ALBERT R. MANN LIBRARY
AT
CORNELL UNIVERSITY

 

 

 

 

 

 
College of Industrial Arts
The Texas State College for Wamnen

Denton, Texas

A SYLLABUS ON DESIGN, COSTUME “DESIGN,
INTERIOR DECORATION, AND COMMERCIAL
ADVERTISING

BY
THE DEPARTMENT OF FINE AND APPLIED ART

 

ornell University Library

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4 014 455

 

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COLLEGE BULLETIN

 

 

NUMBER 73 REVISION JANUARY 1, 1920

 

 

Issued monthly by the College of Industrial Arts, Denton, Texas.
Entered December 17, 1917, Denton, Texas, as second-class matter,
under Act of Congress, August 24, 1912.
EXTENSION SERVICE

FACULTY COMMITTEE

LINDSEY BLAYNEY, M..A., Pu. D., LL. D.,
President of the College

JESSIE H. HUMPHRIES, B. A., M. A,,
Associate Dean of the College

C. N. ADKISSON, B. A.,
Director, Department of Physics

C. D. JUDD, M. A., Pu. D.,
Director, Department of History and Social Science

WALLACE H. HOOK, B.S.,
Director, Department of Rural Arts

LILLIAN HUMPHRIES, B. S.,
Director, Extension Division

A Staff of Lecturers, Demonstrators, and Other Extension Workers
From the College Faculty
FOREWORD

If the inculeation of worthy ideals is a more important objective
than training for “efficiency,” then art, which deals with the emo-
tions and the uplifting of ideals, is fundamental and not a mere
ornamental factor of education.

This syllabus suggests art courses the aim of which is to culti-
vate appreciation for the fine and beautiful things in life, as well
as to give power in creating art expression, whether that expression
be in home decoration and dress, or in the commercial world.

Jura Hity ATWELL.
A SYLLABUS ON DESIGN

PREPARED BY JULIA Hint ATWELL
Dean of the School of Fine Arts, College of Industrial Arts,
Denton, Texas

It is the aim of the subject of Design or Art Structure to develop
the power within each individual not only to appreciate good
harmonies, but also to create good harmonies. This innate, though
often latent power, is the gift of everyone. Art teaching should be
the awakening of this power, and not the mere giving of knowledge.
A child would never learn to walk by watching others walk; that
is, by accumulating knowledge; he must repeatedly try to walk,
thus little by little gaining control and strengthening his own
power.

Fine Art is fine relations of spaces; that is, Fine Art is fine
proportions. What shape and size—that is, what proportions
should spaces be to make harmonies, and finally what tone and
color should these spaces be in order to emphasize these harmonies ?
These are the questions with which art is concerned. Thus the
aim of art teaching is first the cultivation of the appreciation of
beauty of proportion in spacing, and second the development of
the power to create beauty in spacing, and finally to appreciate
and express these spaces in tone and color.

To gain this appreciation and power to create, two lines of work
are necessary: sympathetic study of masterpieces of space propor-
tions, and exercise in creating good space proportions.

A sympathetic study of art masterpieces means living with art
masterpieces. Fortunately this does not mean living in an art
museum. In the first place, let us remember that art master-
pieces are not necessarily pictures; they may be furniture, rugs,
architecture, in fact anything that has been successfully made
with the idea of making it look as well as possible, for anyone who
tries to make things look well is dealing with art. So, in order
to study good art, one may put up where it can be seen many times
during the day a reproduction of a good picture or a good design
of anything, and by careful study of the space relations, he may
hegin the study of appreciation of Fine Art. At the end of the
6 CoLLEGE OF INDUSTRIAL ARTS

day or even at the end of the week the example of good art may
be taken down and another example of art put up, and thus the
appreciation of the good things of the art world surely, though
slowly, grow.

Practice in creating good space proportions must accompany the
study of masterpieces of spacing in order to increase the power to
create; and although proportion is a matter of relative sizes, it is
never gained by actually measuring. It is a matter of feeling:
it is accompanied by an emotion—the emotion of pleasure. We
believe with Ruskin that “The man who has eye and intellect will
invent beautiful proportions and cannot help it; but he cannot tell
us how to do it.” The proportion of two to three may be good, but
there are innumerable others that are just as good and perhaps
much better. The test must be the feeling of satisfaction and com-
pleteness. There must be no desire to change the sizes.

But even in simple exercises good proportion will not be secured
without work. All art is an expression of the artist’s inner self,
but this expression may have been withheld so long that it will
take many trials before one secures the space sizes and shapes that
give the feeling of completeness. The comparison of these efforts,
however, in order to decide upon the one that is the best will bring
power, for choice is necessary, and the only way to acquire good
judgment is to exercise such judgment as one may already possess.
Thus in working out the exercises in design that follow, one must
always make many trials and choose the best result for, I repeat,
choice is necessary for the cultivation of appreciation.

In studying the art of the world it has been found that certain
ways of placing lines in order to create spaces that are harmonies
have been used by artists of all times. These ways of creating
harmony may be called the principles of art. They are ways of
placing lines to create different spaces or areas that are in good
proportion to each other.

These principles of art construction are: opposition, transition,
subordination, repetition, and symmetry.

Opposition is formed when two straight lines meet. This prin-
ciple makes a simple and severe spacing. The most obvious form
of design made by oppositional lines is the checker board. But the
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measured, even division of the checker board is not art. There is
no choice of space shapes or sizes; there is no play of imagination.
But as soon as the spaces are varied, as soon as there is choice in
spacing, numerous possibilities are offered and the checker board
becomes a plaid, that is, it has become an art expression. Opposi-
tion is a principle very obvious in architecture. It is the principle
that interior decorators must deal with, not only in the doors and
windows but also in the corners of the rooms.

The interior decorator and more especially the costume designer
soften the severity of oppositional lines and spaces by the use of
the second principle of art structure—transition. If a third
straight line or a curved line be added to the abrupt opposition,
the shock of the difference in direction of the first oppositional
lines is diminished so that a quiet harmony is procured. The
spaces made by the lines are stripped of their corners and the entire
composition becomes a satisfying unit of gliding lines and spaces.

Opposition and transition are usually only aids in harmonizing
the whole, while the great principle of subordination is a con-
structive principle. All the parts are related to one single domi-
nating part upon which all the other parts are dependent. Sub-
ordination may be divided into three classes. The first is subordi-
nation of size; in this class there is one dominating large area,
and all the other areas are smaller and thus less important. The
second is subordination formed by grouping about am axis; thus
in flower growth the leaves are subordinate to the stem. The third
is subordination by radiation, as in a rosette or flower in which all
the parts are dependent on the center. Used with subtle apprecia-
tion of fine proportions, subordination is a great principle of
structure dominating in all the Fine Arts.

The repeating of a line or space is the opposite of subordination.
Here the same element, by its mere reoccurrence, distributes the
interest. This principle is called repetition. But mere mathe-
matical repetition is not art. There must be rhythmical order.
The checker board is an all-over pattern, without variety or
imagination in spacing and therefore without art interest. In
borders and all-over patterns the repeat is at equal intervals.
Repetition is an instinctive effect. Mere babies make a rhythmic
12 CoLLece or INDUSTRIAL ARTS

repeat with the rattle, and dancing and marching are pleasures
to both uncivilized and civilized peoples. In the art world repeti-
tion of line and areas play a large part. But a mere repeat,
where there is no feeling of good proportion in spacing, is not
art at all.

Symmetry is the harmony produced by repetition or doubling
over of any form on its axis. It is the symbol of unity and order.
It induces dignity of style. The calyx and petals of most flowers
are symmetrical. Throughout the whole order of nature each
individual unit is composed of two parts which balance and answer
each other—the wings and general form of birds and insects and
the form of animals from the lowest in the natural scale to the
highest form which is known to us—the human face and figure.
Symmetry is balance; therefore it is the ordinary way of producing
order. But here again it is to be remembered that without fine
relatious of proportion there is no art interest.

Since the artists of the past have decided that these five prin-
ciples are the basis of art construction, practice in creating ex-
amples of these principles is the exercise needed to increase the
power of art expression. For this purpose the following exercises
are suggested: make only ne drawings at first, and make at least
seven designs of each problem.

OPPOSITION :

1. Design plaids; think of the vertical and the horizontal lines
as space dividers in obtaining well proportioned spaces.

2. Draw a rectangle: then within this rectangle place four,
five, or more squares or rectangles overlapping each other, thinking
always of the proportions of the spaces thus made. Keep the sides
of these rectangles or squares parallel or vertical to the sides of
the original rectangle, thus expressing the principle of opposition.
TRANSITION :

3. Design corner decorations for book covers, tea trays, and
panels for chests or boxes. .

4. Choose the best design suggested in two and change the
oppositional lines into transitional lines by slightly rounding cor-
ners, and by changing some of the straight lines into curved lines.
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SUBORDINATION :

5. Make a design for a simple rug, the only decoration being
two undecorated borders around the entire rug. This, is a matter
of proportions only. Make the center large enough so that the
borders are subordinate to it.

6. Compose a flower in a rectangle, showing the leaves sub-
ordinate to the stem and the petals subordinate to the center of
the blossom.

REPETITION:

7. Design borders using only straight lines. Design borders
using curved lines.

8. Design simple all-over patterns for cottons and silks.

SYMMETRY:

9. Design the back of a chair.

The language of art, or the three forms of expressing art, are
line, dark-and-light, and color.

Dark-and-light, or tone, is a stronger, or more emphatic means
of expression than line, but color is stronger than dark-and-light.

After a good design is made in line, the next step is to express
the space divisions in dark-and-light or tone. At first it is well
to use only two tones; then three tones, still using the same design.
Put the design into as many different tone arrangements as possible
with two or three tones, and then choose the best arrangement,
always remembering that choice is necessary for art training.

The most complete expression of art is color. After one has
secured the best possible dark-and-light arrangement, this arrange-
ment is to be kept in regard to tone or value arrangement, but
instead of mere gray tones or values, these values are to be expressed
in values of hues. At first it is best to use two or three values of
the same hue, for example, different values of blue. Later one
can use a number of hues. But the aim is to keep the values
decided upon when only the values of gray were used. In order
to do this there must be a knowledge of color.

Color has three properties. The first is the tone quality, or
value, which is the quality of dark-and-light. This qualty is
quite well understood. Everyone knows whether a color is light
or dark or of medium value. The dark-and-light scale reaches
from white to black and includes all the intervening values. The
20 CoLLEGE or INDUSTRIAL ARTS

second is intensity or brightness or grayness. Must people know
a bright color when that color is also light, but few appreciate a
bright color when it is dark. In other words, dullness is often
Gonbuced with darkness. The intensity scale reaches from the very
brightest intensity of the hue to gray. The third is hue or the
knd of color, as red, yellow, green.

There are two different ideas in regard to the hue scale. The
most prevalent idea is that there are three primary hues—red,

 

yellow, and blue—and three secondary hues—orange, green, and
purple—which, with the intervening hues, give the scale red, red-
orange, orange, yellow-orange, yellow, yellow-green, green, blue-
green, blue, blue-purple, purple, and red-purple. These are ar-
ranged in sectors of a circle. Thus red is opposite green: yellow
is opposite purple; and blue is opposite orange, etc. Opposites
are called complements.

The other idea is that which was set forth by Albert H. Munsell.
Since science has determined that the fundamental color impres-
sions are red, green, and violet-blue, Mr. Munsell claims that by
adding as the secondary hues, yellow and purple, one obtains the
basis of all color expression in art. Thus the hue scale becomes
red, orange, yellow, yellow-green, green, blue-green, blue, blue-
purple, purple, and red-purple. Thus the opposite hue or comple-
ment becomes changed: the complement of yellow is blue-purple, of
green, red-purple, of blue, orange, of purple, yellow-green, and of
red, blue-green.

Color is not yet thoroughly understood and for our present use
either of these systems may be used. When color is better under-
stood, all will agree about it.

A color harmony depends upon these three properties. There-
fore, if a good dark-and-light harmony is secured first and adhered
to when hue and intensity are added, the securing of a good all-
round color harmony is not very difficult. But when one tries to
decide upon the three qualities of a color scheme at the same time,
the task is a difficult one. Often students think it is a waste of
time to work for a good dark-and-light arrangement before using
color. But when one reealls that dark-and-light is one of the chee

properties one deals with in color, he readily sees that the problem
21

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of making a color harmony is one-third solved when the dark-and-
light arrangement is secured. And more than this, the quality
of dark-and-light, or value, seems to be the most important quality
of color harmonies. Color harmonies, like all art harmonies, can-
not be set to rules. But the following few suggestions may start
the student to investigating for himself and thus gaining apprecia-
tion of fine colors.

In regard to intensity use bright intensities in small spaces. In
regard to dark-and-light let there be an intermingling of spaces
of different values. In regard to hue there are three harmonies
accepted by all artists:

1. Analogous harmony—two or more neighboring hues, as
orange and yellow.

2. One hue harmony—different values of the same hue, as light
blue, medium value blue, and dark blue.

3. Complementary harmony—hues that are opposite in the
color wheel, as green and red-purple.

But rules are insufficient and appreciation of fine color har-
monies is not quickly acquired. The copying of good color from
Japanese prints and reproductions of masterpieces are strongly
recommended. And if the habit of collecting good color har-
monies is cultivated, the very alertness of being always on the look-
out will gradually give an appreciation of the best colors.

Fear is the great enemy of art progress; that is why children’s
art work often has a freedom of expression of real appreciation
that is lacking in the work of adults. But this synthetic method
of cultivating originality and appreciation at the same time should
als» bring fearless freedom which means limitless possibilities to
art students who persevere.
26 CoLLEGE OF INDUSTRIAL ARTS

A SYLLABUS ON DESIGN

PREPARED BY Mary MARSHALL
Associate Professor of Art, College of Industrial Arts, Denton,
Texas

PuRPOSE OF COURSE:

1. To teach appreciation through exercises and application
of art principles to problems of wearing apparel and
home furnishings.

2. To promote a steady growth in good judgment of form,
tone, and color.

3. To teach through progressive exercises how harmonies
may be obtained.

4. To teach economy through right selection.

5. To develop judgment through choice.

STructuraL ELEMENTS oF Desian:
1. Spacing (line )—boundary of a space.

[ mass
2. Dark and Light—quantity of light value
| contrast

3. Color—quality of light.
PRINCIPLES FOR CREATING DesIGN HARMONIES:
1. Repetition.

2. Opposition.

3. Transition.

4. Subordination.

5. Symmetry.
BALANCE:

EHven—Bi-symmetric
Uneven—Occult :
1. Repetition—The repeating of a line or shape or color in
rhythmical order to produce a pattern.
2. Opposition—The meeting of two lines at right angles,
producing a severe harmony. (Beam and lintel in
architecture. )
A Syiiasus on Design 27

3. Transition—The addition of a curved line to lines of op-
position to soften and unite. (Arch in architecture.)

4, Subordination—Arrangement of lines, masses, or color so
that one dominates, so that there is a leading thought
or dominant mass. Gives unity.

5. Symmetry—Even balance (bi-symmetric)—The repose
that results from equal attractions on either side of an
axis.

Uneven balance (occult)—A balance of feeling resulting
from spacing, and importance of large and small
masses.

SPACING:

Lines—Arrangement of lines in good spacing or interval of
time to produce rhythm. Interest gained through
variety.

Problems:
Principle—Re petition.

1. Vertical lines of same width to form a border; spacing
more or less than width of line. (Variety in spacing.)

2. Vertical lines in border of different widths. (Variety in
width of line and in spacing.)

Application: stripes, textiles, tucks, trimmings.

Repetition

Opposition

3. Vertical and horizontal lines of same width in border
repeat. (Variety in position.)

4. Vertical and horizontal lines of different width in border
repeat. (Variety in position, width, and spacing.)

Note.—Variety may be gained through value (dark

and light) and through treatment and color.

Application: plaids, tucks, trimmings.

Book covers, sofa pillows, curtains, belts, bands,

Principles

trimmings.
5. Arranging lines in shapes—squares, rectangles, triangles,
diamonds, circles, ovals, etc.—to form a unit.
(Numerous arrangements based on above shapes may
be made. A color may be added.)
28 CoLLEGE oF INDUSTRIAL ARTS

6. Select a unit from above and repeat over surface.

Regular repeat—units repeated in rows.

Checker board—units repeated like a checker board.

Half-drop—second row of units dropping down half
the length of unit.

Brick-overlay—units repeated like bricks in a building.
(Other irregular repeats may be used.)

7. Curved lines (Transition).

Arrangement of curved and straight lines to form a
border.

Arrangement of curved and straight lines to form a
unit. Units of varying shape. Symbols, flower
forms, animal forms used as pattern.

Repeat in surface pattern.

Design of pottery and basket forms. Decorations for
same.

Application: Baskets, shades, pillows, curtains, table decora-
tions, menu and place cards, pottery forms, etc.
Note.—The study of Indian, Peruvian, and Coptic
designs and of old textiles, Italian and Chinese, will
be of great value.
Mass
Dark anp LicHt VALUE
CONTRAST
Produced by masses, dependent upon good spacing.
Problems:
1. Selections from above put in dark and light mass—two
values.

©

Same problem reversing the values.
3. Selections from above put in dark and light mass—three -
values (dark, medium, hight).

4. Design of a new problem in three values

 

occult balance.
5. Same design—many different arrangements of the three
values. :
Same design using one color based on value arrangement.
Note.—Greater variety gained by increasing number
of values.
A SYLLABUS ON DESIGN 29

CoLor:
Color differences:
Hue—name of color, as blue, green, ete.
Value—amount of light, as light blue, dark blue.
Intensity—quality of hght, as bright blue, dull blue.
Theory. Knowledge of color spectrum.
Harmonies—dependent upon good spacing, area of color, dark
and lght, and intensities.
1. One hue (values of same hue).
2. Neighbors (two or more hues) or analogous.
3. Opposites or complementary harmonies secured by:
Small bright colors among a great deal of gray.
Areas of black as a harmonizing agent.
Areas of white as a harmonizing agent.
Crossing—one color over another.
Interlace—outline one color with another color.
Mixing one color with all the rest es
keying.
Problems:
1. Color wheel.
2. Selections of above designs as a basis to illustrate:
Hue
Value Based on three value arrangement.
Intensity
3. Selections from above to illustrate harmonies.
4. Copy good color schemes and adapt to design.
Application—decorating fabrics.
Requirements or limitations according to:
Function

 

appropriateness to use.
Tools and materials.
Process of application.

Problems:

Designs for processes of

Embroidery.
Cross-stitch.
Stencilling.
Blocking.
Tie-dyeing.
30 CoLLEGE oF INDUSTRIAL ARTS

Application:
Hats, collars and cuffs, buckles, motifs, sashes, fans, lamp and

candle shades, table runners, curtains, couch covers, cos-
tumes, etc.
Other Applied Problems:
Painted boxes, wooden and tin, and book-ends.
Home Provects:

Collecting and tracing examples illustrating principles. Ex-
amples found in magazines and in photographs of Egyptian,
Greek, Gothic, Renaissance architecture, Venetian palaces,
furniture, windows, doors, buildings, interiors, printed
pages, plaids, ginghams, tiles, pottery, costumes, rugs,
jewelry, sculpture, paintings, patterns, etc.

REFERENCES:

Compositione oo an neo ee er ee ee eee A. W. Dow
Theory and Practice of Teaching Art........... A. W. Dow
ColorsNotationin ase ee ee re A. H. Munsell
Design in Theory and Practice............ E. A. Batchelder

School Arts Book—Magazine

Drawing Books:
Applied Arts Drawing Book (Good historic examples)
Chicago Public Schools (Good historic examples)
Industrial Arts Books........... _.Prang Company
Color Charts

Current magazines

Photographs from museums

Government Report—“Two Summers’ Work in Pueblo
FES UULT See pty eee gee Fewkes (Indian design)
A Syiyasus on Desian 31

A SYLLABUS ON COSTUME DESIGN

PREPARED BY Mary-Lovina Wrison
Instructor, Costume Design, College of Industrial Arts, Denton,
Texas

 

PURPOSE OF COURSE:

1. To acquire a knowledge of the Art Principles applied to
dress.

2. To develop good judgment for clothes of line, design, and
color suitable for the figure and character of indi-
vidual types.

3. To learn to reproduce original ideas in dress through
drawing.

4. To encourage the choice of beautiful, useful, and com-
fortable clothes.

DRAWING:
Lay Figure:
Object is to have padding suggestive of human figure on which
to design costumes.
Problems:

Proportions and practice in drawing.

Finished plate with proportions printed on it for reference.

Plate of heads with simple arrangements of hair cut from

magazines.

Plate of heads drawn in simple ways.

Plate with a costume drawn on lay figure from a model.

(The costume the student is wearing may serve as a model
since it can be easily examined for details.)

Plate of materials drawn from models on reproductions from

magazines including:
Ruffles.
Cascades.
Knots.
Bows.
Accordion Pleating.
32 CoLLEGE oF INDUSTRIAL ARTS

Knife Pleating.

Box Pleating.

Side Pleating, etc.
Art IN DREss:

Few people have unerring instinct for harmony. Others must
resort to rules and principles. Dress should be decoration
but never ornamentation. Attention should never be drawn
to the garment itself rather than to the wearer, but should
add beauty by harmonizing texture, line, and color.

Lines of garments should be in relation to the lines of the
body.

Decoration in costume should terminate a line or accentuate
a structural line in the garment.

Interest in design may be secured by variety in spacing and
area.

Simplicity is watchword.

Beauty means completeness—nothing to be desired.

Have in your costume nothing you do not know to be useful
and believe to be beautiful. G

Problems:

Cut from magazines and mount examples of fine spacing in
costumes. Design two types of blouses; a sport blouse, and
a fanciful blouse in relation to skirt.

Principle to Be Presented:

Oppositional Line:

Straight lines meeting other straight lines at right angles.
Such use produces severity and strength.

It is appropriate line for street clothes and sport clothes.

It is suitable line for enduring materials such as tricotine,
Poiret twill, serge, linen, taffeta, gingham, ete.

Through use of oppositional line figures may be made to
seem taller or wider.

Lines in opposition to,the hem line or belt line—that is,
vertical lines—produce height.

Lines in opposition to side seams—that is, horizontal lines—
produce width.
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Problems:

Cut from magazines and mount costumes in oppositional
lines appropriate for short stout figures, and for tall
figures.

Make an original design using oppositional lines.

Transitional Line:

A gliding or curved line in costume. This may be obtained
from the cut of the material or from the actual drapery.

It lends softness to figure.

It is appropriate for more fanciful clothes in soft ma-
terials: georgette crepe, chiffon, velvet, crepe de chine,
satin, etc.

Use of transitional lines may conceal hard lines of slender
figure and bulk of stout figure.

Because transitional lines can be longest from one shoulder
to the opposite hip and down; they are especially appro-
priate for short or stout figures.

Problems:

Design an original costume using transitional lines cut
in material.

Design an original costume using transitional lines
through drapery.

Repetition:

Through repetition a unity is achieved.

Garment should not separate into waist and skirt.

Line movement should continue from one to the other.

Trimming or cut in the material may be continued or
repeated in waist and skirt.

Strong contrasts in color or material should not divide
waist from skirt or sleeves from waist.

Problems:

Choose a good idea from a magazine and repeat it in an
original design.

Design an original costume using a repeated cut or trim-
ming as buttons, braid, tucks, lace, contrasting ma-

terial, ete.
36 CoLLEGE OF INDUSTRIAL ARTS

Subordination :
A dominant thought or idea in the design.
Design may be subordinate to a trimming or to a structural
part of the costume.
It requires a judgment of details worthy of dominating a
whole costume.
Problems:
Design an original costume, employing this principle.
Dark AND LIGHT:
Mass.
Value.
Contrast.
Through the distribution of dark and light, interest may be
directed to any part of the costume.
Point of greatest interest should be near the face.
Strong contrasts should not call attention to the feet or be used
in a wide belt.
Problems:
Design an original costume in dark and light with considera-
tion for hat, gloves, and shoes.
CoLor :
Hue.
Value.
Intensity.
Know the spectrum and the effects colors have on each other.
Color schemes can be complementary or analogous.
~—A good color idea is of three hues: a large area of middle value
and intensity, a smaller area of its complement, and a third
small area of a color related to one or both the colors used.
Variety may be had from using different values.
Color may be used to reflect color into the hair, eyes, and skin of
wearer. Let the greatest color area be the cue.
Neutral colors or middle values are best for large areas in street
clothes—accents in intense colors.
Sports clothes may be more intense.
Evening clothes may be intense or light.
 

 

 

 

 

 

 
A Sy iiasus on Design 39

Problems:
Study members of group as to type:
Dramatic.
Athletic.
Ingenue.
Discuss the volor and type of costume appropriate for each
type.
Discuss the kind of color appropriate for:
Blondes.
Brunettes.
Titians.
Intermediate types.
Trv different colors on members of group to find becoming
colors.
Problems:
Design original costumes and color schemes for a costume for
the student or a model.
Design a costume and plan color scheme for a small child.
Design a costume and plan a color scheme for a high school
girl.
Make color plans for ditferent types and for different occasions.
ABNORMAL FIGURES:

Problems: ,
Design a costume for a stout figure that will have a slenderiz-
ing effect.

Design a costume for a figure with large bust and narrow hips.
Design a costume for figure with small bust and large hips.
Design a costume for a figure with shoulders wider than good
proportion.
Design sleeves for very large hands.
BIBLIOGRAPHY :
Reading:
“Woman as Decoration”—Emily Burbank.
“Costume Design and Ilustration”—Ethel Traphayen.
“Principles of Correct Dress’—Florence Hull Winterburn.
“The Secrets of Distinctive Dress’—Maryv Brooks Picken.
40 CoLLEGE orf INDUSTRIAL ARTS

Library Reference:
“Challamels’ ‘History of Fashion.’ ”
“Modes and Manners of the Nineteenth Century”—Fischel
and Boehn.
“Cyclopedia of Costumes”—Planche.
“Historic Costume”—Racinet.
“Greek Dress”—Hornblow.
“English Costume”—Calthrop.

Students will find a note book or scrap book very valuable.
They may collect tracings from historic costumes and ornament,
examples of technique, color, unique costumes, historic costumes,
and suggestions for backgrounds cut from magazines, papers, and
advertisements.
A SyLiasus on Desian 4t

A SYLLABUS ON INTERIOR DECORATION

PREPARED BY Martan Long,
Professor, Interior Decoration, College of Industrial Arts, Denton,
Texas

 

PuRPOSE OF THE Course Is to DEVELOP:

‘. An appreciation of a restful and beautiful home,
whether the outlay in furnishing is $50 or $5000.
9

2. Principles of design applied to structure, decoration,
and arrangement of all articles which constitute
the interior of a home.

3. The possibilities of color to produce the quality of
light, coolness, cheerfulness, and rest in the home.

4. The proper selection and distribution of color to
obtain interest and personality.

5. An appreciation of flowers as a means of decoration.

6. The realization that beauty is a necessity in the
home.

7. An interest in amateur upholstery and “doing over”
old furniture.

8. Good judgment and self-control in making pur-
chases.

I. Goop Spacrne (Design Principle to be applied) :

Spaces should not be too even (if so the result 18
monotony) ; nor so unlike as to appear unrelated to each
other, as in:

1. Placing door and window openings in a wall.

2. The division of windows, spacing of panels, mold-
ings, and base-hoards.

3. The spaces in the structure and decoration of fur-
niture. ; :

4. The proper spacing and arrangement of hangings

and pictures.
42 CoLLEGE OF INDUSTRIAL ARTS

Problems:

Prepare traced or mimeographed outlines of:

1. The trims of single and double doors. Have class
space them for all wood and part-glass doors.

2. Different varieties of windows: as French, case-
ment, and double-hung.

Explain mechanism of each and the difference be-
tween them. Have the outlines completed.

(For making and hanging of curtains for each
variety of windows, see College of Industrial Arts
Bulletin on Interior Decoration. )

3. Elevations of side and front view of small and of
arm chairs, tables, dressers, and sideboards. Have
the outlines completed. Use horizontal, vertical,
oblique, or curved lines for designs of chair backs.
Aim for structural strength, interesting propor-
tions, good spacing, and good lines.

4. Look for pictures showing well-spaced furniture;
and good design in hangings and rugs.

If. Goop Lryrs (Design Principle to be applied) :

Lines as applied to structure and to decoration must
conform to the Law of Good Taste, which demands:

1. That there must be no superfluous lines or orna-

mentation in structure or decoration.

2. That true decoration exists first to emphasize and
strengthen structure and second to give beauty
to the object decorated without useless addition
to its structure.

eo

That restraint must be exercised in the amount of
decoration used. The decoration must never be
more important than the object decorated.

I. Reperirion anv Ruyrum (Design Principle to be applied)

1. Repetition and grace of line as related to structure
of furniture.

Repetition in the room of similar shapes and forms
to express unity.

3. Repetition of color to produce harmony throughout

the whole room composition.

9
A Sytuasus on Dasian 43

4. Rooms are made to appear higher by repeating ver-
tical lines, as in striped wall paper.

5. Rooms are made to appear longer and lower by re-
peating horizontal lines, as in an overhang across
the top of windows.

6. A moderate use of horizontal and vertical lines in
the average room add variety without emphasiz-
ing either height or length.

IV. OpposirionaL Linus (Principle to be Taught) :

Denote strength, durability, dignity, and rest.
Straight lines meeting others at angles: as large ar-
ticles of furniture arranged so as to follow the bounding
lines of the room.

Oppositional lines are more consistent with coarse-
grained woods, large-scaled furniture, and coarsely-
woven textiles.

Cat-a-corner arrangement of large pieces of furniture
destroys structural unity and rest in a room.

Problem:

1. Find examples in magazines or catalogues of good

structural arrangement of furniture and pictures.
V. TransitionaL Lines (Principle to be Taught) :

Gliding or moderately curved lines found in the con-
struction and decoration of good curved-line furniture
are more consistent with fine grained wood and finely
scaled furniture upholstered in closely-woven textiles.
(Upholstery and curtain materials should be taught in
Textile Class. )

Exaggerated curves are undesirable as a matter of
good taste.

Problems:

1. Find magazine examples of a good curv

chair which may appropriately be made of mahog-

ed-line side

any or walnut. a
1 i : ave ma
2. Select pictures of a couch or davenport which may

appropriately be made of oak and upholstered

with tapestry.
44 CoLLEGE oF INDUSTRIAL ARTS

Select pictures of straight and curved-line furniture
which may be used in the same room.
VI. Unity (Design Principle to be Taught) :

Unity secured by repetition.

1. A room should be a unit from which nothing may
be taken away, and to which nothing may be added
without detracting from its beauty.

2. The same line movement, shapes, and color should
be continued and consistently repeated throughout
the room.

3. The same structural motifs should be repeated in
furniture.

4. The same color should be repeated somewhere in
ceiling, walls, and floor. The floor is to the room
what shoes are to the costume.

5. Background coler should be repeated somewhere in
the furnishings, upholstery, and ornaments.
6. The room to be a unit must express the personality
of the person who is to occupy it.
Dark and Light (Contrast or Value) :

Strong contrasts of dark and light in the background
or in furnishings cause unrest; they produce “jumping
out” sensations which destroy unity.

For example:

1. Dark woodwork on a light wall.
%. Very dark hangings against a light wall.
3. Dark pattern on a light rug-background or a light
pattern on a dark rug-background.
Problems:

Study the contrast harmonies of the Italian, French,
and English historical periods.

The activities and mental attitudes of the people of
each period are shown in the contrasts of hght and dark
used by them in their furnishings.

VII. Bazance (Principle to be Taught) ;
1. Distribution of light and dark, or contrast, through
the whole room.
A Sy3uasus on Design 45

 

   

 

4 & 6

sone a i

 

Mitred jart.
Mortise and Tenon.

Re Cabniole
ZY ; leq.
Top and leq
of a table.

FURNITURE CONSTRUCTION.

  
A Syuiasus on Design 47

2. Light ceiling, dark wall, and light floor—not well
balanced.

3. Much furniture or color on one side of the room
and little on the other destroys the feeling of
balance.

4. Much dark material on one side of the wall and
light on the other, produces a “tipping” sensation.

VIII. Enpyasis:

Interest may be called to any part of a room through
strong contrast of dark and light, or color.

A light placed above a group of furniture will direct
attention to the group; a spot of ink on a light rug
will direct interest to the ink spot!

FURNITURE CONSTRUCTION :

Every article of furniture in a house has an important function
or use; therefore it should be well made and put together securely.

Capacity to perform its function is the first consideration in the
making; the second, which is Beauly (good lines), is almost as im-
portant when one buys furniture.

Several joints commonly used in furniture construction are
shown in the illustration. Also a sketch of the under side of a
corner of a table is given showing how the legs, under-framing, and
top are securely fastened together, thus making a thoroughly sub-
stantial table. But there are different ways of obtaining the same
result. Both girls and boys should be required to study the manner
in which tables, sofas. chairs, beds, dressers, etc., are put together
so that they may become intelligent purchasers.

CoLor :

Theory.—Hue, value, intensity.

Knowledge of the spectrum.

Most used color combinations or harmonies are

Analogous.
Complementary.
Triad.
THe Law or Room BackGROUNDS:

The ceiling, walls, and floor form a background, and are to the

people and furnishings what the background is to a portrait.
48 CotLtEGe or INDusTRIAL Arts

The background should increase the beauty of any costume, and
bring out the good features of the people who occupy the room.

The ceiling should be the lightest, the walls a little darker than
the ceiling, and the floor darker than the walls.

Color may bring sensations of light, coolness, heat, rest, hospi-
tality, and cheerfulness into a room.

The Law of Areas requires that the larger the area to be covered
the more neutral the color mus/ be and the smaller the area the
more intense the color may le.

Interest may be centered (intelligently or accidentally) in any
part of the room by a spot of strong color or strong value contrast.
The Foundation or Background Color:

A fairly successful color scheme may be secured by making,
approximately, half the whole room area of the foundation color.
Almost all of the remaining half should be of related (analogous )
colors; contrasting (complementary colors), should be for the small
portion remaining of the second half. Color is to a room what a
smile is to a face. (See College of Industrial Arts Bulletin on
Interior Decoration for Color Harmonies. )

Problems:

Every room has a different function or use which will decide its
furnishings.

1. Name the articles which are needed to fit a bedroom to per-
form its function. Name the differences which should characterize
a bedroom for a girl and a bedroom for a boy.

2. Collect pictures of a living room. Modify and eliminate in
order to secure good design and selection.

3. Indicate in what way the furnishings of a dining room
should differ from that of a living room.

4. Develop the furnishings of a schoolroom so that it will
induce pupils to be diligent.

5. The location of a room gives the key to its color scheme.
Develop background colors for a living room in a warm climate,
for one in a cold climate, for a room with one small window, and
for a sun parlor. Use plain wall papers for this problem.

The Layout of a Room:

A layout of a room consists of a floor plan and four wall ele-
vations.
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A SyLuasus on Desian 53

Plan—A plan is the representation of the shape and size of the
floor of a room showing the general distribution of its doors, win-
dows, built-in fireplace (if one exists), and movable furniture on
the floor, as seen from a point above.

Elevation—An elevation is a representation on a vertical plane
(representing, in this instance, the wall) of those objects and fur-
nishings shown in the floor plan. Only one face of the objects is
shown. There is no perspective in an elevation.

Study the layout of a kitchen with built-in cabinets, shown in
the illustration. Notice the arrangement of built-in and movable
furnishings to insure efficiency and saving of steps.

A layout should show the complete room furnishings and color
scheme.

Problem:

Make a layout of a given room applying the principles of good
spacing, good lines, repetition, rhythm, balance, emphasis, unity,
and color.

(For arrangement of furniture see the College of Industrial
Arts Bulletin on Interior Decoration. )

BIBLIOGRAPHY :
Magazines:

Country Life.

House and Garden.

Vogue. (For up-to-date information as to styles in furnish-
ings )

House Beautiful.
Books :

Interior Decoration, Its Principles and Practice—Frank Alvah
Parsons.

The Practical Book of Period Furniture. Eberlein and McClure.

Little Books on Old Furniture (four volumes). Frederick A.
Stokes Company, publishers.

The House of Good Taste—Blsie de Wolfe.

Color Charts (seven in set), Prang Company.

The Italian Renaissance (Fine Arts Volume )—Symonds.

 
54 CoLLEGE oF INDUSTRIAL ARTS

The Decoration and Furnishings of Homes. Study material in
loose leaf form.—Ruth Robinson Tregenza—$2.50. Published by
Bureau of Publications, Teachers College, Columbia University,
New York City.

Bulletin. Interior Decoration, College of Industrial Arts, Den-
ton, Texas.

 
A Syutasus on Desien 5D»

A SYLLABUS ON COMMERCIAL ADVERTISING

 

PREPARED BY STELLA Hucer,

Instructor, Commercial Advertising, College of Industrial Arts,
Denton, Texas

 

I. Purpose or THE Course:
A. To teach the fundamental psychological principles of
advertising involved in the making of posters.
B. To teach the fundamental principles of composition.
C. To develop the imagination and the power of original-
ity in the presentation of ideas.
D. To apply this knowledge and power in the making of
posters.
E. To give appreciation of art in advertising.
II. Aims oF GrapHic ADVERTISING:
A. To attract attention.
1. Use contrast in value or tone.
(a) Light against dark.
(b) Dark against light.
2. Employ color:
Good color is a powerful force.
Poor color is a waste of money.
Color attracts through
(a) value.
(b) intensity.
(c) harmony.
(d) appeal to emotions.
3. Have unusual shapes.
The eye follows any line which deviates from
the one to which it is accustomed.
4. Make use of action.
The eye follows line of movement.
5. Appreciate and utilize empty spaces.
B. To hold attention:
(The eye is rebellious and will not read volun-
tarily that which seems difficult.)
56 CoLtLece or INpusTRrAL ARTS

1. Keep the poster simple in space division.

2. Make the headlines short, full of meaning, easy
to read and to understand.

3. Keep the main idea dominant and all other
parts subordinate but relevant to it. Other-
wise there will be confusion.

4. Tell the same story in illustration and words.
Some people grasp the idea more readily
through illustration, some through words. If
the idea is grasped through both, according
to the fundamental psychological principle of
repetition, the impression is deepened.

5. Create a vital interest through human appeal.
(The personal touch is the most powerful
factor. )

Appeal:
(a) To the senses
Taste, sight, sound, smell, touch.
(b) To the emotions
Joy, love, pride, pleasure.
(c) To the instincts
Homemaking, constructiveness, gre-
gariousness.
(d) To the intellect
6. Emphasize the main idea through
(a) Use of direction line
Lead the eye to thing emphasized.
(b) Gaze sequence
(The eye naturally follows the gaze of
another. )
(c) Contrast
Make use of strong contrast in value
and color.
(d) Type
Vary the size and slant of the type.
ay

A SyYLLasus on Desian

 
A SyLuasus on Design 59

(e) Position
Give the thing emphasized the most
important position on the sheet or
page.
7. Make the appeal in a new and original way.
The eye will dwell on the unusual.
Woo the eye with good composition, good color,
and pleasing effects.
C. To gain confidence.
1. Tell the truth and nothing but the truth.
2. Be accurate in representation of color.
3. Do not advertise what you cannot conscientiously
market.
D. To attain the aims above listed at the minimum
cost and in the least possible time.
1. Limit yourself to a few colors as reproduction of
color is expensive.
Tell the whole story in a few words and in a
flash of color so that “he who runs may read.”

oO

oo

III. Purpose or GrapHic ADVERTISING:
A. To create desire for article advertised.
1. Create an atmosphere of quality.
2. Use suggestion rather than command.
3. Use positive form rather than negative.
4. Convince the reader that he needs the article.
B. To stimulate action.
1. Facilitate the procedure of obtaining goods.

IV. Grapuaic ADVERTISING:

A. In windows:
1. Keep lettering strong.
2. Keep good margins.
3. Do not crowd the card.
4. Remember that color attracts.

B. On ears:
1. Do not advertise the card next to yours by using

the wrong directiou line or the wrong gaze

movement.
60

C,

CoLtLEcE or INDUSTRIAL ARTS

2. “Glorify the commonplace.”

3. Stimulate immediate action. (Many are on the
way to buy.)

Out of doors.

1. Study the effect of color in artificial light. “A
poster to be effective from a selling stand-
point should combine beauty and strength of
design and coloring.”

V. APPRECIATION OF ART IN ADVERTISING OBTAINED THROUGH

A.
B.
G2
D.
E.
F.

Study of work of good poster designers.
Appreciation of fine space division.

Appreciation of quality of color.

A knowledge of color harmony, value, and intensity.
An understanding of the principles of design.
Exercise in the making of posters.

VI. PROBLEMS:

A.

B.

C.

D.

E.

Spacing:

1. Lettering.

2. Margins.

3. Composition.
Value or Tone:

1. Contrast.

2. Backgrounds.

3. Borders.

4. Areas.

Color:

1. Hue, value, intensity.

2. Color harmonies.

3. Quality of color.
Emphasis:

1. Position.
Direction line.
Color.

Type.
5. Movement.

He 02 ©

Different Mediums—Ink, cut paper, tempera.
61

A Syriianus on DeEsicn

 
A SyiLuasus on Design 63

F. Posters of local interest.
G. Posters of general interest.
VII. REFERENCES:
“Principles of Advertismg Arrangement.”—Frank A.
Parsons.
“Outdoor Advertising.”—Lippincott.
“Composition.”—A. W. Dow.
“Advertise.” —Sampson.
“How to Advertise.’—George French.
“Hssentials of Advertising.”—Frank L. Blanchard.
“Writing an Advertisement.”—Hall,
The Poster Magazine.

Notre: The designs for the illustrations used in this Syllabus
were made by students of the Department of Fine and Apphed
Art; and the photographs of them were made by students of the
Photography classes of the College of Industrial Arts, Denton,
Texas.