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Module in Arts in Daily Living 3
BS Secondary Education (DRRR 01)
Cotabato State University
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Republic of the Philippines Romblon State University Romblon, Philippines
Arts in Daily Living
Republic of the Philippines Romblon State University Romblon, Philippines
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Romblon State University Romblon, Philippines
Arts in Daily Living
This course shows the principles of art as they are seen in familiar works of art, and as they related to
everyday problems, such as house design and decoration, store decoration, and costume design. In this course you will experience different activities that will widen your knowledge about the wonderful
creation of art in our daily living. You will work on your own and open your mind for new information and work your bare hand for new application that you will learn.
This course pack contains five modules which include the following: Module 1: Aesthetics and the Importance of Good Taste to Art
Module 2: Two Kinds of Design and Harmony Module 3: Proportion and Balance
Module 4: Rhythm and Emphasis Module 5: Solving an Art Problem
Each modules contains of several lessons composed of introduction, activity, analysis, abstraction, application, and closure.
Overview
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Romblon State University Romblon, Philippines
Arts in Daily Living
MODULE
3
Proportion
And
Balance
In this module it aims to provide
knowledge about proportion and balance of art in
your daily living. Also on how this proportion and
balance take place in which it will be a great help
for you in future such as beautifying your home,
office, or classroom, handling the difficulties in
life on how to deal with problems and
insecurities. It can also be a guide on how to
balance your emotions like the negativity and
positivity on your mind, how you will use your
head and heart in doing a decision. All of this are
connected to art in which proportion and balance
is a great part of all.
This module contains the following lesson:
Lesson 1: Aspects of Proportion
Lesson 2: Balance and its Aspects
Module Outcomes:
Identify the importance
of proportion to an art.
Identify the effect of
lines.
Define balance.
Demonstrate the
proper balancing of
object.
Create a drawing
showing proportion
and balance.
Analyze the
relationship of
proportion and
balance in art.
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Romblon State University Romblon, Philippines
Arts in Daily Living
In this lesson it will enlighten your mind about the proportion and its aspects it will sought you information about aspects of proportion, importance of it in your daily life, the role if it in beuatifying your home.
ONCE UPON A HOUSE
Many of us saying that <There’s no place like home= in which we always find peace, happiness, and sometimes inspiration at home. Now, let us go inside your home and give me a tour.
INSTRUCTION: In a short bond paper capture each parts of your house. Describe each part of your house in 3 sentences. Which part of the house do you like most? And why? Answer this question in 1 paragraph consist of 10 sentences.
After doing the activity earlier, do you observe the presence of proportion in your home? Are You aware to the partition of your home and their importance? If you answer all yes you already have an idea about proportion but if your answer is no we will make your answer yes. So, in this lesson it will give you ideas and information about proportion and how it works in your home and in the other things.
####### PROPORTION
It is the dimension of a composition and relationship between height, width, and depth. How proportion is used will affect how realistic or stylized something seems. It also describes how the sizes of different parts of a piece of art or design relate to each other.
ASPECTS OF PROPORTION Proportion is the <Law of Relationships.= There are three practical problems in proportion which confront us in everyday tasks. These are: (1) How to achieve arrangements which will hold the interest. (2) How to make the best of given sizes and shapes. (3) How to judge what sizes may be successfully grouped together.
Lesson 1: Aspects of Proportion
Learning Outcome: 1. Identify the importance of proportion of art in your daily living. 2. Determine the principle of proportion. 3. Analyze the aspects of proportion.
ACTIVITY
ANALYSIS
ABSTRACTION
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Romblon State University Romblon, Philippines
Arts in Daily Living
dress, or arranges a group of objects; and in countless other situations the same principle is called into play. If the particular division is to be into two parts, the most satisfying result is achieved when the dividing line or object is placed at a point a little more than one-half and a little less than two thirds the distance from one end or the other. However, this point should not be located mechanically, and these proportions are only approximate. Any position within the limits is potentially pleasing, and there is no necessity for a stereotyped choice.
Dividing a space into more than two interesting parts.
Dividing a space into more than two parts by means of lines or objects presents three possibilities: (1) All the spaces may differ. For example, in the diagram, Pig. 3, and in the handkerchief illustrated in Fig. 3, all the stripes and the spaces between them are different. This gives the greatest variety obtainable. This type of spacing is excellent for relatively small areas or for a few spaces, but there
is a possibility that the effect may appear confused and inharmonious if a great many of these divisions must he seen and compared at one time. (2) All the spaces may be alike. In Fig. 3, and in the black and white material in Fig. 3 every stripe is the same width, and the spaces between them are the same width as the stripes. This kind of repetition makes for monotony. (3) There may be a variation in some of the spaces and repetition in others. In Fig. 3, a stripe is repeated at intervals alternating with a space from which it differs in width. The converse of this arrangement would be seen if tucks of varying width were interspersed with identical spaces. C and D achieve harmony through the repetition of the same unit, but without sacrificing the agreeable element of variation.
Lines which apparently alter proportions.
It is often said that horizontal lines add width, and vertical lines add height. While this is true, a second effect may be produced which must also be taken into account. Vertical lines can be so arranged that they will carry the eye from one line to the next, and while they still add height to an object they will also add width. Let us therefore confine ourselves to the statement that a vertical movement makes an object look taller and more slender, and a horizontal movement has the opposite effect. Two oblongs of the same size showing that when the eye is carried up and down, the height seems increased and the width decreased, while carrying the eye across has the tendency to add width and decrease height.
The effect of lines upon the appearance of a
room.
Figure 3: Monotony and variety gained through spacing. A shows variety throughout. There is no repetition in its lines or in the spaces between, them. B shows monotony in its repetition because all the lines and spaces are alike. In C the spaces differ from the lines, while in D the spaces are different from the lines and from each other.
Figure 3: The spacing in the border of this handkerchief is of the type diagramed in FIG. 48A, where neither lines nor spaces are repeated.
Figure 3: As in FIG. 3, this fabric lacks interest because of its monotonous
Figure 3: This shows a plan which may be followed in arranging objects so that they will group well. Think of each one of these blocks as a picture, a button, or a bolt of goods in fact, anything which you wish to arrange in a group. Each group is seen as a unit because there is less space between the objects than the width of the object. The two groups are easily seen together because there is less space between them than the area of each group. Note that all spaces follow Greek proportions.
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Romblon State University Romblon, Philippines
Arts in Daily Living
When it is understood that the correct use of lines may thus apparently alter proportions, countless puzzling problems will be solved. The room which is too low may have panels or a suggestion of stripe in the paper; windows too short will have long, narrow draperies and no valance; the chair which is too "squat" may have a vertically striped cover (but remember not to choose stripes that will carry the eye across rather than up and down). The placing of pictures and accessories may be used to emphasize height or width in a room.
The effect of lines upon the appearance of the individual.
A stout woman should avoid horizontal movement in the lines of her hats and dresses, seeking to direct the eye up and down the center of her figure, rather than across it. That the buyers and even dress designers do not always recognize this important principle is seen in the reproduction of a newspaper advertisement of garments especially designed for stout women. Broad collars, separate waists and skirts, wide yokes on skirts, conspicuous sashes, stripes which carry the eye from side to side, and short overskirts, all tend to add width, and are the very things stout women should avoid wearing. It is said that the stout woman should wear panels, but the width of the panel is seldom mentioned. The salesman who understands how to use lines to alter proportions will not advise a short fat man to buy a wide brimmed straw hat, nor will he recommend a bow tie for one with a broad face. A long thin face in either man or woman needs the softening shadow and the cross line of the hat with a brim. A woman any of whose proportions vary from the normal will select dresses with lines designed to direct the eye away from the unusual feature, and she may still further conceal her defect by building out some other part of her dress. For example, if the bust is too large, instead of compressing the waist and simply calling attention to the unusual size, as many women do, she should build out the waist and hips and employ in her costume lines that carry the eye up and down the center of the figure. If the hips are conspicuous the waist and shoulders may be built out. If the shoulders are too square it is unwise to accentuate them with yokes or square collars. It is clear from these instances that one has the power apparently to change sizes and shapes if he understands the correct use of line, and thus this knowledge becomes one of the most valuable tools in a person's equipment.
Definition of scale.
One of the terms which is used very frequently is "scale." One says, " This building is excellent. All its parts are in scale." Or, "How well scaled this table is." Scale, in this sense, means that the proportions of all the elements that have gone into that structure have a consistent, pleasing relationship to the structure and to each other. A very small object never looks so small as when it is placed near something which is very large. That is because the two sizes are not consistent. They accentuate each other by contrast, and would be said to be "out of scale."
Scale in exteriors.
Whenever a doormat, a window, or a porch is too large or too small it will attract undue attention, and destroy the effect of unity that might be produced by the house. In this case all three, dormer, columns, and the large windows, are out of scale with the size of the building. A house with a slender columns have been used in pairs in order that the supports might be in scale with the house Window openings of even ordinary size are apt to appear large for the average house and this is particularly so if the windows are made with large panes of glass. However, the windows may be
Figure 3: These three drawings show the effect of panels of various width on a stout figure. A. When a panel is very wide the eye is led across the figure as well as up and down, C. When the panel is too narrow attention is called by contrast to the unusual expanse at either side. B. The effect of height and slenderness is obtained only when the panel is of moderate size and well proportioned.
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Romblon State University Romblon, Philippines
Arts in Daily Living
Before watching the video recordings, be guided by the following:
- Analyze the details in designing home.
- Observe the aspects of proportion presents in the video.
- Design your home with the proper proportioning of designs.
- Be observant and focus on the video.
Module 3 video clip 1: How to Use Scale and Proportion? youtu/ADBvnze8Rhl After watching the video, do the task given below:
INTRUCTIONS:
- In your home choose one of it part for your activity.
- In a short bond paper, make your own design to the part of your house you chosen by following the principles of scale and proportion.
- Explain why you choose that design in 2 paragraph.
Fantastic! You make the activities given in this lesson, one step unlock. Looking forward to your next achievement, continue doing your best on the next lesson.
In our daily life we must balance all the things we do. Balance is being observed anywhere. It is usually seen in creating dress, decorating house, making accessories, landscaping, and other works of art. It will give additional beauty to the works you do. So, in this lesson it aims to provide knowledge about the importance of balance and how do balance help people to do better especially in house decoration and dress making.
DIRECTION : Differentiate the given pictures below.
Lesson 2: Balance and Its Aspects
Learning Outcome: 1. Identify the importance of balance of art in your daily living. 2. Determine the principle of balance. 3. Analyze the balance and its aspects.
ACTIVITY
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Romblon State University Romblon, Philippines
Arts in Daily Living
After doing the activity, Is there any differences and similarities in the two pictures? What are their similarities? How about their differences? Do you now have an idea about balance? Is balance is one of the key factors to create best masterpiece? In your own opinion what is the role of balance in your daily life? Base on your answer above I guarantee that you already have an idea about balance and I know it is really familiar to you since it is already discussed in previous year. Balance in this course subject is being discussed for you to know the importance of it in your daily life and being study to enhance your skills in doing creative and wonderful piece.
People unconsciously demand the application of certain elementary principles in the arrangements which surround them in daily life. These principles are so simple that when they are complied with one is not even aware of the source of one's satisfaction. On the other hand, the violation of these simple principles will give rise to a feeling of disappointment which is none the less actual for being, sometimes, quite undefinable. When one steps into a room with most of the furniture at one end the room seems to tip, and one longs to rearrange the furniture. One does not enjoy watching a woman in the street if she is wearing a wide hat and large furs, with a short tight skirt and French heels; she looks so top-heavy that it seems as if the next gust of wind would blow her over. One is uneasy upon seeing a large bouquet of flowers in a vase with a very small base, for the balance which the eye desires is missing.
Balance The success of every design depends in a measure on correct balance; and, stated briefly, balance is rest or repose. This restful effect is obtained by grouping shapes and colors around a center in such a way that there will be equal attractions on each side of that center.
THE PRINCIPLE OF THE SEE-SAW APPLIED TO BALANCE
IN ART
In letter A Equal weights or attractions balance each other at the same distance from I he center. This kind of balance in art is called formal or bisymmetric balance, in B Unequal weights or attractions balance each other at different distances from the center. The stronger the chief attraction is the nearer it must come toward the center, and the weaker the other the farther away it will go. If one object is half as big or half as attractive as the other it will be placed twice as far from the center. This is called informal or occult balance, and in C Another method of balancing large objects with smaller objects, besides the one shown in B where both are placed upon the same horizontal line, is illustrated in C. Here the large object comes toward the foreground, and is balanced by placing the smaller one in the background. In other words, it gives the effect of being seen in perspective. This method of balancing is used especially in pictorial composition, in designing store windows, and in, arranging stage settings.
ANALYSIS
ABSTRACTION
Figure 3: Balancing
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Romblon State University Romblon, Philippines
Arts in Daily Living
from it. (Fig.3.) in this example the detail is much less complicated, but there remains something of the formality of the first design.
Balance in exterior design.
The architect has to balance doors and windows, porches and dormers around the central axis of a building just as the painter arranges his composition on canvas. Whether he chooses to use formal or informal balance depends very largely upon the following conditions: (1) His own personality. (2) The spirit of the age in which he lives. (3) The use to which the building is to be put. (4) The type of people for whom the building is planned. In glancing back over the historic periods, one sees that in the days which were filled with a spirit of romance, everything which was done was expressive. In the golden days of Venice, the bright fantasy of the times was echoed in the charming, unbisymmetric designs of many of the Venetian palaces. In Florence, art found a very different expression; the seriousness of the Florentines in the early Renaissance period, so vividly reflected in the work of Michelangelo, is seen in their stately, unadorned, bisymmetric palaces, the natural outcome of their lives and thoughts the same way the spirit of Puritanism, led to restrained, formal designs in the buildings which were erected in the American Colonial times; in their large public buildings and in their small dwellings as well, the Colonists put their own personalities into their work. Two houses are shown here to illustrate how the architect secures these two kinds of balance in a building. In com paring them, notice their difference in spirit as well as the mechanical means by which this effect was secured.
Balance in advertising.
In the advertisements in the papers and magazines, the principle of equal and unequal weights as related to balance is kept in mind. The men who prepare the copy do not place all of the heavy type headings and dark cuts in one section; they try for balance by shifting the darker parts and combining with them the lighter cuts and types faces. The advertisement in Fig. 81 shows a combination of formal and informal groups, while the whole effect is of formal balance. The upper part is formally balanced around the center line, while the lower part shows how the strong dark of the curtains and the striking shapes of rug and chair balance the larger but less conspicuous mass on the left containing the two illustrations and mostof the bolt of material. In the fidure it shows the balance of equal and unequal attractions in an advertisement. The upper two-thirds is formally balanced, while the lower third shows unequal attractions which balance because of the manner of grouping. The strong dark of the curtains and the striking shapes of the rug and chair at the right balance the sum of the two cuts on the left. Together they are somewhat less forceful than the cut at the right, but the bolt of material leads the eye in that direction a little more strongly than it carries the other way, and so there is a feeling of rest.
How to develop a sense of balance.
This method is suggested merely as a means of saving time for it is about as valuable for training the eye as working in materials, and it has the advantage of being done much more quickly and is convenient when materials may not be available. After a few attempts the experimenter will gain a sense of confidence in his ability to balance objects, and will work with them easily. The next step is to balance two objects which are different in size, shape, or color; this will lead to interesting discoveries. For example, it will be found that an empty space is often more emphatic than a full one, just as a sudden silence coming in the midst of a long loud piece of music seems even more striking than the music. By leaving a large space around an object it will become so emphatic that
Figure 3: (Courtesy of Mr. C. E. Laurence.)
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Romblon State University Romblon, Philippines
Arts in Daily Living
it will be as important an attraction as a much larger one placed nearer the center line. By moving the models forward and back, and to the right and left one will soon discover just how much empty space the small object needs between it and the larger one to secure balance.
Balance in interior design.
While the problem which has just been worked out deals with materials for window displays the principle is the same wherever arrangement is called for. A well balanced wall will have the same amount of attraction on both sides of its center line. A well balanced room will have approximately the same amount of attraction on opposite walls; although the two side walls may be somewhat heavier than the end walls, there should be the feeling that the attractions are about equally distributed around the room. In placing the furnishings of a room, the architectural openings must be taken into consideration. Very often balance is secured by having a large piece of furniture on one wall of a room as a balance to an opening on an opposite wall. The large pieces of furniture should be placed first, and they are usually balanced symmetrically. The next step is to arrange the smaller movable objects in the room so that they will make convenient groups as well as balanced units. After the furniture has been arranged the attention is turned to the balance within each group. The person who is interested in interior design will find that the kind of balance which is used in the arrangement of furniture and decorative objects helps to give an individual quality to a group, and it also influences the character of the room.
Testing for a balanced room.
In working for a balanced room, one should continually test both halves to see that one half does not present any greater attraction to the eye than the other. In arranging the room the four walls, with everything seen against them, -must balance; if one side seems too heavy, it is necessary to add a brighter color, a more striking shape, or simply more material to the weaker side, and keep adjusting the attractions until the whole room looks restful.
Balance in dress.
Objects which are seen in an upright position have a tendency to appear to be dropping in space. Therefore it is agreeable to the eye to have the center of attraction come slightly above the mechanical center of the center. In dress one needs to look carefully in order to avoid violation of balance. The fashions of some seasons make a woman look as if she would topple over from the sheer weight of her hat and furs. The woman of taste avoids all extremes in dress, and although she does not wish to appear conspicuous by wearing something strikingly different from everyone about her, she chooses the more conservative styles which will not make her look grotesque. In her choice of hats she must consider not only the balance in the hat itself, and select one that will look as if it would stay on her head without the need of pins, but the hat must balance with her height, the width of her hips and shoulders, the length and width of her skirt, and the size of her feet and heels. Many women try on hats when seated, and are able to judge the effect only on the face and shoulders. When they see the entire figure reflected in a mirror, they are frequently surprised.
After the information you read recall the activity given in the lesson and watch again the video given. To be able to open more idea and understand clearly the importance of good taste in your home
and daily living watch the video given.
Before watching the video recordings, be guided by the following:
- Analyze the details in designing home.
APPLICATION
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Romblon State University Romblon, Philippines
Arts in Daily Living
References: 1. Goldstein, Harriet & Goldstein, Vetta (2012). Art in Every Day Life, New York: Sophia Omni Press retrieve at archieve/details/artineverydaylif008800mbp/page/n159/mode/2up 2. montenagler/the-importance-of-art-in-daily-life/ 3. researchgate/publicaton/309490225_the_value_of_art_and_culture_in_everday _life_towards_an_expressive_cultural_democracy 4. archieve/details/artineverydaylife008800mbp 5. youtu/ntZe246r82w 6. youtu/fXo7I5JceA 7. youtu/ADBvnze8Rhl
Module in Arts in Daily Living 3
Course: BS Secondary Education (DRRR 01)
University: Cotabato State University
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