Section IV

SUGGESTIVE TEACHING METHODS IN ART RELATED TO THE HOME

The test of a real product of learning is this: First, its

permanency; and second, its habitual use in the ordinary activities

of life.--Morrison.

CREATING INTEREST

There is a general conception that art is naturally interesting to

everyone. Accepting this as true, a specific interest must be developed

from this natural interest for the most effective courses in art

training. Whitford[15] says:

Little can be accomplished in general education, and practically

nothing can be done in art education, unless interest and enthusiasm

are awakened in the student. The awakening of interest constitutes

one of the first steps in the development of a pupil's natural

talents.

Some teachers, in attempting to awaken or to hold the interest of

girls in related art courses, have started with art laboratory problems

which involve considerable manipulation of materials. A certain type

of interest may be so aroused, for pupils are always interested in the

manipulative processes involved in producing articles and even more

in the possession of the completed products, but it may be only a

temporary appeal rather than an interest in the larger relation of art

to everyday living. While it is true that manipulative problems do

contribute to the development of greater confidence and initiative

and therefore have their place in an art course, yet the successful

completion of most products requires greater creative and judgment

abilities than pupils will have acquired early in the course. It is

then a questionable use of laboratory problems to depend upon them for

awakening the specific interest in art.

Initial interest of students may be stimulated through directed

observation of the many things about them which are good in color and

design or by discussion of problems which are very pertinent to girls'

art needs or desires.[16] However, conscious effort on the part of the

teacher is necessary to "open the windows of the world," if pupils are

to develop real interest and experience such enjoyment from the beauty

which surrounds them that an ideal of attaining beauty in dress and

home is established. A definite plan is necessary for stimulating this

interest which is said to be possessed by all. Without an interest that

will continue to grow from day to day it is difficult to develop the

necessary judgment abilities for solving everyday problems in selection

and arrangement.

Professor Lancelot[17] suggests the following procedure as the initial

steps in the building of permanent interests:

1. Early in the course endeavor through general class discussions,

rather than by mere telling, to lead the students to see clearly

just how the subject which they are taking up may be expected to

prove useful to them in later life and how great its actual value

to them will probably be.

2. At the same time attempt to establish clearly in their minds the

relationships that exist between the new subject, taken as a whole,

and any other branches of knowledge, or human activities, in which

they are already interested.

3. Specify and describe the new worthwhile powers and abilities which

are to be acquired from the course, endeavoring to create in the

students the strongest possible desire or "feeling of need" for them.

If this procedure is followed, in the field of art the teacher will

refrain from merely telling pupils that art will be of great value

to them later in life. On the other hand, in creating interest it is

suggested that class discussion of general topics within the range of

pupil experience and of obvious need be used to awaken an interest in

the value of art in their own lives.

The teacher must be sure that the topics are of real interest to the

pupils. For example, which of these questions would probably arouse the

most animated discussion: "What is art?" or "Arnold Bennett says, 'The

art of dressing ranks with that of painting. To dress well is an art

and an extremely complicated and difficult art.' Do you agree with

Arnold Bennett? Why?"

Other discussions may be started by asking questions such as the

following:

1. Have you ever heard some one say, "Mary's new dress is lovely

but the color is not becoming to her"? Why do people ever choose

unbecoming colors? Would you like to be able to select colors

becoming to you? How can you insure success for yourself?

2. Movie corporations are spending great sums of money in an attempt

to produce pictures in color. Why do they feel justified in making

such expenditures to introduce the single new quality of color?

[Illustration: Figure 4.--In a Nebraska high school a screen was used

in an unattractive corner as a background for an appreciation center]

3. Do you like this scarf? This cushion? This picture? Why? Why not?

Why is there some disagreement? To what extent can our likes guide

our choices?

4. The class may be asked to choose from a number of vases, lamp

shades, table covers, or candles those which they think are most

beautiful. The question may then be asked, "Would you like to find

out what makes some articles more beautiful than others?"

5. Where in nature are the brightest spots of color found? Have you

ever seen combinations of color in nature that were not pleasing?

How may we make better use of nature's examples?

6. Why do girls and women prefer to go to the store to select dresses

or dress material? Hats? Coats? Can one always be sure of the most

becoming thing to buy even when shopping in person? What would be

helpful in making selections?

The classroom setting for the teaching of art plays a very important

part in arousing interest. Attempting to awaken interest in art

in a bare, unattractive room is even more futile than trying to

create interest in better table service with no table appointments.

In the first situation there is probably such a wide variation in the

background and experience of the pupils and in their present ability

to observe the beautiful things of their surroundings that it becomes

increasingly important that the teacher provide an environment which is

attractive and inviting. In the second situation the pupils have had

experience with the essential equipment in their own homes and so can

visualize to some extent the use of that equipment at the table.

Bobbitt[18] says--

One needs to have his consciousness saturated by living for years

in the presence of art forms of good quality. The appreciations

will grow up unconsciously and inevitably; and they will be normal

and relatively unsophisticated. As a matter of fact, art to be most

enjoyed and to be most serviceable, should not be too conscious.

Schoolrooms in which pupils spend a large part of their waking hours

should provide for the building of appreciation in this way, and it is

especially true in the homemaking room. Some home economics teachers

have cleverly planned for students to share in the responsibility

of creating and maintaining an attractive classroom as a means of

stimulating interest in art. It would be well for all home economics

teachers to follow this practice.

[Illustration: Figure 5.--The simplest school furnishings can be combined

attractively. A low bookcase, a bowl of bittersweet, and a passe partout

picture as here used are available in most schools]

In many economics laboratories there are several possible improvements

that would make better environment for art teaching. Suggestions for

such improvements include:

1. More color in the room through the use of flowers, colorful pottery,

colored candles, and pictures, featuring arrangements that could be

duplicated in the home.

2. More emphasis upon structural lines--

_a._ Pictures that are grouped and hung correctly.

_b._ Attractive arrangement of a teacher's desk.

_c._ Arrangement of the furniture so that the groupings are well

balanced and the wall spaces are nicely proportioned.

_d._ Good arrangement of materials on bulletin board.

3. More attention to orderliness--

_a._ When class is not working, orderliness in window-shade

arrangement.

_b._ Elimination of unnecessary objects and furnishings to avoid

cluttered appearance.

_c._ Tops of cases and cupboards or open shelves cleared.

There are few seasons in the year when the teacher can not introduce

interesting shapes and notes of color through products of nature. The

fall brings the colored leaves and bright berries which last through

the winter. Bulbs may be started in late winter for early spring, and

certain plants can be kept successfully throughout the year. With such

interesting possibilities for using natural flowers, berries, and

grasses, why would a teacher resort to the use of artificial flowers

or painted grasses?

Morgan[19] pertinently discusses the artificial versus the real:

Some say "What about painted weeds and grasses?" No; that is mockery.

It doesn't seem fair to paint them with colors that were not theirs

in life. One can almost fancy hearing the dead grasses crying out,

"Don't smear us up and then display us like mummies in a museum."

Remember, a true artist, one who truly loves beauty, despises

imitation or deceit.

There are several interesting possibilities for home table centerpieces

to be used during the winter months when flowers are not available.

Grapefruit seeds or parsley planted in nice-shaped, low bowls grow

to make attractive-shaped foliage for the table. A sweetpotato left

half covered with water in a low bowl sprouted and made the graceful

arrangement of pretty foliage pictured in Figure 7, page 29.

Pupils are more apt to provide such plants in their homes if they see

examples of the real centerpieces at school. It is, therefore, worth

while for a teacher to direct a class in starting and caring for one

or more types of them.

In one State a definite effort is made in planning home-economics

departments to have the dining room open directly into corridors

through which most of the pupils of the entire school pass at some time

during the day. See figure 8, page 30.

[Illustration: Figure 6.--A few pieces of unrelated illustrative

materials may be grouped successfully in bulletin-board space]

This arrangement permits pupils to observe attractive as well as

suitable arrangements of the dining room furnishings, and especially of

the table. Such a plan should be effective in establishing ideals of

what is good and in raising standards in the homes of boys as well as

of girls in the community.

A further contributing essential to stimulating interest in art is a

teacher who exemplifies in her appearance the art she is teaching.

It is said that sometimes our most successful teaching is done at a

time when the teacher is least conscious of it. The teacher of an art

class who appears in an ensemble of clothing which is unsuited to the

occasion and in which the various parts are not in harmony with each

other from the standpoint of color, of texture, or of decoration loses

sight of one of her finest opportunities for influencing art practices

of pupils and developing good taste in them.

[Illustration: Figure 7.--Sprouted sweetpotato produced this attractive

centerpiece for the home table]

There is no more applicable situation for the old adage, "Practice what

you preach," than in the teaching of art. One teacher was conducting a

discussion on the choice of bowls and vases for flowers as a part of

flower arrangement while behind her on the desk was a bottle into which

a bunch of flowers had been jammed. Contrast this with the situation in

which the teacher had worked out the arrangement of wild flowers and

grasses as shown in Figure 1.

DISCUSSION OF METHOD IN THE TEACHING OF ART

In discussing the best methods of teaching art, Whitford[20] says:

As a practical subject art education calls for no exceptional

treatment in regard to methods of instruction. The instruction

should conform to those general educational principles that have

been found to hold good in the teaching of other subjects. Without

such conformity the best results can not be hoped for.

[Illustration: Figure 8.--Glass-paneled doors open from the dining

room directly into a main first-floor corridor in the high school at

Stromsburg, Nebr.]

It is anticipated that through the course in related art pupils will

have gained an ability to choose more suitably those materials and

articles of wearing apparel and of home furnishing which involve color

and design. It is through understanding certain fundamental principles

of art and using them that the everyday art problems can be more

adequately solved. The teacher is confronted with the question as to

how to develop most successfully this understanding and ability. Shall

she proceed from the stated principles to their application in solving

problems or shall she start with the problems and so direct their

solution that the important principles and generalizations are derived

in the process. The present trend in education is toward the second

procedure and in keeping with this trend, the elaboration of method

in this section is confined to the so-called problem-solving method.

When pupils have an opportunity to formulate their own conclusions in

solving problems and through the solution of many problems having an

identical element find a generalization or principle that serves as a

guide in other procedures, experience seems to indicate that they get

not only a clearer conception of the principle but are able also to

make greater subsequent use of it.

In their everyday experiences pupils are continually faced with the

necessity for making selections, combinations, and arrangements which

will be satisfying from the standpoint of color and design. Before they

can select wisely they need some standards upon which to base their

judgments and by which they can justify their decisions. Before they

can make satisfying arrangements and combinations of material they need

judgment skill in determining what to do. They also need principles

or standards by which they can determine how to proceed. Finally,

they need opportunity for practice so that they may become adept

in assembling articles and materials into pleasing and harmonious

groupings and arrangements.

The more experience pupils have in confronting and solving true-to-life

problems under the guidance of the teacher, the greater is the probability

that they will have acquired habits of thinking that will enable them

to solve successfully the many problems that they are continually forced

to meet in life.

It might be well to inquire at this point the meaning of the word

problem as used in this bulletin. According to Strebel and Morehart[21]--

Probably there is no better definition of a problem than the

condition which is spoken of by Doctor Kilpatrick as a "balked

activity." This idea is general enough to include all sorts and

phases of problems, practical and speculative, simple and difficult,

natural and artificial, final and preliminary, empirical and

scientific, and those of skill and information. It covers the

conditions which exist when one does not know what to do either

in whole or in part, and when one knows what to do but not how to

do it, and when one knows what to do and how to do it but for lack

of skill can not do it.

In teaching by the problem-solving method Professor Lancelot[22] makes

use of three types of problems.

Through the first type, known as the _inductive problem_, the pupil

is to determine certain causes or effects in the given situation. In

determining these causes and effects, various details of information

are needed but these do not remain as isolated and unrelated items. Out

of the several facts is evolved a general law, a truth, or a principle.

For example, in developing pupil ability to understand and use the

underlying principle of emphasis, the teacher may make use of such

questions as:

Have you ever tried to watch a three-ring circus? Pupils are

given an opportunity to relate their experiences.

Have you ever seen a store window that reminded you of a circus?

In which of the store windows on Center Street do you think the

merchant has displayed his merchandise to the greatest advantage?

Why?

From a discussion of such questions as these the teacher can lead the

pupil to realize the desirability of avoiding confusion in combining

and arranging articles used together and to understand at least one way

of producing the desired effect.

The next type is the _judgment or reasoning problem_, which offers

two or more possible solutions. In certain subjects as mathematics

in which there is but one correct answer, the reasoning problem is

used. In other subjects in which, in the light of existing conditions,

there is a best answer, the judgment problem is used. This best answer

or final choice is determined upon the basis of the law or principle

established through the inductive problems. Few subjects are more

concerned with the making of choices than art. For this reason,

judgment problems play an important part in an art training which is

to function in the daily lives of pupils. As soon as a principle has

been tentatively established, it is desirable to give the pupils an

opportunity to recognize the use of the principle in several similar

situations and to use it as a basis for making selections. For example,

following the establishment of the principle of emphasis, the teacher

may ask the pupils:

Will each of you select from these magazines an advertisement

in which your attention was immediately attracted to the article

for sale? Be ready to tell the class why you were attracted to

this piece of merchandise.

The third and final type is the _creative problem_, which makes use of

the truth or principle discovered in the inductive problems, so that

the pupil is encouraged to do some creative thinking by using the

principle as the basis for determining procedure to follow in a new

situation. Since everyday living is full of opportunities for making

choices and combinations, it is essential that both judgment and

creative problems be included in practical art training. For example,

to teach the use of the creative problem in the study of emphasis the

instructor may say to a pupil:

Choose a partner with whom to work. From the materials I am

providing make an attractive table arrangement for a living room,

and then choose a large piece of wallpaper or a textile that

would make a good background for it.

Lamps, candles, candlesticks, flowers, pottery, and books will be

provided for this activity, as well as the textiles and the wallpaper.

Professor Lancelot[23] sets up five standards for determining what

are good problems. They must, he says, be--

1. Based on true-to-life situations.

2. Interesting or connected with things of interest.

3. Clearly and definitely stated.

4. Neither too difficult nor too easy.

5. Call for thinking of superior ability.

In addition, there are four other factors to be considered in the

planning of a successful problem series;

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

2. The usual sequence is in the order already given--inductive,

judgment, and creative. Since the creative problems call for the

highest type of thinking and are the most difficult, the natural

place for them is at the end of the problem series. At that point

the pupils should have sufficient information and judgment ability

to enable them to solve the most difficult problem quite readily.

Introducing the difficult problem too soon may discourage the

pupil and lessen interest in the course as a whole. Some creative

problems involve fewer art principles than others. For example,

the spacing of a name on a place card is much simpler than the

hanging of a picture in a given space. In art it is desirable to

use simple creative problems as they fit naturally into the problem

series. (See pp. 38-39.)

3. As the problem series develops, there should be an increase in the

difficulty of the problems. It is obvious that the simpler problems

are to be used at the first of the series. To develop judgment to

a desirable extent, the later choices will be determined from an

increasing number of similar situations and from situations in

which the degree of difference decreases as the problem series

progresses.

4. Each problem series should involve as many types of life situations

as possible. For example, applications of art are needed in the

various phases of homemaking. (See Section III, pp. 18-21.) For that

reason it is very desirable to select problems in each series from

as many of these phases as possible. By this means the pupils are

better able to cope with their own problems in which a fundamental

art truth, or principle is the basis for adequate solution.

The following detailed procedure is presented as an illustration of

the way in which an art principle may be developed through a problem

series. It may appear to be unnecessarily detailed and to require more

time than the average teacher would have for planning. However, part

of material here given consists of probable pupil replies and a

description of the illustrative materials that are to be used.

SUGGESTED PROCEDURE FOR DEVELOPING AN ABILITY TO USE A PRINCIPLE OF

PROPORTION FOR ATTAINING BEAUTY

An effort is here made to present the details of a teaching plan by

which a principle of proportion may be developed by the pupils. This

plan is spoken of as a lesson, but not in the sense that it is to be

accomplished in a limited amount of time, such as one class period.

The term _lesson_ is used to designate the _entire procedure_ from the

introductory problem to the point where the pupils have developed the

ability to use the principle of proportion. It will be possible to make

more rapid progress with some classes than with others and in some

class periods than in others. It is suggested that the teacher endeavor

to evaluate the class time and plan so that the end of the period

comes not as an interruption but as a challenge to further interest,

observation, and efforts.

The lesson suggested below should take not more than three of the

short class periods of 40 to 45 minutes. If too much time is spent on

one series there may be a lessening of interest because of seeming

repetition. On the other hand, if sufficient applications and problems

are not used after the principle is established, there is danger that

the pupils will not be able to use it in solving other daily problems.

Further suggestions for problems, illustrative materials, and

assignments may be found on page 40.

SUGGESTED PLAN FOR THE DEVELOPMENT OF AN UNDERSTANDING OF THE PRINCIPLE

OF PROPORTION AND ITS USE

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

Select articles which are pleasing because of good proportions.

Adapt and make pleasing proportions as needed.

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

Divide a space so the resulting parts are pleasing in their

relationship to each other and to the whole.

Assume that the group to be taught is a ninth-grade class in art

related to the home. Very few members of the class have had any

previous art training and such training has consisted of some drawing

and water-color work in the lower grades. Previous to this lesson, it

is assumed that the teacher has developed the pupils' interest in the

beauty to be seen and enjoyed in the everyday surroundings of their

community, and has developed pupil ability to understand and to use a

principle of proportion, namely, that _a shape is most pleasing when

one side is about one and one-half times as long as the other_.

The establishment of the above principle has probably given the class an

opportunity to read of the Golden Oblong or the Greek Law of proportion

in an art reference such as Goldstein's Art in Everyday Life. This

will have served to further establish a feeling for interesting shape

relationships and also will have made the pupils familiar with the term

"proportion." The class may or may not have developed an ability to

recognize and use the principles of balance.

=Details of Lesson Procedure=

[Sidenote: Problems and questions to introduce the principle needed

to solve this and many similar problems]

The first-aid room in the school is very bare and cheerless. Miss M.,

the school nurse, and Mr. B., the superintendent, have decided that

some thin ruffled curtains at the two windows will soften the light

and make the room more homelike. Miss M. has purchased some ready-made

curtains and has asked if the class would like to determine the best

way to arrange the tie backs. "How many of you think that this is an

art problem? Will it be helpful to us to know how to divide a window

space with curtains? Tie-back, ruffled curtains have been very much

in vogue for some time. The models in the drapery departments and the

illustrated advertisements show a variety of methods to use. Since

there is so much variation, how can we be sure that curtains are tied

back in the most attractive way possible?"

[Sidenote: Use of illustrative materials]

The curtains have been hung at the two windows in the first-aid room.

At one window the curtains are not tied back and come to the bottom

of the casing, at the other one they are arranged in two other ways

designated as A and B. By the A method the curtain is tied back exactly

in half; by the B method it is tied back between one-half and two-thirds

of the length. The initial question would probably be: "Which of these

two arrangements, A and B, do you think contributes most to the appearance

of the window?"

[Sidenote: Class discussion]

Some of the class will undoubtedly choose A. Their reasons for this

choice may be as follows:

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

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

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

1. The window space is less noticeable.

2. There is more variety in the curtains.

3. It is more interesting if the eye can travel down the longer part

of the curtain and then come to rest at the part tied back.

These reasons will probably lead the majority of the class to decide that

B is more desirable than A.

At this time another arrangement designated as C may be introduced. For

this, one curtain at the second window may now be tied back so near the

sill that the two parts do not seem to be related. One designated as D

may also be introduced, in which the arrangement is exactly like that

of B, except that the curtains are tied back above the center instead

of below.

A summary of the points which may be brought out by the class on each

arrangement of curtains follows:

[Sidenote: Summary of class discussion]

A, in which the curtains are divided exactly in half, is not interesting

for a very long time because--

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

are all alike.

2. It leaves too much of the window exposed.

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

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

5. One's curiosity is quickly satisfied when it is obvious that the two

areas are exactly alike.

B, in which the curtains are tied back between one-half and two-thirds

of the length and below the center continues to be interesting because--

1. The two sides are alike, but the top half is not exactly like the

bottom half. This variation makes it more pleasing.

2. Although the top half of each side is larger than the bottom half,

it does not look top-heavy because the tying back of the curtain

gives a place for the eye to rest. It holds the same amount of

attention as the long length of curtain above it.

C, in which the tie backs are placed at a point below three-quarters

the length of the curtain, is not interesting for any length of time

because--

1. The eye travels very far down the length of the window, then is

suddenly interrupted by the tie back.

2. This arrangement is top-heavy.

3. The window space is not pleasing.

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

[Sidenote: Further use of illustrative material]

"Suppose we now look at these curtained windows from the outside. Do you

think that the arrangements which we decided are most pleasing from the

inside are equally pleasing from the outside?"

After examining the arrangements of curtains at the windows the pupils

may be led to decide that B and D continue to be the most pleasing.

"Since we are now agreed that in B and D the tie-backs divide the

curtains so that the spaces are most pleasing, would you like to

determine just where the division comes in each of the curtains?" Some

of the members of the class will be eager to take the measurements and

report on them. They will find that in--

[Sidenote: Class determines best division of space]

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

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

of the length.

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

length.

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

of the length.

At this point it will be well to direct the attention of the class to

the possibility of space division in other places. "Do you think that

there are spaces, other than windows, which could be satisfactorily

divided according to the same measurements?" Members of the class may

suggest panels in doors, divisions in dress, and the like.

"Marie is making a plain one-piece dress. The narrow belt is to be of

the same material. Where would be the best place for her to place the

belt?" Try placing a belt on a plain one-piece dress or provide three

tracings of such a dress with the belt placed as follows:

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

In the second the belt is placed so the skirt is a little longer

than the waist.

In the third the belt is placed at normal waistline. (With a long

skirt this makes the skirt very much longer than the waist.)

Measurements may again be taken and compared with the divisions of the

window. The class may be led to decide that a plain dress is divided

best by a belt which comes some place a little above or below the

center of the total length.

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

"If you wanted to help someone to divide a space so the resulting parts

would be pleasing, what directions would you now give them?" Each member

of the class may be asked to write out a statement of directions. Some

of these may be put on the blackboard and the class members given an

opportunity to choose the one which they think would be most helpful

in obtaining space division. The final statement should bring out the

following: _When a space is to be divided the result is most pleasing

if the dividing line falls at a point between one-half and two-thirds

of the length divided._

To insure real ability to use the principle of space division which has

just been developed, it will be necessary to give the class several

problems which they may judge as a group. These in turn should be

followed by other problems which will call for individual planning and

the application of the principle in their solution. The number of such

problems will vary with the class, but there should be enough to insure

the desired ability. Furthermore, those given should be from as varied

fields as possible so that the pupils will be able to make their own

applications as needed.

=Series of Suggested Problems to Test Pupils' Ability to Recognize

and Use the Principle of Proportion Just Developed=

[Sidenote: Judgment problems given for class solution]

1. "In which of these doors do you think the division into panels

is most satisfactory? Why?"

In this problem, as in the succeeding ones, the solution is not

considered adequate unless each pupil can justify the choice she

makes or the answer she gives according to the principle which was

established in the earlier part of this lesson.

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

divided? Why?"

3. "Small boxes have a variety of uses in our homes. These are all

approximately the same in size. Which do you think has the most

interesting relation between the depth of the lid and the depth of

the box? Why?"

4. "Helen is planning to make a dress with a cape collar. Her mother

thinks the collar is not deep enough and suggests that Helen change

the pattern. How could she determine the most becoming depth for her

cape collar?"

5. "Jane did not have enough cloth to make a dress without piecing

it or buying more material. She decided to put a yoke in the waist.

How deep on the waist do you think a yoke should come to be most

attractive?"

6. "Mary has some 6-inch glass candlesticks at home. How can she

determine the length of candle that would be most suitable when they

are used on the buffet?"

[Sidenote: Creative problem involving activity]

7. "Arrange the window shades so that the window space and the depth

of the shade are pleasing in their relation to each other. Justify

the arrangement you have made."

[Sidenote: Judgment problem involving activity]

8. "Choose a girl with whom to work during the next few minutes.

Check to see if the dresses you are wearing to-day have the belts

so placed that each dress is divided as well as possible. Suggest

any desirable changes for each other and justify each change."

(At some time in the development and subsequent use of the principle

established in this lesson it will be well to connect it with a

previously established and closely related principle. Such a

connection is made use of in the following problems.)

[Sidenote: Creative problem involving use of a principle previously

developed]

9. "I have an odd picture frame that I wish to use for this

landscape which came from a magazine illustration. The picture

is the right width, but it is too long for the frame. How do you

suggest cutting it so that it can be used in this frame and still

retain its pleasing proportions?"

(Such a landscape will obviously have a division of space in it

by the line of the horizon. The problem will be one of retaining

pleasing space divisions in the picture, as well as retaining

pleasing proportions of the whole, while fitting it to the frame.)

[Sidenote: Possible assignment]

10. "Choose a plain card most pleasing in proportion, which may be

used as a place card for the home economics luncheon that the class

is giving to the mothers. Plan the placing of the names on these

cards. Justify your choice of card and the place you have chosen

for the name."

Problem 10 may well be given as an assignment. It may be given

at any desired time in the problem series as a judgment problem

following the establishment of the principle. A definite attempt

has been made to arrange problems 1 to 8 in order of degree of

difficulty. It is evident that those which necessitate creative

planning and manipulation call for greater ability than the

problems of selection.

Although problems 9 and 10 are given last they may be introduced

at any point. They are given last here because they require the use

of two principles of proportion, i. e., relation of length to width

in objects and division of a space into two parts. Problems 1 to 8

make use of only one, i. e., the principle concerned with the

division of a space into two parts.

=Further Suggestions for Problems, Illustrative Materials, and

Assignments=

There are various possibilities of introducing this lesson on proportion

other than through the arranging of curtains. The curtain problem

is used here because it involves a school situation. Such a problem

sometimes has as great an appeal for girls as some of the most personal

ones. However, any one of a number of problems, such as the placing

of a belt on a dress, the depth of a flounce or yoke on a dress,

the relative lengths of jacket and skirt in a suit, or the length

of candles for candlesticks may be used for the introductory one.

Choice will be determined upon class needs and school possibilities.

The important factor will be to see that the problem is so stated that

it stimulates a desire on the part of the pupil for adequate solution.

If the school windows and real curtains are not available for this

problem, some window and curtain models may be borrowed from drapery

departments of local stores for class use. If it is not practicable to

use curtains or to borrow store models, the teacher might prepare in

advance of the class meeting miniature windows for this problem. These

may be made of heavy construction paper, cardboard, or beaver board,

and should be of a size and scale that will permit accuracy in the

conclusions drawn from their use. _The use of miniatures should be

confined to emergency situations, when the real things are not

obtainable._

With some classes it may be necessary to use additional illustrative

materials in which there are no other factors than those of space

division. The teacher may prepare rectangles of neutral paper,

representing any given space to be divided, in which the division is

made by a contrasting line in each of the following ways:

One divided exactly in half.

One with the dividing line between one-half and two-thirds of

the length from one end.

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

One with the dividing line between three-quarters of the entire

length and the end.

Conclusions drawn from a comparison of the above illustrative materials

may in turn be applied to other problems in which color, texture, or

design may have made it difficult in the beginning for the pupils to

focus their attention upon space division.

It is obvious that if choosing candles for certain definite candlesticks

is the introductory problem, candles of varying heights, but of the

same color, will need to be provided if the class is to come to some

definite conclusions. If this problem is used in the judgment series,

as in the lesson above, it will serve as another application of the

principles of space division.

One possible assignment has been given in the lesson. Other possibilities

present themselves as follows:

1. "Where could you find an illustration in which you think there

is particularly pleasing space division? Will you bring such an

illustration to class?" Such an assignment affords additional

training in selection and directs the observation of the pupils

to their environment outside the school.

2. "When you are at home to-night, will you notice the arrangement

of articles on your dresser? If these articles are not as well

arranged as you think they can be, make an arrangement which

is balanced and which divides the space as well as possible. Be

ready to tell the class why you think you have a well-balanced

and nicely spaced arrangement." In this particular assignment

it is assumed that pupils have previously developed the ability

to make balanced arrangements. This is a further application of

that ability but in an advanced form. In developing an ability

to make balanced arrangements, attention was centered on the

placing of articles on either side of a center. Now that the

ability to divide a space has been developed, it is time to take

up the balancing of articles within a given space so that the

proportions of that space are pleasing.

It is highly desirable in the teaching of art that the relationships of

principles in the attainment of beauty be established as soon as each

is clearly understood. It is not enough that a principle be clearly

established and several applications of it made. As soon as this much

has been accomplished it is time that problems be used which involve

this new principle and at least one of the preceding ones. Such a

cumulative teaching plan is essential to make art training function most

successfully in the lives of the pupils.

CLASS PROJECTS

Many judgment and creative problems arise in certain group and

class projects, providing opportunity for utilizing and showing the

relationships of the essential principles of art in their application.

They are more often undertaken in connection with home furnishing than

with other phases of homemaking. Provision for such projects involving

the selection of articles and materials and the arrangement of them to

bring about an attractive and harmonious effect can usually be found

right in the school. For example, as a class project, the wall finishes,

the furnishings, and the accessories may be chosen and arranged for a

specific room such as the dining room, bedroom, or living room of the

home-economics department if such rooms are available or the rest room

for teachers or girls.

In some schools, the separate cottage is used to house the home-economics

department. This offers an opportunity for pupils to show what they would

do under practical conditions. It is important that the furnishings for

such cottages be in keeping with what is possible in the majority of

homes in the community. If when the cottage is new the teacher plans

with the pupils for only the essential furnishings at first, further

problems of selection and arrangement will be reserved for several

classes.

In a few schools the home-economics department has cooperated with the

trade and industrial department in planning small houses, which were

then built by the boys in their carpentry classes. The girls have then

selected and arranged the furnishings for such houses as a class

project.

When there is no opportunity within the school for such class or group

projects, there are other available possibilities to which a teacher

of related art should be alert. Better Homes Week is observed in many

towns and cities and those in charge are usually glad to turn over

the furnishing of one or more rooms for the occasion to the local

home-economics department. A center to which so many visitors come

affords an excellent opportunity for exemplifying to the community

good taste in furnishings at a cost consistent with the income of the

average family.

In one school the related art class took over the project of refinishing

one of the rooms in the girls' dormitory. It was necessary to use the

furniture already provided, which meant the expenditure of a minimum

amount of money. There was, therefore, the problem of refinishing some

of the furniture to bring it into harmony with the newly planned room.

The old dresser was one of the pieces to be remodeled and painted.

Figures 9 and 10 show the dresser before and after the class had worked

on it.

[Illustration: Figure 9.--The dresser as found in the dormitory room]

[Illustration: Figure 10.--The same dresser after the class in related

art had remodeled and painted it]

In a few instances, homemakers have entrusted the furnishing of rooms

in their homes to the related art class. Thus it is seen that a variety

of opportunities do exist. They should be located and such use made of

them as will mean the enrichment and vitalization of the work in

related art.

NOTEBOOKS

In the limited time usually allotted for the teaching of art related to

the home the teacher is confronted with the problem of how to make the

best utilization of that time. One of the first questions which must be

decided is whether a portion of it shall be devoted to the making of

notebooks. In analyzing the situation she will need to determine the

purposes which they serve. The notebooks may be justified on the ground

that they--

1. Provide a collection of illustrative and written materials

which pupils may have for future use.

2. Provide a classroom activity through which pupils learn.

3. Measure pupil ability to recognize art applications through

the selection of pertinent illustrations.

4. May supplement or be used in place of a class text.

5. Provide material for the school exhibit.

6. Insure material for competitive purposes at county and State fairs.

7. Maintain interest.

Answering the following questions may serve to determine whether notebooks

are of value to the pupil:

1. Does the notebook provide for worthwhile individual experience?

2. Will it pay in terms of time and energy expended?

3. What is the ultimate use of it?

The following chart may serve to aid the teacher in judging whether

notebooks are justified:

Chart 2.--_Analysis of the value of notebooks in art courses_

-----------------+-----------------------------------------------------------

| Value

Purposes of +--------------------+-------------------+------------------

notebook | In terms of | In terms of time | In terms of

| worth-while | and energy | ultimate use

| individual | consumed | of notebook

| experience | |

-----------------+--------------------+-------------------+------------------

1. To provide a | To the extent that | Usually more | Notebooks may be

collection of | the activities | time and energy | exhibited, but

material for | involved exercise | consumed than | beyond that

later pupil | individual | later use | experience seems

use. | judgment. | justifies. This | to indicate that

| | is dependent upon| few girls or

| | the degree of | women use them

| | elaborateness of | later in home

| | the notebook. | life as a source

| | Copying, tracing,| of information.

| | and pasting |

| | are very |

| | time-consuming. |

-----------------+--------------------+-------------------+------------------

2. To provide | To the extent that | Both may be well | It may train

classroom | the activities | spent, provided | pupils to be

activity | involved provide | the evaluation | observant and

through which | opportunity for | in (1) is kept | critical and

pupil learns. | exercising | in mind and if | thus aid in

| selection. | much of the | making wiser

| | mechanical work | choices in

| | is done outside | real life.

| | of class. |

-----------------+--------------------+-------------------+------------------

3. To measure | To the extent | A justifiable | After selections

pupil's | to which the | use of time and | have been made

ability to | activities give | energy, provided | they are of no

recognize art | added opportunity | the emphasis | use later as

applications | for making | is on making | a measuring

in the | independent | selection and | device.

selection of | choices and offer | the mechanical |

pertinent | opportunity for | processes are |

illustrations.| students to | minimized. |

| recognize and | |

| select additional | |

| applications to | |

| those given in | |

| class. | |

-----------------+--------------------+-------------------+------------------

4. To supplement | There is little | It is not | Pupil may use it

or use in | opportunity | justifiable use | for review in

place of a | for individual | of pupil's time | organizing

class text. | experience | to compile text | subject matter

| in writing a | material which | of the course

| notebook, since | should be made | for examination.

| the material is | available to | Beyond this,

| usually dictated | them through | probably little

| or copied from | other channels. | use is ever made

| references. With | | of it.

| the present | |

| available | |

| facilities for | |

| reproduction of | |

| printed | |

| information there | |

| is little excuse | |

| for this | |

| procedure. | |

-----------------+--------------------+-------------------+------------------

5. To provide | Not a justifiable | Time and energy | No use except

materials | objective. It | consumed do | for some proud

for school | develops a sense | not justify | relative to show

exhibits. | of false value. | preparing | to friends the

| Some judgment is | notebooks for | notebook that

| undoubtedly | this purpose | has won special

| developed, but | alone. Time so | recognition.

| the competitive | used may mean |

| spirit so far | sacrificing |

| exceeds the | opportunities |

| desire to | for the |

| learn that the | development and |

| experience is | use of judgment |

| frequently | in real-life |

| unfortunate to | situations. |

| the individual. | |

-----------------+--------------------+-------------------+------------------

6. To insure | See (5) above. | See (5) above. | See (5) above.

material for | | |

competitive | | |

purposes at | | |

county and | | |

State fairs. | | |

-----------------+--------------------+-------------------+------------------

7. To maintain | To the extent that | An expensive use | Of little value

interest. | the pupils are | of time and | since notebooks

| permitted to use | energy, since | are usually

| some originality | interest may be | stored away

| or initiative in | obtained in so | and forgotten.

| choosing material | many quicker and |

| and compiling it, | easier ways. |

| interest may be | If there is |

| maintained. | seemingly greater|

| | interest it is |

| | probably in the |

| | manipulative |

| | processes rather |

| | than in art |

| | itself. |

-----------------+--------------------+-------------------+------------------

In the light of the analysis of their value it would seem that the use

of notebooks should be carefully considered before they are given any

place in the teaching of art related to the home. If used at all, they

should not be the objective of the course but the voluntary effort of

the pupils in attaining other objectives and should take a minimum of

class time. From the standpoint of time alone there is certainly a

question as to how much routine work in cutting, pasting, or writing

should be permitted.

The teacher not only has a responsibility for teaching but for the

most efficient teaching at a minimum cost in time and energy to the

pupil. The immediate and ultimate uses of collected materials should be

the most important criteria as to kind and amount. When the pupils have

an opportunity to choose illustrations which show good application of

art they are not only developing their powers of discrimination but are

revealing the degree to which these powers have been developed. Some

practices in judgment are valuable and probably sufficient in themselves.

For instance, when a pupil selects two or three good examples of rhythmic

movement in design she will have developed a finer feeling for rhythm and

will have demonstrated her recognition of it. Of what value would it be

for her to make a permanent record of these illustrations?

There are other selections that may be of more permanent value, such

as pictures chosen to illustrate some art application. When these are

mounted or framed attractively they make desirable additions to the

girl's room and home.

Illustrations suggestive of new and interesting ways of applying trimming,

or of arrangements for dressing table covers, window draperies, and

similar materials are also of more permanent value. They may serve the

immediate purpose of illustration in the art class and then be made

available for later use if they are filed in some way. One of the most

satisfactory means of keeping such materials is in large envelopes or

portfolios. These may be provided at small expenditure of time and

money by using heavy wrapping or construction paper. The latter may be

made very simply by cutting and folding the paper to form a double-pocket

envelope.

Rather than encourage the notebook type of collection of magazine

illustrations and samples of materials, the teacher may interest the

girls and women in selecting simple articles that may be used in their

own homes and will give lasting enjoyment.

If a notebook or portfolio is to be used for keeping certain records for

later reference, the requirements for it should be limited to those which

are easily attainable by all members of the class. However, this does not

suggest a restriction of the efforts of the especially-talented pupil.

Each page of the simplest notebook offers opportunity for the application

of art principles in the planning of good margins, as well as in making

attractive groupings of illustrations on mounted and written pages.

It would seem desirable to discourage the elaborately decorated type of

notebook covers because they consume considerable time for making and

have such a temporary use. Portfolios well constructed and of lasting

quality may be used later for keeping choice, unmounted pictures, or

photographs.

THE PLACE OF LABORATORY PROBLEMS

The "laboratory problem" is a term quite generally used to designate

a problem which is carried on within the classroom and involves some

pupil activity.

Such problems may involve judgment, a combination of judgment and

manipulative skills, or a combination of judgment and creative thinking

with some manipulation. They may be used to discover a law or principle,

to verify a conclusion, or to test the judgment and creative ability

of the pupils.

The term as it is used here is restricted to the type of problem

which involves judgment in selection, creative planning, and careful

manipulation of materials for successful completion. Such problems are

frequently known as craft problems.

Since this type of problem involves so many kinds of ability it is

evident that it can not be introduced too early in the course if it is

to be executed successfully by the pupils. To the degree that judgment

ability in selection has been developed and there has been opportunity

to do creative thinking, the pupils will be able to carry out such

problems more independently.

This does not mean that all laboratory problems are to be reserved

until the end of the course, but it suggests that each problem be

considered carefully to determine if the pupils' preceding training has

been adequate. For example, posters may be undertaken much earlier than

a problem in tie dyeing. The main requirement for successful posters

is an ability to use the principles of proportion and emphasis. A problem

in tie dyeing to be successful should be preceded by an understanding of

the use of the principles of proportion, balance, and harmony as well as

of color.

The successful laboratory or craft problem provides a measure of the

pupil's judgment and creative ability; an opportunity for manipulative

expression; and a means of producing something that should contribute

to the beauty of the home. The pupil should visualize each finished

article in its place in relation to the whole scheme of the room or

home. The making of articles for which there is no definite need or

place in the girl's home can hardly be justified in school time. The

use of those materials in laboratory problems with which the pupils

will need to work later is considered the more valuable experience.

For example, experience in working with dyes rather than with water

colors or paints will be more useful to the average girl, for in her

home she is more often confronted with the problem of renewing color in

underwear or other garments or changing the color of curtains to fit in

with the new color scheme of her room than with problems necessitating

the use of water color or paints.

Laboratory problems that are well selected and wisely directed will

result in one or more of three values:

1. Pupils may have a better appreciation of fitness and purpose.

2. Pupils may have a greater desire to own and use beautiful things.

3. Pupils may have a greater appreciation for possibilities of

beauty in the simple things.

With these possible values in mind the teacher will need to determine

which of the many laboratory problems can be used most effectively.

The following standards are offered as a basis for evaluating the

various possibilities for such laboratory problems:

1. _Time._--This is probably the most important factor because,

in the first place, many laboratory problems are far too time

consuming, and, in the second place, the total time allotment

for an art course is usually limited in the vocational program

in homemaking. _Every article which can be justified for a

school problem should require a relatively small amount of time

and few repetitive practices._

2. _Ultimate use of the article._--This is a factor which is often

lost sight of and as a result girls make ruffled organdy or

embroidered or quilted silk pillows for which they have no

real use. _Every article should be evaluated in terms of its

relation to use and surroundings and be chosen for a specific

place._

3. _Structural quality of the article._--"Structural design is the

design made by the size and shape of the object."[24] Laboratory

problems involving structural design afford opportunity to make

use of several art principles, but to bring about structural

beauty the pupil must have achieved real ability to use

these principles. _Every article should meet the fundamental

requirements of good design._

4. _Suitable decoration for the article._--"Decorative design

is the surface enrichment of a structural design." Too often

decoration has failed to contribute to the appearance or to

the utility of the article. _Decoration, if any is used, should

make a lasting contribution rather than a temporary appeal._

5. _Good technique._--An article may be well planned, with good

design and pleasing decoration, and may be one that would not

require too much time in the making, but the finished product

may not be acceptable because of poor technique. _Laboratory

problems should require only that type of technique which can

be achieved successfully by the pupil._

The ultimate purpose of this particular part of the training in art

related to the home is to enable girls and women to make selections for

their homes that will contribute to their attractiveness rather than

to produce artisans in the various crafts. Therefore the selection of

class laboratory problems must be made most carefully. The teacher will

need to emphasize repeatedly the importance of structural value, as

well as the utility of articles if the pupils are to appreciate these

qualities as more fundamental than decoration.

Difficult situations often arise as a result of poor choices on the

part of pupils for their laboratory problems or for the decoration

of articles to be made. Great tact is required in leading pupils to

see that such choices are poor without offending them. It sometimes

means slow progress and waiting until the class judgment brings out

opinions that may have more weight than those of the teacher. It is

more effective for a teacher to allow a pupil to proceed through the

"trial and error" method than to completely discourage the making of

the poorly-chosen article. However, the successful teacher must evaluate

each situation in light of the cost in time and money and the effect

that failure would have upon the individual pupil. The most important

consideration is that out of the experience the pupil will progress

toward the desired objectives.

The "trial and error" procedure is well illustrated in the following

report of a Wisconsin high school teacher:

Related art is taught in all units but is taken up in detail

for the first time in the sophomore year in home furnishing and

decoration, wardrobe planning, and the Christmas gift unit. Most

of the girls come from very poor homes; and the prevailing idea

of beauty is largely artificial flowers or large framed family

photographs.

The aim in the related art work has been to help the girls use the

things they already have and to appreciate beauty in the things

they own and have the opportunity to buy or see.

The following problem arose in the sophomore class of 27 girls in

the home furnishing and wardrobe planning unit:

The girls were to make Christmas gifts in which their knowledge of

design and construction was to be applied. The gifts were to be for

some particular member of the family or friends. After deciding what

they were to make they planned the design and colors. Some of the

girls used yarn or bias tape designs on theatrical gauze or monk's

cloth, making scarfs, pillows, curtains, davenport covers, or couch

covers. Others made collar and cuff sets, aprons, underwear, towels,

laundry bags, pan holders, or passe partout pictures.

Elva came to school with a blue bird panholder to embroider in many

colors as her gift to a married sister. I told her it would take

much time and I wondered if it were worth while putting the time on

a panholder. I asked her if the design were appropriate, and she

said she liked it better than the plain quilted holders.

I did not know what to do as I did not want her to spend time on

such a foolish and inappropriate article but decided that she might

be convinced of her poor choice after making it so I allowed her to

work on the holder, giving her help as needed, but no encouragement

as to the beauty of the holder. In order that the others in the

class might be more convinced concerning some of the things we had

discussed in our related art from this holder, I asked each girl to

keep accurate account of time spent in making the gifts.

The girls who were making plain holders had finished a set of them

and at least one other simple gift while Elva continued embroidering

on her holder. Everyone was much interested in all of the gifts

and made many comments. Although none but Elva knew my views, she

received no class approval or bursts of enthusiasm over her holder,

and one girl even ventured to ask her if she thought her holder was

good design.

Finally the gifts were finished, and each girl exhibited her work,

criticizing it both constructively and adversely. Finally it was

Elva's turn. It was a pleasant surprise when she said: "I spent

6-1/2 hours of time on this one holder, and I don't like it now.

I could have made six plain ones, and they would have been better

in design and served the purpose better than this one will. I don't

think my sister will appreciate this holder more or maybe as much

as one of the others."

The class did not take exception to her criticism, and we then

evaluated the design, appropriateness, and time spent on it. The

class decided Elva was right in her conclusions that she had made

a mistake.

As most of the girls were giving their gifts to persons in the

community, we discussed placing and use of the various gifts, and

the girls decided that after Christmas they would tell how or where

the gifts were being used. When this time came and Elva reported,

she said the panholder had surely been used and was so badly

scorched that you couldn't even see the design that took 6-1/2 hours.

Several laboratory problems which teachers have used in art classes are

here presented. In the light of the standards which are offered as a

basis for determining what problems shall be chosen, they are discussed

briefly as to their educational possibilities. The order in which they

are listed is alphabetical and not suggestive of importance in ranking.

1. _Block printing._--If the designs are so simple that the girl

learns how to adapt similar simple designs to other things for

her home, this problem may have value in such a course. In

addition, the girl is acquiring a wall hanging or a table cover

that will have an appropriate place in her home. Such simple

blocks may be kept for using on a variety of articles for gifts

which the girl can make at very little expense and in a short

time. The "stick printing" also offers some opportunity for

adapting designs.

2. _Fabric or yarn flowers for the wardrobe._--If such articles are

made of appropriate materials, there is opportunity for girls

to exercise judgment in the selection of colors, textures, and

combinations that are suited for their use on special garments.

3. _Hand stitchery (embroidery, hemstitching, fagoting, and

quilting)._--In so far as the pupils can justify the use of hand

stitchery for a particular article or garment and then confine

their efforts to the choosing and adapting of designs, to the

planning of color combinations and to the doing of just enough

of the stitchery to learn the process, stitchery problems may

have a place in the art course. The actual repetition of stitches

is too time consuming for class practice. Unless the pupils will

finish such problems outside of class some others would better

be chosen. There is an opportunity through stitchery problems

to show girls how a bit of appropriate handwork may be applied

to an inexpensive ready-made garment, thereby enhancing its

attractiveness and value.

4. _Lamp shades._--Lamp shades may be individual class problems

if the pupils have real need for them. If made in class the

educational value comes through planning the size and shape,

choosing suitable and inexpensive materials, and adapting

appropriate designs to them.

5. _Lettering._--Since in many real situations in life one is

requested to print one's name, it would seem desirable to

include some very simple straight-line printing problems.

6. _Marbleized paper._--This is a possible class exercise which

involves the handling of colors. Such papers may be utilized

as wrapping for gifts, book covers, desk sets, or portfolios.

7. _Painting furniture._--There will probably be little opportunity

or need for the actual carrying out of such a laboratory problem

in the beginning course in art related to the home, but it may

be used successfully in a later unit in home furnishing or in

a home project. The educational value in painting furniture is

confined to the choice of finish and color and in learning the

manipulative processes. The actual painting of many pieces is

too time consuming to be done at school and too laborious for

young girls to do unassisted at home.

8. _Place cards._--The choice of size and shape of card and the

placing of the name on it are the important factors in using

plain place cards. Here is an opportunity for girls to make use

of straight-line letters. In selecting and making decorated

place cards, suitability to purpose and kind and amount of

decoration are other factors that need to be considered.

9. _Portfolios._--Simple portfolios may be appropriately used

as class problems provided the pupils have a need for them.

They afford opportunity for the application of the principles

of proportion, emphasis, and harmony as well as of color.

If decoration is to be used, it should be simple and suited

to the material of which the portfolio is made and to its

intended use.

10. _Posters._--When the need for posters arises, a related art

class may profit by applying their knowledge of color, emphasis,

and space arrangement in making them. For a simple yet attractive

poster, a well-mounted picture which suggests the story with one

or two lines of lettering may be grouped to form a unit. This

takes but a short time. For those students having difficulty

in making the straight-line letters in crayon or ink, the gummed

or cut letters may be used, or a school stamp lettering press

may be utilized.

11. _Rug hooking._--The educational value of this problem is in the

selection and adaptation of designs and colors to the spaces

and materials used. Beyond this point it is largely repetitive

manipulation; and unless girls want to finish rugs outside of

class, and will have an opportunity to do so, such work should

be discouraged.

12. _Tie dyeing._--If good dyes are procurable and the exercise is

limited to using a few hues, tie dyeing may be desirable from the

standpoint of developing ability to combine colors successfully

and to the fitting of the design to the shape of the piece dyed.

If used as a class problem, special attention needs to be given

to the adaptation of design to the space. This means careful

preparation of the material for the dye bath. Wise planning for

the desired color effects is also essential.

Shaded dyeing offers an interesting opportunity for further use

of color. The problem involves the recognition of interesting

ranges of values and the determination of pleasing space

relations for those values.

It has been suggested previously that handling dyes would be a

more valuable experience to girls than using paints or water

colors. However, to insure success, dyes of standard quality

should be selected and carefully prepared. Soft water has been

found best for most dyes. A soft, loosely woven material without

dressing is typical of the fabrics that are most frequently dyed

at home and may well be used at school. Carefully dyed yard or

half-yard lengths of cheese cloth have been found valuable in

supplementing other fabrics in the study of color. The experience

girls gain in mixing and handling the dyes for these short length

pieces has been deemed by some teachers as far more valuable than

that gained through making flat washes for a color chart as a

means of understanding colors and their relationships.

Much time is usually lost in having pupils attempt to mix paints

for flat washes for the various hues of color charts. The purpose

of making color charts is to provide the girls with a guide for

recognizing and combining colors. Many teachers have found that

a more successful method is to have the pupils arrange colored

fabrics or papers in the order of their hue relationship. It has

not been considered necessary for each pupil to do this, since

the ability to recognize hues and their relationships may be

equally well achieved through working in groups. A large chart

of standard hues provided by the teacher will be valuable in

developing understanding of color.

13. _Weaving._--This problem requires a loom, and for the small amount

of weaving that should be done in school and in view of future

needs, the teacher is seldom justified in asking for such a piece

of equipment.

Book ends, trays, and candlesticks are essential articles from the

standpoint of utility and well-selected ones are valuable as illustrative

material in the development of good judgment in their selection and

arrangement. When these articles are used as laboratory problems, special

care should be taken to avoid placing the emphasis upon decoration.

There are no doubt other problems that may be used successfully.

However, only those should be chosen that will supplement the art

training advantageously and that will measure up to the five suggested

standards on pages 47-48, which, stated in more specific terms, are--

1. Every article should require a relatively small amount of

time and few repetitive practices.

2. Every article should be evaluated in terms of its relation

to use and surroundings and chosen for a specific place.

3. Every article should meet the fundamental requirements of

good design.

4. Decoration, if any is used, should make a lasting contribution

rather than a temporary appeal.

5. All problems should require only that technique which can be

achieved successfully by the pupils.

FIELD TRIPS

Field trips in some form have been used to quite an extent in the teaching

of many subjects and have been undertaken for a variety of reasons. In the

teaching of art the purpose may be fourfold:

1. To stimulate interest in beauty.

2. To provide contact with materials and articles as they are to be

found in life.

3. To extend information.

4. To provide additional opportunity for exercising judgment.

Unless the trips to be made by the class are planned carefully they may

become merely freedom from regular school routine. If the group has an

opportunity to help plan the trip, including the route to be taken,

the points of interest to be looked for and reported upon at the next

regular meeting of the class, the conduct to be maintained on the trip,

and the courtesy due the homemaker or the merchant or the business man

who is cooperating with the class visit, there is bound to be greater

interest and concentration upon the trip with more beneficial results.

Trips taken very early in the unit or course can do little more than serve

as a means of stimulating interest in the new phase of work. Trips taken

later may be used to verify conclusions and develop judgment in making

selections as well as to create broader interests.

One class in a study of clothing selection made several trips to the

local stores. The first one was preceded by a study of surface pattern

in dress fabrics from the standpoint of the effect of design and color

upon the appearance of the wearer. The trip to the local stores was

made to determine which of the wash dresses exhibited in three store

windows best met the standards which the class had set up for such a

dress. The standards were as follows:

1. The style or design of the dress should be suited to the kind

of fabric and the surface pattern of it.

2. The trimming should be in harmony with the construction lines

and the color of the dress.

3. The surface pattern of the material should be one of which the

wearer and her friends would not soon tire.

In this particular case, since the class was small and the trip included

only window shopping, some discussion was carried on in the group as

they stood outside of the display windows.

At a little later time the same class was taken to the stores on a

shopping trip. Each pupil was asked to select material for two dresses

for one of her classmates, one to be for a washable school dress and

the other for a "dress-up" dress. The materials were to be selected

from the standpoint of color and design for the individual and of

suitability for the type of dress. The procedure set up by the class

previous to the trip was to work quietly and independently at the store

and to refrain from saying why they did or did not like various things

they saw there. When each girl had made her selections she was to ask

the clerk for small samples and to be sure that the rest of the class

saw the large pieces from which she had made her selections. During the

next class period each girl exhibited her samples and justified the

choices she had made. The girl for whom the selections had been made

was given an opportunity to express her opinion, and the remainder of

the group were encouraged to comment upon the proposed materials.

When these pupils later had the problem of selecting materials for the

new spring dresses they had decided to make in class, there were many

evidences that the experience gained on the trips to the stores had

been of real value to them.

In the study of accessories for the spring dress this class had another

window-shopping trip which followed a lesson on the selection of shoes.

The purpose of this trip was to see what effect trimming lines had upon

the apparent width and length of the shoes and to choose from those

displayed in the windows the style of shoe that would be most suitable

for some member of their class to wear with a dress she had made or

purchased.

Field trips that have a definite purpose and are well planned and arranged

for in advance can make valuable contributions to the classroom training

in art. If a class is to be taken on a trip to a store, to visit a home

in the community, or to an industrial plant it is only courteous and an

evidence of good management for the teacher to obtain permission and make

necessary arrangements with the merchant, the homemaker, or the manager

far enough in advance to avoid conflict in time and to plan in accordance

with their most convenient time for visitors.

MEASURING RESULTS

How can the degree to which art training is functioning in the lives

of the girls and women be determined? It is fully as important for

the teacher to evaluate results of her teaching as to plan for it

carefully. This has been commonly recognized as a definite part of

teaching, but the procedure has been largely limited to the giving of

written tests. Such tests have usually been of the type that measure

factual information and have probably failed to indicate the degree

to which the student's life has been improved by her use of the art

information.

Tests which are thought provoking and the solving of school problems

are both valuable measures, but they are not sufficient in themselves

for testing art. They fail to reveal whether or not the girl is making

voluntary and satisfactory art applications or appreciating beauty

to any greater extent in her everyday life. Whitford[25] refers to

outcomes as follows:

Two significant and fundamental outcomes of art education are

revealed by an analysis of the relation of this subject to the

social and occupational life of the pupil. These are, first,

ability to recognize and appreciate art quality and to apply

this ability to the needs of everyday life; and, secondly, ability

to produce art quality even though in a relatively elementary form.

When art has been effectively taught there are many tangible evidences

of its functioning in the personal and home life of the girl. What are

some of these tangible evidences that indicate successful art training?

The outstanding ones may be found in the girl's appearance at school

and in the choice and arrangement of furnishings in her room and home.

=Evidences of the Successful Functioning of Art in the Classroom=

Improved personal appearance of pupils may manifest itself in their

selection of ensembles from garments already possessed or from newly

selected garments from the standpoint of--

1. Color combinations.

2. Texture combinations.

3. Appropriateness of clothing for school.

4. Appropriateness of style of garments to the girl.

5. Appropriateness of accessories.

The story of freckled-faced Mary well illustrates how art did function

in one girl's life. She was an unmistakably plain high-school girl.

Her hair was red, her face freckled, and her nose decidedly retrousse.

Her clothes of gaudy colors never fitted and always seemed to emphasize

her personal deficiencies. But one day a new teacher came to the

school, whose business it was to teach home economics, and into her

hands Mary, mercifully, came. A few months later the State supervisor

of home economics, a close observer, visited the school, and her

attention was soon drawn to Mary, not as the worst-looking girl in

the school but as one of the best-looking girls in the school. Soft,

becoming colors, good lines, and a suitable style of garments had

brought out the best tints in her red hair, softened the freckles, and

transformed a plain girl into an attractive one. All of this had been

accomplished as an indirect objective of the teacher in her related

art instruction in home economics. Mary had unconsciously learned that

beauty is, after all, a relative term in regard to individual objects

and that it is the setting that gives grace and charm.

Unless the teacher is on the alert some interesting evidences of

successful teaching may go unnoticed. Some of the changes in the

pupil's appearance come about gradually and without audible comment.

Such was the case in one class. Most of the year Betty had been wearing

an old 1-piece wool dress. During the winter she had worn a belt of the

dress material at a low waistline, so that the belt covered the line at

which the pleats were stitched to the dress. Early in the spring, and,

as it happened, near the beginning of the art unit, Betty evidently

became much interested in the styles that advocated a return of the

normal waistlines and succumbed to the appeal of the new leather

belts in the store window. For several days she proudly wore a wide

leather belt fairly tight and high, with this straight flannel dress,

all unconscious of the fullness bunching above the belt, the poor

proportions of the dress, and the poorly finished seam where the pleats

were joined to the dress. After some time had been spent on the art

unit in which no direct reference had been made to Betty's belt, the

teacher was very much pleased one morning to notice that Betty had

taken in the side seams of her dress to remove some of the fullness and

was wearing the leather belt a little more loosely and somewhat lower,

so that the space divisions of the dress were more pleasing. Is there

a better evidence of successful art training than that which shows

that the pupil is able to adapt in an attractive way the garments of

her present wardrobe so that they measure up to the individual's desire

to be up to date?

A Kansas teacher reports that she overhears comments among girls before

and after school which reveal evidences that art is influencing tastes.

Here are some examples of these comments:

That color is too bright for her.

That particular green dress makes her skin look yellow.

Those beads harmonize beautifully with that dress.

She is one girl who should not wear her belt high. It makes her

look so short and dumpy.

I have given my sister my colored scarf, which I now realize

clashed with everything I had, but fits in with her things.

Better pupil contributions to class work constitute another evidence of

the effectiveness of art instruction. These manifest themselves in--

1. Voluntary reports and comments of observations and experiences.

2. The bringing in of illustrative material for class and bulletin

board use.

3. The asking of relevant questions.

Some of these may be evidenced outside the regular class period. This

was true in the case of Joan, a high-school freshman in an art class,

who had been rather unwilling at times to accept the art standards set

up by the rest of the class. Her argument was, "What difference does it

make? Why can't everyone select just the things she likes?" Very little

attention was definitely directed to her for she would sulk if pressed

for a reason to justify her statement that everyone should choose as

she liked.

One Monday morning the teacher, upon her arrival at school, found Joan

waiting in the classroom to tell her of the shopping trip she had had

with her mother on Saturday. Joan had selected a red silk dress which

she and her mother had both liked. After going home Joan had begun to

wonder if the dress would look all right with her last year's coat and

hat and wanted to know what kind of hose would be best to wear with the

dress. This teacher could well feel that her art teaching was developing

in Joan a real interest in art.

Assumption of greater responsibility by the pupils for more attractive

arrangements at school contribute another evidence of the effectiveness

of art instruction. This may manifest itself in the arrangement of--

1. Articles on tables, buffets, or bookcases.

2. Flowers in suitable bowls.

3. Books and magazines.

4. Exhibit cabinets.

5. Stage settings for class plays.

Still another criterium of the effectiveness of art instruction is the

spread of interest in the work from home economics pupils to others in

the school.

A teacher of related art in Missouri says:

One of the most striking and pleasing evidences of art's carrying

over is the fact that so many girls outside of the home-economics

department come in and ask questions regarding some of our pupils'

clothing or ask to see the art work done here. The seniors in the

teacher-training department are especially interested, as they

expect to teach art in the rural schools and have had practically

no work in it.

=Evidences of the Successful Functioning of Art in the Home=

One of the most gratifying results of art teaching is the influence

it creates in improving the homes of the community. This may be seen

through--

1. More attractive arrangements and rearrangements of furniture,

rugs, pictures, and accessories.

2. Elimination of unnecessary bric-a-brac.

3. More suitable use of color.

4. More appropriate choice of textiles and texture combinations.

5. Improved selection and care of shrubbery, hedges, and flower

beds. Removal of unnatural or grotesque shapes.

6. Improvements in walks, trellises, fences, and gates to make

them more suitable for house and grounds.

A teacher in a vocational school in North Dakota reports as follows:

One of the most valuable evidences of improved practices that I see

from our art work is the girls' appreciation of things that are

beautiful and their desire to acquire a few truly beautiful things

for their own rooms and homes.

An itinerant teacher trainer describes a lesson in related art which

she observed. It is given here for its very practical suggestion of a

means for measuring results of teaching:

The day before my visit the teacher had taken all the girls of her

class to a city about 18 miles away to purchase Christmas gifts

for their mothers. The girls had limited themselves as to possible

types of gifts within their limited means and at the same time

suitable for their mothers. Only one gift cost more than $1 and

that was the joint gift of two sisters to their mother. The class

had agreed that each gift should be of such nature that the

application of art principles studied would be involved in making

a choice. They had practically confined themselves to pictures,

beads, book ends, or vases.

All of the gifts had been brought to the home-economics rooms for

storage until the Christmas tea when they would be presented to

the mothers.

The girls brought out all their purchases and all entered into the

judging without false modesty. In some cases the purchasers were

able to suggest improvements in future purchases.

The entire group showed unusual poise, self-confidence, and good

judgment, as well as tact, in making suggestions.

The new problem arising from this lesson of designing an invitation

to the annual Christmas tea for the mothers was a very real one to

the girls. The principles of balance were taught and applied, and

the girls decided on a design for the invitation.

Various tests and problems may also serve to measure the results of art

teaching. A description of the test which was used at the end of one

art unit, as a basis for determining the use the pupils were able to

make of that training, is here included. It is hoped that this plan may

prove suggestive to other teachers.

The test was given at the close of an art unit which had been conducted

according to the method described earlier in this section. (See Section

IV, pp. 34 to 42.) The class consisted of ninth-grade girls and met for

daily class periods, 80 minutes in length.

At the beginning of the period on this day the teacher told the class

that the first part of the period was to be devoted to a make-believe

shopping trip. In this test, cost was not a factor but the material

used did not include too wide a range in values. Slips with the

names of the articles for which they were to shop and directions were

prepared. Some of the shopping was to be done individually and some of

it by groups. When all were finished the shoppers were to meet in the

classroom and be given an opportunity to see all of the "purchases" and

to know why each selection had been made. The slips were then passed

out from which the pupils were to draw. The directions for procedure on

the slips were as follows:

1. Select from the box of scarfs the one you think would be most

suitable to wear with the blue coat that is in the clothing room.

(Three girls drew copies of this slip and worked together in

choosing the scarf and justifying the final choice.)

2. For the plain tailored flannel school dress hanging in the

clothing room, select a scarf or some appropriate accessory which

could be worn with the dress to introduce variety. (Three girls

worked on this shopping problem.)

3. Mrs. B. wishes to use this colored picture and these blue-green

pottery candlesticks in an arrangement on her mantel. She does

not know what color of candles to buy. She is afraid that if she

uses blue-green candles the color combination will be monotonous.

Which of these candles would you suggest? Why? (There was

considerable variation in the candles provided. In addition to

several hues from which to select there were plain as well as

decorated candles, and some variations in length. Two girls made

this selection.)

4. Suppose your bedroom were a small one and had but one window in

it. Select from these samples the wallpaper design that you think

would make the room look larger and the material to use for

draperies in the room. (A large wallpaper sample book and several

samples of plain and figured fabrics in a variety of colors were

provided for the two girls who did this shopping.)

5. You are to have a new print dress. Which of these pieces of

material would you choose as having the most rhythmic design?

Which trimming material do you think would be best to use with

it? (Several samples of printed materials were pinned together

and each pupil who drew a copy of this slip was given a separate

set from which to choose. Bias tape, braid, and lace, as well as

plain and printed fabrics, were provided for trimmings.)

6. Choose from these printed fabrics the one that you think would

be most suited in color and design for some member of this class.

Tell for whom you have made the selection, justify your choice,

and suggest the trimming that you think would be most appropriate.

(The selections were made from a miscellaneous group of samples,

printed and plain materials in a variety of colors.)

7. From colored fabrics plan three color combinations that could be

used for a dress. Describe the combinations that you have used

in each as to hue, value, and intensity, indicating areas of each

color and justify their use together. (An assortment of fabrics

separate from those used by other pupils was prepared for this

group to save time and to enable the pupils to work independently.

If fabrics are not available, papers may be used, although colors

are never the same as in fabrics.)

As soon as the "purchases" were all completed the pupils individually

or as group representatives, exhibited the selections to the class and

gave the reasons justifying each choice. The entire class participated

in commending or criticizing the selections made and the reasons given.

Here the teacher was able not only to measure the individual's ability

to solve a given problem but to observe how readily the pupils could

recognize desirable selections and offer correct art reasons as the

basis for those selections.

Immediately following the reports, the pupils took their places around

the tables in the clothing laboratory, and the remainder of the period

was devoted to individual and written judgments of materials which were

passed around the class. This material was numbered, and to each piece

was attached a slip of paper containing suggestive questions and

directions as follows:

1. To which of these mounted pictures do you think the margins are

best suited? Why? (The pictures cut from magazines were suitable

for the classroom or a girl's room and were mounted on a neutral

construction paper. Only one had margins suited to the size and

shape of the picture.)

2. Which of these stamped and addressed envelopes do you think has

the most pleasing margins? Why? (Several envelopes differing in

size and shape were addressed and stamped in a variety of ways.)

3. Which of these dress designs are balanced? Select one that you

have decided is not balanced and suggest the changes necessary

to make it so. (Illustrations of several dress designs that the

pupils themselves might use were chosen from a current fashion

sheet and were mounted and numbered. Attention was first focused

on the designs which were balanced and then on the possibility

of improving those that were not balanced.)

4. In which of these pieces of china do you think the design is in

harmony with the shape of the dish and would make a suitable

background for food? Justify your choice. (In the absence of

real china, magazine advertisements of china furnished the

necessary examples from the standpoint of color and design.)

5. Which of these three border designs has rhythm made most

beautiful? Why? (Advertisements of towels with borders furnished

the designs.)

6. Is this calendar pleasing in proportion? Give reasons for your

answer. (The calendar was quite a long rectangle in shape, but

the margins were well suited to it, and the entire space was

well divided.)

7. What in this picture catches your attention first? How has the

artist emphasized it? (The picture used was one taken from a

magazine cover and was a copy of a painting of recognized merit.)

8. Which of these fabrics has the most pleasing combination of

stripes? Why is that piece more pleasing than the other two?

(Cotton materials were provided with stripes varying from those

that were regularly repeated at intervals as wide as the stripes,

to those in which there was an interesting grouping of stripes

of varying widths.)

9. Which of the containers pictured in this advertisement would

you select to use for an arrangement of flowers? Why? (The

containers varied from those which were undecorated and well

proportioned, to those which were elaborate in shape as well

as in surface decoration.)

10. On this page are two color combinations. Tell what scheme has

been used and by what means the colors have been harmonized.

(These combinations were cut from magazine advertisements in

which the combinations were pleasing. The colors had been

harmonized through the quality of each color as well as the area.)

In each of the above situations the answer was not considered adequate if

the pupil had merely made a choice. A reason was needed to substantiate

that choice and the most complete answer was based on the principles

of art which applied in each case. This did not mean that formal

statements of the principles were required. It was considered much more

desirable to have the pupils give in their own words the art reasons

which justified each choice.

That such a test gives pertinent evidence of the use pupils are able to

make of their art training is shown in the words of the teacher who gave

the above test:

I did not want my students to feel that art work was something to

be memorized until the course was over but a thing to be carried

through life. I was very much pleased with the results I obtained

from the class. The pupils responded to the idea that art could be

used in every phase of life even when it came to writing up

their daily lessons. They no longer thought of art as something

accomplished only by professional artists, nor the word as meaning

painting and drawing, but as the feeling or appreciation of things

beautiful in line, design, and color. By having them constantly put

into practice the art principles which they learned, by the end of

the art unit the pupils had enough confidence in themselves to back

up each choice that they made with a reason. I felt that this type

of a test was a true test of their art knowledge because it was

practical.

Immediately the question arises as to the source of materials to use in

such a test, for it is evident that those used as illustrative material

for developing or applying principles in class can not be reused in the

test.

For questions 1, 2, and 3 of the first part (p. 59) the materials used

may be borrowed from a store or solicited from interested friends. The

girls themselves may be asked in advance to bring in a scarf and some

dress accessory. Since the choice is confined to an article suited for

a particular garment that choice ceases to be a personal one, although

some pupil-owned garments and accessories are used. Drug stores, paint

shops, and drapery departments may be solicited for wall paper catalogues

and samples of fabrics. Some firms will send fair-sized samples or

swatches of material for class use.

In the second part of the test (pp. 60-62) magazine illustrations and

advertisements proved to be most usable. Illustrative materials have

long been recognized as having an important part to play in the teaching

of home economics. The possibilities of their use in testing the results

of teaching have not yet been fully appreciated. Further suggestions

on illustrative materials will be found in Section VI, page 75. The

objective type test also has its place in measuring results.[26]

As has been suggested, many tangible evidences of the effectiveness of

art instruction may be observed and several of them can be noted in the

classroom. Others of equal or greater importance can not be measured in

the classroom, but can only be determined by the teacher as she visits

the home, supervises home projects, and participates with her pupils in

the life of the community. The home project has been an essential part

of the vocational program in home economics since the inauguration of

the vocational program in 1917-1918. It has afforded an opportunity

for extending the work of the classroom into the home and has

developed additional desirable abilities through practice under normal

conditions. The project carried on in the home has therefore been

considered a valuable educational procedure.

It is also a measure of results of teaching in that it shows how well

the girl is able to apply classroom training to actual situations that

arise in her project. Art can contribute to the success of many home

improvement and clothing projects. There has been a tendency in some

cases, however, for the pupil's interest in the actual manipulative

processes involved in the project to be so great that she lost sight

of the opportunities for the best applications of art.

In the home project "Redecorating my room," there is evidence that

the pupil has consciously applied art for the successful attainment

of it. This project, reported as follows, grew out of the unit in home

furnishing, which is recommended as an additional study following the

first general course in art related to the home.

_Name of project._--Redecorating my bedroom.

_Plan of project._--Since my bedroom must be repapered and painted,

I plan to make it as attractive as possible by following some

of the things we have had in our art work in home economics.

The plaster of the walls is not suitable for painting, so I will

select some light and cheerful colored paper with figures in warm

pastel shades.

The woodwork, which is a pea-green color, is quite dull and cool

for a north room and needs brightening up, so instead of having

the same color again, I will paint it a light cream or ivory.

A dark-yellow paint covers the floor, which is quite worn in some

places. I do not like this color, so my plan is to use either light

brown or tan, at least something darker than the walls, as I want

the floors darkest, the walls next, and the ceiling the lightest.

To make the furniture, which is now varnished, blend with the color

of the woodwork and floor, it too will have to be painted a color

lighter than the floor or darker than the woodwork.

In place of white tie-back curtains, deep cream or some other color

darker than the white will be more suitable with plain-colored

draperies, as they will blend with the ivory woodwork and enameled

furniture.

In order to contrast the curtains with the bedspread and dresser

scarf, I think the spread and scarf can be a lighter cream color.

A cushion for the rocker and a flower by the window will also add

color and finishing touches to the room.

_Outline of project activities._--

----------------------------------+--------------------------------------

Jobs | References

----------------------------------+--------------------------------------

Selected wall paper and helped | Looked through several wall paper

paper the room, using paper | catalogues and samples at the

with light background and | furniture store.

pastel figures in it. |

|

Painted the woodwork an ivory | I got sample folders of paint and

color. | also used the samples in the

| catalogue.

|

| The House and Its Care, by Matthews.

|

Painted the floor an inside tan | Used sample folders of paint.

(deep tan color). |

| Goldstein, Art in Everyday Life,

| for suggestion on color.

|

Painted the furniture with beige | I referred to paint folders.

enamel. |

|

Made an unbleached krinkled | I looked through several magazines

spread, repeating the color of | and catalogues for styles and

the draperies on the spread. | my mother and sister gave

| suggestions.

|

Made deep cream voile curtains. | Studied different styles of curtains

These were straight curtains, | in magazines.

not ruffled. |

|

Made draperies. | Referred to magazines and catalogues.

|

Made cretonne cushion for rocker. | Mother gave me suggestions.

|

Made a dresser scarf, repeating | Consulted mother and my teacher.

colors that are in the wall |

paper. |

----------------------------------+--------------------------------------

_Time for project._--A total of 62-1/2 hours was spent on my project

between November 15 and January 11.

_Story of my project._--My bedroom is a northeast room, long and

narrow, with sloping walls, and had but one window on the north

side. This made it dark and cheerless during most of the year.

Last summer my father built a dormer window in the east side of

the sloping walls. Immediately the room seemed transformed. It

did not look so long and narrow and the sunshine drove out the

darkness and cheerlessness. This improvement gave me the idea

of remodeling the bedroom, and I saw many possibilities of

making it into a cheerful and cozy one, where I could spend much

of my spare time.

I began almost immediately to remodel. The first thing I started

with was the walls. They were not suited for painting, so I chose

paper, which I got at the furniture store. After looking through

several wall paper catalogues I chose paper with a light

background and an inconspicuous, conventionalized design in

pastel tones of blue-green, red-orange, violet, and yellow.

(Sample attached.)

Before I put the paper on the wall I cleaned and sandpapered the

woodwork, floors, and dusted the walls. Father and I then began

papering. We had some trouble in matching the paper, but after

the first two strips were matched the rest was put on without

difficulty. The next job was painting the woodwork. I applied two

coats of ivory paint after having dusted the wood so that there

would be no dust to interfere with the painting. This was done

successfully and without difficulty. (Sample of color used.)

The next step was painting the floor. I chose inside tan. (Sample

of color used.)

The furniture was easier to paint than the floor but it took

quite a while to give it two coats. I used enamel that dried in

two hours, so had to be careful not to rebrush the parts I had

painted, as rebrushing causes light streaks after the paint has

set. (Sample of color used.)

With father's assistance, I completed the difficult work of

papering and painting. Then I began the pleasant work of making

a spread, curtains, draperies, and cushion.

I looked through several magazines, catalogues, and books for

the different ways of making curtains, spreads, and draperies.

My mother and sister also gave suggestions as to what would go

best with the room and how to make them. I chose deep cream

voile curtains with red-orange (peach) pongee draperies. The

curtains are made with a wide hem at the bottom and sides.

The spread is of unbleached krinkled muslin. (Sample attached.)

I have a deep ruffle of the same material at both sides and I

repeated the red-orange color in two bands near the ruffle.

The rocker needed a cushion. This I made of figured cretonne,

which blends nicely with the room. (Sample attached.)

On the floor I have two rag rugs which also have colors of blue,

red-orange, and tan.

My teacher came to visit my room one evening and gave me some

splendid ideas.

I shall add a homemade wardrobe for my clothes and put a low

shelf in it for my shoes. In front of the dormer window a table

will fit nicely. I am going to fix this table up with some books

supported by book ends, a simple box, and a blooming plant.

I will keep some simple and useful articles on my dresser.

All through this report there are many evidences that the pupil can

apply the principles of art successfully and also that she knows how

to obtain further information as needed. Another interesting feature

of this project is that the pupil did not consider this a finished

piece of work when her original plan had been completed. She saw other

possibilities for her room and was beginning to make plans for further

changes and additions in keeping with those that had been completed.

There is no better evidence of the success of art training than in

the effective use the girl makes of it in her home life. It may be

anticipated that a girl who has gone this far in improving a part of

the home will endeavor to make other desirable changes. To the extent

that the members of the entire family welcome the changes brought about

by the project and enjoy the results, the project may be considered

successful.

The success of art instruction may then be evaluated by--

1. Evidences in the classroom.

2. Evidences in the home.

3. Tests which call for judgment and creative thinking.

4. Home projects.

HOME PROJECTS

Home projects involving the use of art are to be encouraged, not only

as a device for measuring the results of teaching, but as a means of

stimulating applications of art in the home. Art training will function

in the immediate lives of the girls to the extent that successful

applications of it are made through the home projects. However, such

applications are not made without the ideal and therein lies the

importance of developing in girls ideals of having and creating beauty

that will be sufficiently deep seated not only to motivate but to carry

through pieces of work in their homes that will bring more beauty and

satisfaction to the families. Projects carried on in the home demand

more than a repetition of certain processes that have been learned in

school. They involve the bringing together of many principles and

processes, the exercising of judgment in determining which are needed,

and then the applications of these in the new situation. Thus the home

project is a creative piece of work.

Much more use of art should be encouraged in many of the projects

which girls are choosing in all phases of home activities since it can

contribute so much to the comfort and attractiveness of homes, and

these are essential factors of happy family life. Lewis Mumford,[27]

a distinguished critic of modern architecture and decoration, has

fittingly said:

The chief forms of decoration in the modern house will be living

things--flowers, pictures, people. Here is a style of interior

decoration that perpetually renews itself. For the modern house

is built not for show but for living; and the beauty it seeks to

create is inseparable from the personalities that it harbors.

It is safe to predict, on the basis of the home projects in which

desirable art applications have been made, that through conscious

effort the following outcomes may be expected:

1. The ideal of creating beauty in the home will be strengthened.

2. Pupils will recognize greater possibilities for making art

applications.

3. Pupils will become more observing and discriminating.

4. Family life will be bettered by those projects in which home

improvement has been achieved.

5. Pupils will appreciate that beauty is not dependent upon cost.

6. More successful projects will be carried out.

The last point is reflected in the summary of results that one girl

made of her home project, "Improving the Looks of My Room." She said:

The only cost for my project was for the two little pictures that

I hung by the mirror. I learned that it is not always the cost or

quality that determines the attractiveness of a room. Things must

be arranged correctly or much of the beauty is lost.

My mother thought that everything I did to my room was an improvement

and encouraged me to do much more. I am planning to do more for our

entire house in the future.

The home project which resulted in an improved kitchen in one home had

a favorable influence upon the home life of the family. The girl, with

the financial assistance of her brothers, had made an attractive and

more efficient kitchen in the bare 4-room house, which was the home of

the family. The living quarters were naturally limited in such a small

space. In reporting on this project the teacher said:

I feel that this project has been very worthwhile to Ethel and her

whole family. Her mother was so grateful and told me how much better

it made her feel to walk into a bright, cheerful kitchen every

morning. She said that her boys were so pleased they had made a

living room out of the kitchen on cold winter nights.

=Suggestive Home Projects in Which Art is an Important Factor=

Clothing projects which include planning as well as construction offer

many possibilities. This planning would necessitate such applications

of art as the adapting of style, design, and color to the individual,

selecting and combining textures and colors in the fabrics, and using

appropriate trimmings and accessories. Such projects would also afford

opportunity for exercising judgment through the evaluation of results.

The same opportunities exist in the "make-over" projects as in the

others in which all new materials are used. A few clothing projects

involving art are suggested, as follows:

1. Planning and buying or making (_a_) school wardrobe for self;

(_b_) season's wardrobe for small sister or brother.

2. Making the most of clothing on hand. This will involve cleaning,

pressing, and mending, as well as some remodeling.

3. Remodeling clothing on hand and choosing additional garments

needed for an attractive and suitable wardrobe.

4. Selecting the accessories to complete a costume for self or

for mother.

Home-improvement projects which involve the exterior of the home as

well as the interior should have a place in the home-economics program.

In this group of projects there is not only great opportunity for the

application of art as the basis for planning and selecting, but also

for the making of more pleasing arrangements of things already in the

home. In view of the fact that in most home-improvement projects the

girl needs to make the best use of furnishings and equipment already

possessed by the family, and usually has a limited amount of money to

spend, her problems are greatly increased. Except in the few cases in

which she has the privilege of newly furnishing a room or a part of the

home, the starting point is with the present possessions in the home

and a careful evaluation of them to determine the good in each. _She

should appreciate the fact that the home and its possessions belong to

the entire family and that any changes she may desire to make should

meet their approval or at least be undertaken with their consent._ In

most cases the proposed changes will be more welcomed by the family if

little outlay of money is necessitated and if the largest and best use

is made of cherished household treasures.

Joint home improvement projects have been carried out in some States

with considerable success. In these projects the girls in home economics

have worked cooperatively with brothers who were in agricultural

classes. This usually meant greater interest on the part of parents and

other members of the family. More ambitious programs for improvement

were thus possible, not only through greater family support and

encouragement but through the boy's ability to make certain alterations

in structure or finishing that a girl could not do alone. Through these

projects the boy and girl have learned much from each other. Perhaps

the most conspicuous evidence of success has been the spread of

interest beyond the homes into community improvement.

Some suggestive home-improvement projects are as follows:

1. Making the home kitchen a more convenient and attractive place

in which to work.

2. Arranging home furnishings and accessories so that harmony,

balance, and desirable centers of emphasis contribute to the

attractiveness and comfort of each room.

3. Assisting in the selection and arrangement of furniture, wall

coverings, floor coverings, or accessories for the girl's own

room or other rooms in the house.

4. Preparing the sun porch for summer use.

5. Planning and caring for window boxes.

6. Planning and planting a flower garden or border that will

contribute to the appearance of the home and also be a source

of pleasure.

7. Re-covering or making slip covers for furniture.

8. Assisting in the selection of linen, china, silver, and glassware

for the table.

9. Planning the table decorations for special occasions.

10. Keeping appropriate centerpieces of flowers, plants, or fruit on

the home table.

Two home-improvement project reports on Beautifying Our Yard and

Improving Our Home are given as suggestive of types of projects in

which art plays an important part in successful achievement. Only the

plans for the first one are given, since they show the significant art

applications.

_Name of project: Beautifying Our Yard_

(Reported by a girl in a vocational high school in Nebraska.)

I. Reasons for choosing this project--

1. The flowers will improve the looks of the yard.

2. It will be an experience in the arrangement of flowers for me

and will not only add to the attractiveness of the yard but

to the house and surrounding buildings.

II. Aims--

1. To make the yard and house more attractive.

2. To keep flowers watered and weeded and give other care they need.

3. To plant the flowers in the most suitable place and position.

III. Plans--

1. Get all the information I can from experienced gardeners and

from books and magazines that tell which are the best flowers

to raise, easiest to grow and take care of, and when and where

they should be planted.

2. Names of flowers to be planted--

Cock's Comb. Zinnias.

Phlox. Larkspur.

Nasturtiums. Petunia.

Sweet William. Cannas.

Snap Dragons. Sweet Peas.

Poppies. Heliotrope.

Asters. Sweet Alyssum.

Cosmos. Marigolds.

3. Location of flowers--

_a._ Along the walk (both sides).

_b._ Along sides of the house.

_c._ Along side of vacant lot.

_d._ Around garage.

_e._ Along the driveway.

4. How to plant the flowers--

_a._ The tallest ones in the back.

_b._ The shortest in front.

5. When to plant them--

_a._ Sweet peas, March 1 to 10, or before.

_b._ Others in the middle of April to May.

_c._ The flowers may be started in the house and transplanted

to the outside when the weather permits.

6. Care of flowers--

_a._ Water the flowers at least once a day (if dry weather).

It is best to water them in the evening.

_b._ Weed them at least twice a week and loosen the soil

around them.

_c._ If some insect starts destroying any of the flowers,

spray them with a solution which will kill the destroyer.

IV. Approval of guardian--

This project, Beautifying Our Yard, selected by Alta, is a very profitable

project, especially at this time of the year when our thoughts are

directed toward the planting of flowers, shrubs, etc. A beautiful yard

adds so much to the home and makes everyone more happy and contented.

This project should create a desire in Alta to take more interest in

the yard and in planting it. Also watching the plants grow will make

her feel some responsibility in caring for them, while at the same time

every member of the family will enjoy the realization of the project.

I wish her all success in making this project come true.

NOTE.--An excellent planting plan worked out on squared paper accompanied

this project.

_Name of Project: Improving Our Home_

(Reported by an Alabama high school girl.)

In the spring I took as my project home beautification. I thought

when I started there was very little I could do to improve the old

barnlike house and unsightly grounds, but the more I did the more

there was to be done. I began by removing the old overgrown hedge

from the side and front of the yard. After grading the ground we

sodded the whole yard in Bermuda grass. The house was next underpinned

with rough strips of lumber which were painted. A lattice fence was

also built from the house to the garage (about 40 feet).

Between the fence and the lawn a space about 30 feet square was left

for a flower garden. Just in front of the fence several rambling rose

bushes, jonquills, and chrysanthemums were planted. All around the

garden I had flower beds about 4 feet wide filled with marigolds,

zenias, bachelor buttons, asters, and phlox.

In the summer we decided that we could afford a concrete walk and

steps. This was a little expensive but it has helped the looks of the

place so much that we have never regretted the time and money spent.

The interior next received attention, beginning with my own room.

The furniture consisted of an iron bedstead, an oak dresser, table,

and chairs. There was a faded rug on the floor. I moved the dresser

to another room, then from an old washstand I made a little dressing

table. With rough lumber I made a window seat which I covered with

bright cretonne. The furniture was very attractive after a coat of

paint and two of enamel were put on. I have very light curtains at

the windows. The old rug was turned over and looks almost like new.

The walls in the living room and hall were painted in buff, the

dining room and kitchen are to be the same.

One of the greatest improvements of the interior is the built-in

cabinets. A very convenient one was made between the dining room and

kitchen, where an old chimney used to be. The bricks were used to

build a basement. The part of the cabinet in the dining room is to

be used for dishes, and that in the kitchen for the cooking utensils.

Both are to be painted cream inside and oak outside.

Next spring I am going to plant more flowers and keep working on

everything that I think can be improved, for I love home projects.

It not only has helped me, but has helped my entire family and even

our neighbors.