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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: ISO-8859-1 + +*** 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 + + + + + + +</pre> + + +<div style="height: 6em;"><br /><br /><br /><br /><br /><br /></div> + +<div class="frontcover"> + +<p class="coverdbl"> +<span style="float:left;"><small> BULLETIN No. 156</small></span> +<span style="float:right;"><small>Home Economics Series No. 13</small></span> +</p> + +<a name="h2H_4_0001" id="h2H_4_0001"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<h1> + THE TEACHING<br /> OF ART RELATED TO THE HOME +</h1> +<p class="center"> +<big> +SUGGESTIONS FOR CONTENT AND METHOD<br /> IN RELATED ART INSTRUCTION<br /> +IN THE VOCATIONAL PROGRAM<br /> IN HOME ECONOMICS +</big> +</p> + +<a name="image-0000"><!--IMG--></a> +<div class="figure"> +<img src="images/logo.png" width="50" height="50" +alt="(logo)" /> +</div> + +<div style="height: 2em;"><br /><br /></div> + +<p class="center"> +JUNE, 1931 +</p> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<p class="coverdbl"> +<span style="text-align:center;"><small>Issued by the Federal Board for Vocational Education—Washington, D. C.</small></span> +</p> + +</div> + +<p><span class="pagenum"><a id="pagei" name="pagei"></a>[i]</span></p> + +<a name="h2H_4_0002" id="h2H_4_0002"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<h1> + THE TEACHING<br /> OF ART RELATED TO THE HOME +</h1> +<p class="center"> +<big> +SUGGESTIONS FOR CONTENT AND METHOD<br /> IN RELATED ART INSTRUCTION<br /> +IN THE VOCATIONAL PROGRAM<br /> IN HOME ECONOMICS +</big> +</p> +<p class="center"> +JUNE, 1931 +</p> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<a name="image-0001"><!--IMG--></a> +<div class="figure"> +<img src="images/logo.png" width="50" height="50" +alt="(logo)" /> +</div> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<p class="center"> +<small> +UNITED STATES<br /> +GOVERNMENT PRINTING OFFICE<br /> +WASHINGTON: 1931 +</small> +</p> + +<div style="height: 2em;"><br /><br /></div> + +<hr /> + +<p class="center"> +For sale by the Superintendent of Documents, Washington, D. C. Price 20 cents +</p> + +<p><span class="pagenum"><a id="pageii" name="pageii"></a>[ii]</span></p> + + +<p><!--[Blank Page]--><br /></p> + +<p><span class="pagenum"><a id="pageiii" name="pageiii"></a>[iii]</span></p> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<p class="center"> +<big>FEDERAL BOARD FOR VOCATIONAL EDUCATION</big> +</p> + +<p class="center"> +<b>MEMBERS</b> +</p> + +<p class="center"> +<span class="sc">William N. Doak</span>, <i>Chairman</i><br /> + <i>Secretary of Labor</i> +</p> + +<ul id="double"> +<li> +<span class="sc">Robert P. Lamont</span>,<br /> + <i>Secretary of Commerce</i>. +</li> +<li> +<span class="sc">Edward T. Franks</span>, <i>Vice Chairman</i>,<br /> + <i>Manufacture and Commerce</i>. +</li> +<li> +<span class="sc">Arthur M. Hyde</span>,<br /> + <i>Secretary of Agriculture</i>. +</li> +<li> +<span class="sc">Perry W. Reeves</span>,<br /> + <i>Labor</i>. +</li> +<li> +<span class="sc">Wm. John Cooper</span>,<br /> + <i>Commissioner of Education</i>. +</li> +<li> +<span class="sc">Claude M. Henry</span>,<br /> + <i>Agriculture</i>. +</li> +</ul> + +<p class="center"> +<span class="sc">John S. Shaw</span>, <i>Secretary and Chief Clerk</i> +</p> + +<p class="center"> +<b>EXECUTIVE STAFF</b> +</p> + +<p class="center"> +<span class="sc">J. C. Wright</span>, <i>Director</i> +</p> +<p class="center"> +<span class="sc">Charles R. Allen</span>, <i>Educational Consultant</i> +</p> +<p class="center"> +<span class="sc">John Cummings</span>, <i>Chief, Statistical and Research Service</i> +</p> + +<p class="center"> +<b>VOCATIONAL EDUCATION DIVISION</b> +</p> + +<ul id="double2"> +<li> +<span class="sc">C. H. Lane</span>, <i>Chief</i>,<br /> + <i>Agricultural Education Service</i>. +</li> +<li> +<span class="sc">Frank Cushman</span>, <i>Chief</i>,<br /> + <i>Trade and Industrial Education Service</i>. +</li> +<li> +<span class="sc">Adelaide S. Baylor</span>, <i>Chief</i>,<br /> + <i>Home Economics Education Service</i>. +</li> +<li> +<span class="sc">Earl W. Barnhart</span>, <i>Chief</i>,<br /> + <i>Commercial Education Service</i>. +</li> +</ul> + +<p class="center"> +VOCATIONAL REHABILITATION DIVISION +</p> + +<p class="center"> +<span class="sc">John Aubel Kratz</span>, <i>Chief</i>,<br /> + <i>Vocational Rehabilitation Service</i> +</p> + +<p><span class="pagenum"><a id="pageiv" name="pageiv"></a>[iv]</span></p> + +<p><!--[Blank Page]--><br /></p> + +<p><span class="pagenum"><a id="pagev" name="pagev"></a>[v]</span></p> + +<a name="h2H_TOC" id="h2H_TOC"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<h2> + CONTENTS +</h2> + +<table border="0" align="center" width="90%" summary="Table of Contents"> + +<tr><td colspan="3" align="right"> Page</td></tr> + +<tr><td colspan="2"> <span class="sc">Foreword</span> </td><td align="right"><span class="sc"><a href="#pagevii">vii</a> +</span> </td></tr> + +<tr><td colspan="2"> <span class="sc">Section I.</span> Introduction </td><td align="right"> <a href="#page1">1</a> + </td></tr> + +<tr><td colspan="2"> <span class="sc">Section II.</span> Purpose of the bulletin </td><td align="right"> <a href="#page4">4</a> + </td></tr> + +<tr><td colspan="2"> <span class="sc">Section III.</span> Determining content for a course in art related to the home </td><td align="right"> <a href="#page10">10</a> + </td></tr> + +<tr><td> </td><td> Place of art in the vocational program in home economics </td><td align="right"> <a href="#page10">10</a> + </td></tr> +<tr><td> </td><td> Objectives for the teaching of art </td><td align="right"> <a href="#page12">12</a> + </td></tr> +<tr><td> </td><td> Essential art content </td><td align="right"> <a href="#page14">14</a> + </td></tr> +<tr><td> </td><td> Home situations for which art is needed </td><td align="right"> <a href="#page17">17</a> + </td></tr> + +<tr><td colspan="2"> <span class="sc">Section IV.</span> Suggestive teaching methods in art related to the home </td><td align="right"> <a href="#page22">22</a> + </td></tr> +<tr><td> </td><td> Creating interest </td><td align="right"> <a href="#page22">22</a> + </td></tr> +<tr><td> </td><td> Discussion of method in the teaching of art </td><td align="right"> <a href="#page29">29</a> + </td></tr> +<tr><td> </td><td> Suggested procedure for developing an ability to use a principle of + proportion for attaining beauty </td><td align="right"> <a href="#page34">34</a> + </td></tr> +<tr><td> </td><td> Suggested plan for the development of an understanding of the + principle of proportion and its use </td><td align="right"> <a href="#page34">34</a> + </td></tr> +<tr><td> </td><td> Details of lesson procedure </td><td align="right"> <a href="#page35">35</a> + </td></tr> +<tr><td> </td><td> Series of suggested problems to test pupils' ability to recognize + and use the principle of proportion just developed </td><td align="right"> <a href="#page38">38</a> + </td></tr> +<tr><td> </td><td> Further suggestions for problems, illustrative materials, and assignments</td><td align="right"> <a href="#page40">40</a> + </td></tr> +<tr><td> </td><td> Class projects </td><td align="right"> <a href="#page42">42</a> + </td></tr> +<tr><td> </td><td> Notebooks </td><td align="right"> <a href="#page43">43</a> + </td></tr> +<tr><td> </td><td> The place of laboratory problems </td><td align="right"> <a href="#page46">46</a> + </td></tr> +<tr><td> </td><td> Field trips </td><td align="right"> <a href="#page53">53</a> + </td></tr> +<tr><td> </td><td> Measuring results </td><td align="right"> <a href="#page55">55</a> + </td></tr> +<tr><td> </td><td> Evidences of the successful functioning of art in the classroom </td><td align="right"><a href="#page55">55</a> +</td></tr> +<tr><td> </td><td> Evidences of the successful functioning of art in the home </td><td align="right"> <a href="#page58">58</a> + </td></tr> +<tr><td> </td><td> Home projects </td><td align="right"> <a href="#page66">66</a> + </td></tr> +<tr><td> </td><td> Suggestive home projects in which art is an important factor </td><td align="right"> <a href="#page68">68</a> + </td></tr> + +<tr><td colspan="2"> <span class="sc">Section V.</span> Additional units in art related specifically to +house furnishing and clothing selection </td><td align="right"> <a href="#page72">72</a> + </td></tr> + +<tr><td colspan="2"> <span class="sc">Section VI.</span> Illustrative material </td><td align="right"> <a href="#page75">75</a> + </td></tr> +<tr><td> </td><td> Purpose </td><td align="right"> <a href="#page75">75</a> + </td></tr> +<tr><td> </td><td> Selection and sources </td><td align="right"> <a href="#page75">75</a> + </td></tr> +<tr><td> </td><td> Use </td><td align="right"> <a href="#page77">77</a> + </td></tr> +<tr><td> </td><td> Care and storage </td><td align="right"> <a href="#page79">79</a> + </td></tr> + +<tr><td colspan="2"> <span class="sc">Section VII.</span> Reference material </td><td align="right"> <a href="#page81">81</a> + </td></tr> +<tr><td> </td><td> Use of reference material </td><td align="right"> <a href="#page81">81</a> + </td></tr> +<tr><td> </td><td> Sources of reference material </td><td align="right"> <a href="#page81">81</a> + </td></tr> +<tr><td> </td><td> Bibliography </td><td align="right"> <a href="#page82">82</a> + </td></tr> + +<tr><td colspan="2"> <span class="sc">Index</span> </td><td align="right"> <a href="#page85">85</a> + </td></tr> +</table> + +<p><span class="pagenum"><a id="pagevi" name="pagevi"></a>[vi]</span></p> + +<div style="height: 2em;"><br /><br /></div> + +<table border="0" align="center" width="90%" summary="List of Figures and Charts"> + +<tr><td colspan="3"><h3>FIGURES</h3></td></tr> + +<tr><td colspan="3" align="right"> Page</td></tr> + +<tr><td align="right"> 1. </td> +<td> +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</td> +<td align="right"> <a href="#page7">7</a> +</td></tr> + +<tr><td align="right"> 2. </td> +<td> +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</td> +<td align="right"> <a href="#page8">8</a> + </td></tr> + +<tr><td align="right"> 3. </td> +<td>Pupils in a Nebraska high school try out different flowers and arrangements</td> +<td align="right"> <a href="#page9">9</a> + </td></tr> + +<tr><td align="right"> 4. </td> +<td>In a Nebraska high school a screen was used in an unattractive +corner as a background for an appreciation center</td> +<td align="right"><a href="#page24">24</a> + </td></tr> + +<tr><td align="right"> 5. </td> +<td>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</td> +<td align="right"><a href="#page26">26</a> + </td></tr> + +<tr><td align="right"> 6. </td> +<td>A few pieces of unrelated illustrative material may be grouped +successfully in bulletin-board space</td> +<td align="right"><a href="#page28">28</a> + </td></tr> + +<tr><td align="right"> 7. </td> +<td>Sprouted sweetpotato produced this attractive centerpiece for the home table</td> +<td align="right"><a href="#page29">29</a> + </td></tr> + +<tr><td align="right"> 8. </td> +<td>Glass-paneled doors open from the dining room directly into a +main first-floor corridor in the high school at Stromsburg, Nebr.</td> +<td align="right"><a href="#page30">30</a> + </td></tr> + +<tr><td align="right"> 9.</td> +<td>The dresser as found in the dormitory room</td> +<td align="right"><a href="#page43">43</a> + </td></tr> + +<tr><td align="right"> 10. </td> +<td>The same dresser after the class in related art had remodeled and painted it</td> +<td align="right"><a href="#page43">43</a> + </td></tr> + +<tr><td colspan="3"><h3>CHARTS</h3></td></tr> + +<tr><td align="right"> 1. </td> +<td>Suggestions for use of this bulletin by teachers </td><td align="right"> <a href="#page5">5</a> + </td></tr> + +<tr><td align="right"> 2. </td> +<td>Analysis of the value of notebooks in art courses </td><td align="right"><a href="#page44">44</a> + </td></tr> + +<tr><td align="right"> 3. </td> +<td>Types and sources of illustrative materials </td><td align="right"><a href="#page76">76</a> + </td></tr> + +<tr><td colspan="3"><hr /></td></tr> + +<tr><td colspan="2"> Publications of the Federal Board for Vocational Education relating + to home-economics education </td><td align="right"><a href="#page89">89</a> + </td></tr> +</table> + +<p><span class="pagenum"><a id="pagevii" name="pagevii"></a>[vii]</span></p> + +<a name="h2H_FORE" id="h2H_FORE"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<h2> + FOREWORD +</h2> + +<p> +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. +</p> +<p> +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. +</p> +<p> +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. +</p> +<p> +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. +</p> +<p> +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. +</p> +<p> +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. +</p> +<p> +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. +</p> +<p> +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. +</p> +<p class="right"> + <span class="sc">J. C. Wright</span>, <i>Director</i>. +</p> + +<p><span class="pagenum"><a id="pageviii" name="pageviii"></a>[viii]</span></p> + +<p><!--[Blank Page]--><br /></p> + +<p><span class="pagenum"><a id="page1" name="page1"></a>[1]</span></p> + +<a name="h2H_4_0005" id="h2H_4_0005"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<p class="center"> +<b><big> + THE TEACHING OF ART RELATED TO THE HOME +</big></b> +</p> + +<a name="h2H_4_0006" id="h2H_4_0006"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<h2> + <span class="sc">Section I</span> +</h2> + +<p class="subhead"> + INTRODUCTION +</p> + +<p class="subquote"> + 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.—<span class="sc">E. Drew.</span> +</p> + +<p> +Professor Whitford<a href="#note-1" name="noteref-1"><small> 1</small></a> 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." +</p> +<p> +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<a href="#note-2" name="noteref-2"><small> 2</small></a> refers to this present-day trend in home +economics as follows: +</p> +<p class="quote"> + 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. +</p> +<p> +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. +</p> +<p> +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 + +<span class="pagenum"><a id="page2" name="page2"></a>[2]</span> + + 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:<a href="#note-3" name="noteref-3"><small> 3</small></a> +</p> +<p class="quote"> + 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. +</p> +<p> +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. +</p> +<p> +Mr. Cyrus W. Knouff<a href="#note-4" name="noteref-4"><small> 4</small></a> has well expressed something of the importance +of such a practical type of art training as follows: +</p> +<p class="quote"> + 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. +</p> +<p> +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 + +<span class="pagenum"><a id="page3" name="page3"></a>[3]</span> + + 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. +</p> +<p> +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. +</p> + +<p><span class="pagenum"><a id="page4" name="page4"></a>[4]</span></p> + +<a name="h2H_4_0008" id="h2H_4_0008"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<h2> + <span class="sc">Section II</span> +</h2> +<p class="subhead"> + PURPOSE OF THE BULLETIN +</p> +<p class="subquote"> + 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.—<span class="sc">Goldstein</span>. +</p> + +<p> +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. +</p> +<p> +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: +</p> + +<p><span class="pagenum"><a id="page5" name="page5"></a>[5]</span></p> + +<p class="quote"> + 1. What should be the place of art in the homemaking + program? +</p> +<p class="quote"> + 2. What are pupils' greatest art needs? +</p> +<p class="quote"> + 3. What classroom training will help meet these needs? +</p> +<p class="quote"> + 4. What are the best methods to use in teaching art? +</p> +<p class="quote"> + 5. To what extent will laboratory problems function + in meeting pupils' needs? +</p> +<p class="quote"> + 6. What results should be expected from art training + in the homemaking program? +</p> +<p class="quote"> + 7. How can these results be measured? +</p> + +<p> +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. +</p> +<p> +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. +</p> +<p> +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: +</p> + +<p class="center"> +<span class="sc">Chart 1.</span>—<i>Suggestions for use of this bulletin by teachers</i> +</p> + +<table id="chart1" border="0" align="center" width="80%" summary="Chart 1."> + +<tr><th> Groups </th> +<th style="border-left: solid!important; border-width: 1px!important;"> Uses </th></tr> + +<tr><td> +<p class="hang"> I. Art and home economics teachers in vocational schools.</p></td> +<td> +<p class="hang"> 1. As a guide in determining objectives in related art. </p> +<p class="hang"> 2. As a help in selecting content. </p> +<p class="hang"> 3. As a means of determining method. </p> +<p class="hang"> 4. As suggestive of ways for evaluating results. </p> +<p class="hang"> 5. As suggestive in the selection and use of illustrative materials. </p> +<p class="hang"> 6. As a guide for reference material.</p> +</td></tr> + +<tr><td> +<p class="hang"> II. Art instructors in colleges.</p> </td> +<td> +<p class="hang"> + 1. As a means of becoming familiar with some of the + typical problems which prospective teachers of + related art will meet. </p> +<p class="hang"> + 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.</p> +</td></tr> + +<tr><td> +<span class="pagenum"><a id="page6" name="page6"></a>[6]</span> +<p class="hang">III. Teacher trainers.</p></td> +<td> +<p class="hang"> 1. As an index to the interests and needs of girls in home-economics classes.</p> +<p class="hang"> 2. As a means of determining the phases of art that most nearly meet the needs of girls.</p> +<p class="hang"> 3. As suggestive of methods for student teaching in classes in art related to the home.</p> +<p class="hang"> 4. As a basis for guiding student teachers in collecting and preparing illustrative material.</p> +<p class="hang"> 5. As a guide for reference material.</p> +</td></tr> + +<tr><td> +<p class="hang"> IV. Home economics supervisors, State and local.</p></td> +<td> +<p class="hang"> 1. As a stimulus to promote more courses or units in art.</p> +<p class="hang"> 2. As a stimulus to work for better programs in related art.</p> +<p class="hang"> 3. As a guide in developing art units with teachers through individual, + district, and State conferences.</p> +<p class="hang">4. As a basis for giving assistance to teachers on art problems.</p> +</td></tr> + +<tr><th colspan="2"></th></tr> + +</table> + +<p> +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. +</p> +<p> +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. +</p> + +<p><span class="pagenum"><a id="page7" name="page7"></a>[7]</span></p> + +<div class="figure"> +<a name="image-0002"><!--IMG--></a> +<a href="images/ill-17.jpg"><img src="images/ill-17-s.jpg" width="400" height="495" +alt="Figure 1.--An arrangement of wild flowers and grasses..." /></a> +<br /> +<span class="sc">Figure 1.</span>—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 +</div> + +<p><span class="pagenum"><a id="page8" name="page8"></a>[8]</span></p> + +<div class="figure"> +<a name="image-0003"><!--IMG--></a> +<a href="images/ill-18.jpg"><img src="images/ill-18-s.jpg" width="400" height="495" +alt="Figure 2.--A bulletin board..." /></a> +<br /> +<span class="sc">Figure 2.</span>—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 +</div> + +<p><span class="pagenum"><a id="page9" name="page9"></a>[9]</span></p> + +<div class="figure"> +<a name="image-0004"><!--IMG--></a> +<a href="images/ill-19.jpg"><img src="images/ill-19-s.jpg" width="400" height="280" +alt="Figure 3.--Pupils in a Nebraska high school try out different flowers and arrangements" /></a> +<br /> +<span class="sc">Figure 3.</span>—Pupils in a Nebraska high school try +out different flowers and arrangements +</div> + +<p><span class="pagenum"><a id="page10" name="page10"></a>[10]</span></p> + +<a name="h2H_4_0009" id="h2H_4_0009"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<h2> + <span class="sc">Section III</span> +</h2> +<p class="subhead"> + DETERMINING CONTENT FOR A COURSE IN ART RELATED TO THE HOME +</p> +<p class="subquote"> + Taste develops gradually through the making of choices with + reference to some ideal.—<span class="sc">Henry Turner Bailey</span>. +</p> + +<h3> +PLACE OF ART IN THE VOCATIONAL PROGRAM IN HOME ECONOMICS +</h3> +<p> +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. +</p> +<p> +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. +</p> +<p> +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 + +<span class="pagenum"><a id="page11" name="page11"></a>[11]</span> + + 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. +</p> +<p> +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 <span class="corr">is</span> 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. +</p> +<p> +There are then three possible plans for including art instruction in +the vocational program in homemaking, namely: +</p> +<p class="hang"> +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. +</p> +<p class="hang"> +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. +</p> +<p class="hang"> +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. +</p> + +<p><span class="pagenum"><a id="page12" name="page12"></a>[12]</span></p> + +<h3> +OBJECTIVES FOR THE TEACHING OF ART +</h3> + +<p> +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<a href="#note-5" name="noteref-5"><small> 5</small></a> elaborates on this objective +as follows: +</p> +<p class="quote"> + * * * 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. * * * +</p> +<p class="quote"> + 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. +</p> +<p class="quote"> + 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. +</p> +<p> +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<a href="#note-6" name="noteref-6"><small> 6</small></a>— +</p> +<p class="quote"> + * * * 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. +</p> +<p> +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 + +<span class="pagenum"><a id="page13" name="page13"></a>[13]</span> + + 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. +</p> +<p> +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. <i>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.</i> +</p> +<p> +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— +</p> +<p class="quote"> + 1. A growing interest in the beauty to be found in nature and the + material things of their environment. +</p> +<p class="quote"> + 2. Enjoyment of good design and color found in their surroundings. +</p> +<p class="quote"> + 3. A desire to own and use things which have permanent artistic + qualities. +</p> +<p class="quote"> + 4. An ability to choose things which are good in design and color + and to use them effectively. +</p> +<p> +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:<a href="#note-7" name="noteref-7"><small> 7</small></a> +</p> + +<ul> +<li>I. Interest in— + +<ul> +<li> 1. Finding beauty in everyday surroundings. + <ul> + <li> <i>a.</i> In nature.</li> + <li> <i>b.</i> In man-made materials and objects.</li> + <li> <i>c.</i> In art masterpieces.</li> + </ul> +</li> + +<li> 2. Making homes attractive as well as comfortable.</li> +</ul> +</li> + +<li>II. Development of a desire for— + +<ul> +<li> 1. Beautiful though simple and inexpensive possessions.</li> +<li> 2. Skill in making artistic combinations and arrangements in home and clothing.</li> +</ul> +</li> + +<li> +<span class="pagenum"><a id="page14" name="page14"></a>[14]</span> + III. Ability to— + +<ul> +<li> 1. Select and make balanced arrangements.</li> +<li> 2. Select articles and make arrangements in which the various proportions are pleasing.</li> +<li> 3. Select and use articles and materials which are pleasing because there is interesting repetition of line, shape, or color.</li> +<li> 4. Select and use articles and materials in which there is desirable rhythmic movement.</li> +<li> 5. Select and make arrangements in which there is desirable emphasis.</li> +<li> 6. Arrange articles in a given space so they are in harmony with the space and with each other.</li> +<li> 7. Select colors suited to definite use and combine them harmoniously.</li> +</ul> +</li> +<li>IV. Appreciation of good design and color wherever found.</li> +</ul> + + +<p> +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. +</p> + +<h3> +ESSENTIAL ART CONTENT +</h3> +<p> +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 + +<span class="pagenum"><a id="page15" name="page15"></a>[15]</span> + + objectives for the course that represent the girls' needs in their +everyday problems of selection and arrangement. +</p> +<p> +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:<a href="#note-8" name="noteref-8"><small> 8</small></a> +</p> +<p class="quote"> + 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. +</p> +<p class="quote"> + 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. +</p> +<p> +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: +</p> + +<ul id="triple"> +<li> Balance. </li> +<li> Proportion. </li> +<li> Repetition. </li> +<li> Rhythm. </li> +<li> Emphasis. </li> +<li> Harmony. </li> +<li> Color. </li> +<li> Line. </li> +<li> Light and dark. </li> +<li> Unity. </li> +<li> Radiation. </li> +<li> Opposition. </li> +<li> Transition. </li> +<li> Subordination. </li> +<li> Center of Interest. </li> +<li> Dominance. </li> +</ul> + +<p> +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. +</p> +<p> +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,<a href="#note-9" name="noteref-9"><small> 9</small></a> by Russell and Wilson,<a href="#note-10" name="noteref-10"><small> 10</small></a> and by Trilling and +Williams.<a href="#note-11" name="noteref-11"><small> 11</small></a> +</p> + +<p><span class="pagenum"><a id="page16" name="page16"></a>[16]</span></p> + +<p> +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. +</p> + +<p class="center"> +<i>Simplest form of classification</i><a href="#note-12" name="noteref-12"><small> 12</small></a> +</p> + +<table id="simplest" border="0" align="center" width="80%" summary="Art element classifications"> + +<tr><th> Basic elements </th><th> Major principles </th><th> Minor principles </th><th>Resulting attributes </th><th> Supreme attainment </th></tr> + +<tr><td> Line. </td><td>Repetition. </td><td>Alteration. </td><td> </td><td> </td></tr> +<tr><td> Form. </td><td> </td><td>Sequence. </td><td> </td><td> </td></tr> +<tr><td> </td><td>Rhythm. </td><td> </td><td>Harmony. </td><td> </td></tr> +<tr><td> </td><td> </td><td>Radiation. </td><td> </td><td> </td></tr> +<tr><td> Light and Dark. } Tone. </td><td>Proportion. </td><td>Parallelism. </td><td> </td><td> Beauty. </td></tr> +<tr><td> </td><td> </td><td>Transition. </td><td> </td><td> </td></tr> +<tr><td> </td><td>Balance. </td><td> </td><td>Fitness. </td><td> </td></tr> +<tr><td> Color. </td><td> </td><td>Symmetry. </td><td> </td><td> </td></tr> +<tr><td> Texture. </td><td>Emphasis. </td><td>Contrast. </td><td> </td><td> </td></tr> +<tr><th colspan="5"></th></tr> + +</table> + +<p> +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. +</p> +<p> +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. +</p> +<p> +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. +</p> +<p> +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." +</p> +<p> +Referring again to the report of the Committee on Art Terminology,<a href="#note-13" name="noteref-13"><small> 13</small></a> +"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 + +<span class="pagenum"><a id="page17" name="page17"></a>[17]</span> + + problems of selection +andarrangement. 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. +</p> +<p> +Emphasis has been chosen as an inclusive term which represents +"subordination," "center of interest," and "dominance." +</p> +<p> +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 <i>a few principles well</i> than to attempt more than can +be done satisfactorily. +</p> +<p> +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— +</p> +<p class="quote"> + 1. Arranging like objects so they are equidistant from a center + produces a feeling of rest or balance. +</p> +<p class="quote"> + 2. Unlike objects may be balanced by placing the larger or more + noticeable one nearer the center. +</p> +<p> +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<a href="#note-14" name="noteref-14"><small> 14</small></a> term these methods +for attaining results, guiding laws for procedure, or principles. +</p> + +<h3> +HOME SITUATIONS FOR WHICH ART IS NEEDED +</h3> +<p> +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 + +<span class="pagenum"><a id="page18" name="page18"></a>[18]</span> + + 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. +</p> +<p> +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. +</p> + + +<ul> + +<li> <i>Child development</i>— + +<ul> +<li> Choosing colored books and toys for children.</li> +<li> Choosing wall covering for a child's room.</li> +<li> Choosing pictures for a child's room.</li> +<li> Placing and hanging pictures in a child's room.</li> +<li> Selecting furniture for a child's room.</li> +<li> Determining types of decoration and desirable amounts of it for children's clothing.</li> +<li> Choosing colors for children's clothing.</li> +<li> Making harmonious combinations of colors for children's clothing.</li> +<li> Choosing designs and textures suitable for children's clothing.</li> +<li> Avoiding elaborate and fussy clothing for children.</li> +</ul> +</li> + +<li> <i>Meal planning and table service</i>— +<ul> +<li> Using table appointments that are suitable backgrounds for the meal.</li> +<li> Choosing appropriate table appointments in— +<ul> +<li> Linen.</li> +<li> China.</li> +<li> Silver.</li> +<li> Glassware.</li> +</ul> +</li> + +<li><span class="pagenum"><a id="page19" name="page19"></a>[19]</span> + Using desirable types of flowers or plants for the dining table.</li> +<li> Making flower arrangements suitable in size for the dining table.</li> +<li> Selecting consistent substitutes for flowers on the table.</li> +<li> Choosing containers for flowers or plants.</li> +<li> Using candles on the table.</li> +<li> Deciding upon choice and height of candles and candlesticks in relation to the size and height of the centerpiece.</li> +<li> Determining when to use nut cups and place cards.</li> +<li> Choosing place cards and nut cups.</li> +<li> Arranging individual covers so that the table is balanced and harmonious.</li> +<li> Folding and placing napkins.</li> +<li> Considering color and texture of foods in planning menus.</li> +<li> Determining when and how to use suitable food garnishes.</li> +</ul> +</li> + +<li><i>Home—Exterior</i>— + +<ul> +<li> Developing and maintaining attractive surroundings for the house.</li> +<li> Choosing dormers, porches, and porch columns that are in scale with the house.</li> +<li> Grouping and placing the windows so they are harmonious with each other and with the house.</li> +<li> Planning suitable and effective trellises and arbors.</li> +<li> Recognizing limitations in the use of formal gardens and grounds.</li> +<li> Determining the use of the informal type of grounds.</li> +<li> Choosing house paint and considering how it may be influenced by neighboring houses.</li> +<li> Determining the influence of the color of the house on the choice of color for the porch furniture and accessories and for awnings.</li> +<li> Selecting and arranging porch furniture and accessories.</li> +<li> Selecting curtains for the windows of the house which are attractive from the exterior as well as from the interior.</li> +<li> Determining desirable shapes for trimmed hedges and shrubbery.</li> +<li> Selecting shrubbery and flowers that will contribute, at small cost, to the appearance of a home.</li> +<li> Planning the grounds of a home and the possible use of a bird bath, an artificial pool, or a rock garden.</li> +</ul> +</li> + +<li><span class="pagenum"><a id="page20" name="page20"></a>[20]</span> + <i>Home—Interior</i>— + +<ul> +<li> Securing beauty rather than display.</li> +<li> Selecting textures that suggest good taste rather than merely a desire for display.</li> +<li> Choosing wall coverings that are attractive and suitable backgrounds for the home.</li> +<li> Selecting rugs for various rooms.</li> +<li> Selecting furniture that adds attractiveness, comfort, and convenience to the home.</li> +<li> Determining relation of beauty in furniture to the price of it.</li> +<li> Choosing window shades, curtains, and draperies from the standpoint of color, texture, design, and fashion.</li> +<li> Selecting appropriate accessories for the home.</li> +<li> Determining when to use pictures and wall hangings in the home.</li> +<li> Choosing pictures and wall hangings for the home.</li> +<li> Placing rugs, furniture, and accessories in the home.</li> +<li> Arranging and hanging pictures and wall hangings.</li> +<li> Determining the relation of type and arrangement of furnishings and accessories to the formality or informality of a room.</li> +<li> Avoiding formal treatment and shiny textures in the average home.</li> +<li> Planning how color may be used and distributed effectively in a room.</li> +<li> Determining how color schemes of rooms are affected by size, purpose, and location.</li> +<li> Discouraging the use of cloth, paper, and wax flowers and painted weeds in the home.</li> +</ul> +</li> + +<li> + <i>Social and community relations</i>— + +<ul> +<li> Determining social and community activities with which high school girls are asked to assist and for which art training is needed.</li> +<li> Making attractive and suitable posters for special occasions.</li> +<li> Selecting and arranging flowers and potted plants for various occasions.</li> +<li> Planning, selecting, and using appropriate decorations for special events.</li> +<li> Wrapping gifts and packages attractively.</li> +<li> Choosing and using appropriate stationery, calling cards, place cards, and greeting cards.</li> +</ul> +</li> + +<li><span class="pagenum"><a id="page21" name="page21"></a>[21]</span> + <i>Clothing</i>— + +<ul> +<li> Determining appropriate clothing for all occasions.</li> +<li> Planning clothing that adds to rather than detracts from the charm of the wearer.</li> +<li> Planning to avoid garments and accessories that may be liabilities rather than assets.</li> +<li> Recognizing the relation of the "style of the moment" to the choice and combination of the clothing for the individual.</li> +<li> Choosing colors for the individual.</li> +<li> Utilizing bright colors in clothing.</li> +<li> Selecting harmonious color combinations in clothing.</li> +<li> Selecting and using textile designs in clothing.</li> +<li> Selecting and adapting style designs in patterns for the individual.</li> +<li> Improving undesirable body lines and proportions through the wise choice of clothing.</li> +<li> Selecting clothing accessories— +<ul> +<li> Hats.</li> +<li> Shoes.</li> +<li> Hosiery.</li> +<li> Gloves.</li> +<li> Bags.</li> +<li> Jewelry.</li> +</ul> +</li> + +<li> Selecting and using appropriate jewelry and similar accessories with various ensembles.</li> +<li> Choosing texture, color and design for undergarments that make appropriate and attractive foundations for the outer garments.</li> + +</ul> +</li> + +</ul> + + +<p> +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. +</p> + +<p><span class="pagenum"><a id="page22" name="page22"></a>[22]</span></p> + +<a name="h2H_4_0010" id="h2H_4_0010"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<h2> + <span class="sc">Section IV</span> +</h2> +<p class="subhead"> + SUGGESTIVE TEACHING METHODS IN ART RELATED TO THE HOME +</p> +<p class="subquote"> + The test of a real product of learning is this: First, its + permanency; and second, its habitual use in the ordinary activities + of life.—<span class="sc">Morrison</span>. +</p> + +<h3> +CREATING INTEREST +</h3> + +<p> +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<a href="#note-15" name="noteref-15"><small> 15</small></a> says: +</p> +<p class="quote"> + 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. +</p> +<p> +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. +</p> +<p> +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.<a href="#note-16" name="noteref-16"><small> 16</small></a> However, conscious effort on the part of + +<span class="pagenum"><a id="page23" name="page23"></a>[23]</span> + + 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. +</p> +<p> +Professor Lancelot<a href="#note-17" name="noteref-17"><small> 17</small></a> suggests the following procedure as the initial +steps in the building of permanent interests: +</p> +<p class="quote"> + 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. +</p> +<p class="quote"> + 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. +</p> +<p class="quote"> + 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. +</p> +<p> +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. +</p> +<p> +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?" +</p> +<p> +Other discussions may be started by asking questions such as the +following: +</p> +<p class="hang"> + 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? +</p> +<p class="hang"> + 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? +</p> + +<p><span class="pagenum"><a id="page24" name="page24"></a>[24]</span></p> + +<div class="figure"> +<a name="image-0005"><!--IMG--></a> +<a href="images/ill-34.jpg"><img src="images/ill-34-s.jpg" width="400" height="565" +alt="Figure 4.--In a Nebraska high school a screen..." /></a> +<br /> +<span class="sc">Figure 4.</span>—In a Nebraska high school a screen +was used in an unattractive corner as a background for an appreciation +center +</div> + +<p><span class="pagenum"><a id="page25" name="page25"></a>[25]</span></p> + +<p class="hang"> + 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? +</p> +<p class="hang"> + 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?" +</p> +<p class="hang"> + 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? +</p> +<p class="hang"> + 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? +</p> +<p> +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<a href="#note-18" name="noteref-18"><small> 18</small></a> says— +</p> +<p class="quote"> + 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. +</p> +<p> +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. +</p> + +<p><span class="pagenum"><a id="page26" name="page26"></a>[26]</span></p> + +<div class="figure"> +<a name="image-0006"><!--IMG--></a> +<a href="images/ill-36.jpg"><img src="images/ill-36-s.jpg" width="400" height="545" +alt="Figure 5.--The simplest school furnishings..." /></a> +<br /> +<span class="sc">Figure 5.</span>—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 +</div> + +<p><span class="pagenum"><a id="page27" name="page27"></a>[27]</span></p> + +<p> +In many economics laboratories there are several possible improvements +that would make better environment for art teaching. Suggestions for +such improvements include: +</p> + +<ul> + +<li> 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.</li> + +<li> 2. More emphasis upon structural lines— +<ul> +<li> <i>a.</i> Pictures that are grouped and hung correctly.</li> +<li> <i>b.</i> Attractive arrangement of a teacher's desk.</li> +<li> <i>c.</i> Arrangement of the furniture so that the groupings are well balanced and the wall spaces are nicely proportioned.</li> +<li> <i>d.</i> Good arrangement of materials on bulletin board.</li> +</ul> +</li> + +<li> 3. More attention to orderliness— +<ul> +<li> <i>a.</i> When class is not working, orderliness in window-shade arrangement.</li> +<li> <i>b.</i> Elimination of unnecessary objects and furnishings to avoid cluttered appearance.</li> +<li> <i>c.</i> Tops of cases and cupboards or open shelves cleared.</li> +</ul> +</li> + +</ul> + +<p> +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? +</p> +<p> +Morgan<a href="#note-19" name="noteref-19"><small> 19</small></a> pertinently discusses the artificial versus the real: +</p> +<p class="quote"> + 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. +</p> +<p> +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, <a href="#page29">page 29</a>. +</p> +<p> +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. +</p> + +<p><span class="pagenum"><a id="page28" name="page28"></a>[28]</span></p> + +<p> +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, <a href="#page30">page 30</a>. +</p> + +<div class="figure"> +<a name="image-0007"><!--IMG--></a> +<a href="images/ill-38.jpg"><img src="images/ill-38-s.jpg" width="400" height="495" +alt="Figure 6.--A few pieces of unrelated illustrative materials..." /></a> +<br /> +<span class="sc">Figure 6.</span>—A few pieces of unrelated +illustrative materials may be grouped successfully in bulletin-board +space +</div> + +<p> +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. +</p> +<p> +A further contributing essential to stimulating interest in art is a +teacher who exemplifies in her appearance the art she is teaching. + +<span class="pagenum"><a id="page29" name="page29"></a>[29]</span> + + 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. +</p> + +<div class="figure"> +<a name="image-0008"><!--IMG--></a> +<a href="images/ill-39.jpg"><img src="images/ill-39-s.jpg" width="400" height="290" +alt="Figure 7.--Sprouted sweetpotato..." /></a> +<br /> +<span class="sc">Figure 7.</span>—Sprouted sweetpotato produced this +attractive centerpiece for the home table +</div> + +<p> +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. +</p> + +<h3> +DISCUSSION OF METHOD IN THE TEACHING OF ART +</h3> +<p> +In discussing the best methods of teaching art, Whitford<a href="#note-20" name="noteref-20"><small> 20</small></a> says: +</p> +<p class="quote"> + 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. +</p> + +<p><span class="pagenum"><a id="page30" name="page30"></a>[30]</span></p> + +<div class="figure"> +<a name="image-0009"><!--IMG--></a> +<a href="images/ill-40.jpg"><img src="images/ill-40-s.jpg" width="400" height="535" +alt="Figure 8.--Glass-paneled doors open from the dining room..." /></a> +<br /> +<span class="sc">Figure 8.</span>—Glass-paneled doors open from the +dining room directly into a main first-floor corridor in the high +school at Stromsburg, Nebr. +</div> + +<p> +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 + +<span class="pagenum"><a id="page31" name="page31"></a>[31]</span> + + 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. +</p> +<p> +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. +</p> +<p> +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. +</p> +<p> +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<a href="#note-21" name="noteref-21"><small> 21</small></a>— +</p> +<p class="quote"> + 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. +</p> +<p> +In teaching by the problem-solving method Professor Lancelot<a href="#note-22" name="noteref-22"><small> 22</small></a> makes +use of three types of problems. +</p> +<p> +Through the first type, known as the <i>inductive problem</i>, the pupil +is to determine certain causes or effects in the given situation. In + +<span class="pagenum"><a id="page32" name="page32"></a>[32]</span> + + 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: +</p> +<p class="quote"> + Have you ever tried to watch a three-ring circus? Pupils are + given an opportunity to relate their experiences. +</p> +<p class="quote"> + 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? +</p> +<p> +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. +</p> +<p> +The next type is the <i>judgment or reasoning problem</i>, 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: +</p> +<p class="quote"> + 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. +</p> +<p> +The third and final type is the <i>creative problem</i>, 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: +</p> +<p class="quote"> + 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. +</p> + +<p><span class="pagenum"><a id="page33" name="page33"></a>[33]</span></p> + +<p> +Lamps, candles, candlesticks, flowers, pottery, and books will be +provided for this activity, as well as the textiles and the wallpaper. +</p> +<p> +Professor Lancelot<a href="#note-23" name="noteref-23"><small> 23</small></a> sets up five standards for determining what +are good problems. They must, he says, be— +</p> + +<p class="hang"> + 1. Based on true-to-life situations. +</p> +<p class="hang"> + 2. Interesting or connected with things of interest. +</p> +<p class="hang"> + 3. Clearly and definitely stated. +</p> +<p class="hang"> + 4. Neither too difficult nor too easy. +</p> +<p class="hang"> + 5. Call for thinking of superior ability. +</p> + +<p> +In addition, there are four other factors to be considered in the +planning of a successful problem series; +</p> +<p class="hang"> + 1. Each problem should score high according to the above standards. +</p> +<p class="hang"> + 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 <a href="#page38">pp. 38-39</a>.) +</p> +<p class="hang"> + 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. +</p> +<p class="hang"> + 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, <a href="#page18">pp. 18-21</a>.) 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. +</p> + +<p><span class="pagenum"><a id="page34" name="page34"></a>[34]</span></p> + +<p> +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. +</p> + +<h3> +SUGGESTED PROCEDURE FOR DEVELOPING AN ABILITY TO USE A PRINCIPLE OF +PROPORTION FOR ATTAINING BEAUTY +</h3> +<p> +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 <i>lesson</i> is used to designate the <i>entire procedure</i> 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. +</p> +<p> +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. +</p> +<p> +Further suggestions for problems, illustrative materials, and +assignments may be found on <a href="#page40">page 40</a>. +</p> + +<h3> +SUGGESTED PLAN FOR THE DEVELOPMENT OF AN UNDERSTANDING OF THE PRINCIPLE +OF PROPORTION AND ITS USE +</h3> + + +<ul> +<li> +<i>General objective.</i>—To develop ability to— + +<ul> +<li> Select articles which are pleasing because of good proportions.</li> +<li> Adapt and make pleasing proportions as needed.</li> +</ul> +</li> + +<li> +<i>Specific objective.</i>—To develop ability to— + +<ul> +<li> Divide a space so the resulting parts are pleasing in their + relationship to each other and to the whole.</li> +</ul> +</li> +</ul> + + +<p> +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 + +<span class="pagenum"><a id="page35" name="page35"></a>[35]</span> + + 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 <i>a shape is most pleasing when +one side is about one and one-half times as long as the other</i>. +</p> +<p> +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. +</p> + +<p> +<b>Details of Lesson Procedure</b> +</p> + +<!--Mega-DIV for sidenote accommodation--> + +<div class="lesson"> + +<div class="lesson-r"> +<p class="side"> +Problems and questions to introduce the principle needed +to solve this and many similar problems +</p> +</div> + +<div class="lesson-l"> +<p> +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?" +</p> +</div> + +<div style="clear:both;"></div> + +<div class="lesson-r"> +<p class="side"> +Use of illustrative materials +</p> +</div> + +<div class="lesson-l"> +<p> +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?" +</p> +</div> + +<div style="clear:both;"></div> + +<div class="lesson-r"> +<p class="side"> +Class discussion +</p> +</div> + +<div class="lesson-l"> +<p> +Some of the class will undoubtedly choose A. Their reasons for this +choice may be as follows: +</p> +<p class="hang"> + 1. The uncurtained window space is more or less diamond shaped. +</p> +<p class="hang"> + 2. The four sections of the curtains are almost exactly alike. +</p> + +<p><span class="pagenum"><a id="page36" name="page36"></a>[36]</span></p> + +<p> +Others will choose B, and give such reasons as follows: +</p> +<p class="hang"> + 1. The window space is less noticeable. +</p> +<p class="hang"> + 2. There is more variety in the curtains. +</p> +<p class="hang"> + 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. +</p> +<p> +These reasons will probably lead the majority of the class to decide that +B is more desirable than A. +</p> +<p> +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. +</p> +</div> + +<div style="clear:both;"></div> + +<div class="lesson-r"> +<p class="side"> +Summary of class discussion +</p> +</div> + +<div class="lesson-l"> +<p> +A summary of the points which may be brought out by the class on each +arrangement of curtains follows: +</p> + +<p> +A, in which the curtains are divided exactly in half, is not interesting +for a very long time because— +</p> +<p class="hang"> + 1. The divisions on each side as well as above and below the tie backs + are all alike. +</p> +<p class="hang"> + 2. It leaves too much of the window exposed. +</p> +<p class="hang"> + 3. The window space exposed does not follow the lines of the window. +</p> +<p class="hang"> + 4. The arrangement becomes tiresome the longer one looks at it. +</p> +<p class="hang"> + 5. One's curiosity is quickly satisfied when it is obvious that the two + areas are exactly alike. +</p> +<p> +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— +</p> +<p class="hang"> + 1. The two sides are alike, but the top half is not exactly like the + bottom half. This variation makes it more pleasing. +</p> +<p class="hang"> + 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. +</p> +<p> +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— +</p> + +<p><span class="pagenum"><a id="page37" name="page37"></a>[37]</span></p> + +<p class="hang"> + 1. The eye travels very far down the length of the window, then is + suddenly interrupted by the tie back. +</p> +<p class="hang"> + 2. This arrangement is top-heavy. +</p> +<p class="hang"> + 3. The window space is not pleasing. +</p> +<p> +D is exactly the reverse of B, so it is equally interesting. +</p> +</div> + +<div style="clear:both;"></div> + +<div class="lesson-r"> +<p class="side"> +Further use of illustrative material +</p> +</div> + +<div class="lesson-l"> +<p> +"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?" +</p> +<p> +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— +</p> +</div> + +<div style="clear:both;"></div> + +<div class="lesson-r"> +<p class="side"> +Class determines best division of space +</p> +</div> + +<div class="lesson-l"> +<p class="quote"> + A the division is exactly in the center of the length. +</p> +<p class="quote"> + B the division comes at a point between one-half and two-thirds + of the length. +</p> +<p class="quote"> + C the division comes at a point more than three-quarters of the + length. +</p> +<p class="quote"> + D the division comes at a point between one-half and two-thirds + of the length. +</p> +<p> +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. +</p> +<p> +"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: +</p> +<p class="quote"> + In one the belt divides the dress in two equal parts. +</p> +<p class="quote"> + In the second the belt is placed so the skirt is a little longer + than the waist. +</p> +<p class="quote"> + In the third the belt is placed at normal waistline. (With a long + skirt this makes the skirt very much longer than the waist.) +</p> + +<p><span class="pagenum"><a id="page38" name="page38"></a>[38]</span></p> + +<p> +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. +</p> +</div> + +<div style="clear:both;"></div> + +<div class="lesson-r"> +<p class="side"> +Class develops statement of principle for good proportion +</p> +</div> + +<div class="lesson-l"> +<p> +"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: <i>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.</i> +</p> +<p> +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. +</p> +</div> + +<div style="clear:both;"></div> + +</div><!--End Mega-DIV 1--> + +<p> +<b>Series of Suggested Problems to Test Pupils' Ability to Recognize +and Use the Principle of Proportion Just Developed</b> +</p> + +<div class="lesson"> + +<div style="clear:both;"></div> + +<div class="lesson-r"> +<p class="side"> +Judgment problems given for class solution +</p> +</div> + +<div class="lesson-l"> +<p> + 1. "In which of these doors do you think the division into panels + is most satisfactory? Why?" +</p> +<p> + 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. +</p> +<p> + 2. "On which of these book covers do you think the space is best + divided? Why?" +</p> +<p> + 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?" +</p> +<p> + 4. "Helen is planning to make a dress with a cape collar. Her mother + thinks the collar is not deep enough + +<span class="pagenum"><a id="page39" name="page39"></a>[39]</span> + + and suggests that Helen change + the pattern. How could she determine the most becoming depth for her + cape collar?" +</p> +<p> + 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?" +</p> +<p> + 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?" +</p> +</div> + +<div style="clear:both;"></div> + +<div class="lesson-r"> +<p class="side"> +Creative problem involving activity +</p> +</div> + +<div class="lesson-l"> +<p> + 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." +</p> +</div> + +<div style="clear:both;"></div> + +<div class="lesson-r"> +<p class="side"> +Judgment problem involving activity +</p> +</div> + +<div class="lesson-l"> +<p> + 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." +</p> +<p> + (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.) +</p> +</div> + +<div style="clear:both;"></div> + +<div class="lesson-r"> +<p class="side"> +Creative problem involving use of a principle previously +developed +</p> +</div> + +<div class="lesson-l"> +<p> + 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?" +</p> +<p> + (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.) +</p> +</div> + +<div style="clear:both;"></div> + +<div class="lesson-r"> +<p class="side"> +Possible assignment +</p> +</div> + +<div class="lesson-l"> +<p> + 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." +</p> +<p> + 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 + +<span class="pagenum"><a id="page40" name="page40"></a>[40]</span> + + 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. +</p> +<p> + 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. +</p> +</div> + +<!--END of Mega-DIV for lesson--> +</div> + +<div style="clear:both;"></div> + +<p> +<b>Further Suggestions for Problems, Illustrative Materials, and Assignments</b> +</p> +<p> +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. +</p> +<p> +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. <i>The use of miniatures should be +confined to emergency situations, when the real things are not +obtainable.</i> +</p> +<p> +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: +</p> +<p class="quote"> + One divided exactly in half. +</p> +<p class="quote"> + One with the dividing line between one-half and two-thirds of + the length from one end. +</p> + +<p><span class="pagenum"><a id="page41" name="page41"></a>[41]</span></p> + +<p class="quote"> + One with the dividing line at a point three-quarters of the length. +</p> +<p class="quote"> + One with the dividing line between three-quarters of the entire + length and the end. +</p> + +<p> +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. +</p> +<p> +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. +</p> +<p> +One possible assignment has been given in the lesson. Other possibilities +present themselves as follows: +</p> +<p class="hang"> + 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. +</p> +<p class="hang"> + 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. +</p> +<p> +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 + +<span class="pagenum"><a id="page42" name="page42"></a>[42]</span> + + ones. Such a +cumulative teaching plan is essential to make art training function most +successfully in the lives of the pupils. +</p> + +<h3> +CLASS PROJECTS +</h3> +<p> +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. +</p> +<p> +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. +</p> +<p> +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. +</p> +<p> +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. +</p> +<p> +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 + +<span class="pagenum"><a id="page43" name="page43"></a>[43]</span> + + be remodeled and painted. +Figures 9 and 10 show the dresser before and after the class had worked +on it. +</p> + +<div class="figure"> +<a name="image-0010"><!--IMG--></a> +<a name="image-0011"><!--IMG--></a> +<a href="images/ill-53.jpg"><img src="images/ill-53-s.jpg" width="400" height="325" +alt="Figure 9.--The dresser as found... Figure 10.--The same dresser after..." /></a> +<br /> +<span class="sc">Figure 9.</span>—The dresser as found in the dormitory room +<br /> +<span class="sc">Figure 10.</span>—The same dresser after the class in +related art had remodeled and painted it +</div> + +<p> +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. +</p> + +<h3> +NOTEBOOKS +</h3> +<p> +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— +</p> +<p class="hang"> + 1. Provide a collection of illustrative and written materials + which pupils may have for future use. +</p> +<p class="hang"> + 2. Provide a classroom activity through which pupils learn. +</p> +<p class="hang"> + 3. Measure pupil ability to recognize art applications through + the selection of pertinent illustrations. +</p> + +<p><span class="pagenum"><a id="page44" name="page44"></a>[44]</span></p> + +<p class="hang"> + 4. May supplement or be used in place of a class text. +</p> +<p class="hang"> + 5. Provide material for the school exhibit. +</p> +<p class="hang"> + 6. Insure material for competitive purposes at county and State fairs. +</p> +<p class="hang"> + 7. Maintain interest. +</p> + +<p> +Answering the following questions may serve to determine whether notebooks +are of value to the pupil: +</p> + +<p class="hang"> + 1. Does the notebook provide for worthwhile individual experience? +</p> +<p class="hang"> + 2. Will it pay in terms of time and energy expended? +</p> +<p class="hang"> + 3. What is the ultimate use of it? +</p> + +<p> +The following chart may serve to aid the teacher in judging whether +notebooks are justified: +</p> + +<p class="center"> +<span class="sc">Chart 2.</span>—<i>Analysis of the value of notebooks in art courses</i> +</p> + +<table id ="chart2" border="0" align="center" width="90%" summary="Chart 2.--Analysis of the value of notebooks in art courses"> + +<tr><th rowspan="2" width="20%">Purposes of notebook </th> + <th colspan="4">Value</th> +</tr> + +<tr> +<th style="border-left: solid!important; border-width: 1px!important;"> In terms of worth-while individual experience</th> +<th> In terms of time and energy consumed</th> +<th> In terms of ultimate use of notebook</th> +</tr> + +<tr><td> 1. To provide a collection of material for later pupil use.</td> + +<td> To the extent that the activities involved exercise individual judgment.</td> + +<td> Usually more time and energy consumed than later use justifies. This is dependent upon the degree of + elaborateness of the notebook. Copying, tracing, and pasting are very time-consuming.</td> + +<td> Notebooks may be exhibited, but beyond that experience seems to indicate that few girls or + women use them later in home life as a source of information.</td> +</tr> + +<tr><td> 2. To provide classroom activity through which pupil learns.</td> + +<td> To the extent that the activities involved provide opportunity for exercising selection.</td> + +<td> Both may be well spent, provided the evaluation in (1) is kept in mind and if much of the mechanical work + is done outside of class.</td> + +<td> It may train pupils to be observant and critical and thus aid in making wiser choices in real life.</td> +</tr> + +<tr><td> 3. To measure pupil's ability to recognize art applications in the selection of pertinent illustrations.</td> + +<td> To the extent to which the activities give added opportunity for making independent choices and offer opportunity for + students to recognize and select additional applications to those given in class.</td> + +<td> A justifiable use of time and energy, provided the emphasis is on making selection and the mechanical processes are minimized.</td> + +<td> After selections have been made they are of no use later as a measuring device.</td> +</tr> + +<tr><td> 4. To supplement or use in place of a class text.</td> + +<td> There is little opportunity for individual experience in writing a notebook, since the material is + usually dictated or copied from references. With the present available facilities for reproduction of + printed information there is little excuse for this procedure.</td> + +<td> It is not justifiable use of pupil's time to compile text material which should be made + available to them through other channels.</td> + +<td> Pupil may use it for review in organizing subject matter of the course for examination. Beyond this, + probably little use is ever made of it.</td> +</tr> + +<tr><td> 5. To provide materials for school exhibits. </td> + +<td> Not a justifiable objective. It develops a sense of false value. Some judgment is undoubtedly developed, but + the competitive spirit so far exceeds the desire to learn that the experience is frequently unfortunate to the individual.</td> + +<td> Time and energy consumed do not justify preparing notebooks for this purpose alone. Time so used may mean sacrificing + opportunities for the development and use of judgment in real-life situations.</td> + +<td> No use except for some proud relative to show to friends the notebook that has won special recognition.</td> +</tr> + +<tr><td> 6. To insure material for competitive purposes at county and State fairs. +</td> +<td>See (5) above. </td><td>See (5) above. </td><td> See (5) above. </td> +</tr> + +<tr><td> +<span class="pagenum"><a id="page45" name="page45"></a>[45]</span> + 7. To maintain interest.</td> + +<td> To the extent that the pupils are permitted to use some originality or initiative in choosing material + and compiling it, interest may be maintained.</td> + +<td> An expensive use of time and energy, since interest may be obtained in so many quicker and easier ways. + If there is seemingly greater interest it is probably in the manipulative processes rather than in art itself.</td> + +<td> Of little value since notebooks are usually stored away and forgotten.</td> +</tr> + +<tr><th colspan="4"></th></tr> + +</table> + +<p> +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. +</p> +<p> +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? +</p> +<p> +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. +</p> +<p> +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 + +<span class="pagenum"><a id="page46" name="page46"></a>[46]</span> + + wrapping or construction paper. The latter may be +made very simply by cutting and folding the paper to form a double-pocket +envelope. +</p> +<p> +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. +</p> +<p> +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. +</p> + +<h3> +THE PLACE OF LABORATORY PROBLEMS +</h3> +<p> +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. +</p> +<p> +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. +</p> +<p> +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. +</p> +<p> +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. +</p> +<p> +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 + +<span class="pagenum"><a id="page47" name="page47"></a>[47]</span> + + 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. +</p> +<p> +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. +</p> +<p> +Laboratory problems that are well selected and wisely directed will +result in one or more of three values: +</p> +<p class="hang"> + 1. Pupils may have a better appreciation of fitness and purpose. +</p> +<p class="hang"> + 2. Pupils may have a greater desire to own and use beautiful things. +</p> +<p class="hang"> + 3. Pupils may have a greater appreciation for possibilities of + beauty in the simple things. +</p> +<p> +With these possible values in mind the teacher will need to determine +which of the many laboratory problems can be used most effectively. +</p> +<p> +The following standards are offered as a basis for evaluating the +various possibilities for such laboratory problems: +</p> +<p class="hang"> + 1. <i>Time.</i>—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. <i>Every article which can be justified for a + school problem should require a relatively small amount of time + and few repetitive practices.</i> +</p> +<p class="hang"> + 2. <i>Ultimate use of the article.</i>—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. <i>Every article should be evaluated in terms of its</i> + +<span class="pagenum"><a id="page48" name="page48"></a>[48]</span> + + <i>relation to use and surroundings and be chosen for a specific + place.</i> +</p> +<p class="hang"> + 3. <i>Structural quality of the article.</i>—"Structural design is the + design made by the size and shape of the object."<a href="#note-24" name="noteref-24"><small> 24</small></a> 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. <i>Every article should meet the fundamental + requirements of good design.</i> +</p> +<p class="hang"> + 4. <i>Suitable decoration for the article.</i>—"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. <i>Decoration, if any is used, should + make a lasting contribution rather than a temporary appeal.</i> +</p> +<p class="hang"> + 5. <i>Good technique.</i>—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. <i>Laboratory + problems should require only that type of technique which can + be achieved successfully by the pupil.</i> +</p> +<p> +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. +</p> +<p> +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. +</p> + +<p><span class="pagenum"><a id="page49" name="page49"></a>[49]</span></p> + +<p> +The "trial and error" procedure is well illustrated in the following +report of a Wisconsin high school teacher: +</p> +<p class="quote"> + 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. +</p> +<p class="quote"> + 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. +</p> +<p class="quote"> + The following problem arose in the sophomore class of 27 girls in + the home furnishing and wardrobe planning unit: +</p> +<p class="quote"> + 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. +</p> +<p class="quote"> + 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. +</p> +<p class="quote"> + 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. +</p> +<p class="quote"> + 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. +</p> +<p class="quote"> + 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." +</p> +<p class="quote"> + 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. +</p> +<p class="quote"> + 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. +</p> + +<p><span class="pagenum"><a id="page50" name="page50"></a>[50]</span></p> + +<p> +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. +</p> +<p class="hang"> + 1. <i>Block printing.</i>—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. +</p> +<p class="hang"> + 2. <i>Fabric or yarn flowers for the wardrobe.</i>—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. +</p> +<p class="hang"> + 3. <i>Hand stitchery (embroidery, hemstitching, fagoting, and + quilting).</i>—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. +</p> +<p class="hang"> + 4. <i>Lamp shades.</i>—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. +</p> +<p class="hang"> + 5. <i>Lettering.</i>—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. +</p> +<p class="hang"> + 6. <i>Marbleized paper.</i>—This is a possible class exercise which + involves the handling of colors. Such papers may be utilized + +<span class="pagenum"><a id="page51" name="page51"></a>[51]</span> + + as wrapping for gifts, book covers, desk sets, or portfolios. +</p> +<p class="hang"> + 7. <i>Painting furniture.</i>—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. +</p> +<p class="hang"> + 8. <i>Place cards.</i>—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. +</p> +<p class="hang"> + 9. <i>Portfolios.</i>—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. +</p> +<p class="hang"> + 10. <i>Posters.</i>—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. +</p> +<p class="hang"> + 11. <i>Rug hooking.</i>—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. +</p> +<p class="hang"> + 12. <i>Tie dyeing.</i>—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 + +<span class="pagenum"><a id="page52" name="page52"></a>[52]</span> + + 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. +</p> +<p class="hang2"> + 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. +</p> +<p class="hang2"> + 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. +</p> +<p class="hang2"> + 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. +</p> +<p class="hang"> + 13. <i>Weaving.</i>—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. +</p> +<p> +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 + +<span class="pagenum"><a id="page53" name="page53"></a>[53]</span> + + and +arrangement. When these articles are used as laboratory problems, special +care should be taken to avoid placing the emphasis upon decoration. +</p> +<p> +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 <a href="#page47">47-48</a>, which, stated in more specific terms, are— +</p> +<p class="hang"> + 1. Every article should require a relatively small amount of + time and few repetitive practices. +</p> +<p class="hang"> + 2. Every article should be evaluated in terms of its relation + to use and surroundings and chosen for a specific place. +</p> +<p class="hang"> + 3. Every article should meet the fundamental requirements of + good design. +</p> +<p class="hang"> + 4. Decoration, if any is used, should make a lasting contribution + rather than a temporary appeal. +</p> +<p class="hang"> + 5. All problems should require only that technique which can be + achieved successfully by the pupils. +</p> + +<h3> +FIELD TRIPS +</h3> +<p> +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: +</p> +<p class="hang"> + 1. To stimulate interest in beauty. +</p> +<p class="hang"> + 2. To provide contact with materials and articles as they are to be + found in life. +</p> +<p class="hang"> + 3. To extend information. +</p> +<p class="hang"> + 4. To provide additional opportunity for exercising judgment. +</p> +<p> +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. +</p> +<p> +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. +</p> +<p> +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 + +<span class="pagenum"><a id="page54" name="page54"></a>[54]</span> + + 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: +</p> +<p class="hang"> + 1. The style or design of the dress should be suited to the kind + of fabric and the surface pattern of it. +</p> +<p class="hang"> + 2. The trimming should be in harmony with the construction lines + and the color of the dress. +</p> +<p class="hang"> + 3. The surface pattern of the material should be one of which the + wearer and her friends would not soon tire. +</p> +<p> +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. +</p> +<p> +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. +</p> +<p> +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. +</p> +<p> +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. +</p> +<p> +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 + +<span class="pagenum"><a id="page55" name="page55"></a>[55]</span> + + 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. +</p> + +<h3> +MEASURING RESULTS +</h3> +<p> +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. +</p> +<p> +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<a href="#note-25" name="noteref-25"><small> 25</small></a> refers to +outcomes as follows: +</p> +<p class="quote"> + 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. +</p> +<p> +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. +</p> +<p> +<b>Evidences of the Successful Functioning of Art in the Classroom</b> +</p> +<p> +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— +</p> +<p class="hang"> + 1. Color combinations. +</p> +<p class="hang"> + 2. Texture combinations. +</p> +<p class="hang"> + 3. Appropriateness of clothing for school. +</p> +<p class="hang"> + 4. Appropriateness of style of garments to the girl. +</p> +<p class="hang"> + 5. Appropriateness of accessories. +</p> + +<p> +The story of freckled-faced Mary well illustrates how art did function +in one girl's life. She was an unmistakably plain high-school + +<span class="pagenum"><a id="page56" name="page56"></a>[56]</span> + + girl. +Her hair was red, her face freckled, and her nose decidedly retroussé. +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. +</p> +<p> +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? +</p> +<p> +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: +</p> + +<p><span class="pagenum"><a id="page57" name="page57"></a>[57]</span></p> + +<p class="quote"> + That color is too bright for her. +</p> +<p class="quote"> + That particular green dress makes her skin look yellow. +</p> +<p class="quote"> + Those beads harmonize beautifully with that dress. +</p> +<p class="quote"> + She is one girl who should not wear her belt high. It makes her + look so short and dumpy. +</p> +<p class="quote"> + I have given my sister my colored scarf, which I now realize + clashed with everything I had, but fits in with her things. +</p> +<p> +Better pupil contributions to class work constitute another evidence of +the effectiveness of art instruction. These manifest themselves in— +</p> +<p class="hang"> + 1. Voluntary reports and comments of observations and experiences. +</p> +<p class="hang"> + 2. The bringing in of illustrative material for class and bulletin + board use. +</p> +<p class="hang"> + 3. The asking of relevant questions. +</p> +<p> +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. +</p> +<p> +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. +</p> +<p> +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— +</p> +<p class="hang"> + 1. Articles on tables, buffets, or bookcases. +</p> +<p class="hang"> + 2. Flowers in suitable bowls. +</p> +<p class="hang"> + 3. Books and magazines. +</p> +<p class="hang"> + 4. Exhibit cabinets. +</p> +<p class="hang"> + 5. Stage settings for class plays. +</p> + +<p> +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. +</p> + +<p><span class="pagenum"><a id="page58" name="page58"></a>[58]</span></p> + +<p> +A teacher of related art in Missouri says: +</p> +<p class="quote"> + 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. +</p> + +<p> +<b>Evidences of the Successful Functioning of Art in the Home</b> +</p> +<p> +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— +</p> +<p class="hang"> + 1. More attractive arrangements and rearrangements of furniture, + rugs, pictures, and accessories. +</p> +<p class="hang"> + 2. Elimination of unnecessary bric-a-brac. +</p> +<p class="hang"> + 3. More suitable use of color. +</p> +<p class="hang"> + 4. More appropriate choice of textiles and texture combinations. +</p> +<p class="hang"> + 5. Improved selection and care of shrubbery, hedges, and flower + beds. Removal of unnatural or grotesque shapes. +</p> +<p class="hang"> + 6. Improvements in walks, trellises, fences, and gates to make + them more suitable for house and grounds. +</p> +<p> +A teacher in a vocational school in North Dakota reports as follows: +</p> +<p class="quote"> + 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. +</p> +<p> +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: +</p> +<p class="quote"> + 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. +</p> +<p class="quote"> + 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. +</p> +<p class="quote"> + 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. +</p> +<p class="quote"> + The entire group showed unusual poise, self-confidence, and good + judgment, as well as tact, in making suggestions. +</p> +<p class="quote"> + 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. +</p> + +<p><span class="pagenum"><a id="page59" name="page59"></a>[59]</span></p> + +<p> +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. +</p> +<p> +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, <a href="#page34">pp. 34 to 42.</a>) The class consisted of ninth-grade girls and met for +daily class periods, 80 minutes in length. +</p> +<p> +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: +</p> +<p class="hang"> + 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.) +</p> +<p class="hang"> + 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.) +</p> +<p class="hang"> + 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.) +</p> +<p class="hang"> + 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 + +<span class="pagenum"><a id="page60" name="page60"></a>[60]</span> + + 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.) +</p> +<p class="hang"> + 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.) +</p> +<p class="hang"> + 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.) +</p> +<p class="hang"> + 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.) +</p> +<p> +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. +</p> +<p> +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: +</p> +<p class="hang"> + 1. To which of these mounted pictures do you think the margins are + best suited? Why? (The pictures cut from + +<span class="pagenum"><a id="page61" name="page61"></a>[61]</span> + + 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.) +</p> +<p class="hang"> + 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.) +</p> +<p class="hang"> + 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.) +</p> +<p class="hang"> + 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.) +</p> +<p class="hang"> + 5. Which of these three border designs has rhythm made most + beautiful? Why? (Advertisements of towels with borders furnished + the designs.) +</p> +<p class="hang"> + 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.) +</p> +<p class="hang"> + 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.) +</p> +<p class="hang"> + 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.) +</p> +<p class="hang"> + 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.) +</p> + +<p><span class="pagenum"><a id="page62" name="page62"></a>[62]</span></p> + +<p class="hang"> + 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.) +</p> +<p> +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. +</p> +<p> +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: +</p> +<p class="quote"> + 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. +</p> +<p> +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. +</p> +<p> +For questions 1, 2, and 3 of the first part (<a href="#page59">p. 59</a>) 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. +</p> +<p> +In the second part of the test (<a href="#page60">pp. 60-62</a>) 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 + +<span class="pagenum"><a id="page63" name="page63"></a>[63]</span> + + the results +of teaching have not yet been fully appreciated. Further suggestions +on illustrative materials will be found in Section VI, <a href="#page75">page 75</a>. The +objective type test also has its place in measuring results.<a href="#note-26" name="noteref-26"><small> 26</small></a> +</p> +<p> +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. +</p> +<p> +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. +</p> +<p> +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. +</p> + +<div style="height: 2em;"><br /><br /></div> + +<p class="hang"> + <i>Name of project.</i>—Redecorating my bedroom. +</p> +<p class="hang"> + <i>Plan of project.</i>—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. +</p> +<p class="hang2"> + 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. +</p> +<p class="hang2"> + 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 + +<span class="pagenum"><a id="page64" name="page64"></a>[64]</span> + + the walls, as I want + the floors darkest, the walls next, and the ceiling the lightest. +</p> +<p class="hang2"> + 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. +</p> +<p class="hang2"> + 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. +</p> +<p class="hang2"> + In order to contrast the curtains with the bedspread and dresser + scarf, I think the spread and scarf can be a lighter cream color. +</p> +<p class="hang2"> + A cushion for the rocker and a flower by the window will also add + color and finishing touches to the room. +</p> + +<p class="hang"> +<i>Outline of project activities.</i>— +</p> + +<table id="outline" border="0" align="center" summary="Outline of project activities" width="80%"> + +<tr><th> Jobs </th> +<th style="border-left: solid!important; border-width: 1px!important;"> References </th></tr> + +<tr><td> Selected wall paper and helped paper the room, using paper with light background and pastel figures in it.</td> + <td> Looked through several wall paper catalogues and samples at the furniture store.</td> +</tr> + +<tr><td> Painted the woodwork an ivory color.</td> + <td> I got sample folders of paint and also used the samples in the catalogue.</td> +</tr> + +<tr><td></td> + <td>The House and Its Care, by Matthews.</td> +</tr> + +<tr><td> Painted the floor an inside tan (deep tan color).</td> + <td> Used sample folders of paint.</td> +</tr> + +<tr><td></td> + <td> Goldstein, Art in Everyday Life, for suggestion on color.</td> +</tr> + +<tr><td> Painted the furniture with beige enamel.</td> + <td> I referred to paint folders.</td> +</tr> + +<tr><td> Made an unbleached krinkled spread, repeating the color of the draperies on the spread.</td> + <td> I looked through several magazines and catalogues for styles and my mother and sister gave suggestions.</td> +</tr> + +<tr><td> Made deep cream voile curtains. These were straight curtains, not ruffled.</td> + <td> Studied different styles of curtains in magazines.</td> +</tr> + +<tr><td> Made draperies.</td> + <td> Referred to magazines and catalogues.</td> +</tr> + +<tr><td> Made cretonne cushion for rocker.</td> + <td> Mother gave me suggestions.</td> +</tr> + +<tr><td> Made a dresser scarf, repeating colors that are in the wall paper.</td> + <td> Consulted mother and my teacher.</td> +</tr> + +<tr><th colspan="2"></th></tr> + +</table> + +<p class="hang"> + <i>Time for project.</i>—A total of 62-1/2 hours was spent on my project + between November 15 and January 11. +</p> +<p class="hang"> + <i>Story of my project.</i>—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 + +<span class="pagenum"><a id="page65" name="page65"></a>[65]</span> + + 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. +</p> +<p class="hang2"> + 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.) +</p> +<p class="hang2"> + 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.) +</p> +<p class="hang2"> + The next step was painting the floor. I chose inside tan. (Sample + of color used.) +</p> +<p class="hang2"> + 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.) +</p> +<p class="hang2"> + 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. +</p> +<p class="hang2"> + 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. +</p> +<p class="hang2"> + 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. +</p> +<p class="hang2"> + The rocker needed a cushion. This I made of figured cretonne, + which blends nicely with the room. (Sample attached.) +</p> + +<p><span class="pagenum"><a id="page66" name="page66"></a>[66]</span></p> + +<p class="hang2"> + On the floor I have two rag rugs which also have colors of blue, + red-orange, and tan. +</p> +<p class="hang2"> + My teacher came to visit my room one evening and gave me some + splendid ideas. +</p> +<p class="hang2"> + 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. +</p> +<p> +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. +</p> + +<p> +The success of art instruction may then be evaluated by— +</p> +<p class="hang"> + 1. Evidences in the classroom. +</p> +<p class="hang"> + 2. Evidences in the home. +</p> +<p class="hang"> + 3. Tests which call for judgment and creative thinking. +</p> +<p class="hang"> + 4. Home projects. +</p> + +<h3> +HOME PROJECTS +</h3> +<p> +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 + +<span class="pagenum"><a id="page67" name="page67"></a>[67]</span> + + which are needed, +and then the applications of these in the new situation. Thus the home +project is a creative piece of work. +</p> +<p> +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,<a href="#note-27" name="noteref-27"><small> 27</small></a> +a distinguished critic of modern architecture and decoration, has +fittingly said: +</p> +<p class="quote"> + 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. +</p> +<p> +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: +</p> +<p class="hang"> + 1. The ideal of creating beauty in the home will be strengthened. +</p> +<p class="hang"> + 2. Pupils will recognize greater possibilities for making art + applications. +</p> +<p class="hang"> + 3. Pupils will become more observing and discriminating. +</p> +<p class="hang"> + 4. Family life will be bettered by those projects in which home + improvement has been achieved. +</p> +<p class="hang"> + 5. Pupils will appreciate that beauty is not dependent upon cost. +</p> +<p class="hang"> + 6. More successful projects will be carried out. +</p> +<p> +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: +</p> +<p class="quote"> + 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. +</p> +<p class="quote"> + 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. +</p> +<p> +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: +</p> +<p class="quote"> + 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 + +<span class="pagenum"><a id="page68" name="page68"></a>[68]</span> + + 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. +</p> + +<p> +<b>Suggestive Home Projects in Which Art is an Important Factor</b> +</p> +<p> +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: +</p> +<p class="hang"> + 1. Planning and buying or making (<i>a</i>) school wardrobe for self; + (<i>b</i>) season's wardrobe for small sister or brother. +</p> +<p class="hang"> + 2. Making the most of clothing on hand. This will involve cleaning, + pressing, and mending, as well as some remodeling. +</p> +<p class="hang"> + 3. Remodeling clothing on hand and choosing additional garments + needed for an attractive and suitable wardrobe. +</p> +<p class="hang"> + 4. Selecting the accessories to complete a costume for self or for + mother. +</p> +<p> +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. <i>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.</i> 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. +</p> +<p> +Joint home improvement projects have been carried out in some States +with considerable success. In these projects the girls in home + +<span class="pagenum"><a id="page69" name="page69"></a>[69]</span> + + 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. +</p> +<p> +Some suggestive home-improvement projects are as follows: +</p> +<p class="hang"> + 1. Making the home kitchen a more convenient and attractive place + in which to work. +</p> +<p class="hang"> + 2. Arranging home furnishings and accessories so that harmony, + balance, and desirable centers of emphasis contribute to the + attractiveness and comfort of each room. +</p> +<p class="hang"> + 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. +</p> +<p class="hang"> + 4. Preparing the sun porch for summer use. +</p> +<p class="hang"> + 5. Planning and caring for window boxes. +</p> +<p class="hang"> + 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. +</p> +<p class="hang"> + 7. Re-covering or making slip covers for furniture. +</p> +<p class="hang"> + 8. Assisting in the selection of linen, china, silver, and glassware + for the table. +</p> +<p class="hang"> + 9. Planning the table decorations for special occasions. +</p> +<p class="hang"> + 10. Keeping appropriate centerpieces of flowers, plants, or fruit on + the home table. +</p> +<p> +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. +</p> + +<div style="height: 2em;"><br /><br /></div> + +<p class="center"> + <i>Name of project: Beautifying Our Yard</i> +</p> +<p class="center"> +<small>(Reported by a girl in a vocational high school in Nebraska.)</small> +</p> + +<p> + I. Reasons for choosing this project— +</p> +<ul> +<li> 1. The flowers will improve the looks of the yard.</li> +<li> 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.</li> +</ul> + +<p><span class="pagenum"><a id="page70" name="page70"></a>[70]</span></p> + +<p> +II. Aims— +</p> +<ul> +<li> 1. To make the yard and house more attractive.</li> +<li> 2. To keep flowers watered and weeded and give other care they need.</li> +<li> 3. To plant the flowers in the most suitable place and position.</li> +</ul> + +<p> +III. Plans— +</p> +<ul> +<li> 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. +</li> +<li> 2. Names of flowers to be planted— +<ul id="double3"> + <li>Cock's Comb.</li> <li>Zinnias.</li> + <li>Phlox.</li> <li>Larkspur.</li> + <li>Nasturtiums.</li> <li>Petunia.</li> + <li>Sweet William.</li> <li>Cannas.</li> + <li>Snap Dragons.</li> <li>Sweet Peas.</li> + <li>Poppies.</li> <li>Heliotrope.</li> + <li>Asters.</li> <li>Sweet Alyssum.</li> + <li>Cosmos.</li> <li>Marigolds.</li> +</ul> +</li> +<li> 3. Location of flowers— +<ul> +<li> <i>a.</i> Along the walk (both sides).</li> +<li> <i>b.</i> Along sides of the house.</li> +<li> <i>c.</i> Along side of vacant lot.</li> +<li> <i>d.</i> Around garage.</li> +<li> <i>e.</i> Along the driveway.</li> +</ul> +</li> +<li> 4. How to plant the flowers— +<ul> +<li> <i>a.</i> The tallest ones in the back.</li> +<li> <i>b.</i> The shortest in front.</li> +</ul> +</li> +<li> 5. When to plant them— +<ul> +<li> <i>a.</i> Sweet peas, March 1 to 10, or before.</li> +<li> <i>b.</i> Others in the middle of April to May.</li> +<li> <i>c.</i> The flowers may be started in the house and transplanted + to the outside when the weather permits.</li> +</ul> +</li> +<li> 6. Care of flowers— +<ul> +<li> <i>a.</i> Water the flowers at least once a day (if dry weather). + It is best to water them in the evening.</li> +<li> <i>b.</i> Weed them at least twice a week and loosen the soil + around them.</li> +<li> <i>c.</i> If some insect starts destroying any of the flowers, + spray them with a solution which will kill the destroyer.</li> +</ul> +</li> +</ul> + +<p> +IV. Approval of guardian— +</p> +<p class="quote"> +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. +</p> +<p> +<span class="sc">Note.</span>—An excellent planting plan worked out on squared paper +accompanied this project. +</p> + +<p><span class="pagenum"><a id="page71" name="page71"></a>[71]</span></p> + +<div style="height: 2em;"><br /><br /></div> + +<p class="center"> + <i>Name of Project: Improving Our Home</i> +</p> +<p class="center"> +<small>(Reported by an Alabama high school girl.)</small> +</p> +<p class="quote"> + 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). +</p> +<p class="quote"> + 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. +</p> +<p class="quote"> + 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. +</p> +<p class="quote"> + 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. +</p> +<p class="quote"> + The walls in the living room and hall were painted in buff, the + dining room and kitchen are to be the same. +</p> +<p class="quote"> + 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. +</p> +<p class="quote"> + 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. +</p> + +<p><span class="pagenum"><a id="page72" name="page72"></a>[72]</span></p> + +<div style="height: 6em;"><br /><br /><br /><br /><br /><br /></div> + +<h2> +<span class="sc">Section V</span> +</h2> +<p class="subhead"> +ADDITIONAL UNITS IN ART RELATED SPECIFICALLY TO HOUSE FURNISHING AND +CLOTHING SELECTION +</p> +<p class="subquote"> + Though we travel the whole world over to find the beautiful, + we must carry it with us or we find it not.—<span class="sc">Emerson.</span> +</p> + +<p> +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. +</p> +<p> +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. +</p> +<p> +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, + +<span class="pagenum"><a id="page73" name="page73"></a>[73]</span> + + 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. +</p> +<p> +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. +</p> +<p> +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. +</p> +<p> +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. +</p> +<p> +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. +</p> + +<p><span class="pagenum"><a id="page74" name="page74"></a>[74]</span></p> + +<p> +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. +</p> +<p> +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 +<a href="#page53">pp. 53-55</a>.) +</p> +<p> +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. +</p> + +<p><span class="pagenum"><a id="page75" name="page75"></a>[75]</span></p> + +<a name="h2H_4_0012" id="h2H_4_0012"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<h2> + <span class="sc">Section VI</span> +</h2> +<p class="subhead"> + ILLUSTRATIVE MATERIAL +</p> +<p class="subquote"> + 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.—<span class="sc">Whitehead</span>. +</p> + +<h3> +PURPOSE +</h3> +<p> +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. +</p> +<p> +Some outstanding advantages of the use of illustrative material are: +</p> +<p class="hang"> + 1. It focuses attention upon a single example and affords opportunity + for common interpretation and discussion. +</p> +<p class="hang"> + 2. It furnishes visual as well as audible instruction. +</p> +<p class="hang"> + 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.) +</p> + +<h3> +SELECTION AND SOURCE +</h3> +<p> +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— +</p> + +<ul> +<li> 1. Make a psychological appeal by— +<ul> +<li> <i>a.</i> Coming within the experience of the pupils.</li> +<li> <i>b.</i> Being suited to their age and previous training.</li> +<li> <i>c.</i> Possessing pertinent and attractive qualities.</li> +</ul> +</li> +<li><span class="pagenum"><a id="page76" name="page76"></a>[76]</span> + 2. Afford wide opportunity for independent choice.</li> +<li> 3. Be simple and adapted to the standards of the community.</li> +<li> 4. Be reasonable in cost.</li> +</ul> + + +<p> +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. +</p> + +<p class="center"> +<span class="sc">Chart 3.</span>—<i>Types and sources of illustrative materials</i> +</p> + +<table id="chart3" border="0" align="center" width="80%" summary="Chart 3"> + +<tr> +<th width="50%">General types of illustrative materials</th> +<th width="50%" style="border-left: solid!important; border-width: 1px!important;">Sources of these materials</th> +</tr> + +<tr><td> I. Articles and materials in everyday use:</td><td></td></tr> + +<tr> +<td> 1. School-owned materials— +<ul> +<li> Book ends. </li> +<li> Candlesticks and candles. </li> +<li> China. </li> +<li> Colored papers. </li> +<li> Curtains. </li> +<li> Flower vases and bowls. </li> +<li> Necklines cut from neutral fabrics.</li> +<li> Pictures. </li> +<li> Screen. </li> +<li> Swatches of fabrics— +<ul> +<li> For color. </li> +<li> For design. </li> +<li> For texture. </li> +</ul></li> +<li> Wall hangings. </li> +<li> Yarns of many colors. </li> +</ul> +</td> +<td> 1. This collection will be accumulated as funds are available and as desirable + articles are located. Certain things as bits of yarns and scraps of materials may be + contributed by members of classes. +</td></tr> + +<tr> +<td> 2. Borrowed materials— +<ul> +<li> Brass or pewter articles. </li> +<li> Wardrobe accessories. </li> +<li> Dresses. </li> +<li> Dressing table articles. </li> +<li> Household linens. </li> +<li> Picture molding samples. </li> +<li> Scarfs. </li> +<li> Small tables. </li> +<li> Table runners. </li> +<li> Trays. </li> +</ul> +</td> +<td> 2. Borrowed from teachers, homes, and stores in the community. +</td></tr> + +<tr> +<td> +<p><span class="pagenum"><a id="page77" name="page77"></a>[77]</span></p> + II. Collected and constructed materials: +</td> +<td></td> +</tr> + +<tr> +<td> 1. Collected— +<ul> +<li> Magazine covers. </li> +<li> Magazine advertisements. </li> +<li> Magazine articles and illustrations. </li> +<li> Commercial advertising— +<ul> +<li> Booklets. </li> +<li> Boxes of miscellaneous size and shape. </li> +</ul> +</li> +<li> Catalogues— +<ul> +<li> Wallpaper. </li> +<li> Furniture. </li> +<li> China. </li> +<li> Silver. </li> +<li> Pictures. </li> +<li> Floor coverings. </li> +</ul> +</li> +<li> Charts— +<ul> +<li> Paints and enamels. </li> +<li> Fabrics. </li> +<li> Dyes. </li> +</ul> +</li> +<li> Colored paper samples. </li> +<li> Fabric samples. </li> +</ul> +</td> +<td> 1. Collected by the teacher from commercial firms and magazines. Much of this + material comes to the teacher by virtue of her position and should + therefore be considered school property. +</td> +</tr> + +<tr> +<td>2. Constructed— +<ul> +<li> Paper models representing— +<ul> +<li> Margins. </li> +<li> Space divisions. </li> +<li> General proportions. </li> +<li> Repetition of units. </li> +<li> Harmony of shapes. </li> +<li> Colour wheel. </li> +</ul> +</li> +</ul> +</td> +<td>2. Made by the teacher.</td> +</tr> + +<tr><th colspan="2"></th></tr> + +</table> + +<h3> +USE +</h3> +<p> +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. +</p> +<p> +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. +</p> + +<p><span class="pagenum"><a id="page78" name="page78"></a>[78]</span></p> + +<p> +There are three important objectives to be kept in mind in the use of +illustrative materials. They are— +</p> +<p class="hang"> + 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, <a href="#page8">page 8</a>. +</p> +<p class="hang"> + 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. +</p> +<p class="hang"> + 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. +</p> +<p> +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. +</p> +<p> +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. +</p> +<p> +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. +</p> +<p> +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. +</p> + +<p><span class="pagenum"><a id="page79" name="page79"></a>[79]</span></p> + +<h3> +CARE AND STORAGE +</h3> +<p> +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. +</p> +<p> +Illustrative materials may be most efficiently cared for by— +</p> +<p class="hang"> + 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. +</p> +<p class="hang"> + 2. Avoiding too long or unnecessary exposure. +</p> +<p class="hang"> + 3. Careful handling. +</p> +<p class="hang"> + 4. Cleaning if possible. +</p> +<p class="hang"> + 5. Pressing. +</p> +<p class="hang"> + 6. Labeling and classifying. +</p> +<p class="hang"> + 7. Careful storing. +</p> +<p> +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. +</p> +<p> +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. +</p> +<p> +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. +</p> +<p> +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 + +<span class="pagenum"><a id="page80" name="page80"></a>[80]</span> + + 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. +</p> +<p> +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. +</p> +<p> +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. +</p> +<p> +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. +</p> + +<p><span class="pagenum"><a id="page81" name="page81"></a>[81]</span></p> + +<a name="h2H_4_0013" id="h2H_4_0013"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<h2> + <span class="sc">Section VII</span> +</h2> +<p class="subhead"> + REFERENCE MATERIAL +</p> +<p class="subquote"> + 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.—<span class="sc">Richard Allen</span>. +</p> + +<h3> +USE OF REFERENCE MATERIAL +</h3> +<p> +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. +</p> +<p> +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. +</p> +<p> +In support of the use of references rather than single texts, the +following points are made: +</p> +<p class="hang"> + 1. Opportunity is offered for pupils to verify and elaborate on + information. +</p> +<p class="hang"> + 2. More pupils will have contact with the best references. +</p> +<p class="hang"> + 3. Resourcefulness in the pupil will be better developed. +</p> +<p class="hang"> + 4. Teachers are challenged to make better selection of books as + well as better use of them. +</p> +<p class="hang"> + 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. +</p> + +<h3> +SOURCES OF REFERENCE MATERIAL +</h3> +<p> +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— +</p> +<p class="quote"> + 1. Information must be authentic. +</p> + +<p><span class="pagenum"><a id="page82" name="page82"></a>[82]</span></p> + +<p class="hang"> + 2. It should be pertinent to the study at hand. +</p> +<p class="hang"> + 3. It should be not only clear, concise, and interesting, but easy + to understand. +</p> +<p class="hang"> + 4. It should include a wide variety of well chosen and clearly + reproduced illustrations. +</p> +<p class="hang"> + 5. Illustrations should for the most part represent objects with + which the girls come in frequent contact. +</p> +<p class="hang"> + 6. It should be up to date. +</p> +<p class="hang"> + 7. Subject matter and illustrations should avoid extravagant choices + that are not within the reach of the average family. +</p> +<p class="hang"> + 8. It should contain a good table of contents and index. +</p> +<p> +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. +</p> +<p> +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. +</p> +<p> +Several State departments have issued helpful lists of available +advertising material for home economics, including related art. +</p> + +<h3> + BIBLIOGRAPHY +</h3> + +<p> +1. For pupil and teacher use— +</p> + +<p class="biblio"> +Baldt, Laura I., and Harkness, Helen D., Clothing for the High School + Girl, 1931. J. B. Lippincott Co., Philadelphia. +</p> +<p class="biblio"> +Butterick, Helen G., Principles of Clothing Selection. Revised 1930. + The Macmillan Co., New York. +</p> +<p class="biblio"> +Goldstein, Harriett and Vetta, Art in Everyday Life, 1925. The Macmillan + Co., New York. +</p> +<p class="biblio"> +Rathbone, Lucy, and Tarpley, Elizabeth, Fabrics and Dress, 1931. Houghton + Mifflin Co., Boston. +</p> +<p class="biblio"> +Sage, Elizabeth, Textiles and Clothing. 1930. Scribners, New York. +</p> +<p class="biblio"> +Snow, Bonnie E., and Froehlich, Hugo B., The Theory and Practice of Color, + 1918. Prang & Co., New York. +</p> +<p class="biblio"> +Trilling, Mable B., and Williams, Florence, Art in Home and Clothing, + 1928. J. B. Lippincott Co., Philadelphia. +</p> + +<p> +2. For teacher use— +</p> + +<p class="biblio"> +Bailey, Henry Turner, Art Education, 1914. Houghton Mifflin Co., Boston. +</p> +<p class="biblio"> +Batchelder, Ernest A., Design in Theory and Practice, 1914. The Macmillan + Co., New York. +</p> +<p class="biblio"> +Degarmo, Charles, and Winslow, Leon Loyal, Essentials of Design, 1924. + The Macmillan Co., New York. +</p> +<p class="biblio"> +Federated Art Council on Art Education, Report of the Committee on + Terminology. 1929. L. L. Winslow, secretary. Baltimore. +</p> + +<p><span class="pagenum"><a id="page83" name="page83"></a>[83]</span></p> + +<p class="biblio"> +Heckman, Albert, Pictures from Many Lands, 1925. The Art Extension + Society, 415 Madison Avenue, New York. +</p> +<p class="biblio"> +Morgan, A. B., Elements of Art and Decoration, 1915, 1928. Bruce Publishing + Co., Milwaukee. +</p> +<p class="biblio"> +Neuhaus, Eugene, Appreciation of Art, 1924. Ginn & Co., New York. +</p> +<p class="biblio"> +National Committee on Wood Utilization, United States Department of + Commerce, Furniture, Its Selection and Use, 1931. Superintendent + of Documents, Washington, D. C. +</p> +<p class="biblio"> +Packard, Edgar, Picture Readings, 1918. Public School Publishing Co., + Bloomington, Ill. +</p> +<p class="biblio"> +Parsons, Frank Alvah, Interior Decoration. Doubleday, Doran & Co., + Garden City, N. Y. +</p> +<p class="biblio"> +Russell, Mable, and Wilson, Elsie, Art Training Through Home Problems. + (In press.) Manual Arts Press, Peoria, Ill. +</p> +<p class="biblio"> +Sargent, Walter, Enjoyment and Use of Color, 1923. Scribners, New York. +</p> +<p class="biblio"> +Weinberg, Louis, Color in Everyday Life, 1918. Dodd, Mead & Co., New York. +</p> +<p class="biblio"> +Welling, Jane Betsy, More Color for You, 1927. Abbott Educational Co., + Chicago. +</p> + +<p><span class="pagenum"><a id="page84" name="page84"></a>[84]</span></p> + +<p><!--[Blank Page]--><br /></p> + +<p><span class="pagenum"><a id="page85" name="page85"></a>[85]</span></p> + +<a name="h2H_4_0015" id="h2H_4_0015"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<h2> + INDEX +</h2> + +<ul> +<li>Abilities: +<ul> +<li> creative, <a href="#page14">14</a>, <a href="#page22">22</a>.</li> +<li> in laboratory problems, <a href="#page46">46-47</a>.</li> +<li> judgment, <a href="#page22">22</a>.</li> +<li> objectives, <a href="#page14">14</a>.</li> +<li> permanent, <a href="#page11">11</a>.</li> +<li> specific ability in a lesson, <a href="#page34">34</a>.</li> +</ul> +</li> + +<li>Additional units. <i>See</i> Units. +</li> + +<li>Allen, Richard, <a href="#page81">81</a>. +</li> + +<li>Applications of art principles: +<ul> +<li> in notebooks, <a href="#page43">43</a>.</li> +<li> to all phases of home making, <a href="#page18">18-21</a>.</li> +<li> through home projects, <a href="#page67">67</a>.</li> +</ul> +</li> + +<li>Appreciation: +<ul> +<li> fundamental outcome of art instruction, <a href="#page55">55</a>, <a href="#page58">58</a>.</li> +<li> objective, <a href="#page14">14</a>.</li> +</ul> +</li> + +<li>Arrangements: +<ul> +<li> of articles on dresser, <a href="#page41">41</a>.</li> +<li> of bulletin board, <a href="#page8">8</a>, <a href="#page28">28</a>.</li> +<li> of curtains, <a href="#page35">35-38</a>.</li> +<li> of flowers, <a href="#page7">7</a>, <a href="#page9">9</a>, <a href="#page24">24</a>, <a href="#page26">26</a>.</li> +</ul> +</li> + +<li>Art (<i>see also</i> Design, Beauty, and Taste): +<ul> +<li> essential factor in education, <a href="#page1">1</a>.</li> +<li> quality, <a href="#page25">25</a>, <a href="#page55">55</a>.</li> +<li> relation to home economics, <a href="#page1">1</a>.</li> +</ul> +</li> + +<li>Assignments, <a href="#page39">39</a>, <a href="#page40">40-42</a>, <a href="#page65">65-66</a>. +</li> + +<li><div style="height: 2em;"><br /><br /></div></li> + +<li>Baily, Henry Turner, <a href="#page10">10</a>. +</li> + +<li>Balance: +<ul> +<li> objective, <a href="#page14">14</a>.</li> +<li> principles, <a href="#page15">15</a>, <a href="#page16">16</a>.</li> +<li> procedure for achieving, <a href="#page17">17</a>.</li> +</ul> +</li> + +<li>Beauty: +<ul> +<li> contribution of principles to, <a href="#page15">15</a>.</li> +<li> enjoyment of, <a href="#page14">14</a>.</li> +<li> ideal of creating beauty in home, <a href="#page67">67</a>.</li> +<li> objective, <a href="#page13">13</a>.</li> +</ul> +</li> + +<li>Better Homes Week, <a href="#page42">42</a>. +</li> + +<li>Block printing, <a href="#page50">50</a>. +</li> + +<li>Bobbitt, F., <a href="#page12">12</a>, <a href="#page25">25</a>. +</li> + +<li>Bulletin board: +<ul> +<li> arrangement of, <a href="#page8">8</a>, <a href="#page28">28</a>.</li> +<li> for illustrative materials, <a href="#page78">78</a>.</li> +</ul> +</li> + +<li><div style="height: 2em;"><br /><br /></div></li> + +<li>Center of interest. <i>See</i> Emphasis. +</li> + +<li>Child development, art topics, <a href="#page18">18</a>. +</li> + +<li>Clothing selection: +<ul> +<li> art topics in, <a href="#page21">21</a>.</li> +<li> suggested projects in, <a href="#page68">68</a>.</li> +<li> unit in, <a href="#page72">72-74</a>.</li> +</ul> +</li> + +<li>Color: +<ul> +<li> a basic element, <a href="#page16">16</a>.</li> +<li> in laboratory, <a href="#page27">27</a>.</li> +<li> in nature, <a href="#page27">27</a>.</li> +<li> objective, <a href="#page13">13</a>, <a href="#page14">14</a>.</li> +<li> principles, <a href="#page16">16</a>.</li> +<li> use of dyes in teaching, <a href="#page51">51-52</a>.</li> +</ul> +</li> + +<li>Consumer: +<ul> +<li> art training needed by, <a href="#page12">12</a>.</li> +<li> selection versus making by, <a href="#page2">2</a>.</li> +</ul> +</li> + +<li>Content: +<ul> +<li> choice of art, <a href="#page12">12</a>.</li> +<li> essential art content, <a href="#page14">14-17</a>, <a href="#page22">22</a>, <a href="#page33">33</a>.</li> +</ul> +</li> + +<li>Costume design. <i>See</i> Clothing selection. +</li> + +<li>Craft work. <i>See</i> Laboratory problems. +</li> + +<li>Creative problems. <i>See</i> Problems. +</li> + +<li>Cumulative teaching, <a href="#page42">42</a>. +</li> + +<li>Curtains. <i>See</i> Draperies. +</li> + +<li><div style="height: 2em;"><br /><br /></div></li> + +<li>Decoration, definition, <a href="#page48">48</a>. +</li> + +<li>Design. (<i>See also</i> Structural design), objectives, <a href="#page13">13-14</a>. +</li> + +<li>Dining room, school, <a href="#page28">28</a>, <a href="#page30">30</a>. +</li> + +<li>Draperies, lesson on arranging curtains, <a href="#page34">34-40</a>. +</li> + +<li>Drew, E., <a href="#page1">1</a>. +</li> + +<li><div style="height: 2em;"><br /><br /></div></li> + +<li>Economy, in dress, <a href="#page2">2</a>. +</li> + +<li>Embroidery. <i>See</i> Hand stitchery. +</li> + +<li>Emerson, Ralph Waldo, <a href="#page72">72</a>. +</li> + +<li>Emphasis: +<ul> +<li> objective, <a href="#page14">14</a>.</li> +<li> principles, <a href="#page15">15</a>, <a href="#page17">17</a>.</li> +</ul> +</li> + +<li>Environment: +<ul> +<li> home, <a href="#page58">58</a>.</li> +<li> home-economics department, <a href="#page6">6</a>, <a href="#page7">7</a>, <a href="#page9">9</a>, <a href="#page24">24</a>, <a href="#page26">26</a>, <a href="#page27">27</a>.</li> +<li> objective, <a href="#page13">13</a>.</li> +</ul> +</li> + +<li>Evaluation of results. <i>See</i> Measuring results. +</li> + +<li>Exterior design. <i>See</i> Home exterior. +</li> + +<li><div style="height: 2em;"><br /><br /></div></li> + +<li>Federated Council on Art Education, <a href="#page15">15</a>, <a href="#page16">16</a>. +</li> + +<li>Field trips: +<ul> +<li> description, <a href="#page54">54-55</a>.</li> +<li> place in related art course, <a href="#page53">53-55</a>.</li> +<li> purpose, <a href="#page53">53</a>.</li> +</ul> +</li> + +<li>Flowers: +<ul> +<li> fabric or yarn, <a href="#page50">50</a>.</li> +<li> substitutes for, <a href="#page27">27</a>.</li> +</ul> +</li> + +<li>Flower arrangement: +<ul> +<li> discussion of, <a href="#page29">29</a>.</li> +<li> illustrations, <a href="#page7">7</a>, <a href="#page9">9</a>, <a href="#page24">24</a>, <a href="#page26">26</a>.</li> +</ul> +</li> + +<li>Furniture: +<ul> +<li> painting, <a href="#page51">51</a>.</li> +<li> refinishing, <a href="#page42">42-43</a>.</li> +</ul> +</li> + +<li><div style="height: 2em;"><br /><br /></div></li> + +<li>Girls' room, home project, <a href="#page63">63-66</a>, <a href="#page69">69</a>. +</li> + +<li>Goldstein, Harriett and Vetta, <a href="#page4">4</a>, <a href="#page15">15</a>, <a href="#page48">48</a>. +</li> + +<li><div style="height: 2em;"><br /><br /></div></li> + +<li>Hand stitchery, <a href="#page50">50</a>. +</li> + +<li>Harmony: +<ul> +<li> objective, <a href="#page14">14</a>.</li> +<li> principles, <a href="#page15">15</a>, <a href="#page17">17</a>.</li> +</ul> +</li> + +<li>Historic costume, <a href="#page74">74</a>. +</li> + +<li><span class="pagenum"><a id="page86" name="page86"></a>[86]</span> + Home-economics cottages, <a href="#page42">42</a>. +</li> + +<li>Home exterior, art topics, <a href="#page19">19</a>. +</li> + +<li>Home improvement: +<ul> +<li> joint projects in, <a href="#page68">68-69</a>.</li> +<li> project reports of, <a href="#page63">63-66</a>, <a href="#page69">69-71</a>.</li> +<li> suggested projects in, <a href="#page69">69</a>.</li> +</ul> +</li> + +<li>Home interior: +<ul> +<li> art topics, <a href="#page20">20</a>.</li> +<li> unit in home furnishing, <a href="#page72">72-74</a>.</li> +</ul> +</li> + +<li>Home projects. <i>See</i> Projects. +</li> + +<li>Home situations for which art is needed, <a href="#page17">17-21</a>. +</li> + +<li>House furnishings. <i>See</i> Home interior. +</li> + +<li><div style="height: 2em;"><br /><br /></div></li> + +<li>Ideals: +<ul> +<li> establishing, <a href="#page28">28</a>.</li> +<li> in related art courses, <a href="#page2">2</a>.</li> +<li> objective, <a href="#page13">13</a>.</li> +</ul> +</li> + +<li>Illustrations of appreciation centers, <a href="#page7">7</a>, <a href="#page8">8</a>, <a href="#page9">9</a>, <a href="#page24">24</a>, <a href="#page26">26</a>. +</li> + +<li>Illustrative material: +<ul> +<li> for test, <a href="#page62">62-63</a>.</li> +<li> further suggestions for use of, <a href="#page40">40-41</a>.</li> +<li> in notebooks, <a href="#page43">43</a>, <a href="#page45">45</a>, <a href="#page46">46</a>.</li> +<li> purpose of, <a href="#page75">75</a>.</li> +<li> selection and source of, <a href="#page75">75-77</a>.</li> +<li> storage, <a href="#page79">79-80</a>.</li> +<li> use, <a href="#page77">77-78</a>.</li> +<li> use in specific lesson, <a href="#page40">40-41</a>.</li> +</ul> +</li> + +<li>Inductive problems. <i>See</i> Problems. +</li> + +<li>Interest: +<ul> +<li> arrangement of units to create, <a href="#page10">10-11</a>.</li> +<li> contribution of classroom to, <a href="#page25">25</a>, <a href="#page26">26</a>.</li> +<li> creating, <a href="#page22">22-29</a>.</li> +<li> initial, <a href="#page23">23-25</a>.</li> +<li> objective, <a href="#page13">13</a>.</li> +<li> specific, <a href="#page22">22</a>.</li> +<li> spread of, <a href="#page58">58</a>.</li> +<li> through field trips, <a href="#page53">53</a>.</li> +<li> through illustrative material, <a href="#page78">78</a>.</li> +<li> through notebooks, <a href="#page44">44</a>, <a href="#page45">45</a>.</li> +</ul> +</li> + +<li>Interior design. <i>See</i> Home interior. +</li> + +<li><div style="height: 2em;"><br /><br /></div></li> + +<li>Judgment problems. <i>See</i> Problems. +</li> + +<li><div style="height: 2em;"><br /><br /></div></li> + +<li>Kelsey, Clark, B., <a href="#page2">2</a>. +</li> + +<li>Knouff, Cyrus, W., <a href="#page2">2</a>. +</li> + +<li><div style="height: 2em;"><br /><br /></div></li> + +<li>Laboratory, improvement in, <a href="#page27">27</a>. +</li> + +<li>Laboratory problems: +<ul> +<li> education possibilities of commonly used, <a href="#page50">50-52</a>.</li> +<li> place in related art course, <a href="#page46">46-53</a>.</li> +<li> relation to interest, <a href="#page22">22</a>.</li> +<li> standards for evaluating, <a href="#page47">47-48</a>.</li> +<li> values of, <a href="#page47">47</a>.</li> +</ul> +</li> + +<li>Lamp shades, <a href="#page50">50</a>. +</li> + +<li>Lesson in art, <a href="#page34">34-38</a>. +</li> + +<li>Lettering, <a href="#page50">50</a>. +</li> + +<li>Line, basic element, <a href="#page16">16</a>. +</li> + +<li><div style="height: 2em;"><br /><br /></div></li> + +<li>Marbleized paper, <a href="#page50">50-51</a>. +</li> + +<li>Meal planning and table service, art topics, <a href="#page18">18-19</a>. +</li> + +<li>Measuring results: +<ul> +<li> description of test given for, <a href="#page59">59-63</a>.</li> +<li> discussion of, <a href="#page55">55-66</a>.</li> +<li> improved practices— +<ul> +<li> at home, <a href="#page58">58</a>.</li> +<li> in school, <a href="#page55">55-58</a>.</li> +</ul> +</li> +<li> practical test, <a href="#page58">58</a>.</li> +<li> through home projects, <a href="#page63">63-66</a>.</li> +<li> through notebooks, <a href="#page44">44</a>.</li> +</ul> +</li> + +<li>Method in teaching: +<ul> +<li> discussion, <a href="#page29">29-33</a>.</li> +<li> problem solving, <a href="#page31">31-33</a>.</li> +</ul> +</li> + +<li>Morehart, <a href="#page31">31</a>. +</li> + +<li>Morgan, A. B., <a href="#page27">27</a>. +</li> + +<li>Morrison, H. C., <a href="#page22">22</a>. +</li> + +<li>Mumford, Lewis, <a href="#page67">67</a>. +</li> + +<li><div style="height: 2em;"><br /><br /></div></li> + +<li>Needs for art training: +<ul> +<li> general art, <a href="#page12">12</a>.</li> +<li> girls, <a href="#page3">3</a>, <a href="#page13">13</a>, <a href="#page15">15</a>.</li> +<li> home, <a href="#page15">15</a>, <a href="#page17">17-21</a>.</li> +<li> individual, <a href="#page15">15</a>.</li> +</ul> +</li> + +<li>Notebooks: +<ul> +<li> analysis to determine use of, <a href="#page44">44-45</a>.</li> +<li> discussion of use, <a href="#page43">43-46</a>.</li> +<li> justification of use, <a href="#page43">43-44</a>.</li> +</ul> +</li> + +<li><div style="height: 2em;"><br /><br /></div></li> + +<li>Objectives: +<ul> +<li> general, <a href="#page13">13</a>, <a href="#page34">34</a>.</li> +<li> guide for content, <a href="#page14">14-15</a>, <a href="#page21">21</a>.</li> +<li> in related art, <a href="#page12">12-14</a>.</li> +<li> in using illustrative materials, <a href="#page77">77-78</a>.</li> +<li> specific, <a href="#page13">13-14</a>, <a href="#page34">34</a>.</li> +</ul> +</li> + +<li>Opposition, <a href="#page16">16</a>. +</li> + +<li>Orderly arrangement: +<ul> +<li> in laboratory, <a href="#page27">27</a>.</li> +<li> on bulletin board, <a href="#page8">8</a>, <a href="#page27">27</a>, <a href="#page28">28</a>.</li> +</ul> +</li> + +<li><div style="height: 2em;"><br /><br /></div></li> + +<li>Period furniture, <a href="#page73">73-74</a>. +</li> + +<li>Personality, expressed in homes, <a href="#page2">2</a>, <a href="#page67">67</a>. +</li> + +<li>Place cards, <a href="#page51">51</a>. +</li> + +<li>Portfolios: +<ul> +<li> for illustrative material, <a href="#page45">45-46</a>.</li> +<li> making, <a href="#page51">51</a>.</li> +</ul> +</li> + +<li>Posters, <a href="#page46">46</a>, <a href="#page51">51</a>. +</li> + +<li>Principles of art: +<ul> +<li> application in all phases of homemaking, <a href="#page18">18</a>.</li> +<li> classification, <a href="#page16">16</a>.</li> +<li> illustrated in lesson on proportion, <a href="#page35">35</a>, <a href="#page38">38</a>.</li> +<li> relationship, <a href="#page41">41-42</a>.</li> +<li> selection, <a href="#page15">15-17</a>, <a href="#page21">21</a>.</li> +</ul> +</li> + +<li>Problems: +<ul> +<li> creative, <a href="#page32">32</a>, <a href="#page39">39</a>.</li> +<li> inductive, <a href="#page31">31-32</a>, <a href="#page35">35</a>.</li> +<li> judgment or reasoning, <a href="#page32">32</a>, <a href="#page38">38</a>, <a href="#page39">39</a>, <a href="#page61">61</a>.</li> +<li> meaning, <a href="#page31">31</a>.</li> +<li> source, <a href="#page14">14</a>.</li> +</ul> +</li> + +<li>Problem series: +<ul> +<li> factors in planning, <a href="#page33">33</a>.</li> +<li> suggested series, <a href="#page38">38-40</a>.</li> +</ul> +</li> + +<li>Problem solving: +<ul> +<li> discussion, <a href="#page29">29-34</a>.</li> +<li> use of illustrative material, <a href="#page78">78</a>.</li> +</ul> +</li> + +<li><span class="pagenum"><a id="page87" name="page87"></a>[87]</span> + Projects: +<ul> +<li> class, <a href="#page42">42-43</a>.</li> +<li> home— + <ul> + <li> outcomes, <a href="#page67">67</a>.</li> + <li> report of one, <a href="#page63">63-66</a>.</li> + <li> suggestive projects, <a href="#page67">67-68</a>.</li> + </ul> +</li> +</ul> +</li> + +<li>Proportion: +<ul> +<li> objective, <a href="#page14">14</a>.</li> +<li> principles, <a href="#page15">15</a>, <a href="#page16">16</a>, <a href="#page35">35</a>, <a href="#page38">38</a>, <a href="#page52">52</a>, <a href="#page58">58-59</a>.</li> +<li> sample lesson for developing principle, <a href="#page34">34-40</a>.</li> +</ul> +</li> + +<li><div style="height: 2em;"><br /><br /></div></li> + +<li>Radiation, <a href="#page15">15</a>, <a href="#page16">16</a>. +</li> + +<li>Reasoning. <i>See</i> Judgment. +</li> + +<li>Reference material: +<ul> +<li> for pupil and teacher use, <a href="#page82">82</a>.</li> +<li> for teacher use, <a href="#page82">82-83</a>.</li> +<li> sources, <a href="#page81">81-82</a>.</li> +<li> use, <a href="#page81">81</a>.</li> +</ul> +</li> + +<li>Repetition: +<ul> +<li> objective, <a href="#page14">14</a>.</li> +<li> principles, <a href="#page15">15</a>, <a href="#page16">16</a>.</li> +</ul> +</li> + +<li>Rhythm: +<ul> +<li> objective, <a href="#page14">14</a>.</li> +<li> principles, <a href="#page15">15</a>, <a href="#page16">16</a>.</li> +</ul> +</li> + +<li>Rugs, rug hooking, <a href="#page51">51</a>. +</li> + +<li>Russell, Mabel, <a href="#page15">15</a>, <a href="#page17">17</a>, <a href="#page22">22</a>. +</li> + +<li><div style="height: 2em;"><br /><br /></div></li> + +<li>Sequence: +<ul> +<li> in problems, <a href="#page33">33</a>.</li> +<li> in units, <a href="#page10">10</a>, <a href="#page72">72</a>.</li> +</ul> +</li> + +<li>Shaded dyeing, <a href="#page52">52</a>. +</li> + +<li>Social and community relations, art topics, <a href="#page20">20</a>. +</li> + +<li>Standards: +<ul> +<li> for a dress, <a href="#page54">54</a>.</li> +<li> for evaluating laboratory problems, <a href="#page47">47-48</a>, <a href="#page53">53</a>.</li> +<li> for reference material, <a href="#page81">81-82</a>.</li> +</ul> +</li> + +<li>Strebel, <a href="#page31">31</a>. +</li> + +<li>Structural design: +<ul> +<li> definition of, <a href="#page48">48</a>.</li> +<li> emphasis in classroom, <a href="#page27">27</a>.</li> +</ul> +</li> + +<li>Subordination. <i>See</i> Emphasis. +</li> + +<li>Supervisors, use of bulletin by State and local, <a href="#page6">6</a>. +</li> + +<li>Surroundings. <i>See</i> Environment. +</li> + +<li><div style="height: 2em;"><br /><br /></div></li> + +<li>Taste: +<ul> +<li> developed through good example, <a href="#page29">29</a>.</li> +<li> quotation on, <a href="#page2">2</a>, <a href="#page10">10</a>.</li> +</ul> +</li> + +<li>Teachers: +<ul> +<li> appearance, <a href="#page29">29</a>.</li> +<li> art teachers, <a href="#page5">5</a>.</li> +<li> home economics, <a href="#page5">5</a>.</li> +<li> quoted, <a href="#page49">49</a>, <a href="#page56">56-57</a>, <a href="#page58">58</a>, <a href="#page62">62</a>, <a href="#page67">67-68</a>.</li> +<li> special problems of, in art, <a href="#page4">4-5</a>.</li> +</ul> +</li> + +<li>Teacher training: +<ul> +<li> preparation in art, <a href="#page5">5</a>.</li> +<li> use of bulletin in, <a href="#page6">6</a>.</li> +</ul> +</li> + +<li>Terminology in art, <a href="#page15">15-16</a>. +</li> + +<li>Terms, art, <a href="#page15">15</a>. +</li> + +<li>Tests. <i>See</i> Measuring results. +</li> + +<li>Tie dyeing, <a href="#page51">51-52</a>. +</li> + +<li>Transition, <a href="#page15">15</a>, <a href="#page16">16</a>. +</li> + +<li>Trilling, M. B., <a href="#page15">15</a>. +</li> + +<li><div style="height: 2em;"><br /><br /></div></li> + +<li>Units: +<ul> +<li> additional units in art, <a href="#page72">72-74</a>.</li> +<li> arrangement in vocational schools, <a href="#page10">10-11</a>, <a href="#page72">72</a>.</li> +<li> in clothing selection, <a href="#page73">73-74</a>.</li> +<li> in home furnishing, <a href="#page72">72-73</a>.</li> +</ul> +</li> + +<li>Unity, <a href="#page15">15</a>, <a href="#page16">16</a>. +</li> + +<li><div style="height: 2em;"><br /><br /></div></li> + +<li>Vocational program: +<ul> +<li> art in all-day schools in, <a href="#page1">1-2</a>, <a href="#page10">10-11</a>, <a href="#page14">14</a>.</li> +<li> art for adults in, <a href="#page2">2-3</a>, <a href="#page14">14</a>.</li> +<li> art for part-time girls in, <a href="#page11">11</a>, <a href="#page14">14</a>.</li> +<li> objectives, <a href="#page12">12</a>.</li> +<li> place of art in, <a href="#page10">10-11</a>.</li> +</ul> +</li> + +<li><div style="height: 2em;"><br /><br /></div></li> + +<li>Weaving, <a href="#page52">52</a>. +</li> + +<li>Whitford, William C., <a href="#page1">1</a>, <a href="#page12">12</a>, <a href="#page15">15</a>, <a href="#page16">16</a>, <a href="#page22">22</a>, <a href="#page29">29</a>, <a href="#page55">55</a>, <a href="#page63">63</a>. +</li> + +<li>Williams, F., <a href="#page15">15</a>. +</li> + +<li>Wilson, Elsie, <a href="#pagevii"><span class="sc">vii</span></a>, <a href="#page15">15</a>, <a href="#page17">17</a>, <a href="#page22">22</a>. +</li> + +<li>Windows, lesson on curtain arrangement for school, <a href="#page34">34-40</a>. +</li> + +<li>Winter bouquets, <a href="#page27">27</a>, <a href="#page29">29</a>. +</li> + +</ul> + + +<p><span class="pagenum"><a id="page88" name="page88"></a>[88]</span></p> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<p class="center"><big><b> +PUBLICATIONS OF THE FEDERAL BOARD FOR<br /> VOCATIONAL EDUCATION RELATING TO<br /> +HOME-ECONOMICS EDUCATION<a href="#note-28" name="noteref-28"><small> 28</small></a> +</b></big> +</p> + +<p class="center"> +<b>ANNUAL REPORTS TO CONGRESS</b> +</p> +<p> +<small> +1919, 1920, 1923, 1924, 1925, 1926, 1927, 1928, 1929, 1930. +</small> +</p> + +<p class="center"> +<b>BULLETINS</b> +</p> + +<p class="pubs"> + 23. Clothing for the Family. 1918. On sale by Superintendent of + Documents, Government Printing Office. Price, 15c. +</p> +<p class="pubs"> + 28. Home-Economics Education. Organization and Administration (revised). + 1928. On sale by Superintendent of Documents, Government Printing + Office. Price, 15c. +</p> +<p class="pubs"> + 35. Use and Preparation of Food. 1919. On sale by Superintendent of + Documents, Government Printing Office. Price, 20c. +</p> +<p class="pubs"> + 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. +</p> +<p class="pubs"> + 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. +</p> +<p class="pubs"> +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. +</p> +<p class="pubs"> +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. +</p> +<p class="pubs"> +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. +</p> +<p class="pubs"> +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. +</p> +<p class="pubs"> +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. +</p> +<p class="pubs"> +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.) +</p> + +<hr class="full" /> + +<p><span class="pagenum"><a id="page89" name="page89"></a>[pg]</span></p> + +<a name="h2H_FOOT" id="h2H_FOOT"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<h2> + FOOTNOTES +</h2> + +<a name="note-1"><!--Note--></a> +<p class="foot"> +1 (<a href="#noteref-1"><small>return</small></a>)<br /> +Whitford, William G., An Introduction to Art. Preface XI. +Appleton Series in Education, 1929. +</p> +<a name="note-2"><!--Note--></a> +<p class="foot"> +2 (<a href="#noteref-2"><small>return</small></a>)<br /> +Ibid., p. 16. +</p> +<a name="note-3"><!--Note--></a> +<p class="foot"> +3 (<a href="#noteref-3"><small>return</small></a>)<br /> +National Committee on Wood Utilization, United States +Department of Commerce—Furniture and Its Selection and Use, by Clark +B. Kelsey, p. 1. +</p> +<a name="note-4"><!--Note--></a> +<p class="foot"> +4 (<a href="#noteref-4"><small>return</small></a>)<br /> +School and Society, Vol. XXX, No. 780. +</p> +<a name="note-5"><!--Note--></a> +<p class="foot"> +5 (<a href="#noteref-5"><small>return</small></a>)<br /> +Bobbitt, F. How to Make a Curriculum, pp. 220-221. +Houghton, Mifflin Co. 1924. +</p> +<a name="note-6"><!--Note--></a> +<p class="foot"> +6 (<a href="#noteref-6"><small>return</small></a>)<br /> +Whitford, William G., An Introduction to Art, pp. 192-193. +Appleton Series in Education, 1929. +</p> +<a name="note-7"><!--Note--></a> +<p class="foot"> +7 (<a href="#noteref-7"><small>return</small></a>)<br /> +Adapted from Russell and Wilson, Art Training Through Home +Problems. Manual Arts Press. (In press.) +</p> +<a name="note-8"><!--Note--></a> +<p class="foot"> +8 (<a href="#noteref-8"><small>return</small></a>)<br /> +Federated Council on Art Education. Report of the +Committee on Terminology (William G. Whitford, chairman), p. 12, 1929. +</p> +<a name="note-9"><!--Note--></a> +<p class="foot"> +9 (<a href="#noteref-9"><small>return</small></a>)<br /> +Goldstein, Harriett and Vetta, Art in Everyday Life, p. 5. +The MacMillan Co. 1925. +</p> +<a name="note-10"><!--Note--></a> +<p class="foot"> +10 (<a href="#noteref-10"><small>return</small></a>)<br /> +Russell, M., and Wilson, E., Art Training Through Home +Problems. Manual Arts Press. (In press.) +</p> +<a name="note-11"><!--Note--></a> +<p class="foot"> +11 (<a href="#noteref-11"><small>return</small></a>)<br /> +Trilling, M. B., and Williams, F., Art in Home and +Clothing, pp. 28-63. The Lippincott Co. 1928. +</p> +<a name="note-12"><!--Note--></a> +<p class="foot"> +12 (<a href="#noteref-12"><small>return</small></a>)<br /> +Federated Council on Art Education. Report of the +Committee on Terminology, Table V (William G. Whitford, chairman), +p. 26. +</p> +<a name="note-13"><!--Note--></a> +<p class="foot"> +13 (<a href="#noteref-13"><small>return</small></a>)<br /> +Federated Council on Art Education. Report of the +Committee on Terminology (William G. Whitford, chairman), p. 38. +</p> +<a name="note-14"><!--Note--></a> +<p class="foot"> +14 (<a href="#noteref-14"><small>return</small></a>)<br /> +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. +</p> +<a name="note-15"><!--Note--></a> +<p class="foot"> +15 (<a href="#noteref-15"><small>return</small></a>)<br /> +Whitford, William G., An Introduction to Art, p. 194. +Appleton Series in Education, 1929. +</p> +<a name="note-16"><!--Note--></a> +<p class="foot"> +16 (<a href="#noteref-16"><small>return</small></a>)<br /> +Russell, M., and Wilson, E., Art Training Through Home +Problems. (Chapter "Creating an Interest in Everyday Art.") Manual Arts +Press. (In press.) +</p> +<a name="note-17"><!--Note--></a> +<p class="foot"> +17 (<a href="#noteref-17"><small>return</small></a>)<br /> +Lancelot, W. H., Handbook of Teaching Skills. John Wiley +& Sons, 1929. +</p> +<a name="note-18"><!--Note--></a> +<p class="foot"> +18 (<a href="#noteref-18"><small>return</small></a>)<br /> +Bobbitt, F. How to Make a Curriculum, p. 222. +Houghton-Mifflin Co., 1929. +</p> +<a name="note-19"><!--Note--></a> +<p class="foot"> +19 (<a href="#noteref-19"><small>return</small></a>)<br /> +Morgan, A. B., Elements of Art and Decoration, p. 33. The +Bruce Publishing Co. 1928. +</p> +<a name="note-20"><!--Note--></a> +<p class="foot"> +20 (<a href="#noteref-20"><small>return</small></a>)<br /> +Whitford, William G., An Introduction to Art, p. 186. +Appleton Series in Education. 1929. +</p> +<a name="note-21"><!--Note--></a> +<p class="foot"> +21 (<a href="#noteref-21"><small>return</small></a>)<br /> +Strebel and Morehart, The Nature and Meaning of Teaching, +p. 177. McGraw-Hill Book Co. 1929. +</p> +<a name="note-22"><!--Note--></a> +<p class="foot"> +22 (<a href="#noteref-22"><small>return</small></a>)<br /> +Lancelot, W. H., Handbook of Teaching Skills. John Wiley +and Sons. 1929. +</p> +<a name="note-23"><!--Note--></a> +<p class="foot"> +23 (<a href="#noteref-23"><small>return</small></a>)<br /> +Lancelot, W. H., Handbook of Teaching Skills. John Wiley +& Sons. 1929. +</p> +<a name="note-24"><!--Note--></a> +<p class="foot"> +24 (<a href="#noteref-24"><small>return</small></a>)<br /> +Goldstein, Harriet and Vetta, Art in Everyday Life, p. 6. +The Macmillan Co. 1925. +</p> +<a name="note-25"><!--Note--></a> +<p class="foot"> +25 (<a href="#noteref-25"><small>return</small></a>)<br /> +Whitford, William G., An Introduction to Art, p. 236. +Appleton Series in Education. 1929. +</p> +<a name="note-26"><!--Note--></a> +<p class="foot"> +26 (<a href="#noteref-26"><small>return</small></a>)<br /> +Refer to Whitford, An Introduction to Art Education, pp. +239-245, for suggestive appreciation test in art. Appleton Series in +Education. 1929. +</p> +<a name="note-27"><!--Note--></a> +<p class="foot"> +27 (<a href="#noteref-27"><small>return</small></a>)<br /> +Mumford, Lewis, The American Mercury, April, 1930. +</p> +<a name="note-28"><!--Note--></a> +<p class="foot"> +28 (<a href="#noteref-28"><small>return</small></a>)<br /> +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. +</p> + + +<div style="height: 6em;"><br /><br /><br /><br /><br /><br /></div> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of The Teaching of Art Related to the Home, by +Federal Board for Vocational Education + +*** END OF THIS PROJECT GUTENBERG EBOOK TEACHING OF ART RELATED TO HOME *** + +***** This file should be named 36498-h.htm or 36498-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/6/4/9/36498/ + +Produced by Juliet Sutherland, David Garcia and the Online +Distributed Proofreading Team at https://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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