Chapter 5: Lesson 1:

The Process of Art

Making and Acts of
Appropriation
Soul making (Art Making)
Soul making (Art Making)
Art making is a fun and
rewarding way for people
to express themselves and
to learn a broad range of
skills and concepts.
Inmaking art students
explore the materials and
techniques used by artist and
architects and experience the
decision-making practices
that artist have used over the
centuries.
When students make art, they
have the opportunity to express
their feeling, fantasize, tell
stories and give their ideas
concrete form. They can reflect
and draw upon their everyday
experiences and observations.
Students find relationships
between objects, consider
alternatives and make
choices. They identify with
ideas and feelings explored
and expressed by well-known
artists.
Working in groups offers
opportunities for shared risk
taking and completing works
through team-works,
cooperation and the exchange
of ideas.
The Art Making Process
The Art Making Process
In the art making process
students receive guided
instruction on how to start and
finish a typical art project using
efficiency and best practices.
Phase One – begins with
sketching, grid lining, drawing
or filling in under paintings. In
this phase students learn about
introductory best practices on
techniques and approaches and
understanding the art concepts.
Phase One
Phase Two- including adding
multiple layers of tone, color or
paint within an artwork. Here,
students are required to problem
solve are encouraged in their art
to explore, manipulate and master
technique-based art applications.
Phase Two
Phase Three- ends with
students adding final detail
and craftmanship
showcasing their finished
projects.
Phase Three
This includes demonstrating
the understanding of the art
elements, habits of mind and
effort, communication skills,
habits of work, composition
concepts and execution into a
well-crafted project.
STAGES OF ART
MAKING
Art doesn't just happen. Whether it's a
simple line drawing or an involved,
realistic painting, there is a definite
trajectory to the creative process.
Beginning with the spark of inspiration
and finishing with the completion of a
work, this illustrated guide portrays the
five stages of creating art.
Here are five stages of creating
art…
Inspiration
Percolation
Preparation
Creation
Reflection
1. Inspiration
1.Inspiration - This is one of the
most exciting moments in the
process or creating art: that
beautiful moment when inspiration
strikes. Where does inspiration
come from? Well, that's a subject
that has baffled and mystified
people for centuries.
Perhaps it's a film or piece
of fine art that inspires you,
perhaps it's something from
nature or an event that has
occurred in your life.
Sometimes, an idea seems to
come out of nowhere. Wherever
ideas come from, they have an
uncanny way of striking at the
oddest moments while waiting
for the bus, in the middle of rush
hour, or while you're in the bath.
2. Percolation
2. Percolation - While it’s not the
most glamorous part of the creative
process, the percolation period is
vital to creating art. Basically, this is
the time that elapses after you’ve
had your idea, but before you start
making art. It can transpire in many
different ways.
Sometimes this involves refining
your idea by making sketches and
tossing out just as many or
playing around with ideas
visually. Other times, it’s just a
matter of giving an idea space to
germinate
Sometimes, you may have an idea
year before you create the piece of
artwork it inspired. It doesn’t t
mean you've been resting on your
laurels that entire time, though.
There's part of you that is always
processing and refining your idea.
3. Preparation
3. Preparation - Preparation can be
confused with the "percolation”
period, but it is a more active and
focused time. You've settled on your
inspiration and how you'd like to
proceed. Now, it's a matter of
figuring out how to make it happen.
Preparation includes the time
spent obtaining and organizing
your supplies, plus creating a
blueprint for what your piece will
be. Maybe that means making
roughs or creating a dummy
outline for a book project.
4. Creation
4. Creation - Finally, it's time
to make it happen! Creation is
the time during which you are
solidly on your path. You have
your pen to paper, your brush
to canvas. You are creating.
The process of creation can
vary depending on your
personal temperament, your
artistic style and your
medium.
 For some, the process of
creation is actually quite
short and much of the work
has been done in the previous
phases for instance, a simple
line drawing.
While it might take minutes
to complete the drawing the
thought and time
developing that idea was
the more time-consuming
part of that project.
For a detailed painting, it
might be just the opposite -
you might spend hours, days
or weeks refining the perfect
light on a realistically painted
flower petal in oil.
5. Reflection
5. Reflection - After you
create a piece of art, there
might be a slight tizzy of
activity: sharing it with family
and friends, delivering it to a
client or hanging it on the
wall.
But regardless of the end
point of the art, its
completion often leads to a
period of reflection.
This reflection will be different
for everyone. For some artists,
there's a sort of low-grade
post-creative depression that
occurs, making them feel a
little empty and "spent”.
For others, there's relief: "it's
done! I can move on to the next
thing!" For others, there are
regrets: "I wish I had made this
line longer, I wish I had made
that part of the composition
blue."
Regardless of how it
feels to create a piece,
though, its completion is
a milestone.
Seven Da Vincian
Principle
One of the biggest questions about
innovation is “how do we maintain
it over time?" After all, there are
lots of one hit wonders, but only a
few people can continue to come
up with innovative ideas on an
ongoing basis.
While it would be impossible to
do justice to this genius in one
blog post, hereunder is the Seven
Da Vincian Principles that help
define da Vinci's approach to life
and as such innovation (Gelb,
1998).
Those seven principles are:
Curiosita(Curiosity)
Dimonstrazione
(Demonstration)
Sensazione (Sensation)
Sfumato
(Going Up in Smoke)
Arte/Scienza (Art and
Science)
Corporalita (Body and Mind)
Connessione (Connection)
Curiosita (Curiosity):
An insatiable curious
approach to life and
unrelenting quest for
continuous learning.
Curiosita (Curiosity):
Da Vinci was most curious
person. Higher the curiosity is
higher is the chance of
becoming successful.
Dimonstrazione
(Demonstration): A
commitment to test knowledge
through experience,
persistence and a willingness
to learn from past mistakes.
Da Vinci used to test or
experience any knowledge
learned.
Practical knowledge is better
than theory.
This will create more ideas.
Sensazione (Sensation):
Continual refinement of the
senses as the means to enliven
experience. Use all five senses
to observe as it will give you
deeper knowledge about thing.
To be innovative we must
be aware of what is going
on around us for example
active listening.
 Sfumato (Going Up in
Smoke):
It is about our willingness to
embrace ambiguity, paradox and
uncertainty.
As the old saying goes,
the only two things that
are certain in business are
uncertainty and change.
Don’t judge quickly.
Arte/Scienza (Art and
Science): Developing a
balance between logic and
imagination.
Science without art is
boring.
Da Vinci gave equal
importance to both Art
and Science.
Corporalita (Body and mind):
This is about maintaining a
healthy body as well as a healthy
mind.
No person with only healthy
mind can be creative.
One of the core concepts of da
Vinci's approach is keeping our
bodies fit being a function of
keeping our minds fit. Fit minds
lead to more innovative and
creative solutions.
 Connessione (Connection):
This is the simple recognition of
the interconnectedness of all
things and phenomena. Try to see
connection between different
things.
sometimes it is about
seeing the links between
how to use old things in
new ways.
Acts of Cultural
Appropriation
Cultural appropriation is a
concept in sociology dealing
with the adoption or the
elements of a minority culture
by members of the dominant
culture (Young 2010)
Cultural Appropriation
it is when someone adopts
something from a culture that is
not his or her own – a hairstyle, a
piece of clothing, a manner of
speaking, even a type of exercise
It is distinguished from
equal cultural exchange due
to the presence of a colonial
element and imbalance of
power.
We live in a culture that
overflows with images and
objects. From television to the
Internet, from the mall to the
junkyard, we are surrounded by
words, images, and objects that
are cheap, or free and throwaway.
It is not surprising that
artists today incorporate
this stuff into their
creative expression.
Appropriation is the practice of
creating new work by taking a
preexisting image from another
source - art history books,
advertisements, the media - and
transforming or combining it with
new ones.
Cultural appropriation can
involve the use of ideas,
symbols, artifacts, or other
aspects of human-made visual
or non-visual culture
(Schneider, 2003).
The differences between types of
appropriation are crucial in
determining whether and how an
instance of appropriation is
objectionable. There are at least five
quite different sorts of activity
called cultural appropriation:
5 Types of cultural appropriation:
Object Appropriation
Content Appropriation
Stylistic Appropriation
Motif Appropriation
Subject appropriation
1. Object Appropriation - This
appropriation occurs when the
possession of a tangible object
(such as a sculpture) is transferred
from members of one culture to
members of another culture.
The removal of the decorations from
the Parthenon by Lord Elgin is often
regarded as a case of material
appropriation. The transfer of a
totem pole from the site of a Haida
village to a museum is another case
of material appropriation.
2. Content Appropriation - This
form of appropriation involves the
reproduction, by a member of one
culture, of non-tangible works of art
(such as stories, musical
compositions or dramatic works)
produced by some other culture.
A musician who sings the songs of
another culture has engaged in non-
material appropriation, as has the
writer who retells stories produced by
a culture other than his own. The
Lettermen's rendition of Dahil Sa Iyo
could be an instance of content
appropriation.
3. Stylistic Appropriation -
Sometimes artists do not reproduce
works produced by another culture,
but still take something from that
culture. In such cases, artists produce
works with stylistic elements in
common with the works of another
culture.
White musicians who compose jazz or
blues music are often said to have
engaged in appropriation in this sense.
Similarly, white Australians who paint
in the style of the aboriginal peoples
would be engaged in stylistic
appropriation. The use of coat and tie
by Filipinos is another example.
4. Motif Appropriation - This
form is related to stylistic
appropriation. Sometimes artists
are influenced by the art of a
culture other than their own
without creating works in the
same style.
Picasso, for example, was
influenced by African carving, but
his works are not in an African
style. Similarly, Ravel was
influenced by the jazz of African-
Americans, but his compositions
are not in a jazz idiom.
Rather than
appropriating an entire
style, such artists have
appropriated only basic
ideas or motifs.
5. Subject appropriation -
This occurs when someone
from one culture represents
members or aspects of
another culture.
Many of Joseph Conrad's novels
involve subject appropriation, since
Conrad frequently wrote about
cultures other than his own. W. P.
Kinsella's stories about the Hobbema
Indian reserve are often cited as
examples of objectionable subject
appropriation.
Many people who have written on
cultural appropriation have not been
sensitive to the difference between
the various types of appropriation.
Reasons may exist for thinking that
instances of one sort of appropriation
are objectionable.
Nevertheless, artistsdo make ethical
decisions in such areas as the
appropriation of others work, what
materials they use in their work and
how they use them, the digital
manipulation of their work, and what
role they play as observers of the
events they capture in their art.
And, as we have seen, museums
and other places in which art is
exhibited play distinct roles and
have responsibilities in how art
is preserved, interpreted, and
displayed