Part 4

1. Based on true-to-life situations. 2. Interesting or connected with things of interest. 3. Clearly and definitely stated. 4. Neither too difficult nor too easy. 5. Call for thinking of superior ability.

In addition, there are four other factors to be considered in the planning of a successful problem series;

1. Each problem should score high according to the above standards.

2. The usual sequence is in the order already given--inductive, judgment, and creative. Since the creative problems call for the highest type of thinking and are the most difficult, the natural place for them is at the end of the problem series. At that point the pupils should have sufficient information and judgment ability to enable them to solve the most difficult problem quite readily. Introducing the difficult problem too soon may discourage the pupil and lessen interest in the course as a whole. Some creative problems involve fewer art principles than others. For example, the spacing of a name on a place card is much simpler than the hanging of a picture in a given space. In art it is desirable to use simple creative problems as they fit naturally into the problem series. (See pp. 38-39.)

3. As the problem series develops, there should be an increase in the difficulty of the problems. It is obvious that the simpler problems are to be used at the first of the series. To develop judgment to a desirable extent, the later choices will be determined from an increasing number of similar situations and from situations in which the degree of difference decreases as the problem series progresses.

4. Each problem series should involve as many types of life situations as possible. For example, applications of art are needed in the various phases of homemaking. (See Section III, pp. 18-21.) For that reason it is very desirable to select problems in each series from as many of these phases as possible. By this means the pupils are better able to cope with their own problems in which a fundamental art truth, or principle is the basis for adequate solution.

The following detailed procedure is presented as an illustration of the way in which an art principle may be developed through a problem series. It may appear to be unnecessarily detailed and to require more time than the average teacher would have for planning. However, part of material here given consists of probable pupil replies and a description of the illustrative materials that are to be used.

SUGGESTED PROCEDURE FOR DEVELOPING AN ABILITY TO USE A PRINCIPLE OF PROPORTION FOR ATTAINING BEAUTY

An effort is here made to present the details of a teaching plan by which a principle of proportion may be developed by the pupils. This plan is spoken of as a lesson, but not in the sense that it is to be accomplished in a limited amount of time, such as one class period. The term _lesson_ is used to designate the _entire procedure_ from the introductory problem to the point where the pupils have developed the ability to use the principle of proportion. It will be possible to make more rapid progress with some classes than with others and in some class periods than in others. It is suggested that the teacher endeavor to evaluate the class time and plan so that the end of the period comes not as an interruption but as a challenge to further interest, observation, and efforts.

The lesson suggested below should take not more than three of the short class periods of 40 to 45 minutes. If too much time is spent on one series there may be a lessening of interest because of seeming repetition. On the other hand, if sufficient applications and problems are not used after the principle is established, there is danger that the pupils will not be able to use it in solving other daily problems.

Further suggestions for problems, illustrative materials, and assignments may be found on page 40.

SUGGESTED PLAN FOR THE DEVELOPMENT OF AN UNDERSTANDING OF THE PRINCIPLE OF PROPORTION AND ITS USE

_General objective._--To develop ability to--

Select articles which are pleasing because of good proportions. Adapt and make pleasing proportions as needed.

_Specific objective._--To develop ability to--

Divide a space so the resulting parts are pleasing in their relationship to each other and to the whole.

Assume that the group to be taught is a ninth-grade class in art related to the home. Very few members of the class have had any previous art training and such training has consisted of some drawing and water-color work in the lower grades. Previous to this lesson, it is assumed that the teacher has developed the pupils' interest in the beauty to be seen and enjoyed in the everyday surroundings of their community, and has developed pupil ability to understand and to use a principle of proportion, namely, that _a shape is most pleasing when one side is about one and one-half times as long as the other_.

The establishment of the above principle has probably given the class an opportunity to read of the Golden Oblong or the Greek Law of proportion in an art reference such as Goldstein's Art in Everyday Life. This will have served to further establish a feeling for interesting shape relationships and also will have made the pupils familiar with the term "proportion." The class may or may not have developed an ability to recognize and use the principles of balance.

=Details of Lesson Procedure=

[Sidenote: Problems and questions to introduce the principle needed to solve this and many similar problems]

The first-aid room in the school is very bare and cheerless. Miss M., the school nurse, and Mr. B., the superintendent, have decided that some thin ruffled curtains at the two windows will soften the light and make the room more homelike. Miss M. has purchased some ready-made curtains and has asked if the class would like to determine the best way to arrange the tie backs. "How many of you think that this is an art problem? Will it be helpful to us to know how to divide a window space with curtains? Tie-back, ruffled curtains have been very much in vogue for some time. The models in the drapery departments and the illustrated advertisements show a variety of methods to use. Since there is so much variation, how can we be sure that curtains are tied back in the most attractive way possible?"

[Sidenote: Use of illustrative materials]

The curtains have been hung at the two windows in the first-aid room. At one window the curtains are not tied back and come to the bottom of the casing, at the other one they are arranged in two other ways designated as A and B. By the A method the curtain is tied back exactly in half; by the B method it is tied back between one-half and two-thirds of the length. The initial question would probably be: "Which of these two arrangements, A and B, do you think contributes most to the appearance of the window?"

[Sidenote: Class discussion]

Some of the class will undoubtedly choose A. Their reasons for this choice may be as follows:

1. The uncurtained window space is more or less diamond shaped.

2. The four sections of the curtains are almost exactly alike.

Others will choose B, and give such reasons as follows:

1. The window space is less noticeable.

2. There is more variety in the curtains.

3. It is more interesting if the eye can travel down the longer part of the curtain and then come to rest at the part tied back.

These reasons will probably lead the majority of the class to decide that B is more desirable than A.

At this time another arrangement designated as C may be introduced. For this, one curtain at the second window may now be tied back so near the sill that the two parts do not seem to be related. One designated as D may also be introduced, in which the arrangement is exactly like that of B, except that the curtains are tied back above the center instead of below.

A summary of the points which may be brought out by the class on each arrangement of curtains follows:

[Sidenote: Summary of class discussion]

A, in which the curtains are divided exactly in half, is not interesting for a very long time because--

1. The divisions on each side as well as above and below the tie backs are all alike.

2. It leaves too much of the window exposed.

3. The window space exposed does not follow the lines of the window.

4. The arrangement becomes tiresome the longer one looks at it.

5. One's curiosity is quickly satisfied when it is obvious that the two areas are exactly alike.

B, in which the curtains are tied back between one-half and two-thirds of the length and below the center continues to be interesting because--

1. The two sides are alike, but the top half is not exactly like the bottom half. This variation makes it more pleasing.

2. Although the top half of each side is larger than the bottom half, it does not look top-heavy because the tying back of the curtain gives a place for the eye to rest. It holds the same amount of attention as the long length of curtain above it.

C, in which the tie backs are placed at a point below three-quarters the length of the curtain, is not interesting for any length of time because--

1. The eye travels very far down the length of the window, then is suddenly interrupted by the tie back.

2. This arrangement is top-heavy.

3. The window space is not pleasing.

D is exactly the reverse of B, so it is equally interesting.

[Sidenote: Further use of illustrative material]

"Suppose we now look at these curtained windows from the outside. Do you think that the arrangements which we decided are most pleasing from the inside are equally pleasing from the outside?"

After examining the arrangements of curtains at the windows the pupils may be led to decide that B and D continue to be the most pleasing. "Since we are now agreed that in B and D the tie-backs divide the curtains so that the spaces are most pleasing, would you like to determine just where the division comes in each of the curtains?" Some of the members of the class will be eager to take the measurements and report on them. They will find that in--

[Sidenote: Class determines best division of space]

A the division is exactly in the center of the length.

B the division comes at a point between one-half and two-thirds of the length.

C the division comes at a point more than three-quarters of the length.

D the division comes at a point between one-half and two-thirds of the length.

At this point it will be well to direct the attention of the class to the possibility of space division in other places. "Do you think that there are spaces, other than windows, which could be satisfactorily divided according to the same measurements?" Members of the class may suggest panels in doors, divisions in dress, and the like.

"Marie is making a plain one-piece dress. The narrow belt is to be of the same material. Where would be the best place for her to place the belt?" Try placing a belt on a plain one-piece dress or provide three tracings of such a dress with the belt placed as follows:

In one the belt divides the dress in two equal parts.

In the second the belt is placed so the skirt is a little longer than the waist.

In the third the belt is placed at normal waistline. (With a long skirt this makes the skirt very much longer than the waist.)

Measurements may again be taken and compared with the divisions of the window. The class may be led to decide that a plain dress is divided best by a belt which comes some place a little above or below the center of the total length.

[Sidenote: Class develops statement of principle for good proportion]

"If you wanted to help someone to divide a space so the resulting parts would be pleasing, what directions would you now give them?" Each member of the class may be asked to write out a statement of directions. Some of these may be put on the blackboard and the class members given an opportunity to choose the one which they think would be most helpful in obtaining space division. The final statement should bring out the following: _When a space is to be divided the result is most pleasing if the dividing line falls at a point between one-half and two-thirds of the length divided._

To insure real ability to use the principle of space division which has just been developed, it will be necessary to give the class several problems which they may judge as a group. These in turn should be followed by other problems which will call for individual planning and the application of the principle in their solution. The number of such problems will vary with the class, but there should be enough to insure the desired ability. Furthermore, those given should be from as varied fields as possible so that the pupils will be able to make their own applications as needed.

=Series of Suggested Problems to Test Pupils' Ability to Recognize and Use the Principle of Proportion Just Developed=

[Sidenote: Judgment problems given for class solution]

1. "In which of these doors do you think the division into panels is most satisfactory? Why?"

In this problem, as in the succeeding ones, the solution is not considered adequate unless each pupil can justify the choice she makes or the answer she gives according to the principle which was established in the earlier part of this lesson.

2. "On which of these book covers do you think the space is best divided? Why?"

3. "Small boxes have a variety of uses in our homes. These are all approximately the same in size. Which do you think has the most interesting relation between the depth of the lid and the depth of the box? Why?"

4. "Helen is planning to make a dress with a cape collar. Her mother thinks the collar is not deep enough and suggests that Helen change the pattern. How could she determine the most becoming depth for her cape collar?"

5. "Jane did not have enough cloth to make a dress without piecing it or buying more material. She decided to put a yoke in the waist. How deep on the waist do you think a yoke should come to be most attractive?"

6. "Mary has some 6-inch glass candlesticks at home. How can she determine the length of candle that would be most suitable when they are used on the buffet?"

[Sidenote: Creative problem involving activity]

7. "Arrange the window shades so that the window space and the depth of the shade are pleasing in their relation to each other. Justify the arrangement you have made."

[Sidenote: Judgment problem involving activity]

8. "Choose a girl with whom to work during the next few minutes. Check to see if the dresses you are wearing to-day have the belts so placed that each dress is divided as well as possible. Suggest any desirable changes for each other and justify each change."

(At some time in the development and subsequent use of the principle established in this lesson it will be well to connect it with a previously established and closely related principle. Such a connection is made use of in the following problems.)

[Sidenote: Creative problem involving use of a principle previously developed]

9. "I have an odd picture frame that I wish to use for this landscape which came from a magazine illustration. The picture is the right width, but it is too long for the frame. How do you suggest cutting it so that it can be used in this frame and still retain its pleasing proportions?"

(Such a landscape will obviously have a division of space in it by the line of the horizon. The problem will be one of retaining pleasing space divisions in the picture, as well as retaining pleasing proportions of the whole, while fitting it to the frame.)

[Sidenote: Possible assignment]

10. "Choose a plain card most pleasing in proportion, which may be used as a place card for the home economics luncheon that the class is giving to the mothers. Plan the placing of the names on these cards. Justify your choice of card and the place you have chosen for the name."

Problem 10 may well be given as an assignment. It may be given at any desired time in the problem series as a judgment problem following the establishment of the principle. A definite attempt has been made to arrange problems 1 to 8 in order of degree of difficulty. It is evident that those which necessitate creative planning and manipulation call for greater ability than the problems of selection.

Although problems 9 and 10 are given last they may be introduced at any point. They are given last here because they require the use of two principles of proportion, i. e., relation of length to width in objects and division of a space into two parts. Problems 1 to 8 make use of only one, i. e., the principle concerned with the division of a space into two parts.

=Further Suggestions for Problems, Illustrative Materials, and Assignments=

There are various possibilities of introducing this lesson on proportion other than through the arranging of curtains. The curtain problem is used here because it involves a school situation. Such a problem sometimes has as great an appeal for girls as some of the most personal ones. However, any one of a number of problems, such as the placing of a belt on a dress, the depth of a flounce or yoke on a dress, the relative lengths of jacket and skirt in a suit, or the length of candles for candlesticks may be used for the introductory one. Choice will be determined upon class needs and school possibilities. The important factor will be to see that the problem is so stated that it stimulates a desire on the part of the pupil for adequate solution.

If the school windows and real curtains are not available for this problem, some window and curtain models may be borrowed from drapery departments of local stores for class use. If it is not practicable to use curtains or to borrow store models, the teacher might prepare in advance of the class meeting miniature windows for this problem. These may be made of heavy construction paper, cardboard, or beaver board, and should be of a size and scale that will permit accuracy in the conclusions drawn from their use. _The use of miniatures should be confined to emergency situations, when the real things are not obtainable._

With some classes it may be necessary to use additional illustrative materials in which there are no other factors than those of space division. The teacher may prepare rectangles of neutral paper, representing any given space to be divided, in which the division is made by a contrasting line in each of the following ways:

One divided exactly in half.

One with the dividing line between one-half and two-thirds of the length from one end.

One with the dividing line at a point three-quarters of the length.

One with the dividing line between three-quarters of the entire length and the end.

Conclusions drawn from a comparison of the above illustrative materials may in turn be applied to other problems in which color, texture, or design may have made it difficult in the beginning for the pupils to focus their attention upon space division.

It is obvious that if choosing candles for certain definite candlesticks is the introductory problem, candles of varying heights, but of the same color, will need to be provided if the class is to come to some definite conclusions. If this problem is used in the judgment series, as in the lesson above, it will serve as another application of the principles of space division.

One possible assignment has been given in the lesson. Other possibilities present themselves as follows:

1. "Where could you find an illustration in which you think there is particularly pleasing space division? Will you bring such an illustration to class?" Such an assignment affords additional training in selection and directs the observation of the pupils to their environment outside the school.

2. "When you are at home to-night, will you notice the arrangement of articles on your dresser? If these articles are not as well arranged as you think they can be, make an arrangement which is balanced and which divides the space as well as possible. Be ready to tell the class why you think you have a well-balanced and nicely spaced arrangement." In this particular assignment it is assumed that pupils have previously developed the ability to make balanced arrangements. This is a further application of that ability but in an advanced form. In developing an ability to make balanced arrangements, attention was centered on the placing of articles on either side of a center. Now that the ability to divide a space has been developed, it is time to take up the balancing of articles within a given space so that the proportions of that space are pleasing.

It is highly desirable in the teaching of art that the relationships of principles in the attainment of beauty be established as soon as each is clearly understood. It is not enough that a principle be clearly established and several applications of it made. As soon as this much has been accomplished it is time that problems be used which involve this new principle and at least one of the preceding ones. Such a cumulative teaching plan is essential to make art training function most successfully in the lives of the pupils.

CLASS PROJECTS

Many judgment and creative problems arise in certain group and class projects, providing opportunity for utilizing and showing the relationships of the essential principles of art in their application. They are more often undertaken in connection with home furnishing than with other phases of homemaking. Provision for such projects involving the selection of articles and materials and the arrangement of them to bring about an attractive and harmonious effect can usually be found right in the school. For example, as a class project, the wall finishes, the furnishings, and the accessories may be chosen and arranged for a specific room such as the dining room, bedroom, or living room of the home-economics department if such rooms are available or the rest room for teachers or girls.

In some schools, the separate cottage is used to house the home-economics department. This offers an opportunity for pupils to show what they would do under practical conditions. It is important that the furnishings for such cottages be in keeping with what is possible in the majority of homes in the community. If when the cottage is new the teacher plans with the pupils for only the essential furnishings at first, further problems of selection and arrangement will be reserved for several classes.

In a few schools the home-economics department has cooperated with the trade and industrial department in planning small houses, which were then built by the boys in their carpentry classes. The girls have then selected and arranged the furnishings for such houses as a class project.

When there is no opportunity within the school for such class or group projects, there are other available possibilities to which a teacher of related art should be alert. Better Homes Week is observed in many towns and cities and those in charge are usually glad to turn over the furnishing of one or more rooms for the occasion to the local home-economics department. A center to which so many visitors come affords an excellent opportunity for exemplifying to the community good taste in furnishings at a cost consistent with the income of the average family.