,
RODEL TAPAYA
BENEDICTO CABRERA
 PIGMENTS
 3. WATERCOLOR
 Dilutes with water
 Not water-resistant
when dry
 Has transparent
pigments
 UNTITLED, JAY LEE
“MOTHER AND CHILD”,
MARGARITA LIM
 PIGMENTS
 3. GOUACHE
 Opaque watercolor
 Poster color
 Water-based
 Not water-resistant
when dry
CLAIRE
DAN TIN
WILLCOCKS
TUONG
BRUSHES
 BRUSHES
How the Size of an Art Paint Brush is
Indicated

 The size of a brush is indicated by a number

printed on the handle.

 Brushes start from 000, then 00, 0, 1, 2, and up.

The higher the number, the bigger or wider the
brush.
 BRUSHES
Thickness of a Brush

 If you're painting with watercolor or very fluid

paint, a thick brush will hold considerably
more paint. But if you want a brush for dry-
brush techniques, you may well want a brush
that holds less paint.
 BRUSHES
 There are specific types of brush to be used for
each pigment.

 E.g. Oil paint = bristle brush (hog’s hair)

 Acrylic = bristle, nylon
 Watercolor, gouache = sable brush, nylon
 Etc.
 SFUMATO
 the technique of allowing tones and colors to
shade gradually into one another, producing
softened outlines or hazy forms

 softening the transition between colours

PALETTE KNIFE
 IMPASTO
 is a technique used in painting, where paint is
laid on an area of the surface in very thick
layers, usually thick enough that the brush or
painting-knife strokes are visible.
 Surfaces to be painted on
 CANVAS, BURLAP, CHEESE CLOTH
 WOOD
 PLASTIC
 PAPER
 METAL
 ETC.
 ANG KIUKOK
 Angst-ridden features
 Poverty-afflicted Filipinos
 Social-Realist
 Cubist
“THINKING MAN”
“CHRIST”
“MOTHER AND CHILD”
 ANTONIO DOCTOR
GARCIA
 Pen and ink master +
watercolor
 Illustrations of towns and
market scenes
MARKET SCENE, PHILIPPINES
“BAKAS NG KAHAPON”
 MAURO “MALANG”
SANTOS
 Cartoonist
 Illustrator
 Fine arts painter
 Vibrant colors
“WOMEN FRUIT VENDORS”
“TRES MARIAS”
“WHITE BIRD”
 ABDULMARI IMAO
 Sarimanok
 Okir
 Contemporary
 Vivid colors
SARIMANOK SERIES
SARIMANOK SERIES
 BENEDICTO CABRERA
 “BenCab”
 Social-realist
 Abstract and distorted
figures that evoke
emotions
“SABEL”
“THREE WOMEN”
“MADONNA”
PUNK PORTRAIT
 DANILO DALENA
 Political cartoons and
illustrations
 People in search of luck or
miraculous relief
 Dark
representations
“BWISIT” (JAI ALAI SERIES)
“ASONG SIMBAHAN NO. 2”
“ASONG SIMBAHAN NO. 2”
 PRUDENCIO
LAMARROZA
 Surrealist
 Ecological themes
“AMBURAYAN RIVERSCAPE”
“FLOATING NAIAD”
FROM THE GRIDS SERIES
FROM THE ABSTRACTS SERIES
 FRANCISCO PELLICER
VIRI
 SOLOIST ART / SOLO ART
-is an artistic principle that
perceives life as a solitary
struggle, a constant creative
struggle to make life sensible
amid the irrational realities of
human existence.

“The line is the heart of the

drawing. The line is the soul of
my paintings.”
“THE RECONSTRUCTED EMPATHY”,
WATERCOLOR
“THE NERVOUS LANDSCAPE”,
WATERCOLOR
 JOSE V. BLANCO
 Father of 7 children who all
became painters in Angono,
Rizal
 Folk Realist
HARVEST SCENE
HARVEST SCENE WITH THE BANAUE RICE TERRACES AT THE
BACKGROUND
“MAGTATAHIP”
CROPPED PART, “THE ANGONO FISHERMAN’S FESTIVAL
“THE ANGONO FISHERMAN’S FESTIVAL, ACTUAL SIZE