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<pre>
The Project Gutenberg EBook of The Teaching of Art Related to the Home, by
Federal Board for Vocational Education
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org
Title: The Teaching of Art Related to the Home
Suggestions for content and method in related art
instruction in the vocational program in home economics
Author: Federal Board for Vocational Education
Release Date: June 23, 2011 [EBook #36498]
Language: English
Character set encoding: ISO-8859-1
*** START OF THIS PROJECT GUTENBERG EBOOK TEACHING OF ART RELATED TO HOME ***
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</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>
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