Section III

DETERMINING CONTENT FOR A COURSE IN ART RELATED TO THE HOME

Taste develops gradually through the making of choices with reference to some ideal.—Henry Turner Bailey.

PLACE OF ART IN THE VOCATIONAL PROGRAM IN HOME ECONOMICS

In recent years, many schools carrying the vocational program in home economics have scheduled courses in related art five to seven periods each week for one semester and in some cases for an entire year. In other schools, the entire vocational half day has been devoted to home economics, art being introduced in short units or as a part of some unit in home economics where it seemed to meet particular needs.

A unit of several weeks or a full semester of consecutive time devoted to the teaching of art as related to the home is generally considered more effective than to teach only certain art facts and principles as they are needed in the regular home economics units. Since art is recognized as fundamental to the solving of so many homemaking problems, it seems desirable to provide for this training as early in the first year of the home-economics program as possible so that it may contribute to the instruction in the first unit in clothing and home furnishing.

Prior to selecting the pattern and material for a dress, the girl needs to understand certain principles of design and color which will enable her to choose wisely. If art training has not preceded this problem in the clothing course, or if there is no provision for art work to parallel the clothing instruction unit, it becomes necessary to introduce some art training at this point. A similar situation arises in connection with the other units involving selection and arrangement such as home furnishing or table service. If art is taught only to solve specific problems as they arise the pupil will not have an opportunity to apply it to other phases of home-economics instruction and will therefore fail to develop the ability to understand and use the principles of art effectively in solving her other problems. There is the further danger that the girl's interest in home economics will be destroyed by interrupting the home-making instruction to teach the art needed for each unit. For example, if the girl is planning to make a dress, her interest and efforts are centered on its production. If preliminary to starting the dress, time must be taken to establish standards for the selection of the pattern and materials, the process of making is prolonged and the girl's interest in the art lessons and in the later construction of the dress is only half-hearted.

Training which provides for many applications of the art principles as they are developed gives the girl an ability to use these principles in solving the problems which arise at other times in home-making units. It is preferable therefore to arrange the vocational program so that the art instruction parallels or precedes those units in homemaking in which there is particular need for art. However, if the program can not include the teaching of art as a consecutive unit paralleling or preceding certain units in homemaking, it will be far better for the home-economics teacher to include art training as it is needed in the homemaking work than to omit it or attempt to proceed without the basic fundamental information necessary for the successful solution of many problems in home economics. In such a plan, time and opportunity should be definitely provided later in the homemaking program to summarize and unify the art training that has been given at various times in order that it may function in the lives of the pupils to a larger extent than that of solving only the immediate problems for which it was introduced. Such a summarization will make possible the application of the essential principles of art to a wide variety of situations and will mean not only a more thorough understanding of these principles but a more permanent ability to use them in achieving beauty and satisfaction in environment.

There are then three possible plans for including art instruction in the vocational program in homemaking, namely:

1. By presenting the course in art related to the home as a separate semester or year course that parallels the homemaking course. When it is a semester course, it is well to offer art the first half of the year in order that it may be of greatest value to the first units in clothing.

2. By giving the course in art related to the home as a separate unit in the homemaking course. Such an art unit should precede that homemaking unit in which there is greatest need as well as opportunity for many applications of the principles of art which are being developed. This will usually be the unit in clothing or home furnishing.

3. By giving short series of art lessons as needs arise in the homemaking course. Certain dangers have been pointed out in this plan. If used, it should include a definite time for unifying and summarizing the art work at the end of the course.

OBJECTIVES FOR THE TEACHING OF ART

In the vocational program in which the teaching is specifically designed to train for homemaking, it is obvious that the major objective in the related art units should be to train for the consumption of art objects rather than for their production. Bobbitt[ 5] elaborates on this objective as follows:

* * * the curriculum maker will discern that the men and women of the community dwell within the midst of innumerable art forms. Our garments, articles of furniture, lamps, clocks, book covers, automobiles, the exterior and interior of our houses, even the billboards by the roadside are shaped and colored to comply in some degree, small or large, with the principles of aesthetic design. Even the most utilitarian things are shaped and painted so as to please the eye. * * *

It would seem then that individuals should be sensitive to and appreciative of the better forms of art in the things of their environment. As consumers they should be prepared to choose things of good design and reject those of poor design: and thus gradually create through their choices a world in which beauty prevails and ugliness is reduced to a minimum.

This does not require skill in drawing or in other form of visual art. It calls rather for sensitiveness of appreciation and powers of judgment. * * * The major objectives must be the ability to choose and use those things which embody the higher and better art motives. Education is to aim at power to judge the relative aesthetic qualities of different forms, designs, tones, and colors. Skill in drawing and design does not find a place as one of the objectives.

The type of furnishing and decorating products consumed in the home as well as the type of clothing purchased for the family depends upon the understanding and appreciation which the home makers have developed for good art qualities. This in turn is dependent upon training. As one writer points out[ 6]—

* * * one's capacity richly to enjoy life is dependent upon one's capacity fully to understand and participate in the things which make up life interests. In art this is particularly true, for we can only enjoy and appreciate that which we are able to understand. Through training we may be able to appreciate and understand art even though we can not produce art to any great extent. This we may think of as mental training.

The content of an art training course may be defined in terms of objectives to be attained and these in turn should be determined through a careful consideration of the art needs of girls and women. In order to know these needs, the teacher must study the appearance, conditions, and practices in the homes of her pupils. Through observation of the general appearance and clothing of the pupils and a knowledge of their interests and activities outside of school, she will obtain much valuable information, but, in addition, it is highly desirable that she visit their homes. This first-hand knowledge of the homes and community should be secured early in the school year and prior to the art unit or course if possible. The teacher should also be constantly alert to the many opportunities offered through community functions, local stores, and newspapers for becoming more familiar with particular needs and interests in her school community.

In making contacts in the homes and community, it is essential that the teacher use utmost tact. Few homes are ideal as they are, but something good can be found in all of them. The starting point should be with the good features and from there guidance should be given in making the best possible use of what is already possessed. It would be far better for the girls to have no art work than to have the type of course that develops in them a hypercritical attitude or that creates an unhappiness or a sense of shame of their own homes. The aim of all art work is to develop appreciation, not a critical or destructive attitude.

Through such a study of girls' needs and interests certain general objectives will be set up for units of courses in related art. Through a well-planned program the majority of pupils in any situation may reasonably be expected to develop—

1. A growing interest in the beauty to be found in nature and the material things of their environment.

2. Enjoyment of good design and color found in their surroundings.

3. A desire to own and use things which have permanent artistic qualities.

4. An ability to choose things which are good in design and color and to use them effectively.

Out of these general objectives for all related art work, more specific objectives based on pupils' immediate needs and interests are essential. In terms of pupil accomplishment these objectives may be as follows:[ 7]

These specific objectives probably cover those phases of art for which the average homemaker has the greatest need. In the limited amount of time that is available for the related art units in most vocational programs, the choice of what to teach must be confined to the most fundamental facts and principles of art only. The problems through which these are to be developed may be drawn for the most part from actual situations within the girls' own experiences. It should be remembered that the ulterior motive in all art training in the homemaking program is to give to girls that which will make it possible for them to achieve and to enjoy more beauty in their everyday lives. In the average class few, if any, girls will have that type of "creative ability" possessed by great artists, but all of the group may be expected to attain considerable ability in selecting, grouping, and arranging the articles and materials of a normal home and for personal use. This may rightfully be termed creative ability. For example, the girl who works out a successful color scheme through wise selections and uses of color in her room or in a costume is indeed a creator of beauty.

ESSENTIAL ART CONTENT

A very careful selection of content for the course or unit in related art must be made. The vast amount of material in art from which to choose makes the problem the more difficult. An attempt to teach with any degree of success all of the content in art books and to give pupils an understanding of all of the art terms would be futile and would result in confusion. In the time available for art in the day vocational schools, as well as in the part-time and adult classes, the teacher is limited in her choice of content and must be guided by the objectives for the course that represent the girls' needs in their everyday problems of selection and arrangement.

Teachers are often baffled by the seeming multiplicity of terms. The Federated Council on Art Education has recently issued the report of its committee on terminology. The pertinent section dealing with indefinite nomenclature is here quoted:[ 8]

The subject of terminology in the field of art is extremely broad and for the most part indefinitely classified. Over 100 technical terms are in common use in the vocabulary of art. Often words are used by different authors with entirely different meanings, and in other cases the degree of difference between words is too slight to warrant use of a separate term. Also many of the terms are used interchangeably by different authors and frequently they are ambiguous and obscure in meaning and difficult to apply in public-school work.

In general, the literature used as a basis for planning, organizing, and developing units of art instruction in the schools is very indefinite in regard to nomenclature. For this reason the committee on terminology centered the first part of its investigation upon a program of analysis to determine, if possible, the most significant words in common use.

In the preparation of this bulletin, several art texts, reference books, and courses of study were examined for the purpose of determining the art terms that were most frequently used. On that basis, from these various sources the following were listed:

Since the content for a course in related art should contribute very definitely to the girl's present and future individual and home needs it is suggested that only the minimum essential terminology be used, remembering that in such a course the chief concern is the development of those principles and facts that contribute to the realization of such objectives as have been suggested.

There seems to be common agreement that balance, proportion, repetition, rhythm, emphasis, harmony, and color are of first importance in their contribution to beauty and that the various principles and facts concerning each should be developed in an art unit or course. The selection of these seven phases of art as fundamental is supported by Goldstein,[ 9] by Russell and Wilson,[ 10] and by Trilling and Williams.[ 11]

The committee on art terminology has also given emphasis to these in the classification as set up in Table V of their report. This is here given in full.

Simplest form of classification[ 12]

Basic elements Major principles Minor principles Resulting attributes Supreme attainment
Line. Repetition. Alteration.
Form. Sequence.
Rhythm. Harmony.
Radiation.
Light and Dark. } Tone. Proportion. Parallelism. Beauty.
Transition.
Balance. Fitness.
Color. Symmetry.
Texture. Emphasis. Contrast.

It will be noted that repetition, rhythm, proportion, balance, and emphasis are listed as major principles. It will also be noted that harmony is classified as a resulting attribute. This will be the inevitable result if the principles of the first five are well taught. Arrangements which meet the standards of good proportion, which are well balanced and which are suited to the space in which they are arranged will be harmonious.

Although color is designated as a basic element of art structure in this table and the principles of design function in the effective use of it, there are some guides of procedure in the use of those qualities of color, such as hue, value, and intensity, which should be developed to insure a real ability to select colors and combine them harmoniously.

Line is also considered a basic element of art structure. Since the problems in a course in art related to the home are largely those of selection, combination, and arrangement, the consideration of line may be confined to its effect as it provides pleasing proportions, is repeated in an interesting manner, or produces desirable rhythm.

The omission of the remainder of the art terms that were found to be frequently used in art books and courses of study is not as arbitrary as it seems. Through the consideration of the qualities of color it will be found that value includes the material often given under "light and dark" or "notan."

Referring again to the report of the Committee on Art Terminology,[ 13] "unity" is considered as a synonymous term for "harmony." Since it is possible for an arrangement to be unified and still be lacking in harmony, the latter term is used in the bulletin as the more important and inclusive one. There is less obvious need for the principles of "radiation," "opposition," and "transition" in problems of selection andarrangement. The Goldsteins refer to them as methods of arranging the basic elements of lines, forms, and colors in contributing to the principles of balance, proportion, rhythm, emphasis, and harmony. Thus some reference to them may be made in the development of the principles of harmony and rhythm.

Emphasis has been chosen as an inclusive term which represents "subordination," "center of interest," and "dominance."

It is hoped that these suggested phases of art to be included in a course or unit in art related to the home will not be considered too limited. Each teacher of art should feel free to develop as many of the principles as are needed by her groups, remembering that it is far better to teach a few principles well than to attempt more than can be done satisfactorily.

In developing the principles of design certain guides for procedure or methods in achieving beauty will be formulated. For example, in considering balance, pupils will soon recognize that the feeling of rest or repose that is the result of balance is essential in any artistic or satisfying arrangement. Their problem is how to attain it in the various arrangements for which they are responsible. Thus guides for procedure or methods of attaining balance must be determined. Such guides for obtaining balance may be—

1. Arranging like objects so they are equidistant from a center produces a feeling of rest or balance.

2. Unlike objects may be balanced by placing the larger or more noticeable one nearer the center.

It will be seen that these are also measuring sticks for the judging of results. It is evident that in a short course in art a teacher can not assist girls in all situations at home in which balance may be used. Therefore it is essential that the pupils understand and use these guiding laws or rules for obtaining balance in a sufficient number of problems at school to gain independence in the application of them in other situations. Some authorities[ 14] term these methods for attaining results, guiding laws for procedure, or principles.

HOME SITUATIONS FOR WHICH ART IS NEEDED

The common practice in art courses relating to the home has been to draw problems from the fields of clothing and home furnishing. This has been true for the obvious reason that an endeavor has been made to interest the girl in art through her personal problems of clothing and her own room. Since in a vocational program the objective is to train for homemaking, it is essential that art contribute to the solving of all home problems in which color and good design are factors. In the selection and utilization of materials that have to do with child development, meal preparation and table service, home exterior as well as interior, and social and community relationships, application of the principles of art plays a large and important part.

One of the teacher's great problems is that of determining pupil needs. Although homes vary considerably in detail, there are many similar situations arising in all of them for which an understanding of the fundamental art principles is essential. It is important that the problems and situations utilized for developing and then applying again and again these fundamental principles shall be within the realm of each student's experience. The following series of topics may suggest some of the situations that are common to most homes and therefore be usable as the basis for problems in developing principles of art or for providing judgment and creative problems. In most of these topics, other factors such as cost, durability, and ease of handling will need to be considered in making final decisions, for art that is taught in relation to the home is not divorced from the practical aspects of it.

As yet no committee on related art has proceeded so far as to suggest specific content for art courses that are related to homemaking. Since this bulletin deals with the teaching of art as it relates to homemaking, teaching content is presented only in so far as it exemplifies methods or procedures and relates to objectives. It is hoped, however, that teachers will find real guidance for selecting content that will meet the particular needs of their classes through, the detailed consideration of objectives, the selection of principles, and the many suggestions that are offered for art applications that can be made in all phases of homemaking.

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