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+The Project Gutenberg EBook of The Teaching of Art Related to the Home, by
+Federal Board for Vocational Education
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Teaching of Art Related to the Home
+       Suggestions for content and method in related art
+       instruction in the vocational program in home economics
+
+Author: Federal Board for Vocational Education
+
+Release Date: June 23, 2011 [EBook #36498]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK TEACHING OF ART RELATED TO HOME ***
+
+
+
+
+Produced by Juliet Sutherland, David Garcia and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+
+  BULLETIN No. 156                           Home Economics Series No. 13
+
+  THE TEACHING OF ART RELATED TO THE HOME
+
+  SUGGESTIONS FOR CONTENT AND METHOD IN RELATED ART INSTRUCTION
+  IN THE VOCATIONAL PROGRAM IN HOME ECONOMICS
+
+  JUNE, 1931
+
+  Issued by the Federal Board for Vocational Education--Washington, D. C.
+
+
+
+
+
+
+THE TEACHING OF ART RELATED TO THE HOME
+
+
+SUGGESTIONS FOR CONTENT AND METHOD IN RELATED ART INSTRUCTION
+IN THE VOCATIONAL PROGRAM IN HOME ECONOMICS
+
+
+JUNE, 1931
+
+[Illustration]
+
+  UNITED STATES
+  GOVERNMENT PRINTING OFFICE
+  WASHINGTON: 1931
+
+For sale by the Superintendent of Documents, Washington, D. C. Price 20 cents
+
+
+
+
+FEDERAL BOARD FOR VOCATIONAL EDUCATION
+
+
+MEMBERS
+
+William N. Doak, _Chairman_
+  _Secretary of Labor_
+
+Robert P. Lamont,
+  _Secretary of Commerce_.
+
+Arthur M. Hyde,
+  _Secretary of Agriculture_.
+
+Wm. John Cooper,
+  _Commissioner of Education_.
+
+Edward T. Franks, _Vice Chairman_,
+  _Manufacture and Commerce_.
+
+Perry W. Reeves,
+  _Labor_.
+
+Claude M. Henry,
+  _Agriculture_.
+
+John S. Shaw, _Secretary and Chief Clerk_
+
+
+EXECUTIVE STAFF
+
+J. C. Wright, _Director_
+
+Charles R. Allen, _Educational Consultant_
+
+John Cummings, _Chief, Statistical and Research Service_
+
+
+VOCATIONAL EDUCATION DIVISION
+
+C. H. Lane, _Chief_,
+  _Agricultural Education Service_.
+
+Adelaide S. Baylor, _Chief_,
+  _Home Economics Education Service_.
+
+Frank Cushman, _Chief_,
+  _Trade and Industrial Education Service_.
+
+Earl W. Barnhart, _Chief_,
+  _Commercial Education Service_.
+
+
+VOCATIONAL REHABILITATION DIVISION
+
+John Aubel Kratz, _Chief_,
+  _Vocational Rehabilitation Service_
+
+
+
+
+CONTENTS
+
+
+                                                                           Page
+
+  FOREWORD                                                                  VII
+
+  SECTION I. Introduction                                                     1
+
+  SECTION II. Purpose of the bulletin                                         4
+
+  SECTION III. Determining content for a course in art related to the home   10
+    Place of art in the vocational program in home economics                 10
+    Objectives for the teaching of art                                       12
+    Essential art content                                                    14
+    Home situations for which art is needed                                  17
+
+  SECTION IV. Suggestive teaching methods in art related to the home         22
+    Creating interest                                                        22
+    Discussion of method in the teaching of art                              29
+    Suggested procedure for developing an ability to use a principle of
+      proportion for attaining beauty                                        34
+    Suggested plan for the development of an understanding of the
+      principle of proportion and its use                                    34
+    Details of lesson procedure                                              35
+    Series of suggested problems to test pupils' ability to recognize
+      and use the principle of proportion just developed                     38
+    Further suggestions for problems, illustrative materials, and
+      assignments                                                            40
+    Class projects                                                           42
+    Notebooks                                                                43
+    The place of laboratory problems                                         46
+    Field trips                                                              53
+    Measuring results                                                        55
+    Evidences of the successful functioning of art in the classroom          55
+    Evidences of the successful functioning of art in the home               58
+    Home projects                                                            66
+    Suggestive home projects in which art is an important factor             68
+
+  SECTION V. Additional units in art related specifically to
+    house furnishing and clothing selection                                  72
+
+  SECTION VI. Illustrative material                                          75
+    Purpose                                                                  75
+    Selection and sources                                                    75
+    Use                                                                      77
+    Care and storage                                                         79
+
+  SECTION VII. Reference material                                            81
+    Use of reference material                                                81
+    Sources of reference material                                            81
+    Bibliography                                                             82
+
+  INDEX                                                                      85
+
+
+
+
+FIGURES
+
+
+                                                                           Page
+
+   1. An arrangement of wild flowers and grasses and a few books placed
+      on a blotter on a typewriter table in front of an inexpensive
+      india print may furnish a colorful spot in any schoolroom. Note
+      the effective use of the screen in concealing a filing case             7
+
+   2. A bulletin board on which it is necessary to use a variety of
+      materials adds to the appearance of the room when these materials
+      are well arranged and frequently changed                                8
+
+   3. Pupils in a Nebraska high school try out different flowers and
+      arrangements                                                            9
+
+   4. In a Nebraska high school a screen was used in an unattractive
+      corner as a background for an appreciation center                      24
+
+   5. The simplest school furnishings can be combined attractively.
+      A low bookcase, a bowl of bittersweet, and a passe partout
+      picture as here used are available in most schools                     26
+
+   6. A few pieces of unrelated illustrative material may be grouped
+      successfully in bulletin-board space                                   28
+
+   7. Sprouted sweetpotato produced this attractive centerpiece for
+      the home table                                                         29
+
+   8. Glass-paneled doors open from the dining room directly into a
+      main first-floor corridor in the high school at Stromsburg, Nebr.      30
+
+   9. The dresser as found in the dormitory room                             43
+
+  10. The same dresser after the class in related art had remodeled
+      and painted it                                                         43
+
+
+CHARTS
+
+   1. Suggestions for use of this bulletin by teachers                        5
+
+   2. Analysis of the value of notebooks in art courses                      44
+
+   3. Types and sources of illustrative materials                            76
+
+  Publications of the Federal Board for Vocational Education relating
+    to home-economics education                                              89
+
+
+
+
+FOREWORD
+
+
+Since the organization of the vocational program in 1917 the teaching
+of art in its relation to the home has been recognized as an essential
+part of the home-economics program.
+
+Great difficulties have been experienced in securing adequate
+instruction in this field. Many schools, especially in the rural
+communities, employ no art teachers. In such schools the only art
+instruction is that given by the regular home-economics teacher, and
+is  commonly reduced to a minimum of applicable content.
+
+The teaching of art has dealt too exclusively with the creation of
+artistic things, and it is not easy to change the emphasis over into
+the field of appreciation and discriminating selection.
+
+Clothing, home planning and furnishing, care of the sick, serving of
+foods, care of children, and family relationships, all have an "art"
+side. The successful discharge of household responsibilities is
+conditioned largely upon a perception of this truth.
+
+There has been a dearth of teachers prepared to teach art in its
+application to homemaking. In the last decade, however, several of
+the institutions approved for training vocational teachers of home
+economics have introduced courses in this field, and the number of
+such institutions is increasing.
+
+This bulletin was prepared under the direction of Adelaide S. Baylor,
+chief of the home economics education service, by Florence Fallgatter,
+Federal agent for home economics in the central region, assisted by
+Elsie Wilson, a member of the home economics teacher-training staff of
+Iowa State College.
+
+The Federal Board for Vocational Education and Home Economics Education
+Service appreciate the cooperation of State supervisors, members of
+teacher-training staffs, vocational teachers, and art teachers both in
+the schools and colleges, and their contributions of material for this
+study.
+
+It has been undertaken to meet a demand expressed very generally during
+the last 14 years by teaching staffs for assistance in adapting art
+instruction specifically to homemaking, to the end that all instruction
+for homemaking may be made more effective.
+
+    J. C. Wright, _Director_.
+
+
+
+
+THE TEACHING OF ART RELATED TO THE HOME
+
+
+
+
+Section I
+
+INTRODUCTION
+
+    All art is life made more living, more vital than the average man
+    lives it--hence its power. Taste, unlike genius can be acquired;
+    and its acquisition enriches personality perhaps more than any
+    other quality.--E. Drew.
+
+
+Professor Whitford[1] bases his book, An Introduction to Art, on two
+hypotheses: "(1) That art is an essential factor in twentieth century
+civilization and that it plays an important and vital part in the
+everyday life of people; (2) that the public school presents the best
+opportunity for conveying the beneficial influence of art to the
+individuals, the homes, and the environment of the people."
+
+In keeping with this present-day philosophy, the introduction of
+art instruction into the public schools is increasing. Through the
+influence of home economics, a field of education in which there is
+an urgent need and wide opportunity for practical application of the
+fundamental principles of art, art instruction is finding its way
+into many of the small schools as a definite part of the vocational
+programs. Whitford[2] refers to this present-day trend in home
+economics as follows:
+
+    At first there was very little articulation between the courses
+    in art and the courses in industrial art or household art. At the
+    present time we realize that these courses are all related, and
+    all work together through correlation and interrelation to supply
+    the child with those worth while educational values which aid in
+    meeting social, vocational, and leisure-time needs of life.
+
+Not until all girls in the public schools can have their inherent love
+for beauty rightly stimulated and directed may we look forward to a
+nation of homes tastily furnished and artistically satisfying or of
+people who express real genuineness and sincerity in their living.
+
+With the inception of the vocational program in home making through the
+passage of the Smith-Hughes Act by Congress in 1917, art was recognized
+as one of the essential related subjects. Thus, in the majority of the
+schools that have organized vocational homemaking programs, art has
+been included as a part of these programs and an effort has been made
+to apply the principles of art to those problems in everyday life in
+which beauty and utility are factors. The aim has been to develop in
+girls not only an understanding of these principles but also an ability
+to use them intelligently in solving many of their daily problems.
+Therefore the teaching of art in home economics courses is primarily
+concerned with problems of selection and arrangement. The girl as a
+prospective home maker needs to know not so much how to make a pattern
+but how to choose one well; not how to make a textile print but how
+to select and use it; not how to design furniture but how to select
+and arrange it; not how to make pottery but how to select the right
+vase or  bowl for flowers. At the same time, teachers of related
+art in vocational schools have endeavored to show that true art is
+founded upon comfort, utility, convenience, and true expression of
+personalities as well as upon the most perfect application of art
+principles. Considerable emphasis has been given, therefore, to a
+consideration and utilization of those material things that afford
+opportunity for self-expression. The importance of such self-expression
+is stressed in the following words by Clark B. Kelsey:[3]
+
+    The home expresses the personalities of its occupants and reveals
+    far more than many realize. It stamps them as possessing taste or
+    lacking it. Thinking men and women want backgrounds that interpret
+    them to their friends, and they prefer that the interpretation
+    be worthy. They also want them correct for their own personal
+    satisfaction.
+
+In art courses that are related to the home, an attempt is made to
+build up in girls ideals of finding and creating beauty in their
+surroundings and to bring them to the point where they can recognize
+fitness and purpose and see beauty and derive pleasure from inexpensive
+and unadorned things that are available to all homes.
+
+Mr. Cyrus W. Knouff[4] has well expressed something of the importance
+of such a practical type of art training as follows:
+
+    Show the people through their children that one may dress better
+    on fifty dollars, understanding art principles, than on five
+    hundred dollars not understanding symmetry, design, color, harmony,
+    and proportion. With this knowledge you furnish a lovelier home
+    on five hundred dollars than on five thousand without it. Get your
+    art away from the studio into life. Teach your children the gospel
+    of beauty and good taste in their letter writing, their picture
+    hangings, their clothes, everything they do.
+
+Since the vocational program also provides class instruction for women
+who have entered upon the pursuit of home making, as well as for girls
+of school age, there has been some opportunity to extend art training
+to these women through adult classes. An attempt has been made in
+classes in art related to the home, home furnishing, and in clothing
+classes to give a training which will help them to better appreciate
+the influence upon family life of attractive and comfortable homes, of
+careful selection and arrangement of home furnishings, and of
+intelligent purchasing and selection of clothing.
+
+For the girls who have dropped out of school and have entered upon
+employment, part-time classes have been organized under the vocational
+program. To these the girls may come for a definite period each week to
+secure such instruction as will further extend their general education,
+better prepare them for their present work, and also improve their
+home  life. To the extent that the employed girl improves her personal
+appearance, makes her living quarters more attractive, and enjoys the
+finer things of life she is more valuable to her employer and is an
+asset to society. Much has been accomplished in this direction but
+there is a large opportunity in most of the States for more definite
+attention to such needs of the employed girl.
+
+
+
+
+Section II
+
+PURPOSE OF THE BULLETIN
+
+    The aim of related art education is to develop appreciation and
+    character through attempting to surround one's self with things that
+    are honest and consistent as well as beautiful.--Goldstein.
+
+
+The vocational programs in homemaking are designed for girls over 14
+years of age in the full-time day schools, many of whom do not complete
+high school or do not have opportunity for more than a high-school
+education; for those young girls, 14 to 18 years of age, who having
+dropped out of full-time school can attend the part-time schools;
+and  for women who are in position to attend adult homemaking classes.
+The provision of time in the programs for related subjects as well as
+for home-economics subjects covered in these three types of schools
+has made it possible to develop the principles of art and science
+as more than abstract theories. In this way these principles become
+fundamental to the most successful solving of many of the problems in
+home economics. The fact that these principles may be applied repeatedly
+in many different home-life situations means in turn a very much better
+understanding and subsequent use of them.
+
+Through the comparatively few years in which these vocational programs
+have been in operation, teachers in all States have attempted with some
+success to give an art training that is both practical and vital to
+young girls and women. They have, however, been confronted with many
+baffling problems. Some of these have been considered by committees
+on related subjects and an urgent request was made by one of these
+committees that a more detailed discussion of these problems be
+published. It is the purpose of the bulletin to point out some of
+the most significant problems in connection with art courses that are
+related to the work in homemaking and to present the pooled thinking
+of various groups upon them to the end that girls and women may know
+how to make their homes attractive even with limited incomes and how
+to choose and wear clothing effectively and becomingly. Some of the
+questions to be answered in an attempt to solve these problems are:
+
+  1. What should be the place of art in the homemaking program?
+
+  2. What are pupils' greatest art needs?
+
+  3. What classroom training will help meet these needs?
+
+  4. What are the best methods to use in teaching art?
+
+  5. To what extent will laboratory problems function
+     in meeting pupils' needs?
+
+  6. What results should be expected from art training
+     in the homemaking program?
+
+  7. How can these results be measured?
+
+In vocational programs the courses or units in art related to the home
+are taught by both art teachers and home-economics teachers. In the
+larger schools they are frequently assigned to the regular art teacher,
+provided she has had sufficient contact and experience in homemaking
+to give her the necessary background for making the fundamental
+applications. In this case she follows very closely the work in the
+homemaking classes and makes use of every opportunity for correlation
+of her art work with the home.
+
+In the smaller schools in which the vocational programs are
+organized there is usually no special art teacher and therefore the
+home-economics teacher must give all of the art work. In most States
+training in art is included among the qualifications for vocational
+home-economics teachers. The teacher-training institutions are
+providing instruction in art and also special methods courses in
+the teaching of related art in public schools in order that their
+prospective teachers may be as well prepared as possible to handle
+the related art as well as the home-economics courses.
+
+This bulletin is intended as a help to teachers of related art courses,
+be they regular art teachers or home-economics teachers, to art
+instructors and teacher trainers in colleges, and to supervisors of
+home economics. The following tabulated suggestions indicate how it may
+be of service to these four groups:
+
+
+Chart 1.--_Suggestions for use of this bulletin by teachers_
+
+  --------------------+--------------------------------------------------------
+  Groups              |                     Uses
+  --------------------+--------------------------------------------------------
+                      |
+  I. Art and home     | 1. As a guide in determining objectives in related art.
+     economics        | 2. As a help in selecting content.
+     teachers in      | 3. As a means of determining method.
+     vocational       | 4. As suggestive of ways for evaluating results.
+     schools.         | 5. As suggestive in the selection and use of
+                      |      illustrative materials.
+                      | 6. As a guide for reference material.
+                      |
+  II. Art instructors | 1. As a means of becoming familiar with some of the
+      in colleges.    |      typical problems which prospective teachers of
+                      |      related art will meet.
+                      | 2. As a guide in selecting those phases of art for
+                      |      college courses which will enable the prospective
+                      |      teacher of art to solve many of her teaching
+                      |      problems.
+  III. Teacher        |  1. As an index to the interests and needs of girls
+       trainers.      |       in home-economics classes.
+                      |  2. As a means of determining the phases of art that
+                      |       most nearly meet the needs of girls.
+                      |  3. As suggestive of methods for student teaching in
+                      |       classes in art related to the home.
+                      |  4. As a basis for guiding student teachers in
+                      |       collecting and preparing illustrative material.
+                      |  5. As a guide for reference material.
+                      |
+  IV. Home economics  |  1. As a stimulus to promote more courses or units
+      supervisors,    |       in art.
+      State and       |  2. As a stimulus to work for better programs in
+      local.          |       related art.
+                      |  3. As a guide in developing art units with teachers
+                      |       through individual, district, and State
+                      |       conferences.
+                      |  4. As a basis for giving assistance to teachers on
+                      |       art problems.
+  --------------------+--------------------------------------------------------
+
+While the major emphasis in the bulletin is directed toward the
+teaching of related art, mention should be made of the importance
+of environment as a potent factor in shaping ideals and developing
+appreciation of the beautiful. Constant association with things of
+artistic quality and frequent opportunity for directed observation
+of good design and color should be provided for all home-economics
+students. The home-economics laboratory offers an opportunity for
+centers in which interesting and artistic groupings may be arranged.
+These tend to eliminate much of the formal school atmosphere and
+provide a more typical home environment. Such centers in home-economics
+laboratories have been appropriately called appreciation centers.
+A laboratory with examples of the beautiful in line and color, such
+as well-arranged bowls of flowers, bulletin boards, wall hangings,
+or book corners, may prove an effective though silent teacher.
+
+It would be futile to attempt to make most school laboratories too much
+like homes, however. Such attempts may give the appearance of being
+overdone. The light and cheerful room, with the required furnishings
+well arranged and one or more appreciation centers, is usually the
+more restful and attractive. From daily contact with this type of room
+girls unconsciously develop an appreciation of appropriateness and of
+orderliness and an ideal for reproducing interesting arrangements in
+their own homes. It is desirable to have the appreciation centers
+changed frequently, and to give pupils an opportunity to share in
+selecting and making the arrangements.
+
+[Illustration: Figure 1.--An arrangement of wild flowers and grasses
+and a few books placed on a blotter on a typewriter table in front of
+an inexpensive india print may furnish a colorful spot in any schoolroom.
+Note the effective use of the screen in concealing a filing case]
+
+[Illustration: Figure 2.--A bulletin board on which it is necessary
+to use a variety of materials adds to the appearance of the room when
+these materials are well arranged and frequently changed]
+
+[Illustration: Figure 3.--Pupils in a Nebraska high school try out
+different flowers and arrangements]
+
+
+
+
+Section III
+
+DETERMINING CONTENT FOR A COURSE IN ART RELATED TO THE HOME
+
+    Taste develops gradually through the making of choices with
+    reference to some ideal.--Henry Turner Bailey.
+
+
+PLACE OF ART IN THE VOCATIONAL PROGRAM IN HOME ECONOMICS
+
+
+In recent years, many schools carrying the vocational program in home
+economics have scheduled courses in related art five to seven periods
+each week for one semester and in some cases for an entire year. In
+other schools, the entire vocational half day has been devoted to home
+economics, art being introduced in short units or as a part of some
+unit in home economics where it seemed to meet particular needs.
+
+A unit of several weeks or a full semester of consecutive time devoted
+to the teaching of art as related to the home is generally considered
+more effective than to teach only certain art facts and principles
+as they are needed in the regular home economics units. Since art
+is recognized as fundamental to the solving of so many homemaking
+problems, it seems desirable to provide for this training as early in
+the first year of the home-economics program as possible so that it may
+contribute to the instruction in the first unit in clothing and home
+furnishing.
+
+Prior to selecting the pattern and material for a dress, the girl
+needs to understand certain principles of design and color which will
+enable her to choose wisely. If art training has not preceded this
+problem in the clothing course, or if there is no provision for art
+work to parallel the clothing instruction unit, it becomes necessary to
+introduce some art training at this point. A similar situation arises
+in connection with the other units involving selection and arrangement
+such as home furnishing or table service. If art is taught only to
+solve specific problems as they arise the pupil will not have an
+opportunity to apply it to other phases of home-economics instruction
+and will therefore fail to develop the ability to understand and use
+the principles of art effectively in solving her other problems. There
+is the further danger that the girl's interest in home economics will
+be destroyed by interrupting the home-making instruction to teach the
+art needed for each unit. For example, if the girl is planning to
+make a dress, her interest and efforts are centered on its production.
+If preliminary to starting the dress, time must be taken to establish
+standards for the selection of the pattern and materials, the process
+of making is prolonged and the girl's interest in the art lessons and
+in the later construction of the dress is only half-hearted.
+
+Training which provides for many applications of the art principles as
+they are developed gives the girl an ability to use these principles in
+solving the problems which arise at other times in home-making units.
+It is preferable therefore to arrange the vocational program so that
+the art instruction parallels or precedes those units in homemaking in
+which there is particular need for art. However, if the program can
+not include the teaching of art as a consecutive unit paralleling or
+preceding certain units in homemaking, it will be far better for the
+home-economics teacher to include art training as it is needed in
+the homemaking work than to omit it or attempt to proceed without the
+basic fundamental information necessary for the successful solution of
+many problems in home economics. In such a plan, time and opportunity
+should be definitely provided later in the homemaking program to
+summarize and unify the art training that has been given at various
+times in order that it may function in the lives of the pupils to a
+larger extent than that of solving only the immediate problems for
+which it was introduced. Such a summarization will make possible the
+application of the essential principles of art to a wide variety of
+situations and will mean not only a more thorough understanding of
+these principles but a more permanent ability to use them in achieving
+beauty and satisfaction in environment.
+
+There are then three possible plans for including art instruction in
+the vocational program in homemaking, namely:
+
+1. By presenting the course in art related to the home as a separate
+   semester or year course that parallels the homemaking course. When
+   it is a semester course, it is well to offer art the first half of
+   the year in order that it may be of greatest value to the first
+   units in clothing.
+
+2. By giving the course in art related to the home as a separate unit
+   in the homemaking course. Such an art unit should precede that
+   homemaking unit in which there is greatest need as well as opportunity
+   for many applications of the principles of art which are being
+   developed. This will usually be the unit in clothing or home
+   furnishing.
+
+3. By giving short series of art lessons as needs arise in the homemaking
+   course. Certain dangers have been pointed out in this plan. If used,
+   it should include a definite time for unifying and summarizing the
+   art work at the end of the course.
+
+
+OBJECTIVES FOR THE TEACHING OF ART
+
+In the vocational program in which the teaching is specifically designed
+to train for homemaking, it is obvious that the major objective in the
+related art units should be to train for the consumption of art objects
+rather than for their production. Bobbitt[5] elaborates on this objective
+as follows:
+
+    * * * the curriculum maker will discern that the men and women
+    of the community dwell within the midst of innumerable art forms.
+    Our garments, articles of furniture, lamps, clocks, book covers,
+    automobiles, the exterior and interior of our houses, even the
+    billboards by the roadside are shaped and colored to comply in
+    some degree, small or large, with the principles of aesthetic
+    design. Even the most utilitarian things are shaped and painted
+    so as to please the eye. * * *
+
+    It would seem then that individuals should be sensitive to and
+    appreciative of the better forms of art in the things of their
+    environment. As consumers they should be prepared to choose things
+    of good design and reject those of poor design: and thus gradually
+    create through their choices a world in which beauty prevails and
+    ugliness is reduced to a minimum.
+
+    This does not require skill in drawing or in other form of visual
+    art. It calls rather for sensitiveness of appreciation and powers
+    of judgment. * * * The major objectives must be the ability to choose
+    and use those things which embody the higher and better art motives.
+    Education is to aim at power to judge the relative aesthetic
+    qualities of different forms, designs, tones, and colors. Skill in
+    drawing and design does not find a place as one of the objectives.
+
+The type of furnishing and decorating products consumed in the home as
+well as the type of clothing purchased for the family depends upon the
+understanding and appreciation which the home makers have developed for
+good art qualities. This in turn is dependent upon training. As one
+writer points out[6]--
+
+    * * * one's capacity richly to enjoy life is dependent upon one's
+    capacity fully to understand and participate in the things which
+    make up life interests. In art this is particularly true, for we
+    can only enjoy and appreciate that which we are able to understand.
+    Through training we may be able to appreciate and understand art
+    even though we can not produce art to any great extent. This we may
+    think of as mental training.
+
+The content of an art training course may be defined in terms of
+objectives to be attained and these in turn should be determined through
+a careful consideration of the art needs of girls and women. In order
+to know these needs, the teacher must study the appearance, conditions,
+and practices in the homes of her pupils. Through observation of the
+general appearance and clothing of the pupils and a knowledge of their
+interests and activities outside of school, she will obtain much
+valuable information, but, in addition, it is highly desirable that she
+visit their homes. This first-hand knowledge of the homes and community
+should be secured early in the school year and prior to the art unit
+or course if possible. The teacher should also be constantly alert
+to the many opportunities offered through community functions, local
+stores, and newspapers for becoming more familiar with particular needs
+and interests in her school community.
+
+In making contacts in the homes and community, it is essential that the
+teacher use utmost tact. Few homes are ideal as they are, but something
+good can be found in all of them. The starting point should be with
+the good features and from there guidance should be given in making
+the best possible use of what is already possessed. _It would be far
+better for the girls to have no art work than to have the type of
+course that develops in them a hypercritical attitude or that creates
+an unhappiness or a sense of shame of their own homes. The aim of all
+art work is to develop appreciation, not a critical or destructive
+attitude._
+
+Through such a study of girls' needs and interests certain general
+objectives will be set up for units of courses in related art. Through
+a well-planned program the majority of pupils in any situation may
+reasonably be expected to develop--
+
+  1. A growing interest in the beauty to be found in nature and the
+     material things of their environment.
+
+  2. Enjoyment of good design and color found in their surroundings.
+
+  3. A desire to own and use things which have permanent artistic
+     qualities.
+
+  4. An ability to choose things which are good in design and color
+     and to use them effectively.
+
+Out of these general objectives for all related art work, more
+specific objectives based on pupils' immediate needs and interests are
+essential. In terms of pupil accomplishment these objectives may
+be as follows:[7]
+
+I. Interest in--
+
+       1. Finding beauty in everyday surroundings.
+
+              _a._ In nature.
+              _b._ In man-made materials and objects.
+              _c._ In art masterpieces.
+
+       2. Making homes attractive as well as comfortable.
+
+II. Development of a desire for--
+
+       1. Beautiful though simple and inexpensive possessions.
+
+       2. Skill in making artistic combinations and arrangements in
+          home and clothing.
+
+III. Ability to--
+
+         1. Select and make balanced arrangements.
+
+         2. Select articles and make arrangements in which the various
+            proportions are pleasing.
+
+         3. Select and use articles and materials which are pleasing
+            because there is interesting repetition of line, shape,
+            or color.
+
+         4. Select and use articles and materials in which there is
+            desirable rhythmic movement.
+
+         5. Select and make arrangements in which there is desirable
+            emphasis.
+
+         6. Arrange articles in a given space so they are in harmony
+            with the space and with each other.
+
+         7. Select colors suited to definite use and combine them
+            harmoniously.
+
+IV. Appreciation of good design and color wherever found.
+
+
+These specific objectives probably cover those phases of art for
+which the average homemaker has the greatest need. In the limited
+amount of time that is available for the related art units in most
+vocational programs, the choice of what to teach must be confined to
+the most fundamental facts and principles of art only. The problems
+through which these are to be developed may be drawn for the most
+part from actual situations within the girls' own experiences. It
+should be remembered that the ulterior motive in all art training in
+the homemaking program is to give to girls that which will make it
+possible for them to achieve and to enjoy more beauty in their everyday
+lives. In the average class few, if any, girls will have that type of
+"creative ability" possessed by great artists, but all of the group may
+be expected to attain considerable ability in selecting, grouping, and
+arranging the articles and materials of a normal home and for personal
+use. This may rightfully be termed creative ability. For example, the
+girl who works out a successful color scheme through wise selections
+and uses of color in her room or in a costume is indeed a creator of
+beauty.
+
+
+ESSENTIAL ART CONTENT
+
+A very careful selection of content for the course or unit in related
+art must be made. The vast amount of material in art from which to
+choose makes the problem the more difficult. An attempt to teach with
+any degree of success all of the content in art books and to give
+pupils an understanding of all of the art terms would be futile and
+would result in confusion. In the time available for art in the day
+vocational schools, as well as in the part-time and adult classes, the
+teacher is limited in her choice of content and must be guided by the
+objectives for the course that represent the girls' needs in their
+everyday problems of selection and arrangement.
+
+Teachers are often baffled by the seeming multiplicity of terms. The
+Federated Council on Art Education has recently issued the report
+of its committee on terminology. The pertinent section dealing with
+indefinite nomenclature is here quoted:[8]
+
+    The subject of terminology in the field of art is extremely broad
+    and for the most part indefinitely classified. Over 100 technical
+    terms are in common use in the vocabulary of art. Often words are
+    used by different authors with entirely different meanings, and in
+    other cases the degree of difference between words is too slight
+    to warrant use of a separate term. Also many of the terms are
+    used interchangeably by different authors and frequently they
+    are ambiguous and obscure in meaning and difficult to apply in
+    public-school work.
+
+    In general, the literature used as a basis for planning, organizing,
+    and developing units of art instruction in the schools is very
+    indefinite in regard to nomenclature. For this reason the committee
+    on terminology centered the first part of its investigation upon a
+    program of analysis to determine, if possible, the most significant
+    words in common use.
+
+In the preparation of this bulletin, several art texts, reference books,
+and courses of study were examined for the purpose of determining the
+art terms that were most frequently used. On that basis, from these
+various sources the following were listed:
+
+  Balance.
+  Proportion.
+  Repetition.
+  Rhythm.
+  Emphasis.
+  Harmony.
+  Color.
+  Line.
+  Light and dark.
+  Unity.
+  Radiation.
+  Opposition.
+  Transition.
+  Subordination.
+  Center of Interest.
+  Dominance.
+
+Since the content for a course in related art should contribute very
+definitely to the girl's present and future individual and home needs
+it is suggested that only the minimum essential terminology be used,
+remembering that in such a course the chief concern is the development
+of those principles and facts that contribute to the realization of
+such objectives as have been suggested.
+
+There seems to be common agreement that balance, proportion, repetition,
+rhythm, emphasis, harmony, and color are of first importance in their
+contribution to beauty and that the various principles and facts
+concerning each should be developed in an art unit or course. The
+selection of these seven phases of art as fundamental is supported
+by Goldstein,[9] by Russell and Wilson,[10] and by Trilling and
+Williams.[11]
+
+The committee on art terminology has also given emphasis to these in
+the classification as set up in Table V of their report. This is here
+given in full.
+
+  _Simplest form of classification_[12]
+
+  ----------------+--------------+--------------+------------+------------
+       Basic      |    Major     |    Minor     | Resulting  |  Supreme
+      elements    |  principles  |  principles  | attributes | attainment
+  ----------------+--------------+--------------+------------+------------
+                  |              |              |            |
+   Line.          | Repetition.  | Alteration.  |            |
+   Form.          |              | Sequence.    |            |
+                  | Rhythm.      |              | Harmony.   |
+   Light  }       |              | Radiation.   |            |
+    and   } Tone. | Proportion.  | Parallelism. |            | Beauty.
+   Dark.  }       |              | Transition.  |            |
+                  | Balance.     |              | Fitness.   |
+   Color.         |              | Symmetry.    |            |
+   Texture.       | Emphasis.    | Contrast.    |            |
+                  |              |              |            |
+  ----------------+--------------+--------------+------------+------------
+
+It will be noted that repetition, rhythm, proportion, balance, and
+emphasis are listed as major principles. It will also be noted that
+harmony is classified as a resulting attribute. This will be the
+inevitable result if the principles of the first five are well taught.
+Arrangements which meet the standards of good proportion, which are
+well balanced and which are suited to the space in which they are
+arranged will be harmonious.
+
+Although color is designated as a basic element of art structure in
+this table and the principles of design function in the effective use
+of it, there are some guides of procedure in the use of those qualities
+of color, such as hue, value, and intensity, which should be developed
+to insure a real ability to select colors and combine them harmoniously.
+
+Line is also considered a basic element of art structure. Since the
+problems in a course in art related to the home are largely those of
+selection, combination, and arrangement, the consideration of line may
+be confined to its effect as it provides pleasing proportions, is
+repeated in an interesting manner, or produces desirable rhythm.
+
+The omission of the remainder of the art terms that were found to be
+frequently used in art books and courses of study is not as arbitrary
+as it seems. Through the consideration of the qualities of color it
+will be found that value includes the material often given under "light
+and dark" or "notan."
+
+Referring again to the report of the Committee on Art Terminology,[13]
+"unity" is considered as a synonymous term for "harmony." Since it
+is possible for an arrangement to be unified and still be lacking in
+harmony, the latter term is used in the bulletin as the more important
+and inclusive one. There is less obvious need for the principles of
+"radiation," "opposition," and "transition" in problems of selection
+and arrangement. The Goldsteins refer to them as methods of arranging
+the basic elements of lines, forms, and colors in contributing to the
+principles of balance, proportion, rhythm, emphasis, and harmony. Thus
+some reference to them may be made in the development of the principles
+of harmony and rhythm.
+
+Emphasis has been chosen as an inclusive term which represents
+"subordination," "center of interest," and "dominance."
+
+It is hoped that these suggested phases of art to be included in a
+course or unit in art related to the home will not be considered too
+limited. Each teacher of art should feel free to develop as many of
+the principles as are needed by her groups, remembering that it is far
+better to teach _a few principles well_ than to attempt more than can
+be done satisfactorily.
+
+In developing the principles of design certain guides for procedure
+or methods in achieving beauty will be formulated. For example, in
+considering balance, pupils will soon recognize that the feeling of
+rest or repose that is the result of balance is essential in any
+artistic or satisfying arrangement. Their problem is how to attain it
+in the various arrangements for which they are responsible. Thus guides
+for procedure or methods of attaining balance must be determined. Such
+guides for obtaining balance may be--
+
+  1. Arranging like objects so they are equidistant from a center
+     produces a feeling of rest or balance.
+
+  2. Unlike objects may be balanced by placing the larger or more
+     noticeable one nearer the center.
+
+It will be seen that these are also measuring sticks for the judging
+of results. It is evident that in a short course in art a teacher can
+not assist girls in all situations at home in which balance may be
+used. Therefore it is essential that the pupils understand and use
+these guiding laws or rules for obtaining balance in a sufficient
+number of problems at school to gain independence in the application
+of them in other situations. Some authorities[14] term these methods
+for attaining results, guiding laws for procedure, or principles.
+
+
+HOME SITUATIONS FOR WHICH ART IS NEEDED
+
+The common practice in art courses relating to the home has been to
+draw problems from the fields of clothing and home furnishing. This
+has been true for the obvious reason that an endeavor has been made
+to interest the girl in art through her personal problems of clothing
+and her own room. Since in a vocational program the objective is
+to train for homemaking, it is essential that art contribute to
+the solving of all home problems in which color and good design are
+factors. In the selection and utilization of materials that have to
+do with child development, meal preparation and table service, home
+exterior as well as interior, and social and community relationships,
+application of the principles of art plays a large and important part.
+
+One of the teacher's great problems is that of determining pupil needs.
+Although homes vary considerably in detail, there are many similar
+situations arising in all of them for which an understanding of the
+fundamental art principles is essential. It is important that the
+problems and situations utilized for developing and then applying again
+and again these fundamental principles shall be within the realm of
+each student's experience. The following series of topics may suggest
+some of the situations that are common to most homes and therefore be
+usable as the basis for problems in developing principles of art or
+for providing judgment and creative problems. In most of these topics,
+other factors such as cost, durability, and ease of handling will need
+to be considered in making final decisions, for art that is taught in
+relation to the home is not divorced from the practical aspects of it.
+
+  _Child development_--
+
+    Choosing colored books and toys for children.
+    Choosing wall covering for a child's room.
+    Choosing pictures for a child's room.
+    Placing and hanging pictures in a child's room.
+    Selecting furniture for a child's room.
+    Determining types of decoration and desirable amounts of it for
+      children's clothing.
+    Choosing colors for children's clothing.
+    Making harmonious combinations of colors for children's clothing.
+    Choosing designs and textures suitable for children's clothing.
+    Avoiding elaborate and fussy clothing for children.
+
+  _Meal planning and table service_--
+
+    Using table appointments that are suitable backgrounds for the meal.
+    Choosing appropriate table appointments in--
+        Linen.
+        China.
+        Silver.
+        Glassware.
+    Using desirable types of flowers or plants for the dining table.
+    Making flower arrangements suitable in size for the dining table.
+    Selecting consistent substitutes for flowers on the table.
+    Choosing containers for flowers or plants.
+    Using candles on the table.
+    Deciding upon choice and height of candles and candlesticks in
+      relation to the size and height of the centerpiece.
+    Determining when to use nut cups and place cards.
+    Choosing place cards and nut cups.
+    Arranging individual covers so that the table is balanced and
+      harmonious.
+    Folding and placing napkins.
+    Considering color and texture of foods in planning menus.
+    Determining when and how to use suitable food garnishes.
+
+  _Home--Exterior_--
+    Developing and maintaining attractive surroundings for the house.
+    Choosing dormers, porches, and porch columns that are in scale with
+      the house.
+    Grouping and placing the windows so they are harmonious with each
+      other and with the house.
+    Planning suitable and effective trellises and arbors.
+    Recognizing limitations in the use of formal gardens and grounds.
+    Determining the use of the informal type of grounds.
+    Choosing house paint and considering how it may be influenced by
+      neighboring houses.
+    Determining the influence of the color of the house on the choice
+      of color for the porch furniture and accessories and for awnings.
+    Selecting and arranging porch furniture and accessories.
+    Selecting curtains for the windows of the house which are attractive
+      from the exterior as well as from the interior.
+    Determining desirable shapes for trimmed hedges and shrubbery.
+    Selecting shrubbery and flowers that will contribute, at small cost,
+      to the appearance of a home.
+    Planning the grounds of a home and the possible use of a bird bath,
+      an artificial pool, or a rock garden.
+
+  _Home--Interior_--
+
+    Securing beauty rather than display.
+    Selecting textures that suggest good taste rather than merely a
+      desire for display.
+    Choosing wall coverings that are attractive and suitable backgrounds
+      for the home.
+    Selecting rugs for various rooms.
+    Selecting furniture that adds attractiveness, comfort, and convenience
+      to the home.
+    Determining relation of beauty in furniture to the price of it.
+    Choosing window shades, curtains, and draperies from the standpoint
+      of color, texture, design, and fashion.
+    Selecting appropriate accessories for the home.
+    Determining when to use pictures and wall hangings in the home.
+    Choosing pictures and wall hangings for the home.
+    Placing rugs, furniture, and accessories in the home.
+    Arranging and hanging pictures and wall hangings.
+    Determining the relation of type and arrangement of furnishings and
+      accessories to the formality or informality of a room.
+    Avoiding formal treatment and shiny textures in the average home.
+    Planning how color may be used and distributed effectively in a room.
+    Determining how color schemes of rooms are affected by size, purpose,
+      and location.
+    Discouraging the use of cloth, paper, and wax flowers and painted
+      weeds in the home.
+
+  _Social and community relations_--
+
+    Determining social and community activities with which high school
+      girls are asked to assist and for which art training is needed.
+    Making attractive and suitable posters for special occasions.
+    Selecting and arranging flowers and potted plants for various
+      occasions.
+    Planning, selecting, and using appropriate decorations for special
+      events.
+    Wrapping gifts and packages attractively.
+    Choosing and using appropriate stationery, calling cards, place
+      cards, and greeting cards.
+
+  _Clothing_--
+
+    Determining appropriate clothing for all occasions.
+    Planning clothing that adds to rather than detracts from the charm
+      of the wearer.
+    Planning to avoid garments and accessories that may be liabilities
+      rather than assets.
+    Recognizing the relation of the "style of the moment" to the choice
+      and combination of the clothing for the individual.
+    Choosing colors for the individual.
+    Utilizing bright colors in clothing.
+    Selecting harmonious color combinations in clothing.
+    Selecting and using textile designs in clothing.
+    Selecting and adapting style designs in patterns for the individual.
+    Improving undesirable body lines and proportions through the wise
+      choice of clothing.
+    Selecting clothing accessories--
+        Hats.
+        Shoes.
+        Hosiery.
+        Gloves.
+        Bags.
+        Jewelry.
+    Selecting and using appropriate jewelry and similar accessories
+      with various ensembles.
+    Choosing texture, color and design for undergarments that make
+      appropriate and attractive foundations for the outer garments.
+
+As yet no committee on related art has proceeded so far as to suggest
+specific content for art courses that are related to homemaking.
+Since this bulletin deals with the teaching of art as it relates
+to homemaking, teaching content is presented only in so far as it
+exemplifies methods or procedures and relates to objectives. It is
+hoped, however, that teachers will find real guidance for selecting
+content that will meet the particular needs of their classes through,
+the detailed consideration of objectives, the selection of principles,
+and the many suggestions that are offered for art applications that can
+be made in all phases of homemaking.
+
+
+
+
+Section IV
+
+SUGGESTIVE TEACHING METHODS IN ART RELATED TO THE HOME
+
+    The test of a real product of learning is this: First, its
+    permanency; and second, its habitual use in the ordinary activities
+    of life.--Morrison.
+
+
+CREATING INTEREST
+
+There is a general conception that art is naturally interesting to
+everyone. Accepting this as true, a specific interest must be developed
+from this natural interest for the most effective courses in art
+training. Whitford[15] says:
+
+    Little can be accomplished in general education, and practically
+    nothing can be done in art education, unless interest and enthusiasm
+    are awakened in the student. The awakening of interest constitutes
+    one of the first steps in the development of a pupil's natural
+    talents.
+
+Some teachers, in attempting to awaken or to hold the interest of
+girls in related art courses, have started with art laboratory problems
+which involve considerable manipulation of materials. A certain type
+of interest may be so aroused, for pupils are always interested in the
+manipulative processes involved in producing articles and even more
+in the possession of the completed products, but it may be only a
+temporary appeal rather than an interest in the larger relation of art
+to everyday living. While it is true that manipulative problems do
+contribute to the development of greater confidence and initiative
+and therefore have their place in an art course, yet the successful
+completion of most products requires greater creative and judgment
+abilities than pupils will have acquired early in the course. It is
+then a questionable use of laboratory problems to depend upon them for
+awakening the specific interest in art.
+
+Initial interest of students may be stimulated through directed
+observation of the many things about them which are good in color and
+design or by discussion of problems which are very pertinent to girls'
+art needs or desires.[16] However, conscious effort on the part of the
+teacher is necessary to "open the windows of the world," if pupils are
+to develop real interest and experience such enjoyment from the beauty
+which surrounds them that an ideal of attaining beauty in dress and
+home is established. A definite plan is necessary for stimulating this
+interest which is said to be possessed by all. Without an interest that
+will continue to grow from day to day it is difficult to develop the
+necessary judgment abilities for solving everyday problems in selection
+and arrangement.
+
+Professor Lancelot[17] suggests the following procedure as the initial
+steps in the building of permanent interests:
+
+    1. Early in the course endeavor through general class discussions,
+    rather than by mere telling, to lead the students to see clearly
+    just how the subject which they are taking up may be expected to
+    prove useful to them in later life and how great its actual value
+    to them will probably be.
+
+    2. At the same time attempt to establish clearly in their minds the
+    relationships that exist between the new subject, taken as a whole,
+    and any other branches of knowledge, or human activities, in which
+    they are already interested.
+
+    3. Specify and describe the new worthwhile powers and abilities which
+    are to be acquired from the course, endeavoring to create in the
+    students the strongest possible desire or "feeling of need" for them.
+
+If this procedure is followed, in the field of art the teacher will
+refrain from merely telling pupils that art will be of great value
+to them later in life. On the other hand, in creating interest it is
+suggested that class discussion of general topics within the range of
+pupil experience and of obvious need be used to awaken an interest in
+the value of art in their own lives.
+
+The teacher must be sure that the topics are of real interest to the
+pupils. For example, which of these questions would probably arouse the
+most animated discussion: "What is art?" or "Arnold Bennett says, 'The
+art of dressing ranks with that of painting. To dress well is an art
+and an extremely complicated and difficult art.' Do you agree with
+Arnold Bennett? Why?"
+
+Other discussions may be started by asking questions such as the
+following:
+
+  1. Have you ever heard some one say, "Mary's new dress is lovely
+     but the color is not becoming to her"? Why do people ever choose
+     unbecoming colors? Would you like to be able to select colors
+     becoming to you? How can you insure success for yourself?
+
+  2. Movie corporations are spending great sums of money in an attempt
+     to produce pictures in color. Why do they feel justified in making
+     such expenditures to introduce the single new quality of color?
+
+[Illustration: Figure 4.--In a Nebraska high school a screen was used
+in an unattractive corner as a background for an appreciation center]
+
+  3. Do you like this scarf? This cushion? This picture? Why? Why not?
+     Why is there some disagreement? To what extent can our likes guide
+     our choices?
+
+  4. The class may be asked to choose from a number of vases, lamp
+     shades, table covers, or candles those which they think are most
+     beautiful. The question may then be asked, "Would you like to find
+     out what makes some articles more beautiful than others?"
+
+  5. Where in nature are the brightest spots of color found? Have you
+     ever seen combinations of color in nature that were not pleasing?
+     How may we make better use of nature's examples?
+
+  6. Why do girls and women prefer to go to the store to select dresses
+     or dress material? Hats? Coats? Can one always be sure of the most
+     becoming thing to buy even when shopping in person? What would be
+     helpful in making selections?
+
+The classroom setting for the teaching of art plays a very important
+part in arousing interest. Attempting to awaken interest in art
+in a bare, unattractive room is even more futile than trying to
+create interest in better table service with no table appointments.
+In the first situation there is probably such a wide variation in the
+background and experience of the pupils and in their present ability
+to observe the beautiful things of their surroundings that it becomes
+increasingly important that the teacher provide an environment which is
+attractive and inviting. In the second situation the pupils have had
+experience with the essential equipment in their own homes and so can
+visualize to some extent the use of that equipment at the table.
+Bobbitt[18] says--
+
+    One needs to have his consciousness saturated by living for years
+    in the presence of art forms of good quality. The appreciations
+    will grow up unconsciously and inevitably; and they will be normal
+    and relatively unsophisticated. As a matter of fact, art to be most
+    enjoyed and to be most serviceable, should not be too conscious.
+
+Schoolrooms in which pupils spend a large part of their waking hours
+should provide for the building of appreciation in this way, and it is
+especially true in the homemaking room. Some home economics teachers
+have cleverly planned for students to share in the responsibility
+of creating and maintaining an attractive classroom as a means of
+stimulating interest in art. It would be well for all home economics
+teachers to follow this practice.
+
+[Illustration: Figure 5.--The simplest school furnishings can be combined
+attractively. A low bookcase, a bowl of bittersweet, and a passe partout
+picture as here used are available in most schools]
+
+In many economics laboratories there are several possible improvements
+that would make better environment for art teaching. Suggestions for
+such improvements include:
+
+  1. More color in the room through the use of flowers, colorful pottery,
+     colored candles, and pictures, featuring arrangements that could be
+     duplicated in the home.
+
+  2. More emphasis upon structural lines--
+
+     _a._ Pictures that are grouped and hung correctly.
+     _b._ Attractive arrangement of a teacher's desk.
+     _c._ Arrangement of the furniture so that the groupings are well
+          balanced and the wall spaces are nicely proportioned.
+     _d._ Good arrangement of materials on bulletin board.
+
+  3. More attention to orderliness--
+
+     _a._ When class is not working, orderliness in window-shade
+          arrangement.
+     _b._ Elimination of unnecessary objects and furnishings to avoid
+          cluttered appearance.
+     _c._ Tops of cases and cupboards or open shelves cleared.
+
+There are few seasons in the year when the teacher can not introduce
+interesting shapes and notes of color through products of nature. The
+fall brings the colored leaves and bright berries which last through
+the winter. Bulbs may be started in late winter for early spring, and
+certain plants can be kept successfully throughout the year. With such
+interesting possibilities for using natural flowers, berries, and
+grasses, why would a teacher resort to the use of artificial flowers
+or painted grasses?
+
+Morgan[19] pertinently discusses the artificial versus the real:
+
+    Some say "What about painted weeds and grasses?" No; that is mockery.
+    It doesn't seem fair to paint them with colors that were not theirs
+    in life. One can almost fancy hearing the dead grasses crying out,
+    "Don't smear us up and then display us like mummies in a museum."
+    Remember, a true artist, one who truly loves beauty, despises
+    imitation or deceit.
+
+There are several interesting possibilities for home table centerpieces
+to be used during the winter months when flowers are not available.
+Grapefruit seeds or parsley planted in nice-shaped, low bowls grow
+to make attractive-shaped foliage for the table. A sweetpotato left
+half covered with water in a low bowl sprouted and made the graceful
+arrangement of pretty foliage pictured in Figure 7, page 29.
+
+Pupils are more apt to provide such plants in their homes if they see
+examples of the real centerpieces at school. It is, therefore, worth
+while for a teacher to direct a class in starting and caring for one
+or more types of them.
+
+In one State a definite effort is made in planning home-economics
+departments to have the dining room open directly into corridors
+through which most of the pupils of the entire school pass at some time
+during the day. See figure 8, page 30.
+
+[Illustration: Figure 6.--A few pieces of unrelated illustrative
+materials may be grouped successfully in bulletin-board space]
+
+This arrangement permits pupils to observe attractive as well as
+suitable arrangements of the dining room furnishings, and especially of
+the table. Such a plan should be effective in establishing ideals of
+what is good and in raising standards in the homes of boys as well as
+of girls in the community.
+
+A further contributing essential to stimulating interest in art is a
+teacher who exemplifies in her appearance the art she is teaching.
+It is said that sometimes our most successful teaching is done at a
+time when the teacher is least conscious of it. The teacher of an art
+class who appears in an ensemble of clothing which is unsuited to the
+occasion and in which the various parts are not in harmony with each
+other from the standpoint of color, of texture, or of decoration loses
+sight of one of her finest opportunities for influencing art practices
+of pupils and developing good taste in them.
+
+[Illustration: Figure 7.--Sprouted sweetpotato produced this attractive
+centerpiece for the home table]
+
+There is no more applicable situation for the old adage, "Practice what
+you preach," than in the teaching of art. One teacher was conducting a
+discussion on the choice of bowls and vases for flowers as a part of
+flower arrangement while behind her on the desk was a bottle into which
+a bunch of flowers had been jammed. Contrast this with the situation in
+which the teacher had worked out the arrangement of wild flowers and
+grasses as shown in Figure 1.
+
+
+DISCUSSION OF METHOD IN THE TEACHING OF ART
+
+In discussing the best methods of teaching art, Whitford[20] says:
+
+    As a practical subject art education calls for no exceptional
+    treatment in regard to methods of instruction. The instruction
+    should conform to those general educational principles that have
+    been found to hold good in the teaching of other subjects. Without
+    such conformity the best results can not be hoped for.
+
+[Illustration: Figure 8.--Glass-paneled doors open from the dining
+room directly into a main first-floor corridor in the high school at
+Stromsburg, Nebr.]
+
+It is anticipated that through the course in related art pupils will
+have gained an ability to choose more suitably those materials and
+articles of wearing apparel and of home furnishing which involve color
+and design. It is through understanding certain fundamental principles
+of art and using them that the everyday art problems can be more
+adequately solved. The teacher is confronted with the question as to
+how to develop most successfully this understanding and ability. Shall
+she proceed from the stated principles to their application in solving
+problems or shall she start with the problems and so direct their
+solution that the important principles and generalizations are derived
+in the process. The present trend in education is toward the second
+procedure and in keeping with this trend, the elaboration of method
+in this section is confined to the so-called problem-solving method.
+When pupils have an opportunity to formulate their own conclusions in
+solving problems and through the solution of many problems having an
+identical element find a generalization or principle that serves as a
+guide in other procedures, experience seems to indicate that they get
+not only a clearer conception of the principle but are able also to
+make greater subsequent use of it.
+
+In their everyday experiences pupils are continually faced with the
+necessity for making selections, combinations, and arrangements which
+will be satisfying from the standpoint of color and design. Before they
+can select wisely they need some standards upon which to base their
+judgments and by which they can justify their decisions. Before they
+can make satisfying arrangements and combinations of material they need
+judgment skill in determining what to do. They also need principles
+or standards by which they can determine how to proceed. Finally,
+they need opportunity for practice so that they may become adept
+in assembling articles and materials into pleasing and harmonious
+groupings and arrangements.
+
+The more experience pupils have in confronting and solving true-to-life
+problems under the guidance of the teacher, the greater is the probability
+that they will have acquired habits of thinking that will enable them
+to solve successfully the many problems that they are continually forced
+to meet in life.
+
+It might be well to inquire at this point the meaning of the word
+problem as used in this bulletin. According to Strebel and Morehart[21]--
+
+    Probably there is no better definition of a problem than the
+    condition which is spoken of by Doctor Kilpatrick as a "balked
+    activity." This idea is general enough to include all sorts and
+    phases of problems, practical and speculative, simple and difficult,
+    natural and artificial, final and preliminary, empirical and
+    scientific, and those of skill and information. It covers the
+    conditions which exist when one does not know what to do either
+    in whole or in part, and when one knows what to do but not how to
+    do it, and when one knows what to do and how to do it but for lack
+    of skill can not do it.
+
+In teaching by the problem-solving method Professor Lancelot[22] makes
+use of three types of problems.
+
+Through the first type, known as the _inductive problem_, the pupil
+is to determine certain causes or effects in the given situation. In
+determining these causes and effects, various details of information
+are needed but these do not remain as isolated and unrelated items. Out
+of the several facts is evolved a general law, a truth, or a principle.
+For example, in developing pupil ability to understand and use the
+underlying principle of emphasis, the teacher may make use of such
+questions as:
+
+    Have you ever tried to watch a three-ring circus? Pupils are
+    given an opportunity to relate their experiences.
+
+    Have you ever seen a store window that reminded you of a circus?
+    In which of the store windows on Center Street do you think the
+    merchant has displayed his merchandise to the greatest advantage?
+    Why?
+
+From a discussion of such questions as these the teacher can lead the
+pupil to realize the desirability of avoiding confusion in combining
+and arranging articles used together and to understand at least one way
+of producing the desired effect.
+
+The next type is the _judgment or reasoning problem_, which offers
+two or more possible solutions. In certain subjects as mathematics
+in which there is but one correct answer, the reasoning problem is
+used. In other subjects in which, in the light of existing conditions,
+there is a best answer, the judgment problem is used. This best answer
+or final choice is determined upon the basis of the law or principle
+established through the inductive problems. Few subjects are more
+concerned with the making of choices than art. For this reason,
+judgment problems play an important part in an art training which is
+to function in the daily lives of pupils. As soon as a principle has
+been tentatively established, it is desirable to give the pupils an
+opportunity to recognize the use of the principle in several similar
+situations and to use it as a basis for making selections. For example,
+following the establishment of the principle of emphasis, the teacher
+may ask the pupils:
+
+    Will each of you select from these magazines an advertisement
+    in which your attention was immediately attracted to the article
+    for sale? Be ready to tell the class why you were attracted to
+    this piece of merchandise.
+
+The third and final type is the _creative problem_, which makes use of
+the truth or principle discovered in the inductive problems, so that
+the pupil is encouraged to do some creative thinking by using the
+principle as the basis for determining procedure to follow in a new
+situation. Since everyday living is full of opportunities for making
+choices and combinations, it is essential that both judgment and
+creative problems be included in practical art training. For example,
+to teach the use of the creative problem in the study of emphasis the
+instructor may say to a pupil:
+
+    Choose a partner with whom to work. From the materials I am
+    providing make an attractive table arrangement for a living room,
+    and then choose a large piece of wallpaper or a textile that
+    would make a good background for it.
+
+Lamps, candles, candlesticks, flowers, pottery, and books will be
+provided for this activity, as well as the textiles and the wallpaper.
+
+Professor Lancelot[23] sets up five standards for determining what
+are good problems. They must, he says, be--
+
+  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.
+
+In one school the related art class took over the project of refinishing
+one of the rooms in the girls' dormitory. It was necessary to use the
+furniture already provided, which meant the expenditure of a minimum
+amount of money. There was, therefore, the problem of refinishing some
+of the furniture to bring it into harmony with the newly planned room.
+The old dresser was one of the pieces to be remodeled and painted.
+Figures 9 and 10 show the dresser before and after the class had worked
+on it.
+
+[Illustration: Figure 9.--The dresser as found in the dormitory room]
+
+[Illustration: Figure 10.--The same dresser after the class in related
+art had remodeled and painted it]
+
+In a few instances, homemakers have entrusted the furnishing of rooms
+in their homes to the related art class. Thus it is seen that a variety
+of opportunities do exist. They should be located and such use made of
+them as will mean the enrichment and vitalization of the work in
+related art.
+
+
+NOTEBOOKS
+
+In the limited time usually allotted for the teaching of art related to
+the home the teacher is confronted with the problem of how to make the
+best utilization of that time. One of the first questions which must be
+decided is whether a portion of it shall be devoted to the making of
+notebooks. In analyzing the situation she will need to determine the
+purposes which they serve. The notebooks may be justified on the ground
+that they--
+
+    1. Provide a collection of illustrative and written materials
+       which pupils may have for future use.
+
+    2. Provide a classroom activity through which pupils learn.
+
+    3. Measure pupil ability to recognize art applications through
+       the selection of pertinent illustrations.
+
+    4. May supplement or be used in place of a class text.
+
+    5. Provide material for the school exhibit.
+
+    6. Insure material for competitive purposes at county and State fairs.
+
+    7. Maintain interest.
+
+Answering the following questions may serve to determine whether notebooks
+are of value to the pupil:
+
+    1. Does the notebook provide for worthwhile individual experience?
+
+    2. Will it pay in terms of time and energy expended?
+
+    3. What is the ultimate use of it?
+
+The following chart may serve to aid the teacher in judging whether
+notebooks are justified:
+
+Chart 2.--_Analysis of the value of notebooks in art courses_
+
+  -----------------+-----------------------------------------------------------
+                   |                            Value
+     Purposes of   +--------------------+-------------------+------------------
+      notebook     | In terms of        | In terms of time  | In terms of
+                   |  worth-while       |  and energy       |  ultimate use
+                   |  individual        |  consumed         |  of notebook
+                   |  experience        |                   |
+  -----------------+--------------------+-------------------+------------------
+  1. To provide a  | To the extent that | Usually more      | Notebooks may be
+     collection of |  the activities    |  time and energy  |  exhibited, but
+     material for  |  involved exercise |  consumed than    |  beyond that
+     later pupil   |  individual        |  later use        |  experience seems
+     use.          |  judgment.         |  justifies. This  |  to indicate that
+                   |                    |  is dependent upon|  few girls or
+                   |                    |  the degree of    |  women use them
+                   |                    |  elaborateness of |  later in home
+                   |                    |  the notebook.    |  life as a source
+                   |                    |  Copying, tracing,|  of information.
+                   |                    |  and pasting      |
+                   |                    |  are very         |
+                   |                    |  time-consuming.  |
+  -----------------+--------------------+-------------------+------------------
+  2. To provide    | To the extent that | Both may be well  | It may train
+     classroom     |  the activities    |  spent, provided  |  pupils to be
+     activity      |  involved provide  |  the evaluation   |  observant and
+     through which |  opportunity for   |  in (1) is kept   |  critical and
+     pupil learns. |  exercising        |  in mind and if   |  thus aid in
+                   |  selection.        |  much of the      |  making wiser
+                   |                    |  mechanical work  |  choices in
+                   |                    |  is done outside  |  real life.
+                   |                    |  of class.        |
+  -----------------+--------------------+-------------------+------------------
+  3. To measure    | To the extent      | A justifiable     | After selections
+     pupil's       |  to which the      |  use of time and  |  have been made
+     ability to    |  activities give   |  energy, provided |  they are of no
+     recognize art |  added opportunity |  the emphasis     |  use later as
+     applications  |  for making        |  is on making     |  a measuring
+     in the        |  independent       |  selection and    |  device.
+     selection of  |  choices and offer |  the mechanical   |
+     pertinent     |  opportunity for   |  processes are    |
+     illustrations.|  students to       |  minimized.       |
+                   |  recognize and     |                   |
+                   |  select additional |                   |
+                   |  applications to   |                   |
+                   |  those given in    |                   |
+                   |  class.            |                   |
+  -----------------+--------------------+-------------------+------------------
+  4. To supplement | There is little    | It is not         | Pupil may use it
+     or use in     |  opportunity       |  justifiable use  |  for review in
+     place of a    |  for individual    |  of pupil's time  |  organizing
+     class text.   |  experience        |  to compile text  |  subject matter
+                   |  in writing a      |  material which   |  of the course
+                   |  notebook, since   |  should be made   |  for examination.
+                   |  the material is   |  available to     |  Beyond this,
+                   |  usually dictated  |  them through     |  probably little
+                   |  or copied from    |  other channels.  |  use is ever made
+                   |  references. With  |                   |  of it.
+                   |  the present       |                   |
+                   |  available         |                   |
+                   |  facilities for    |                   |
+                   |  reproduction of   |                   |
+                   |  printed           |                   |
+                   |  information there |                   |
+                   |  is little excuse  |                   |
+                   |  for this          |                   |
+                   |  procedure.        |                   |
+  -----------------+--------------------+-------------------+------------------
+  5. To provide    | Not a justifiable  | Time and energy   | No use except
+     materials     |  objective. It     |  consumed do      |  for some proud
+     for school    |  develops a sense  |  not justify      |  relative to show
+     exhibits.     |  of false value.   |  preparing        |  to friends the
+                   |  Some judgment is  |  notebooks for    |  notebook that
+                   |  undoubtedly       |  this purpose     |  has won special
+                   |  developed, but    |  alone. Time so   |  recognition.
+                   |  the competitive   |  used may mean    |
+                   |  spirit so far     |  sacrificing      |
+                   |  exceeds the       |  opportunities    |
+                   |  desire to         |  for the          |
+                   |  learn that the    |  development and  |
+                   |  experience is     |  use of judgment  |
+                   |  frequently        |  in real-life     |
+                   |  unfortunate to    |  situations.      |
+                   |  the individual.   |                   |
+  -----------------+--------------------+-------------------+------------------
+  6. To insure     | See (5) above.     | See (5) above.    | See (5) above.
+     material for  |                    |                   |
+     competitive   |                    |                   |
+     purposes at   |                    |                   |
+     county and    |                    |                   |
+     State fairs.  |                    |                   |
+  -----------------+--------------------+-------------------+------------------
+  7. To maintain   | To the extent that | An expensive use  | Of little value
+     interest.     |  the pupils are    |  of time and      |  since notebooks
+                   |  permitted to use  |  energy, since    |  are usually
+                   |  some originality  |  interest may be  |  stored away
+                   |  or initiative in  |  obtained in so   |  and forgotten.
+                   |  choosing material |  many quicker and |
+                   |  and compiling it, |  easier ways.     |
+                   |  interest may be   |  If there is      |
+                   |  maintained.       |  seemingly greater|
+                   |                    |  interest it is   |
+                   |                    |  probably in the  |
+                   |                    |  manipulative     |
+                   |                    |  processes rather |
+                   |                    |  than in art      |
+                   |                    |  itself.          |
+  -----------------+--------------------+-------------------+------------------
+
+In the light of the analysis of their value it would seem that the use
+of notebooks should be carefully considered before they are given any
+place in the teaching of art related to the home. If used at all, they
+should not be the objective of the course but the voluntary effort of
+the pupils in attaining other objectives and should take a minimum of
+class time. From the standpoint of time alone there is certainly a
+question as to how much routine work in cutting, pasting, or writing
+should be permitted.
+
+The teacher not only has a responsibility for teaching but for the
+most efficient teaching at a minimum cost in time and energy to the
+pupil. The immediate and ultimate uses of collected materials should be
+the most important criteria as to kind and amount. When the pupils have
+an opportunity to choose illustrations which show good application of
+art they are not only developing their powers of discrimination but are
+revealing the degree to which these powers have been developed. Some
+practices in judgment are valuable and probably sufficient in themselves.
+For instance, when a pupil selects two or three good examples of rhythmic
+movement in design she will have developed a finer feeling for rhythm and
+will have demonstrated her recognition of it. Of what value would it be
+for her to make a permanent record of these illustrations?
+
+There are other selections that may be of more permanent value, such
+as pictures chosen to illustrate some art application. When these are
+mounted or framed attractively they make desirable additions to the
+girl's room and home.
+
+Illustrations suggestive of new and interesting ways of applying trimming,
+or of arrangements for dressing table covers, window draperies, and
+similar materials are also of more permanent value. They may serve the
+immediate purpose of illustration in the art class and then be made
+available for later use if they are filed in some way. One of the most
+satisfactory means of keeping such materials is in large envelopes or
+portfolios. These may be provided at small expenditure of time and
+money by using heavy wrapping or construction paper. The latter may be
+made very simply by cutting and folding the paper to form a double-pocket
+envelope.
+
+Rather than encourage the notebook type of collection of magazine
+illustrations and samples of materials, the teacher may interest the
+girls and women in selecting simple articles that may be used in their
+own homes and will give lasting enjoyment.
+
+If a notebook or portfolio is to be used for keeping certain records for
+later reference, the requirements for it should be limited to those which
+are easily attainable by all members of the class. However, this does not
+suggest a restriction of the efforts of the especially-talented pupil.
+Each page of the simplest notebook offers opportunity for the application
+of art principles in the planning of good margins, as well as in making
+attractive groupings of illustrations on mounted and written pages.
+It would seem desirable to discourage the elaborately decorated type of
+notebook covers because they consume considerable time for making and
+have such a temporary use. Portfolios well constructed and of lasting
+quality may be used later for keeping choice, unmounted pictures, or
+photographs.
+
+
+THE PLACE OF LABORATORY PROBLEMS
+
+The "laboratory problem" is a term quite generally used to designate
+a problem which is carried on within the classroom and involves some
+pupil activity.
+
+Such problems may involve judgment, a combination of judgment and
+manipulative skills, or a combination of judgment and creative thinking
+with some manipulation. They may be used to discover a law or principle,
+to verify a conclusion, or to test the judgment and creative ability
+of the pupils.
+
+The term as it is used here is restricted to the type of problem
+which involves judgment in selection, creative planning, and careful
+manipulation of materials for successful completion. Such problems are
+frequently known as craft problems.
+
+Since this type of problem involves so many kinds of ability it is
+evident that it can not be introduced too early in the course if it is
+to be executed successfully by the pupils. To the degree that judgment
+ability in selection has been developed and there has been opportunity
+to do creative thinking, the pupils will be able to carry out such
+problems more independently.
+
+This does not mean that all laboratory problems are to be reserved
+until the end of the course, but it suggests that each problem be
+considered carefully to determine if the pupils' preceding training has
+been adequate. For example, posters may be undertaken much earlier than
+a problem in tie dyeing. The main requirement for successful posters
+is an ability to use the principles of proportion and emphasis. A problem
+in tie dyeing to be successful should be preceded by an understanding of
+the use of the principles of proportion, balance, and harmony as well as
+of color.
+
+The successful laboratory or craft problem provides a measure of the
+pupil's judgment and creative ability; an opportunity for manipulative
+expression; and a means of producing something that should contribute
+to the beauty of the home. The pupil should visualize each finished
+article in its place in relation to the whole scheme of the room or
+home. The making of articles for which there is no definite need or
+place in the girl's home can hardly be justified in school time. The
+use of those materials in laboratory problems with which the pupils
+will need to work later is considered the more valuable experience.
+For example, experience in working with dyes rather than with water
+colors or paints will be more useful to the average girl, for in her
+home she is more often confronted with the problem of renewing color in
+underwear or other garments or changing the color of curtains to fit in
+with the new color scheme of her room than with problems necessitating
+the use of water color or paints.
+
+Laboratory problems that are well selected and wisely directed will
+result in one or more of three values:
+
+    1. Pupils may have a better appreciation of fitness and purpose.
+
+    2. Pupils may have a greater desire to own and use beautiful things.
+
+    3. Pupils may have a greater appreciation for possibilities of
+       beauty in the simple things.
+
+With these possible values in mind the teacher will need to determine
+which of the many laboratory problems can be used most effectively.
+
+The following standards are offered as a basis for evaluating the
+various possibilities for such laboratory problems:
+
+    1. _Time._--This is probably the most important factor because,
+       in the first place, many laboratory problems are far too time
+       consuming, and, in the second place, the total time allotment
+       for an art course is usually limited in the vocational program
+       in homemaking. _Every article which can be justified for a
+       school problem should require a relatively small amount of time
+       and few repetitive practices._
+
+    2. _Ultimate use of the article._--This is a factor which is often
+       lost sight of and as a result girls make ruffled organdy or
+       embroidered or quilted silk pillows for which they have no
+       real use. _Every article should be evaluated in terms of its
+       relation to use and surroundings and be chosen for a specific
+       place._
+
+    3. _Structural quality of the article._--"Structural design is the
+       design made by the size and shape of the object."[24] Laboratory
+       problems involving structural design afford opportunity to make
+       use of several art principles, but to bring about structural
+       beauty the pupil must have achieved real ability to use
+       these principles. _Every article should meet the fundamental
+       requirements of good design._
+
+    4. _Suitable decoration for the article._--"Decorative design
+       is the surface enrichment of a structural design." Too often
+       decoration has failed to contribute to the appearance or to
+       the utility of the article. _Decoration, if any is used, should
+       make a lasting contribution rather than a temporary appeal._
+
+    5. _Good technique._--An article may be well planned, with good
+       design and pleasing decoration, and may be one that would not
+       require too much time in the making, but the finished product
+       may not be acceptable because of poor technique. _Laboratory
+       problems should require only that type of technique which can
+       be achieved successfully by the pupil._
+
+The ultimate purpose of this particular part of the training in art
+related to the home is to enable girls and women to make selections for
+their homes that will contribute to their attractiveness rather than
+to produce artisans in the various crafts. Therefore the selection of
+class laboratory problems must be made most carefully. The teacher will
+need to emphasize repeatedly the importance of structural value, as
+well as the utility of articles if the pupils are to appreciate these
+qualities as more fundamental than decoration.
+
+Difficult situations often arise as a result of poor choices on the
+part of pupils for their laboratory problems or for the decoration
+of articles to be made. Great tact is required in leading pupils to
+see that such choices are poor without offending them. It sometimes
+means slow progress and waiting until the class judgment brings out
+opinions that may have more weight than those of the teacher. It is
+more effective for a teacher to allow a pupil to proceed through the
+"trial and error" method than to completely discourage the making of
+the poorly-chosen article. However, the successful teacher must evaluate
+each situation in light of the cost in time and money and the effect
+that failure would have upon the individual pupil. The most important
+consideration is that out of the experience the pupil will progress
+toward the desired objectives.
+
+The "trial and error" procedure is well illustrated in the following
+report of a Wisconsin high school teacher:
+
+    Related art is taught in all units but is taken up in detail
+    for the first time in the sophomore year in home furnishing and
+    decoration, wardrobe planning, and the Christmas gift unit. Most
+    of the girls come from very poor homes; and the prevailing idea
+    of beauty is largely artificial flowers or large framed family
+    photographs.
+
+    The aim in the related art work has been to help the girls use the
+    things they already have and to appreciate beauty in the things
+    they own and have the opportunity to buy or see.
+
+    The following problem arose in the sophomore class of 27 girls in
+    the home furnishing and wardrobe planning unit:
+
+    The girls were to make Christmas gifts in which their knowledge of
+    design and construction was to be applied. The gifts were to be for
+    some particular member of the family or friends. After deciding what
+    they were to make they planned the design and colors. Some of the
+    girls used yarn or bias tape designs on theatrical gauze or monk's
+    cloth, making scarfs, pillows, curtains, davenport covers, or couch
+    covers. Others made collar and cuff sets, aprons, underwear, towels,
+    laundry bags, pan holders, or passe partout pictures.
+
+    Elva came to school with a blue bird panholder to embroider in many
+    colors as her gift to a married sister. I told her it would take
+    much time and I wondered if it were worth while putting the time on
+    a panholder. I asked her if the design were appropriate, and she
+    said she liked it better than the plain quilted holders.
+
+    I did not know what to do as I did not want her to spend time on
+    such a foolish and inappropriate article but decided that she might
+    be convinced of her poor choice after making it so I allowed her to
+    work on the holder, giving her help as needed, but no encouragement
+    as to the beauty of the holder. In order that the others in the
+    class might be more convinced concerning some of the things we had
+    discussed in our related art from this holder, I asked each girl to
+    keep accurate account of time spent in making the gifts.
+
+    The girls who were making plain holders had finished a set of them
+    and at least one other simple gift while Elva continued embroidering
+    on her holder. Everyone was much interested in all of the gifts
+    and made many comments. Although none but Elva knew my views, she
+    received no class approval or bursts of enthusiasm over her holder,
+    and one girl even ventured to ask her if she thought her holder was
+    good design.
+
+    Finally the gifts were finished, and each girl exhibited her work,
+    criticizing it both constructively and adversely. Finally it was
+    Elva's turn. It was a pleasant surprise when she said: "I spent
+    6-1/2 hours of time on this one holder, and I don't like it now.
+    I could have made six plain ones, and they would have been better
+    in design and served the purpose better than this one will. I don't
+    think my sister will appreciate this holder more or maybe as much
+    as one of the others."
+
+    The class did not take exception to her criticism, and we then
+    evaluated the design, appropriateness, and time spent on it. The
+    class decided Elva was right in her conclusions that she had made
+    a mistake.
+
+    As most of the girls were giving their gifts to persons in the
+    community, we discussed placing and use of the various gifts, and
+    the girls decided that after Christmas they would tell how or where
+    the gifts were being used. When this time came and Elva reported,
+    she said the panholder had surely been used and was so badly
+    scorched that you couldn't even see the design that took 6-1/2 hours.
+
+Several laboratory problems which teachers have used in art classes are
+here presented. In the light of the standards which are offered as a
+basis for determining what problems shall be chosen, they are discussed
+briefly as to their educational possibilities. The order in which they
+are listed is alphabetical and not suggestive of importance in ranking.
+
+    1. _Block printing._--If the designs are so simple that the girl
+       learns how to adapt similar simple designs to other things for
+       her home, this problem may have value in such a course. In
+       addition, the girl is acquiring a wall hanging or a table cover
+       that will have an appropriate place in her home. Such simple
+       blocks may be kept for using on a variety of articles for gifts
+       which the girl can make at very little expense and in a short
+       time. The "stick printing" also offers some opportunity for
+       adapting designs.
+
+    2. _Fabric or yarn flowers for the wardrobe._--If such articles are
+       made of appropriate materials, there is opportunity for girls
+       to exercise judgment in the selection of colors, textures, and
+       combinations that are suited for their use on special garments.
+
+    3. _Hand stitchery (embroidery, hemstitching, fagoting, and
+       quilting)._--In so far as the pupils can justify the use of hand
+       stitchery for a particular article or garment and then confine
+       their efforts to the choosing and adapting of designs, to the
+       planning of color combinations and to the doing of just enough
+       of the stitchery to learn the process, stitchery problems may
+       have a place in the art course. The actual repetition of stitches
+       is too time consuming for class practice. Unless the pupils will
+       finish such problems outside of class some others would better
+       be chosen. There is an opportunity through stitchery problems
+       to show girls how a bit of appropriate handwork may be applied
+       to an inexpensive ready-made garment, thereby enhancing its
+       attractiveness and value.
+
+    4. _Lamp shades._--Lamp shades may be individual class problems
+       if the pupils have real need for them. If made in class the
+       educational value comes through planning the size and shape,
+       choosing suitable and inexpensive materials, and adapting
+       appropriate designs to them.
+
+    5. _Lettering._--Since in many real situations in life one is
+       requested to print one's name, it would seem desirable to
+       include some very simple straight-line printing problems.
+
+    6. _Marbleized paper._--This is a possible class exercise which
+       involves the handling of colors. Such papers may be utilized
+       as wrapping for gifts, book covers, desk sets, or portfolios.
+
+    7. _Painting furniture._--There will probably be little opportunity
+       or need for the actual carrying out of such a laboratory problem
+       in the beginning course in art related to the home, but it may
+       be used successfully in a later unit in home furnishing or in
+       a home project. The educational value in painting furniture is
+       confined to the choice of finish and color and in learning the
+       manipulative processes. The actual painting of many pieces is
+       too time consuming to be done at school and too laborious for
+       young girls to do unassisted at home.
+
+    8. _Place cards._--The choice of size and shape of card and the
+       placing of the name on it are the important factors in using
+       plain place cards. Here is an opportunity for girls to make use
+       of straight-line letters. In selecting and making decorated
+       place cards, suitability to purpose and kind and amount of
+       decoration are other factors that need to be considered.
+
+    9. _Portfolios._--Simple portfolios may be appropriately used
+       as class problems provided the pupils have a need for them.
+       They afford opportunity for the application of the principles
+       of proportion, emphasis, and harmony as well as of color.
+       If decoration is to be used, it should be simple and suited
+       to the material of which the portfolio is made and to its
+       intended use.
+
+   10. _Posters._--When the need for posters arises, a related art
+       class may profit by applying their knowledge of color, emphasis,
+       and space arrangement in making them. For a simple yet attractive
+       poster, a well-mounted picture which suggests the story with one
+       or two lines of lettering may be grouped to form a unit. This
+       takes but a short time. For those students having difficulty
+       in making the straight-line letters in crayon or ink, the gummed
+       or cut letters may be used, or a school stamp lettering press
+       may be utilized.
+
+   11. _Rug hooking._--The educational value of this problem is in the
+       selection and adaptation of designs and colors to the spaces
+       and materials used. Beyond this point it is largely repetitive
+       manipulation; and unless girls want to finish rugs outside of
+       class, and will have an opportunity to do so, such work should
+       be discouraged.
+
+   12. _Tie dyeing._--If good dyes are procurable and the exercise is
+       limited to using a few hues, tie dyeing may be desirable from the
+       standpoint of developing ability to combine colors successfully
+       and to the fitting of the design to the shape of the piece dyed.
+       If used as a class problem, special attention needs to be given
+       to the adaptation of design to the space. This means careful
+       preparation of the material for the dye bath. Wise planning for
+       the desired color effects is also essential.
+
+       Shaded dyeing offers an interesting opportunity for further use
+       of color. The problem involves the recognition of interesting
+       ranges of values and the determination of pleasing space
+       relations for those values.
+
+       It has been suggested previously that handling dyes would be a
+       more valuable experience to girls than using paints or water
+       colors. However, to insure success, dyes of standard quality
+       should be selected and carefully prepared. Soft water has been
+       found best for most dyes. A soft, loosely woven material without
+       dressing is typical of the fabrics that are most frequently dyed
+       at home and may well be used at school. Carefully dyed yard or
+       half-yard lengths of cheese cloth have been found valuable in
+       supplementing other fabrics in the study of color. The experience
+       girls gain in mixing and handling the dyes for these short length
+       pieces has been deemed by some teachers as far more valuable than
+       that gained through making flat washes for a color chart as a
+       means of understanding colors and their relationships.
+
+       Much time is usually lost in having pupils attempt to mix paints
+       for flat washes for the various hues of color charts. The purpose
+       of making color charts is to provide the girls with a guide for
+       recognizing and combining colors. Many teachers have found that
+       a more successful method is to have the pupils arrange colored
+       fabrics or papers in the order of their hue relationship. It has
+       not been considered necessary for each pupil to do this, since
+       the ability to recognize hues and their relationships may be
+       equally well achieved through working in groups. A large chart
+       of standard hues provided by the teacher will be valuable in
+       developing understanding of color.
+
+   13. _Weaving._--This problem requires a loom, and for the small amount
+       of weaving that should be done in school and in view of future
+       needs, the teacher is seldom justified in asking for such a piece
+       of equipment.
+
+Book ends, trays, and candlesticks are essential articles from the
+standpoint of utility and well-selected ones are valuable as illustrative
+material in the development of good judgment in their selection and
+arrangement. When these articles are used as laboratory problems, special
+care should be taken to avoid placing the emphasis upon decoration.
+
+There are no doubt other problems that may be used successfully.
+However, only those should be chosen that will supplement the art
+training advantageously and that will measure up to the five suggested
+standards on pages 47-48, which, stated in more specific terms, are--
+
+    1. Every article should require a relatively small amount of
+       time and few repetitive practices.
+
+    2. Every article should be evaluated in terms of its relation
+       to use and surroundings and chosen for a specific place.
+
+    3. Every article should meet the fundamental requirements of
+       good design.
+
+    4. Decoration, if any is used, should make a lasting contribution
+       rather than a temporary appeal.
+
+    5. All problems should require only that technique which can be
+       achieved successfully by the pupils.
+
+
+FIELD TRIPS
+
+Field trips in some form have been used to quite an extent in the teaching
+of many subjects and have been undertaken for a variety of reasons. In the
+teaching of art the purpose may be fourfold:
+
+    1. To stimulate interest in beauty.
+
+    2. To provide contact with materials and articles as they are to be
+       found in life.
+
+    3. To extend information.
+
+    4. To provide additional opportunity for exercising judgment.
+
+Unless the trips to be made by the class are planned carefully they may
+become merely freedom from regular school routine. If the group has an
+opportunity to help plan the trip, including the route to be taken,
+the points of interest to be looked for and reported upon at the next
+regular meeting of the class, the conduct to be maintained on the trip,
+and the courtesy due the homemaker or the merchant or the business man
+who is cooperating with the class visit, there is bound to be greater
+interest and concentration upon the trip with more beneficial results.
+
+Trips taken very early in the unit or course can do little more than serve
+as a means of stimulating interest in the new phase of work.  Trips taken
+later may be used to verify conclusions and develop judgment in making
+selections as well as to create broader interests.
+
+One class in a study of clothing selection made several trips to the
+local stores. The first one was preceded by a study of surface pattern
+in dress fabrics from the standpoint of the effect of design and color
+upon the appearance of the wearer. The trip to the local stores was
+made to determine which of the wash dresses exhibited in three store
+windows best met the standards which the class had set up for such a
+dress. The standards were as follows:
+
+    1. The style or design of the dress should be suited to the kind
+       of fabric and the surface pattern of it.
+
+    2. The trimming should be in harmony with the construction lines
+       and the color of the dress.
+
+    3. The surface pattern of the material should be one of which the
+       wearer and her friends would not soon tire.
+
+In this particular case, since the class was small and the trip included
+only window shopping, some discussion was carried on in the group as
+they stood outside of the display windows.
+
+At a little later time the same class was taken to the stores on a
+shopping trip. Each pupil was asked to select material for two dresses
+for one of her classmates, one to be for a washable school dress and
+the other for a "dress-up" dress. The materials were to be selected
+from the standpoint of color and design for the individual and of
+suitability for the type of dress. The procedure set up by the class
+previous to the trip was to work quietly and independently at the store
+and to refrain from saying why they did or did not like various things
+they saw there. When each girl had made her selections she was to ask
+the clerk for small samples and to be sure that the rest of the class
+saw the large pieces from which she had made her selections. During the
+next class period each girl exhibited her samples and justified the
+choices she had made. The girl for whom the selections had been made
+was given an opportunity to express her opinion, and the remainder of
+the group were encouraged to comment upon the proposed materials.
+
+When these pupils later had the problem of selecting materials for the
+new spring dresses they had decided to make in class, there were many
+evidences that the experience gained on the trips to the stores had
+been of real value to them.
+
+In the study of accessories for the spring dress this class had another
+window-shopping trip which followed a lesson on the selection of shoes.
+The purpose of this trip was to see what effect trimming lines had upon
+the apparent width and length of the shoes and to choose from those
+displayed in the windows the style of shoe that would be most suitable
+for some member of their class to wear with a dress she had made or
+purchased.
+
+Field trips that have a definite purpose and are well planned and arranged
+for in advance can make valuable contributions to the classroom training
+in art. If a class is to be taken on a trip to a store, to visit a home
+in the community, or to an industrial plant it is only courteous and an
+evidence of good management for the teacher to obtain permission and make
+necessary arrangements with the merchant, the homemaker, or the manager
+far enough in advance to avoid conflict in time and to plan in accordance
+with their most convenient time for visitors.
+
+
+MEASURING RESULTS
+
+How can the degree to which art training is functioning in the lives
+of the girls and women be determined? It is fully as important for
+the teacher to evaluate results of her teaching as to plan for it
+carefully. This has been commonly recognized as a definite part of
+teaching, but the procedure has been largely limited to the giving of
+written tests. Such tests have usually been of the type that measure
+factual information and have probably failed to indicate the degree
+to which the student's life has been improved by her use of the art
+information.
+
+Tests which are thought provoking and the solving of school problems
+are both valuable measures, but they are not sufficient in themselves
+for testing art. They fail to reveal whether or not the girl is making
+voluntary and satisfactory art applications or appreciating beauty
+to any greater extent in her everyday life. Whitford[25] refers to
+outcomes as follows:
+
+    Two significant and fundamental outcomes of art education are
+    revealed by an analysis of the relation of this subject to the
+    social and occupational life of the pupil. These are, first,
+    ability to recognize and appreciate art quality and to apply
+    this ability to the needs of everyday life; and, secondly, ability
+    to  produce art quality even though in a relatively elementary form.
+
+When art has been effectively taught there are many tangible evidences
+of its functioning in the personal and home life of the girl. What are
+some of these tangible evidences that indicate successful art training?
+The outstanding ones may be found in the girl's appearance at school
+and in the choice and arrangement of furnishings in her room and home.
+
+
+=Evidences of the Successful Functioning of Art in the Classroom=
+
+Improved personal appearance of pupils may manifest itself in their
+selection of ensembles from garments already possessed or from newly
+selected garments from the standpoint of--
+
+    1. Color combinations.
+    2. Texture combinations.
+    3. Appropriateness of clothing for school.
+    4. Appropriateness of style of garments to the girl.
+    5. Appropriateness of accessories.
+
+The story of freckled-faced Mary well illustrates how art did function
+in one girl's life. She was an unmistakably plain high-school girl.
+Her hair was red, her face freckled, and her nose decidedly retrousse.
+Her clothes of gaudy colors never fitted and always seemed to emphasize
+her personal deficiencies. But one day a new teacher came to the
+school, whose business it was to teach home economics, and into her
+hands Mary, mercifully, came. A few months later the State supervisor
+of home economics, a close observer, visited the school, and her
+attention was soon drawn to Mary, not as the worst-looking girl in
+the school but as one of the best-looking girls in the school. Soft,
+becoming colors, good lines, and a suitable style of garments had
+brought out the best tints in her red hair, softened the freckles, and
+transformed a plain girl into an attractive one. All of this had been
+accomplished as an indirect objective of the teacher in her related
+art instruction in home economics. Mary had unconsciously learned that
+beauty is, after all, a relative term in regard to individual objects
+and that it is the setting that gives grace and charm.
+
+Unless the teacher is on the alert some interesting evidences of
+successful teaching may go unnoticed. Some of the changes in the
+pupil's appearance come about gradually and without audible comment.
+Such was the case in one class. Most of the year Betty had been wearing
+an old 1-piece wool dress. During the winter she had worn a belt of the
+dress material at a low waistline, so that the belt covered the line at
+which the pleats were stitched to the dress. Early in the spring, and,
+as it happened, near the beginning of the art unit, Betty evidently
+became much interested in the styles that advocated a return of the
+normal waistlines and succumbed to the appeal of the new leather
+belts in the store window. For several days she proudly wore a wide
+leather belt fairly tight and high, with this straight flannel dress,
+all unconscious of the fullness bunching above the belt, the poor
+proportions of the dress, and the poorly finished seam where the pleats
+were joined to the dress. After some time had been spent on the art
+unit in which no direct reference had been made to Betty's belt, the
+teacher was very much pleased one morning to notice that Betty had
+taken in the side seams of her dress to remove some of the fullness and
+was wearing the leather belt a little more loosely and somewhat lower,
+so that the space divisions of the dress were more pleasing. Is there
+a better evidence of successful art training than that which shows
+that the pupil is able to adapt in an attractive way the garments of
+her present wardrobe so that they measure up to the individual's desire
+to be up to date?
+
+A Kansas teacher reports that she overhears comments among girls before
+and after school which reveal evidences that art is influencing tastes.
+Here are some examples of these comments:
+
+    That color is too bright for her.
+
+    That particular green dress makes her skin look yellow.
+
+    Those beads harmonize beautifully with that dress.
+
+    She is one girl who should not wear her belt high. It makes her
+    look so short and dumpy.
+
+    I have given my sister my colored scarf, which I now realize
+    clashed with everything I had, but fits in with her things.
+
+Better pupil contributions to class work constitute another evidence of
+the effectiveness of art instruction. These manifest themselves in--
+
+    1. Voluntary reports and comments of observations and experiences.
+
+    2. The bringing in of illustrative material for class and bulletin
+       board use.
+
+    3. The asking of relevant questions.
+
+Some of these may be evidenced outside the regular class period. This
+was true in the case of Joan, a high-school freshman in an art class,
+who had been rather unwilling at times to accept the art standards set
+up by the rest of the class. Her argument was, "What difference does it
+make? Why can't everyone select just the things she likes?" Very little
+attention was definitely directed to her for she would sulk if pressed
+for a reason to justify her statement that everyone should choose as
+she liked.
+
+One Monday morning the teacher, upon her arrival at school, found Joan
+waiting in the classroom to tell her of the shopping trip she had had
+with her mother on Saturday. Joan had selected a red silk dress which
+she and her mother had both liked. After going home Joan had begun to
+wonder if the dress would look all right with her last year's coat and
+hat and wanted to know what kind of hose would be best to wear with the
+dress. This teacher could well feel that her art teaching was developing
+in Joan a real interest in art.
+
+Assumption of greater responsibility by the pupils for more attractive
+arrangements at school contribute another evidence of the effectiveness
+of art instruction. This may manifest itself in the arrangement of--
+
+    1. Articles on tables, buffets, or bookcases.
+    2. Flowers in suitable bowls.
+    3. Books and magazines.
+    4. Exhibit cabinets.
+    5. Stage settings for class plays.
+
+Still another criterium of the effectiveness of art instruction is the
+spread of interest in the work from home economics pupils to others in
+the school.
+
+A teacher of related art in Missouri says:
+
+    One of the most striking and pleasing evidences of art's carrying
+    over is the fact that so many girls outside of the home-economics
+    department come in and ask questions regarding some of our pupils'
+    clothing or ask to see the art work done here. The seniors in the
+    teacher-training department are especially interested, as they
+    expect to teach art in the rural schools and have had practically
+    no work in it.
+
+
+=Evidences of the Successful Functioning of Art in the Home=
+
+One of the most gratifying results of art teaching is the influence
+it creates in improving the homes of the community. This may be seen
+through--
+
+    1. More attractive arrangements and rearrangements of furniture,
+       rugs, pictures, and accessories.
+
+    2. Elimination of unnecessary bric-a-brac.
+
+    3. More suitable use of color.
+
+    4. More appropriate choice of textiles and texture combinations.
+
+    5. Improved selection and care of shrubbery, hedges, and flower
+       beds. Removal of unnatural or grotesque shapes.
+
+    6. Improvements in walks, trellises, fences, and gates to make
+       them more suitable for house and grounds.
+
+A teacher in a vocational school in North Dakota reports as follows:
+
+    One of the most valuable evidences of improved practices that I see
+    from our art work is the girls' appreciation of things that are
+    beautiful and their desire to acquire a few truly beautiful things
+    for their own rooms and homes.
+
+An itinerant teacher trainer describes a lesson in related art which
+she observed. It is given here for its very practical suggestion of a
+means for measuring results of teaching:
+
+    The day before my visit the teacher had taken all the girls of her
+    class to a city about 18 miles away to purchase Christmas gifts
+    for their mothers. The girls had limited themselves as to possible
+    types of gifts within their limited means and at the same time
+    suitable for their mothers. Only one gift cost more than $1 and
+    that was the joint gift of two sisters to their mother. The class
+    had agreed that each gift should be of such nature that the
+    application of art principles studied would be involved in making
+    a choice. They had practically confined themselves to pictures,
+    beads, book ends, or vases.
+
+    All of the gifts had been brought to the home-economics rooms for
+    storage until the Christmas tea when they would be presented to
+    the mothers.
+
+    The girls brought out all their purchases and all entered into the
+    judging without false modesty. In some cases the purchasers were
+    able to suggest improvements in future purchases.
+
+    The entire group showed unusual poise, self-confidence, and good
+    judgment, as well as tact, in making suggestions.
+
+    The new problem arising from this lesson of designing an invitation
+    to the annual Christmas tea for the mothers was a very real one to
+    the girls. The principles of balance were taught and applied, and
+    the girls decided on a design for the invitation.
+
+Various tests and problems may also serve to measure the results of art
+teaching. A description of the test which was used at the end of one
+art unit, as a basis for determining the use the pupils were able to
+make of that training, is here included. It is hoped that this plan may
+prove suggestive to other teachers.
+
+The test was given at the close of an art unit which had been conducted
+according to the method described earlier in this section. (See Section
+IV, pp. 34 to 42.) The class consisted of ninth-grade girls and met for
+daily class periods, 80 minutes in length.
+
+At the beginning of the period on this day the teacher told the class
+that the first part of the period was to be devoted to a make-believe
+shopping trip. In this test, cost was not a factor but the material
+used did not include too wide a range in values. Slips with the
+names of the articles for which they were to shop and directions were
+prepared. Some of the shopping was to be done individually and some of
+it by groups. When all were finished the shoppers were to meet in the
+classroom and be given an opportunity to see all of the "purchases" and
+to know why each selection had been made. The slips were then passed
+out from which the pupils were to draw. The directions for procedure on
+the slips were as follows:
+
+    1. Select from the box of scarfs the one you think would be most
+       suitable to wear with the blue coat that is in the clothing room.
+       (Three girls drew copies of this slip and worked together in
+       choosing the scarf and justifying the final choice.)
+
+    2. For the plain tailored flannel school dress hanging in the
+       clothing room, select a scarf or some appropriate accessory which
+       could be worn with the dress to introduce variety. (Three girls
+       worked on this shopping problem.)
+
+    3. Mrs. B. wishes to use this colored picture and these blue-green
+       pottery candlesticks in an arrangement on her mantel. She does
+       not know what color of candles to buy. She is afraid that if she
+       uses blue-green candles the color combination will be monotonous.
+       Which of these candles would you suggest? Why? (There was
+       considerable variation in the candles provided. In addition to
+       several hues from which to select there were plain as well as
+       decorated candles, and some variations in length. Two girls made
+       this selection.)
+
+    4. Suppose your bedroom were a small one and had but one window in
+       it. Select from these samples the wallpaper design that you think
+       would make the room look larger and the material to use for
+       draperies in the room. (A large wallpaper sample book and several
+       samples of plain and figured fabrics in a variety of colors were
+       provided for the two girls who did this shopping.)
+
+    5. You are to have a new print dress. Which of these pieces of
+       material would you choose as having the most rhythmic design?
+       Which trimming material do you think would be best to use with
+       it? (Several samples of printed materials were pinned together
+       and each pupil who drew a copy of this slip was given a separate
+       set from which to choose. Bias tape, braid, and lace, as well as
+       plain and printed fabrics, were provided for trimmings.)
+
+    6. Choose from these printed fabrics the one that you think would
+       be most suited in color and design for some member of this class.
+       Tell for whom you have made the selection, justify your choice,
+       and suggest the trimming that you think would be most appropriate.
+       (The selections were made from a miscellaneous group of samples,
+       printed and plain materials in a variety of colors.)
+
+    7. From colored fabrics plan three color combinations that could be
+       used for a dress. Describe the combinations that you have used
+       in each as to hue, value, and intensity, indicating areas of each
+       color and justify their use together. (An assortment of fabrics
+       separate from those used by other pupils was prepared for this
+       group to save time and to enable the pupils to work independently.
+       If fabrics are not available, papers may be used, although colors
+       are never the same as in fabrics.)
+
+As soon as the "purchases" were all completed the pupils individually
+or as group representatives, exhibited the selections to the class and
+gave the reasons justifying each choice. The entire class participated
+in commending or criticizing the selections made and the reasons given.
+Here the teacher was able not only to measure the individual's ability
+to solve a given problem but to observe how readily the pupils could
+recognize desirable selections and offer correct art reasons as the
+basis for those selections.
+
+Immediately following the reports, the pupils took their places around
+the tables in the clothing laboratory, and the remainder of the period
+was devoted to individual and written judgments of materials which were
+passed around the class. This material was numbered, and to each piece
+was attached a slip of paper containing suggestive questions and
+directions as follows:
+
+    1. To which of these mounted pictures do you think the margins are
+       best suited? Why? (The pictures cut from magazines were suitable
+       for the classroom or a girl's room and were mounted on a neutral
+       construction paper. Only one had margins suited to the size and
+       shape of the picture.)
+
+    2. Which of these stamped and addressed envelopes do you think has
+       the most pleasing margins? Why? (Several envelopes differing in
+       size and shape were addressed and stamped in a variety of ways.)
+
+    3. Which of these dress designs are balanced? Select one that you
+       have decided is not balanced and suggest the changes necessary
+       to make it so. (Illustrations of several dress designs that the
+       pupils themselves might use were chosen from a current fashion
+       sheet and were mounted and numbered. Attention was first focused
+       on the designs which were balanced and then on the possibility
+       of improving those that were not balanced.)
+
+    4. In which of these pieces of china do you think the design is in
+       harmony with the shape of the dish and would make a suitable
+       background for food? Justify your choice. (In the absence of
+       real china, magazine advertisements of china furnished the
+       necessary examples from the standpoint of color and design.)
+
+    5. Which of these three border designs has rhythm made most
+       beautiful? Why? (Advertisements of towels with borders furnished
+       the designs.)
+
+    6. Is this calendar pleasing in proportion? Give reasons for your
+       answer. (The calendar was quite a long rectangle in shape, but
+       the margins were well suited to it, and the entire space was
+       well divided.)
+
+    7. What in this picture catches your attention first? How has the
+       artist emphasized it? (The picture used was one taken from a
+       magazine cover and was a copy of a painting of recognized merit.)
+
+    8. Which of these fabrics has the most pleasing combination of
+       stripes? Why is that piece more pleasing than the other two?
+       (Cotton materials were provided with stripes varying from those
+       that were regularly repeated at intervals as wide as the stripes,
+       to those in which there was an interesting grouping of stripes
+       of varying widths.)
+
+    9. Which of the containers pictured in this advertisement would
+       you select to use for an arrangement of flowers? Why? (The
+       containers varied from those which were undecorated and well
+       proportioned, to those which were elaborate in shape as well
+       as in surface decoration.)
+
+   10. On this page are two color combinations. Tell what scheme has
+       been used and by what means the colors have been harmonized.
+       (These combinations were cut from magazine advertisements in
+       which the combinations were pleasing. The colors had been
+       harmonized through the quality of each color as well as the area.)
+
+In each of the above situations the answer was not considered adequate if
+the pupil had merely made a choice. A reason was needed to substantiate
+that choice and the most complete answer was based on the principles
+of art which applied in each case. This did not mean that formal
+statements of the principles were required. It was considered much more
+desirable to have the pupils give in their own words the art reasons
+which justified each choice.
+
+That such a test gives pertinent evidence of the use pupils are able to
+make of their art training is shown in the words of the teacher who gave
+the above test:
+
+    I did not want my students to feel that art work was something to
+    be memorized until the course was over but a thing to be carried
+    through life. I was very much pleased with the results I obtained
+    from the class. The pupils responded to the idea that art could be
+    used in every phase of life even when it came to writing up
+    their daily lessons. They no longer thought of art as something
+    accomplished only by professional artists, nor the word as meaning
+    painting and drawing, but as the feeling or appreciation of things
+    beautiful in line, design, and color. By having them constantly put
+    into practice the art principles which they learned, by the end of
+    the art unit the pupils had enough confidence in themselves to back
+    up each choice that they made with a reason. I felt that this type
+    of a test was a true test of their art knowledge because it was
+    practical.
+
+Immediately the question arises as to the source of materials to use in
+such a test, for it is evident that those used as illustrative material
+for developing or applying principles in class can not be reused in the
+test.
+
+For questions 1, 2, and 3 of the first part (p. 59) the materials used
+may be borrowed from a store or solicited from interested friends. The
+girls themselves may be asked in advance to bring in a scarf and some
+dress accessory. Since the choice is confined to an article suited for
+a particular garment that choice ceases to be a personal one, although
+some pupil-owned garments and accessories are used. Drug stores, paint
+shops, and drapery departments may be solicited for wall paper catalogues
+and samples of fabrics. Some firms will send fair-sized  samples or
+swatches of material for class use.
+
+In the second part of the test (pp. 60-62) magazine illustrations and
+advertisements proved to be most usable. Illustrative materials have
+long been recognized as having an important part to play in the teaching
+of home economics. The possibilities of their use in testing the results
+of teaching have not yet been fully appreciated. Further suggestions
+on illustrative materials will be found in Section VI, page 75. The
+objective type test also has its place in measuring results.[26]
+
+As has been suggested, many tangible evidences of the effectiveness of
+art instruction may be observed and several of them can be noted in the
+classroom. Others of equal or greater importance can not be measured in
+the classroom, but can only be determined by the teacher as she visits
+the home, supervises home projects, and participates with her pupils in
+the life of the community. The home project has been an essential part
+of the vocational program in home economics since the inauguration of
+the vocational program in 1917-1918. It has afforded an opportunity
+for extending the work of the classroom into the home and has
+developed additional desirable abilities through practice under normal
+conditions. The project carried on in the home has therefore been
+considered a valuable educational procedure.
+
+It is also a measure of results of teaching in that it shows how well
+the girl is able to apply classroom training to actual situations that
+arise in her project. Art can contribute to the success of many home
+improvement and clothing projects. There has been a tendency in some
+cases, however, for the pupil's interest in the actual manipulative
+processes involved in the project to be so great that she lost sight
+of the opportunities for the best applications of art.
+
+In the home project "Redecorating my room," there is evidence that
+the pupil has consciously applied art for the successful attainment
+of it. This project, reported as follows, grew out of the unit in home
+furnishing, which is recommended as an additional study following the
+first general course in art related to the home.
+
+    _Name of project._--Redecorating my bedroom.
+
+    _Plan of project._--Since my bedroom must be repapered and painted,
+        I plan to make it as attractive as possible by following some
+        of the things we have had in our art work in home economics.
+
+    The plaster of the walls is not suitable for painting, so I will
+    select some light and cheerful colored paper with figures in warm
+    pastel shades.
+
+    The woodwork, which is a pea-green color, is quite dull and cool
+    for a north room and needs brightening up, so instead of having
+    the same color again, I will paint it a light cream or ivory.
+    A dark-yellow paint covers the floor, which is quite worn in some
+    places. I do not like this color, so my plan is to use either light
+    brown or tan, at least something darker than the walls, as I want
+    the floors darkest, the walls next, and the ceiling the lightest.
+
+    To make the furniture, which is now varnished, blend with the color
+    of the woodwork and floor, it too will have to be painted a color
+    lighter than the floor or darker than the woodwork.
+
+    In place of white tie-back curtains, deep cream or some other color
+    darker than the white will be more suitable with plain-colored
+    draperies, as they will blend with the ivory woodwork and enameled
+    furniture.
+
+    In order to contrast the curtains with the bedspread and dresser
+    scarf, I think the spread and scarf can be a lighter cream color.
+
+    A cushion for the rocker and a flower by the window will also add
+    color and finishing touches to the room.
+
+    _Outline of project activities._--
+
+  ----------------------------------+--------------------------------------
+              Jobs                  |             References
+  ----------------------------------+--------------------------------------
+  Selected wall paper and helped    | Looked through several wall paper
+    paper the room, using paper     |   catalogues and samples at the
+    with light background and       |   furniture store.
+    pastel figures in it.           |
+                                    |
+  Painted the woodwork an ivory     | I got sample folders of paint and
+    color.                          |   also used the samples in the
+                                    |   catalogue.
+                                    |
+                                    | The House and Its Care, by Matthews.
+                                    |
+  Painted the floor an inside tan   | Used sample folders of paint.
+    (deep tan color).               |
+                                    | Goldstein, Art in Everyday Life,
+                                    |   for suggestion on color.
+                                    |
+  Painted the furniture with beige  | I referred to paint folders.
+    enamel.                         |
+                                    |
+  Made an unbleached krinkled       | I looked through several magazines
+    spread, repeating the color of  |   and catalogues for styles and
+    the draperies on the spread.    |   my mother and sister gave
+                                    |   suggestions.
+                                    |
+  Made deep cream voile curtains.   | Studied different styles of curtains
+    These were straight curtains,   |   in magazines.
+    not ruffled.                    |
+                                    |
+  Made draperies.                   | Referred to magazines and catalogues.
+                                    |
+  Made cretonne cushion for rocker. | Mother gave me suggestions.
+                                    |
+  Made a dresser scarf, repeating   | Consulted mother and my teacher.
+    colors that are in the wall     |
+    paper.                          |
+  ----------------------------------+--------------------------------------
+
+    _Time for project._--A total of 62-1/2 hours was spent on my project
+        between November 15 and January 11.
+
+    _Story of my project._--My bedroom is a northeast room, long and
+        narrow, with sloping walls, and had but one window on the north
+        side. This made it dark and cheerless during most of the year.
+        Last summer my father built a dormer window in the east side of
+        the sloping walls. Immediately the room seemed transformed. It
+        did not look so long and narrow and the sunshine drove out the
+        darkness and cheerlessness. This improvement gave me the idea
+        of remodeling the bedroom, and I saw many possibilities of
+        making it into a cheerful and cozy one, where I could spend much
+        of my spare time.
+
+        I began almost immediately to remodel. The first thing I started
+        with was the walls. They were not suited for painting, so I chose
+        paper, which I got at the furniture store. After looking through
+        several wall paper catalogues I chose paper with a light
+        background and an inconspicuous, conventionalized design in
+        pastel tones of blue-green, red-orange, violet, and yellow.
+        (Sample attached.)
+
+        Before I put the paper on the wall I cleaned and sandpapered the
+        woodwork, floors, and dusted the walls. Father and I then began
+        papering. We had some trouble in matching the paper, but after
+        the first two strips were matched the rest was put on without
+        difficulty. The next job was painting the woodwork. I applied two
+        coats of ivory paint after having dusted the wood so that there
+        would be no dust to interfere with the painting. This was done
+        successfully and without difficulty. (Sample of color used.)
+
+        The next step was painting the floor. I chose inside tan. (Sample
+        of color used.)
+
+        The furniture was easier to paint than the floor but it took
+        quite a while to give it two coats. I used enamel that dried in
+        two hours, so had to be careful not to rebrush the parts I had
+        painted, as rebrushing causes light streaks after the paint has
+        set. (Sample of color used.)
+
+        With father's assistance, I completed the difficult work of
+        papering and painting. Then I began the pleasant work of making
+        a spread, curtains, draperies, and cushion.
+
+        I looked through several magazines, catalogues, and books for
+        the different ways of making curtains, spreads, and draperies.
+        My mother and sister also gave suggestions as to what would go
+        best with the room and how to make them. I chose deep cream
+        voile curtains with red-orange (peach) pongee draperies. The
+        curtains are made with a wide hem at the bottom and sides.
+
+        The spread is of unbleached krinkled muslin. (Sample attached.)
+        I have a deep ruffle of the same material at both sides and I
+        repeated the red-orange color in two bands near the ruffle.
+
+        The rocker needed a cushion. This I made of figured cretonne,
+        which blends nicely with the room. (Sample attached.)
+
+        On the floor I have two rag rugs which also have colors of blue,
+        red-orange, and tan.
+
+        My teacher came to visit my room one evening and gave me some
+        splendid ideas.
+
+        I shall add a homemade wardrobe for my clothes and put a low
+        shelf in it for my shoes. In front of the dormer window a table
+        will fit nicely. I am going to fix this table up with some books
+        supported by book ends, a simple box, and a blooming plant.
+        I will keep some simple and useful articles on my dresser.
+
+All through this report there are many evidences that the pupil can
+apply the principles of art successfully and also that she knows how
+to obtain further information as needed. Another interesting feature
+of this project is that the pupil did not consider this a finished
+piece of work when her original plan had been completed. She saw other
+possibilities for her room and was beginning to make plans for further
+changes and additions in keeping with those that had been completed.
+There is no better evidence of the success of art training than in
+the effective use the girl makes of it in her home life. It may be
+anticipated that a girl who has gone this far in improving a part of
+the home will endeavor to make other desirable changes. To the extent
+that the members of the entire family welcome the changes brought about
+by the project and enjoy the results, the project may be considered
+successful.
+
+The success of art instruction may then be evaluated by--
+
+    1. Evidences in the classroom.
+    2. Evidences in the home.
+    3. Tests which call for judgment and creative thinking.
+    4. Home projects.
+
+
+HOME PROJECTS
+
+Home projects involving the use of art are to be encouraged, not only
+as a device for measuring the results of teaching, but as a means of
+stimulating applications of art in the home. Art training will function
+in the immediate lives of the girls to the extent that successful
+applications of it are made through the home projects. However, such
+applications are not made without the ideal and therein lies the
+importance of developing in girls ideals of having and creating beauty
+that will be sufficiently deep seated not only to motivate but to carry
+through pieces of work in their homes that will bring more beauty and
+satisfaction to the families. Projects carried on in the home demand
+more than a repetition of certain processes that have been learned in
+school. They involve the bringing together of many principles and
+processes, the exercising of judgment in determining which are needed,
+and then the applications of these in the new situation. Thus the home
+project is a creative piece of work.
+
+Much more use of art should be encouraged in many of the projects
+which girls are choosing in all phases of home activities since it can
+contribute so much to the comfort and attractiveness of homes, and
+these are essential factors of happy family life. Lewis Mumford,[27]
+a distinguished critic of modern architecture and decoration, has
+fittingly said:
+
+    The chief forms of decoration in the modern house will be living
+    things--flowers, pictures, people. Here is a style of interior
+    decoration that perpetually renews itself. For the modern house
+    is built not for show but for living; and the beauty it seeks to
+    create is inseparable from the personalities that it harbors.
+
+It is safe to predict, on the basis of the home projects in which
+desirable art applications have been made, that through conscious
+effort the following outcomes may be expected:
+
+    1. The ideal of creating beauty in the home will be strengthened.
+
+    2. Pupils will recognize greater possibilities for making art
+       applications.
+
+    3. Pupils will become more observing and discriminating.
+
+    4. Family life will be bettered by those projects in which home
+       improvement has been achieved.
+
+    5. Pupils will appreciate that beauty is not dependent upon cost.
+
+    6. More successful projects will be carried out.
+
+The last point is reflected in the summary of results that one girl
+made of her home project, "Improving the Looks of My Room." She said:
+
+    The only cost for my project was for the two little pictures that
+    I hung by the mirror. I learned that it is not always the cost or
+    quality that determines the attractiveness of a room. Things must
+    be arranged correctly or much of the beauty is lost.
+
+    My mother thought that everything I did to my room was an improvement
+    and encouraged me to do much more. I am planning to do more for our
+    entire house in the future.
+
+The home project which resulted in an improved kitchen in one home had
+a favorable influence upon the home life of the family. The girl, with
+the financial assistance of her brothers, had made an attractive and
+more efficient kitchen in the bare 4-room house, which was the home of
+the family. The living quarters were naturally limited in such a small
+space. In reporting on this project the teacher said:
+
+    I feel that this project has been very worthwhile to Ethel and her
+    whole family. Her mother was so grateful and told me how much better
+    it made her feel to walk into a bright, cheerful kitchen every
+    morning. She said that her boys were so pleased they had made a
+    living room out of the kitchen on cold winter nights.
+
+
+=Suggestive Home Projects in Which Art is an Important Factor=
+
+Clothing projects which include planning as well as construction offer
+many possibilities. This planning would necessitate such applications
+of art as the adapting of style, design, and color to the individual,
+selecting and combining textures and colors in the fabrics, and using
+appropriate trimmings and accessories. Such projects would also afford
+opportunity for exercising judgment through the evaluation of results.
+The same opportunities exist in the "make-over" projects as in the
+others in which all new materials are used. A few clothing projects
+involving art are suggested, as follows:
+
+    1. Planning and buying or making (_a_) school wardrobe for self;
+       (_b_) season's wardrobe for small sister or brother.
+
+    2. Making the most of clothing on hand. This will involve cleaning,
+       pressing, and mending, as well as some remodeling.
+
+    3. Remodeling clothing on hand and choosing additional garments
+       needed for an attractive and suitable wardrobe.
+
+    4. Selecting the accessories to complete a costume for self or
+       for mother.
+
+Home-improvement projects which involve the exterior of the home as
+well as the interior should have a place in the home-economics program.
+In this group of projects there is not only great opportunity for the
+application of art as the basis for planning and selecting, but also
+for the making of more pleasing arrangements of things already in the
+home. In view of the fact that in most home-improvement projects the
+girl needs to make the best use of furnishings and equipment already
+possessed by the family, and usually has a limited amount of money to
+spend, her problems are greatly increased. Except in the few cases in
+which she has the privilege of newly furnishing a room or a part of the
+home, the starting point is with the present possessions in the home
+and a careful evaluation of them to determine the good in each. _She
+should appreciate the fact that the home and its possessions belong to
+the entire family and that any changes she may desire to make should
+meet their approval or at least be undertaken with their consent._ In
+most cases the proposed changes will be more welcomed by the family if
+little outlay of money is necessitated and if the largest and best use
+is made of cherished household treasures.
+
+Joint home improvement projects have been carried out in some States
+with considerable success. In these projects the girls in home economics
+have worked cooperatively with brothers who were in agricultural
+classes. This usually meant greater interest on the part of parents and
+other members of the family. More ambitious programs for improvement
+were thus possible, not only through greater family support and
+encouragement but through the boy's ability to make certain alterations
+in structure or finishing that a girl could not do alone. Through these
+projects the boy and girl have learned much from each other. Perhaps
+the most conspicuous evidence of success has been the spread of
+interest beyond the homes into community improvement.
+
+Some suggestive home-improvement projects are as follows:
+
+    1. Making the home kitchen a more convenient and attractive place
+       in which to work.
+
+    2. Arranging home furnishings and accessories so that harmony,
+       balance, and desirable centers of emphasis contribute to the
+       attractiveness and comfort of each room.
+
+    3. Assisting in the selection and arrangement of furniture, wall
+       coverings, floor coverings, or accessories for the girl's own
+       room or other rooms in the house.
+
+    4. Preparing the sun porch for summer use.
+
+    5. Planning and caring for window boxes.
+
+    6. Planning and planting a flower garden or border that will
+       contribute to the appearance of the home and also be a source
+       of pleasure.
+
+    7. Re-covering or making slip covers for furniture.
+
+    8. Assisting in the selection of linen, china, silver, and glassware
+       for the table.
+
+    9. Planning the table decorations for special occasions.
+
+   10. Keeping appropriate centerpieces of flowers, plants, or fruit on
+       the home table.
+
+Two home-improvement project reports on Beautifying Our Yard and
+Improving Our Home are given as suggestive of types of projects in
+which art plays an important part in successful achievement. Only the
+plans for the first one are given, since they show the significant art
+applications.
+
+    _Name of project: Beautifying Our Yard_
+
+    (Reported by a girl in a vocational high school in Nebraska.)
+
+    I. Reasons for choosing this project--
+
+        1. The flowers will improve the looks of the yard.
+
+        2. It will be an experience in the arrangement of flowers for me
+           and will not only add to the attractiveness of the yard but
+           to the house and surrounding buildings.
+
+   II. Aims--
+
+        1. To make the yard and house more attractive.
+
+        2. To keep flowers watered and weeded and give other care they need.
+
+        3. To plant the flowers in the most suitable place and position.
+
+  III. Plans--
+
+        1. Get all the information I can from experienced gardeners and
+           from books and magazines that tell which are the best flowers
+           to raise, easiest to grow and take care of, and when and where
+           they should be planted.
+
+        2. Names of flowers to be planted--
+
+           Cock's Comb.          Zinnias.
+           Phlox.                Larkspur.
+           Nasturtiums.          Petunia.
+           Sweet William.        Cannas.
+           Snap Dragons.         Sweet Peas.
+           Poppies.              Heliotrope.
+           Asters.               Sweet Alyssum.
+           Cosmos.               Marigolds.
+
+        3. Location of flowers--
+
+            _a._ Along the walk (both sides).
+            _b._ Along sides of the house.
+            _c._ Along side of vacant lot.
+            _d._ Around garage.
+            _e._ Along the driveway.
+
+        4. How to plant the flowers--
+
+            _a._ The tallest ones in the back.
+            _b._ The shortest in front.
+
+        5. When to plant them--
+
+            _a._ Sweet peas, March 1 to 10, or before.
+            _b._ Others in the middle of April to May.
+            _c._ The flowers may be started in the house and transplanted
+                 to the outside when the weather permits.
+
+        6. Care of flowers--
+
+            _a._ Water the flowers at least once a day (if dry weather).
+                 It is best to water them in the evening.
+            _b._ Weed them at least twice a week and loosen the soil
+                 around them.
+            _c._ If some insect starts destroying any of the flowers,
+                 spray them with a solution which will kill the destroyer.
+
+IV. Approval of guardian--
+
+This project, Beautifying Our Yard, selected by Alta, is a very profitable
+project, especially at this time of the year when our thoughts are
+directed toward the planting of flowers, shrubs, etc. A beautiful yard
+adds so much to the home and makes everyone more happy and contented.
+This project should create a desire in Alta to take more interest in
+the yard and in planting it. Also watching the plants grow will make
+her feel some responsibility in caring for them, while at the same time
+every member of the family will enjoy the realization of the project.
+I wish her all success in making this project come true.
+
+NOTE.--An excellent planting plan worked out on squared paper accompanied
+this project.
+
+
+  _Name of Project: Improving Our Home_
+
+  (Reported by an Alabama high school girl.)
+
+    In the spring I took as my project home beautification. I thought
+    when I started there was very little I could do to improve the old
+    barnlike house and unsightly grounds, but the more I did the more
+    there was to be done. I began by removing the old overgrown hedge
+    from the side and front of the yard. After grading the ground we
+    sodded the whole yard in Bermuda grass. The house was next underpinned
+    with rough strips of lumber which were painted. A lattice fence was
+    also built from the house to the garage (about 40 feet).
+
+    Between the fence and the lawn a space about 30 feet square was left
+    for a flower garden. Just in front of the fence several rambling rose
+    bushes, jonquills, and chrysanthemums were planted. All around the
+    garden I had flower beds about 4 feet wide filled with marigolds,
+    zenias, bachelor buttons, asters, and phlox.
+
+    In the summer we decided that we could afford a concrete walk and
+    steps. This was a little expensive but it has helped the looks of the
+    place so much that we have never regretted the time and money spent.
+
+    The interior next received attention, beginning with my own room.
+    The furniture consisted of an iron bedstead, an oak dresser, table,
+    and chairs. There was a faded rug on the floor. I moved the dresser
+    to another room, then from an old washstand I made a little dressing
+    table. With rough lumber I made a window seat which I covered with
+    bright cretonne. The furniture was very attractive after a coat of
+    paint and two of enamel were put on. I have very light curtains at
+    the windows. The old rug was turned over and looks almost like new.
+
+    The walls in the living room and hall were painted in buff, the
+    dining room and kitchen are to be the same.
+
+    One of the greatest improvements of the interior is the built-in
+    cabinets. A very convenient one was made between the dining room and
+    kitchen, where an old chimney used to be. The bricks were used to
+    build a basement. The part of the cabinet in the dining room is to
+    be used for dishes, and that in the kitchen for the cooking utensils.
+    Both are to be painted cream inside and oak outside.
+
+    Next spring I am going to plant more flowers and keep working on
+    everything that I think can be improved, for I love home projects.
+    It not only has helped me, but has helped my entire family and even
+    our neighbors.
+
+
+
+
+Section V
+
+ADDITIONAL UNITS IN ART RELATED SPECIFICALLY TO HOUSE FURNISHING AND
+CLOTHING SELECTION
+
+    Though we travel the whole world over to find the beautiful,
+    we must carry it with us or we find it not.--Emerson.
+
+
+In the earlier sections of this bulletin it has been suggested that the
+first course or unit in art be chiefly concerned with the fundamental
+principles of art and that applications of them be made in a great many
+fields. It is anticipated that a detailed or complete study of art as
+related to home furnishing or to clothing selection is to be given at
+a later time as separate units or courses. It is, however, hoped that
+the foundation course in art related to the home will give pupils such
+training that they will be better able to solve their most common daily
+problems in which art is an important factor, should they fail to have
+opportunity to take units in home furnishing or clothing selection
+later.
+
+In schools having two semesters that can be devoted to related art,
+it is recommended that the fundamental art course in which general
+applications are to be made be given in the first semester and the
+work of the second be composed of these more advanced units. When but
+one semester is provided for related art work, additional units in
+home furnishing and clothing selection should become a part of the
+regular homemaking program, with several consecutive weeks planned
+for each unit. These additional units offer fine opportunity for further
+applications of the principles of art in judgment and creative problems
+pertaining to home furnishing and clothing. Since the pupils will have
+gained an art consciousness through the more general course in art
+related to the home, and should have developed to a fair degree an
+ability to recognize and use certain fundamental art principles, it may
+be expected that the home furnishing and clothing selection units will
+be built around the larger and more difficult judgment and creative
+problems of selection, combination, arrangement, and rearrangement as
+they are met in life.
+
+In planning for a unit in home furnishing as an additional unit in
+related art, the present and future needs of girls should again be
+considered. In the study of house plans, the question arises as to
+whether or not to require pupils either to draw original plans or
+to copy plans for houses. To do so has been justified as a means of
+developing interest of pupils in well-planned houses. However, since
+comparatively few pupils will ever make use of house plans they have
+made and because many of them will have occasion for making changes in
+a house that is already planned or assisting in the selection of a plan
+for a house, it would seem more worth while and less time consuming for
+them to judge house plans from the standpoint of convenience and the
+placing of furniture than to draw them. Since the amount and kind of
+wall space is a determining factor in successful arrangements of home
+furnishings, opportunity for the individual pupil and class to judge
+house plans should be provided. Many interesting plans are to be found
+in nearly all household magazines. Care in the selection of such plans
+is important in order to avoid discussion of types of houses that are
+not in keeping with the standards of the community.
+
+If the home furnishing unit is to provide worth-while training and
+experience it should give to the pupils not only an ability to
+recognize good design and pleasing proportion in various pieces of
+furniture but ability to determine pleasing combinations of color,
+design, and texture in upholstery, drapery materials, and floor
+coverings, and to arrange and rearrange furniture and home accessories
+so that the rooms are comfortable and inviting.
+
+In all consideration of home furnishing and accessories, emphasis is
+given to the selection of the vase, the lamp, the chair, or the curtain
+which is most pleasing in shape and suited in color and texture for a
+particular grouping or arrangement. In the earlier and more general art
+unit, attention is confined to such selection for some parts of the
+home, but in the later study of home furnishing, they are made for the
+entire home, with more specific reference to the relationship of one
+room to another and to larger arrangements.
+
+It is assumed that in classes for the average girl 14 years of age and
+above, little if any reference will be made to period furniture. If
+any is made, it should be from the point of view of determining the
+suitability of adaptations of it to the average home and not purely as
+a means of identifying one style from another.
+
+To the extent that a better appreciation of good design and proportion
+in furniture may be gained by studying why some period furniture, as
+early American, is always beautiful and continues to be reproduced, it
+may be desirable to make some allusion to it. When a teacher determines
+that for the majority in a particular class there is no need for
+devoting any time to a consideration of period styles in furniture,
+she may satisfy the few who ask questions concerning those styles by
+directing them to specific reference readings and allowing them to make
+individual studies of those in which they have greatest interest.
+
+The type of furniture to be found within the community is always a
+guide in determining how much, if any, study of period furniture is to
+be made. An attempt to justify such a study is sometimes made from the
+standpoint of the pupil's personal need in assisting in the selection
+of new pieces of furniture for the parental home and of the future need
+in selecting furniture for her own home. But, after all, success in
+providing an attractive and convenient home depends more upon the
+harmonious combination of colors and materials and the satisfying daily
+arrangement of furniture and accessories than upon whether or not the
+furniture is of a definite period or style. It is upon the former that
+emphasis should be placed in planning and directing a unit in home
+furnishing if it is to be of the most service in the everyday
+experiences of the pupils.
+
+The unit in clothing selection provides further opportunity for
+valuable art training. The main purpose in this unit is to develop in
+the pupils an ideal of being becomingly dressed at all times and an
+ability to choose and combine articles of clothing into attractive
+daily ensembles. It is evident that if such a training is to be of real
+service to the pupils in meeting their daily clothing problems they
+must work as much as possible with actual garments, clothing materials,
+and clothing accessories. The pupils may be expected to bring some of
+the needed garments and accessories from home, the teacher may borrow
+some from the stores, and whenever possible the pupils may be taken
+to the stores. Such an experience as the last named is most true to
+life and is described elsewhere under the topic "Field trips." (See
+pp. 53-55.)
+
+Many teachers question whether or not to include some study of historic
+costume. Since the unit in clothing selection is designed to give the
+pupils an ability to solve their daily clothing problems, the practice
+of having the pupils make sketches, tracings, and mountings of costumes
+of different periods is undoubtedly of little value. It is not only
+time consuming but can contribute very little to the development of
+judgment in selecting and combining articles of modern clothing into
+suitable and becoming ensembles. There is even a danger that such a
+procedure may stifle rather than stimulate interest in beautiful and
+harmonious clothing combinations for everyday use. However, certain
+features of those costumes which have withstood the test of time and
+have been revived and adapted again and again in modern dress designs
+may justly claim some consideration. A few well selected and mounted
+illustrations of these historic costumes in color may stimulate an
+interest in art and a desire to know more about the influence of dress
+in the early periods upon the designs of to-day as well as contribute
+to better appreciation of color.
+
+
+
+
+Section VI
+
+ILLUSTRATIVE MATERIAL
+
+    When you understand all about the sun and all about the atmosphere
+    and all about the rotation of the earth, you may still miss the
+    radiance of the sunset.--Whitehead.
+
+
+PURPOSE
+
+In home economics teaching there is an increasing recognition of the
+importance of illustrative material as a teaching device. There is no
+greater opportunity for effective use of it than in the teaching of
+art related to the home. Since one of the major objectives of such a
+course is to develop an ability to select the most suitable materials
+and articles, and since there is such a variety from which to choose,
+it is essential that materials which will give the pupils contact
+with good things and adequate experience in selection be provided.
+Another important objective is to develop ability to make successful
+combinations and arrangements. Since it is not yet possible to use real
+homes as classrooms, it is advantageous to bring some of the home into
+the schoolroom.
+
+Some outstanding advantages of the use of illustrative material are:
+
+    1. It focuses attention upon a single example and affords opportunity
+       for common interpretation and discussion.
+
+    2. It furnishes visual as well as audible instruction.
+
+    3. It provides contact with actual materials not in an imaginary
+       form, but as found in real life. (The use of doll-size houses
+       with furnishings is questionable for their construction is too
+       time-consuming and they are too much in miniature to furnish
+       standards or to interest girls in real problems.)
+
+
+SELECTION AND SOURCE
+
+What are the factors governing the choice of illustrative material? The
+following ones have been adapted from a study by a graduate student at
+the University of Nebraska. The material should--
+
+    1. Make a psychological appeal by--
+
+        _a._ Coming within the experience of the pupils.
+        _b._ Being suited to their age and previous training.
+        _c._ Possessing pertinent and attractive qualities.
+
+    2. Afford wide opportunity for independent choice.
+
+    3. Be simple and adapted to the standards of the community.
+
+    4. Be reasonable in cost.
+
+Teachers of art have a double problem in the selection of illustrative
+material in that they must not only choose those things which meet
+the above standards, but they must eliminate those in which there are
+unrelated factors which cause a lack of clarity. Quality rather than
+quantity should be the guide in making selections, for a small amount
+of well selected and arranged illustrative material is usually more
+effectively used than a large unorganized collection. Having determined
+upon the pieces of material that are desirable, the next problem is
+where to obtain them. Every teacher of art should build up her own
+personal collection of materials to supplement what can be procured
+from other sources, for one teaches best from her own material. At the
+same time, the teacher has a responsibility in guiding the selection
+of some pieces which should be provided by the school as permanent
+illustrative material. Still other pieces which it is inadvisable for
+either teacher or school to buy may be borrowed for special purposes.
+Chart 3 lists the general types of illustrative material and indicates
+possible sources of this material.
+
+  Chart 3.--_Types and sources of illustrative materials_
+
+  ------------------------------------+--------------------------------
+        General types of              |    Sources of these materials
+     illustrative materials           |
+  ------------------------------------+--------------------------------
+                                      |
+  I. Articles and materials           |
+     in everyday use:                 |
+                                      |
+      1. School-owned materials--     |  1. This collection will be
+          Book ends.                  |     accumulated as funds are
+          Candlesticks and candles.   |     available and as desirable
+          China.                      |     articles are  located.
+          Colored papers.             |     Certain things as bits
+          Curtains.                   |     of yarns and scraps
+          Flower vases and bowls.     |     of materials may be
+          Necklines cut from neutral  |     contributed by members
+            fabrics.                  |     of classes.
+          Pictures.                   |
+          Screen.                     |
+          Swatches of fabrics--       |
+              For color.              |
+              For design.             |
+              For texture.            |
+          Wall hangings.              |
+          Yarns of many colors.       |
+                                      |
+      2. Borrowed materials--         |  2. Borrowed from teachers,
+          Brass or pewter articles.   |     homes, and stores in the
+          Wardrobe accessories.       |     community.
+          Dresses.                    |
+          Dressing table articles.    |
+          Household linens.           |
+          Picture molding samples.    |
+          Scarfs.                     |
+          Small tables.               |
+          Table runners.              |
+          Trays.                      |
+                                      |
+  II. Collected and constructed       |
+        materials:                    |
+                                      |
+      1. Collected--                  |   1. Collected by the teacher
+          Magazine covers.            |      from commercial firms and
+          Magazine advertisements.    |      magazines. Much of this
+          Magazine articles and       |      material comes to the
+            illustrations.            |      teacher by virtue of her
+          Commercial advertising--    |      position and should
+              Booklets.               |      therefore be considered
+              Boxes of miscellaneous  |      school property.
+                size and shape.       |
+          Catalogues--                |
+              Wallpaper.              |
+              Furniture.              |
+              China.                  |
+              Silver.                 |
+              Pictures.               |
+              Floor coverings.        |
+          Charts--                    |
+              Paints and enamels.     |
+              Fabrics.                |
+              Dyes.                   |
+          Colored paper samples.      |
+          Fabric samples.             |
+                                      |
+      2. Constructed--                |   2. Made by the teacher.
+          Paper models representing-- |
+              Margins.                |
+              Space divisions.        |
+              General proportions.    |
+              Repetition of units.    |
+              Harmony of shapes.      |
+              Colour wheel.           |
+  ------------------------------------+--------------------------------
+
+
+USE
+
+The above list of illustrative material should in no way be considered
+as representing all that should be provided for the teaching of art nor
+as meeting minimum requirements. It is, however, indicative of some of
+the materials that are desirable and most usable as well as available
+at a small expenditure of money.
+
+The finest collection of illustrative material is futile if it is not
+used in such a way that the pupils see the significance of it and
+develop discriminating powers through the use of it. Charts and other
+materials lose their value if hung around the room or left in the same
+arrangements from September to June. Little notice is taken of them for
+they seem to become a permanent part of the background. Most charts are
+not decorative and their use should be confined to that part of the
+work to which they definitely contribute.
+
+There are three important objectives to be kept in mind in the use of
+illustrative materials. They are--
+
+    1. To arouse interest. For this purpose pertinent materials should
+       be arranged attractively on the bulletin board or screen or
+       placed in some conspicuous part of the classroom. These particular
+       pieces should be changed very frequently. See Figure 2, page 8.
+
+    2. To assist in solving problems in the development of the principle.
+       The teacher will need to use clear and concise illustrative
+       materials for this purpose. Since these pieces of illustrative
+       material are usually held up before the class, it is necessary
+       that they be of such size that all of the pupils can see them
+       clearly. In addition, the class should be so arranged that all
+       members have equal opportunity for observing them and handling
+       them.
+
+    3. To assist in developing judgment ability. Materials for this
+       purpose will be used in two ways: (1) As an aid in solving judgment
+       problems given to the class. In this case some pieces will be
+       used by the group as a whole and others will be passed out to
+       individual pupils. (2) As a means of further developing powers of
+       discrimination and judgment. For this pupils are asked to make
+       selections and arrangements from a large number of articles and
+       materials.
+
+In using illustrative material it is often advisable to have examples
+of both the good and the poor. When this is true, one must remember to
+finish with the good. In other words, start with the poor and contrast
+with the good; or start with the good, contrast with the poor, and then
+go back to the good.
+
+Illustrative materials can not serve such purposes successfully unless
+they are so arranged as to be easily accessible for class use. For
+example, the small fabric sample mounted fast to a sheet of paper can
+not be examined adequately for texture study. It would be far better to
+have larger samples which are unmounted, thus making possible not only
+design, color, and texture study of them, but also many variations in
+combinations.
+
+The bulletin board and screen, well placed, offer good possibilities
+for accessibility of certain illustrative material which does not need
+to be handled. The screen is preferable because it can be moved around
+and placed to the best advantage for vision and light.
+
+To the extent that pupils have contact and experience with real articles
+and materials, there will be a better carry over and thus a greater
+ability to solve everyday art problems successfully.
+
+
+CARE AND STORAGE
+
+In addition to collecting and using illustrative materials, the teacher
+has the further problem of caring for and storing them. Soiled, creased,
+or worn materials are not only lacking in inspiration but set up poor
+standards.
+
+Illustrative materials may be most efficiently cared for by--
+
+    1. Mounting that from which margins will not detract, that in which
+       only one side needs to be used, and that of which texture study
+       is not important.
+
+    2. Avoiding too long or unnecessary exposure.
+
+    3. Careful handling.
+
+    4. Cleaning if possible.
+
+    5. Pressing.
+
+    6. Labeling and classifying.
+
+    7. Careful storing.
+
+Good storage for illustrative materials offers many problems, but is
+that sufficient excuse for a teacher to leave materials on the wall the
+year around or piled carelessly on open shelves in the classroom? The
+provision for adequate storage does not necessarily require elaborate
+equipment nor a large expenditure of money. Cabinets and steel filing
+cases are highly desirable but are not absolutely essential for good
+storage.
+
+Much of the illustrative material for teaching related art lends itself
+to storage in manila folders and large envelopes, but some could better
+be stored in boxes, and still others, such as posters, swatches of
+fabrics held together by large clips, or pictures, may be best hung up.
+
+The use of folders or envelopes necessitates a place to keep them. In
+the absence of a filing case, one teacher improvised space by utilizing
+a large, deep drawer. A partition through the center made it possible
+to arrange two rows of folders. The same plan might be utilized in
+narrower drawers, providing for one row of folders and space at the side
+for storage of boxes. If regular manila folders are not large enough to
+protect the materials, larger ones may be procured at small expense by
+making them of heavy paper, which is obtainable at any printers. A strip
+of bookbinding tape may be used to reinforce the bottom.
+
+Cupboard shelves are more often provided in school laboratories than
+drawers. In such cases large envelopes, which are easily labeled and
+handled, will hold the materials more successfully. Boxes are very
+usable also, and may be stacked on shelves for easy accessibility.
+Those which are uniform in size and color are especially nice for
+storing many materials such as textiles, yarns, and other bulky pieces,
+and when used on open shelves a good standard of appearance in the
+laboratory is maintained.
+
+Any available space for hanging materials can also be used effectively.
+Textile swatches, charts, and posters, as well as garments, may be kept
+in better condition by hanging in closets or cases than by packing.
+
+When the teacher of art has the privilege of advising on the original
+building plans that include an art laboratory, she would do well to
+plan for various types of storage space. Perhaps the first essential
+is plenty of drawer space of varying sizes. Shallow drawers of 4 to 6
+inches are recommended by many art teachers. These may vary in width
+and length, but some should be sufficiently large for posters and the
+larger pictures. Some deeper drawers are desirable for the odd, bulky
+pieces of material. Cupboards with solid panel doors should also be
+provided, for boxes, vases, candlesticks, and similar articles which
+can be most easily stored on shelves. If a storage closet or case is to
+be provided, a small rod and many hooks should be included. Then, of
+course, a special series of deep drawers or a filing case for the
+material that can be placed in folders should be a part of any newly
+planned laboratory.
+
+The most important factor is accessibility, and therefore the containers
+for all materials must be plainly labeled and conveniently arranged.
+Since illustrative material is such a valuable teaching device in art
+related to the home, good storage space and easy accessibility are of
+fundamental importance in its successful use.
+
+
+
+
+Section VII
+
+REFERENCE MATERIAL
+
+    The home of the future will become more and more an art laboratory
+    for the homemaker. When housewives make a serious study of art in
+    the home--and this may be manifest in the preparation of food as
+    well as in the color arrangement of the house--there will be better
+    homes as well as houses.--Richard Allen.
+
+
+USE OF REFERENCE MATERIAL
+
+A wide use of reference material is essential in the successful teaching
+of art through the use of problems. Many sources of information are
+necessary for pupils to evaluate tentative conclusions and to verify
+final conclusions as well as for elaboration of facts. Reference to
+several different authorities will reveal to students the fact that
+there are differences of opinion regarding art and will help in making
+them realize the importance of weighing information thoroughly before
+accepting conclusions. In other words, it is valuable in preventing
+pupils from jumping to conclusions or accepting hasty conclusions.
+
+This suggests that several books for reference are preferable to a
+single text. However, many teachers favor the plan of providing three or
+four copies of the best books for class use rather than single copies of
+every art book that is published.
+
+In support of the use of references rather than single texts, the
+following points are made:
+
+    1. Opportunity is offered for pupils to verify and elaborate on
+       information.
+
+    2. More pupils will have contact with the best references.
+
+    3. Resourcefulness in the pupil will be better developed.
+
+    4. Teachers are challenged to make better selection of books as
+       well as better use of them.
+
+    5. In those schools which provide free textbooks for the pupils
+       it is easier to replace old books, since fewer copies of the
+       newer ones will be purchased at one time.
+
+
+SOURCES OF REFERENCE MATERIAL
+
+In addition to books, the teacher of art has at her disposal bulletins,
+current magazines, and educational advertising materials. In selecting
+art reference material for pupil use she should keep in mind that--
+
+    1. Information must be authentic.
+
+    2. It should be pertinent to the study at hand.
+
+    3. It should be not only clear, concise, and interesting, but easy
+       to understand.
+
+    4. It should include a wide variety of well chosen and clearly
+       reproduced illustrations.
+
+    5. Illustrations should for the most part represent objects with
+       which the girls come in frequent contact.
+
+    6. It should be up to date.
+
+    7. Subject matter and illustrations should avoid extravagant choices
+       that are not within the reach of the average family.
+
+    8. It should contain a good table of contents and index.
+
+Since there is such a quantity of current magazine and advertising
+material, it is obvious that it can not all be used and therefore
+it is imperative that the teacher evaluate it and choose with keen
+discrimination all that she plans to utilize for illustrative or
+reference purposes. Much of this material is valuable and may be had
+for the asking.
+
+While it is desirable for the teacher to have subscriptions to several
+of the most helpful magazines for class use, it is not imperative,
+since she may procure many of them from pupils, from other teachers,
+and from the school or local community library.
+
+Several State departments have issued helpful lists of available
+advertising material for home economics, including related art.
+
+
+
+
+BIBLIOGRAPHY
+
+
+1. For pupil and teacher use--
+
+Baldt, Laura I., and Harkness, Helen D., Clothing for the High School
+  Girl, 1931. J. B. Lippincott Co., Philadelphia.
+
+Butterick, Helen G., Principles of Clothing Selection. Revised 1930.
+  The Macmillan Co., New York.
+
+Goldstein, Harriett and Vetta, Art in Everyday Life, 1925. The Macmillan
+  Co., New York.
+
+Rathbone, Lucy, and Tarpley, Elizabeth, Fabrics and Dress, 1931. Houghton
+  Mifflin Co., Boston.
+
+Sage, Elizabeth, Textiles and Clothing. 1930. Scribners, New York.
+
+Snow, Bonnie E., and Froehlich, Hugo B., The Theory and Practice of Color,
+  1918. Prang & Co., New York.
+
+Trilling, Mable B., and Williams, Florence, Art in Home and Clothing,
+  1928. J. B. Lippincott Co., Philadelphia.
+
+
+2. For teacher use--
+
+Bailey, Henry Turner, Art Education, 1914. Houghton Mifflin Co., Boston.
+
+Batchelder, Ernest A., Design in Theory and Practice, 1914. The Macmillan
+  Co., New York.
+
+Degarmo, Charles, and Winslow, Leon Loyal, Essentials of Design, 1924.
+  The Macmillan Co., New York.
+
+Federated Art Council on Art Education, Report of the Committee on
+  Terminology. 1929. L. L. Winslow, secretary. Baltimore.
+
+Heckman, Albert, Pictures from Many Lands, 1925. The Art Extension
+  Society, 415 Madison Avenue, New York.
+
+Morgan, A. B., Elements of Art and Decoration, 1915, 1928. Bruce Publishing
+  Co., Milwaukee.
+
+Neuhaus, Eugene, Appreciation of Art, 1924. Ginn & Co., New York.
+
+National Committee on Wood Utilization, United States Department of
+  Commerce, Furniture, Its Selection and Use, 1931. Superintendent
+  of Documents, Washington, D. C.
+
+Packard, Edgar, Picture Readings, 1918. Public School Publishing Co.,
+  Bloomington, Ill.
+
+Parsons, Frank Alvah, Interior Decoration. Doubleday, Doran & Co.,
+  Garden City, N. Y.
+
+Russell, Mable, and Wilson, Elsie, Art Training Through Home Problems.
+  (In press.) Manual Arts Press, Peoria, Ill.
+
+Sargent, Walter, Enjoyment and Use of Color, 1923. Scribners, New York.
+
+Weinberg, Louis, Color in Everyday Life, 1918. Dodd, Mead & Co., New York.
+
+Welling, Jane Betsy, More Color for You, 1927. Abbott Educational Co.,
+  Chicago.
+
+
+
+
+INDEX
+
+
+  Abilities:
+    creative, 14, 22.
+    in laboratory problems, 46-47.
+    judgment, 22.
+    objectives, 14.
+    permanent, 11.
+    specific ability in a lesson, 34.
+
+  Additional units. _See_ Units.
+
+  Allen, Richard, 81.
+
+  Applications of art principles:
+    in notebooks, 43.
+    to all phases of home making, 18-21.
+    through home projects, 67.
+
+  Appreciation:
+    fundamental outcome of art instruction, 55, 58.
+    objective, 14.
+
+  Arrangements:
+    of articles on dresser, 41.
+    of bulletin board, 8, 28.
+    of curtains, 35-38.
+    of flowers, 7, 9, 24, 26.
+
+  Art (_see also_ Design, Beauty, and Taste):
+    essential factor in education, 1.
+    quality, 25, 55.
+    relation to home economics, 1.
+
+  Assignments, 39, 40-42, 65-66.
+
+
+  Baily, Henry Turner, 10.
+
+  Balance:
+    objective, 14.
+    principles, 15, 16.
+    procedure for achieving, 17.
+
+  Beauty:
+    contribution of principles to, 15.
+    enjoyment of, 14.
+    ideal of creating beauty in home, 67.
+    objective, 13.
+
+  Better Homes Week, 42.
+
+  Block printing, 50.
+
+  Bobbitt, F., 12, 25.
+
+  Bulletin board:
+    arrangement of, 8, 28.
+    for illustrative materials, 78.
+
+
+  Center of interest. _See_ Emphasis.
+
+  Child development, art topics, 18.
+
+  Clothing selection:
+    art topics in, 21.
+    suggested projects in, 68.
+    unit in, 72-74.
+
+  Color:
+    a basic element, 16.
+    in laboratory, 27.
+    in nature, 27.
+    objective, 13, 14.
+    principles, 16.
+    use of dyes in teaching, 51-52.
+
+  Consumer:
+    art training needed by, 12.
+    selection versus making by, 2.
+
+  Content:
+    choice of art, 12.
+    essential art content, 14-17, 22, 33.
+
+  Costume design. _See_ Clothing selection.
+
+  Craft work. _See_ Laboratory problems.
+
+  Creative problems. _See_ Problems.
+
+  Cumulative teaching, 42.
+
+  Curtains. _See_ Draperies.
+
+
+
+  Decoration, definition, 48.
+
+  Design. (_See also_ Structural design), objectives, 13-14.
+
+  Dining room, school, 28, 30.
+
+  Draperies, lesson on arranging curtains, 34-40.
+
+  Drew, E., 1.
+
+
+  Economy, in dress, 2.
+
+  Embroidery. _See_ Hand stitchery.
+
+  Emerson, Ralph Waldo, 72.
+
+  Emphasis:
+    objective, 14.
+    principles, 15, 17.
+
+  Environment:
+    home, 58.
+    home-economics department, 6, 7, 9, 24, 26, 27.
+    objective, 13.
+
+  Evaluation of results. _See_ Measuring results.
+
+  Exterior design. _See_ Home exterior.
+
+
+  Federated Council on Art Education, 15, 16.
+
+  Field trips:
+    description, 54-55.
+    place in related art course, 53-55.
+    purpose, 53.
+
+  Flowers:
+    fabric or yarn, 50.
+    substitutes for, 27.
+
+  Flower arrangement:
+    discussion of, 29.
+    illustrations, 7, 9, 24, 26.
+
+  Furniture:
+    painting, 51.
+    refinishing, 42-43.
+
+
+  Girls' room, home project, 63-66, 69.
+
+  Goldstein, Harriett and Vetta, 4, 15, 48.
+
+  Hand stitchery, 50.
+
+  Harmony:
+    objective, 14.
+    principles, 15, 17.
+
+  Historic costume, 74.
+
+  Home-economics cottages, 42.
+
+  Home exterior, art topics, 19.
+
+  Home improvement:
+    joint projects in, 68-69.
+    project reports of, 63-66, 69-71.
+    suggested projects in, 69.
+
+  Home interior:
+    art topics, 20.
+    unit in home furnishing, 72-74.
+
+  Home projects. _See_ Projects.
+
+  Home situations for which art is needed, 17-21.
+
+  House furnishings. _See_ Home interior.
+
+
+  Ideals:
+    establishing, 28.
+    in related art courses, 2.
+    objective, 13.
+
+  Illustrations of appreciation centers, 7, 8, 9, 24, 26.
+
+  Illustrative material:
+    for test, 62-63.
+    further suggestions for use of, 40-41.
+    in notebooks, 43, 45, 46.
+    purpose of, 75.
+    selection and source of, 75-77.
+    storage, 79-80.
+    use, 77-78.
+    use in specific lesson, 40-41.
+
+  Inductive problems. _See_ Problems.
+
+  Interest:
+    arrangement of units to create, 10-11.
+    contribution of classroom to, 25, 26.
+    creating, 22-29.
+    initial, 23-25.
+    objective, 13.
+    specific, 22.
+    spread of, 58.
+    through field trips, 53.
+    through illustrative material, 78.
+    through notebooks, 44, 45.
+
+  Interior design. _See_ Home interior.
+
+
+  Judgment problems. _See_ Problems.
+
+
+  Kelsey, Clark, B., 2.
+
+  Knouff, Cyrus, W., 2.
+
+
+  Laboratory, improvement in, 27.
+
+  Laboratory problems:
+    education possibilities of commonly used, 50-52.
+    place in related art course, 46-53.
+    relation to interest, 22.
+    standards for evaluating, 47-48.
+    values of, 47.
+
+  Lamp shades, 50.
+
+  Lesson in art, 34-38.
+
+  Lettering, 50.
+
+  Line, basic element, 16.
+
+
+  Marbleized paper, 50-51.
+
+  Meal planning and table service, art topics, 18-19.
+
+  Measuring results:
+    description of test given for, 59-63.
+    discussion of, 55-66.
+    improved practices--
+      at home, 58.
+      in school, 55-58.
+    practical test, 58.
+    through home projects, 63-66.
+    through notebooks, 44.
+
+  Method in teaching:
+    discussion, 29-33.
+    problem solving, 31-33.
+
+  Morehart, 31.
+
+  Morgan, A. B., 27.
+
+  Morrison, H. C., 22.
+
+  Mumford, Lewis, 67.
+
+
+  Needs for art training:
+    general art, 12.
+    girls, 3, 13, 15.
+    home, 15, 17-21.
+    individual, 15.
+
+  Notebooks:
+    analysis to determine use of, 44-45.
+    discussion of use, 43-46.
+    justification of use, 43-44.
+
+
+  Objectives:
+    general, 13, 34.
+    guide for content, 14-15, 21.
+    in related art, 12-14.
+    in using illustrative materials, 77-78.
+    specific, 13-14, 34.
+
+  Opposition, 16.
+
+  Orderly arrangement:
+    in laboratory, 27.
+    on bulletin board, 8, 27, 28.
+
+
+  Period furniture, 73-74.
+
+  Personality, expressed in homes, 2, 67.
+
+  Place cards, 51.
+
+  Portfolios:
+    for illustrative material, 45-46.
+    making, 51.
+
+  Posters, 46, 51.
+
+  Principles of art:
+    application in all phases of homemaking, 18.
+    classification, 16.
+    illustrated in lesson on proportion, 35, 38.
+    relationship, 41-42.
+    selection, 15-17, 21.
+
+  Problems:
+    creative, 32, 39.
+    inductive, 31-32, 35.
+    judgment or reasoning, 32, 38, 39, 61.
+    meaning, 31.
+    source, 14.
+
+  Problem series:
+    factors in planning, 33.
+    suggested series, 38-40.
+
+  Problem solving:
+    discussion, 29-34.
+    use of illustrative material, 78.
+
+  Projects:
+    class, 42-43.
+    home--
+      outcomes, 67.
+      report of one, 63-66.
+      suggestive projects, 67-68.
+
+  Proportion:
+    objective, 14.
+    principles, 15, 16, 35, 38, 52, 58-59.
+    sample lesson for developing principle, 34-40.
+
+
+  Radiation, 15, 16.
+
+  Reasoning. _See_ Judgment.
+
+  Reference material:
+    for pupil and teacher use, 82.
+    for teacher use, 82-83.
+    sources, 81-82.
+    use, 81.
+
+  Repetition:
+    objective, 14.
+    principles, 15, 16.
+
+  Rhythm:
+    objective, 14.
+    principles, 15, 16.
+
+  Rugs, rug hooking, 51.
+
+  Russell, Mabel, 15, 17, 22.
+
+
+  Sequence:
+    in problems, 33.
+    in units, 10, 72.
+
+  Shaded dyeing, 52.
+
+  Social and community relations, art topics, 20.
+
+  Standards:
+    for a dress, 54.
+    for evaluating laboratory problems, 47-48, 53.
+    for reference material, 81-82.
+
+  Strebel, 31.
+
+  Structural design:
+    definition of, 48.
+    emphasis in classroom, 27.
+
+  Subordination. _See_ Emphasis.
+
+  Supervisors, use of bulletin by State and local, 6.
+
+  Surroundings. _See_ Environment.
+
+
+  Taste:
+    developed through good example, 29.
+    quotation on, 2, 10.
+
+  Teachers:
+    appearance, 29.
+    art teachers, 5.
+    home economics, 5.
+    quoted, 49, 56-57, 58, 62, 67-68.
+    special problems of, in art, 4-5.
+
+  Teacher training:
+    preparation in art, 5.
+    use of bulletin in, 6.
+
+  Terminology in art, 15-16.
+
+  Terms, art, 15.
+
+  Tests. _See_ Measuring results.
+
+  Tie dyeing, 51-52.
+
+  Transition, 15, 16.
+
+  Trilling, M. B., 15.
+
+
+  Units:
+    additional units in art, 72-74.
+    arrangement in vocational schools, 10-11, 72.
+    in clothing selection, 73-74.
+    in home furnishing, 72-73.
+
+  Unity, 15, 16.
+
+
+  Vocational program:
+    art in all-day schools in, 1-2, 10-11, 14.
+    art for adults in, 2-3, 14.
+    art for part-time girls in, 11, 14.
+    objectives, 12.
+    place of art in, 10-11.
+
+
+  Weaving, 52.
+
+  Whitford, William C., 1, 12, 15, 16, 22, 29, 55, 63.
+
+  Williams, F., 15.
+
+  Wilson, Elsie, VII, 15, 17, 22.
+
+  Windows, lesson on curtain arrangement for school, 34-40.
+
+  Winter bouquets, 27, 29.
+
+
+
+
+PUBLICATIONS OF THE FEDERAL BOARD FOR VOCATIONAL EDUCATION RELATING TO
+HOME-ECONOMICS EDUCATION[28]
+
+
+ANNUAL REPORTS TO CONGRESS
+
+1919, 1920, 1923, 1924, 1925, 1926, 1927, 1928, 1929, 1930.
+
+
+BULLETINS
+
+ 23. Clothing for the Family. 1918. On sale by Superintendent of
+     Documents, Government Printing Office. Price, 15c.
+
+ 28. Home-Economics Education. Organization and Administration (revised).
+     1928. On sale by Superintendent of Documents, Government Printing
+     Office. Price, 15c.
+
+ 35. Use and Preparation of Food. 1919. On sale by Superintendent of
+     Documents, Government Printing Office. Price, 20c.
+
+ 79. A Study of Home-Economics Education in Teacher-Training Institutions
+     for Negroes. 1923. On sale by Superintendent of Documents, Government
+     Printing Office. Price, 15c.
+
+ 86. Health of the Family. A Program for the Study of Personal, Home,
+     and Community Health Problems. 1923. On sale by Superintendent of
+     Documents, Government Printing Office. Price, 25c.
+
+116. Training for Leadership in Home-Economics Education. Report of the
+     National Committee on Advanced Courses in Vocational Education. 1927.
+     On sale by Superintendent of Documents, Government Printing Office.
+     Price, 10c.
+
+124. Plant and Equipment for Vocational Classes in Home Economics.
+     Intended for the Use of Those Responsible for Determining Plant and
+     Equipment for Vocational Schools and Classes. 1927. On sale by
+     Superintendent of Documents, Government Printing Office. Price, 40c.
+
+143. Training Supervisors of Home-Economics Education. Report of the
+     National Committee on Advanced Courses in Vocational Education.
+     On sale by Superintendent of Documents, Government Printing Office.
+     Price, 5c.
+
+151. Vocational Education in Home Economics. Twelve Years of Home
+     Economics Under the National Vocational Education Acts. On sale by
+     Superintendent of Documents, Government Printing Office. Price, 30c.
+
+156. The Teaching of Art Related to the Home. Suggestions for Content and
+     Method in Related Art Instruction in the Vocational Program in Home
+     Economics. 1931. On sale by Superintendent of Documents, Government
+     Printing Office. Price, 25c.
+
+158. The Teaching of Science Related to the Home. Suggestions for Content
+     and Method in Related Science Instruction in the Vocational Program
+     in Home Economics. 1931. (In press.)
+
+
+
+
+FOOTNOTES
+
+
+[Footnote 1: Whitford, William G., An Introduction to Art. Preface XI.
+Appleton Series in Education, 1929.]
+
+[Footnote 2: Ibid., p. 16.]
+
+[Footnote 3: National Committee on Wood Utilization, United States
+Department of Commerce--Furniture and Its Selection and Use, by Clark
+B. Kelsey, p. 1.]
+
+[Footnote 4: School and Society, Vol. XXX, No. 780.]
+
+[Footnote 5: Bobbitt, F. How to Make a Curriculum, pp. 220-221.
+Houghton, Mifflin Co. 1924.]
+
+[Footnote 6: Whitford, William G., An Introduction to Art, pp. 192-193.
+Appleton Series in Education, 1929.]
+
+[Footnote 7: Adapted from Russell and Wilson, Art Training Through Home
+Problems. Manual Arts Press. (In press.)]
+
+[Footnote 8: Federated Council on Art Education. Report of the
+Committee on Terminology (William G. Whitford, chairman), p. 12, 1929.]
+
+[Footnote 9: Goldstein, Harriett and Vetta, Art in Everyday Life, p. 5.
+The MacMillan Co. 1925.]
+
+[Footnote 10: Russell, M., and Wilson, E., Art Training Through Home
+Problems. Manual Arts Press. (In press.)]
+
+[Footnote 11: Trilling, M. B., and Williams, F., Art in Home and
+Clothing, pp. 28-63. The Lippincott Co. 1928.]
+
+[Footnote 12: Federated Council on Art Education. Report of the
+Committee on Terminology, Table V (William G. Whitford, chairman),
+p. 26.]
+
+[Footnote 13: Federated Council on Art Education. Report of the
+Committee on Terminology (William G. Whitford, chairman), p. 38.]
+
+[Footnote 14: Russell, M., and Wilson, E., Art Training Through Home
+Problems. Manual Arts Press. (In press.) North Dakota State Department
+of Education, A Suggested Outline for the Content of a Course in
+Related Art for High School Girls. Nebraska State Department of
+Education, Suggested Outline for Content and Methods in Related Art.
+Home Economics Publication, Serial No. 38.]
+
+[Footnote 15: Whitford, William G., An Introduction to Art, p. 194.
+Appleton Series in Education, 1929.]
+
+[Footnote 16: Russell, M., and Wilson, E., Art Training Through Home
+Problems. (Chapter "Creating an Interest in Everyday Art.") Manual Arts
+Press. (In press.)]
+
+[Footnote 17: Lancelot, W. H., Handbook of Teaching Skills. John Wiley
+& Sons, 1929.]
+
+[Footnote 18: Bobbitt, F. How to Make a Curriculum, p. 222.
+Houghton-Mifflin Co., 1929.]
+
+[Footnote 19: Morgan, A. B., Elements of Art and Decoration, p. 33. The
+Bruce Publishing Co. 1928.]
+
+[Footnote 20: Whitford, William G., An Introduction to Art, p. 186.
+Appleton Series in Education. 1929.]
+
+[Footnote 21: Strebel and Morehart, The Nature and Meaning of Teaching,
+p. 177. McGraw-Hill Book Co. 1929.]
+
+[Footnote 22: Lancelot, W. H., Handbook of Teaching Skills. John Wiley
+and Sons. 1929.]
+
+[Footnote 23: Lancelot, W. H., Handbook of Teaching Skills. John Wiley
+& Sons. 1929.]
+
+[Footnote 24: Goldstein, Harriet and Vetta, Art in Everyday Life, p. 6.
+The Macmillan Co. 1925.]
+
+[Footnote 25: Whitford, William G., An Introduction to Art, p. 236.
+Appleton Series in Education. 1929.]
+
+[Footnote 26: Refer to Whitford, An Introduction to Art Education, pp.
+239-245, for suggestive appreciation test in art. Appleton Series in
+Education. 1929.]
+
+[Footnote 27: Mumford, Lewis, The American Mercury, April, 1930.]
+
+[Footnote 28: A complete list of available publications relating to the
+work of other services of the Federal Board for Vocational Education
+may be obtained on request. Address Publications Section of the Board.]
+
+
+
+
+
+
+End of the Project Gutenberg EBook of The Teaching of Art Related to the Home, by
+Federal Board for Vocational Education
+
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