BULLETIN 75G-3

Na m mUNgumN SERVICES
I] i)IE IIII M llsl

A SUGGESTED GUIDE

STATE DEPARTMENT OF EDUCATION
TALLAHASSEE FLORIDA
FLOYD T. CHRISTIAN, Commissioner of Education

MARCH, 1969

BULLETIN 750-3

CLOTHING MANAGEMENT, PRODUCTION, AND SERVICES

AND

HOME FURNISHINGS, EQUIPMENT, AND SERVICES:

A Suggested Guide

DIVISION OF
,; VOCATIONAL TECHNICAL
W,- AND ADULT EDUCATION

R'- AIDE CARL W. PROEHL, Assistant Commissoner
)R 'AIDES"A

HOME ECONOMICS SECTION

FRANCES CHAMPION, Director

MARCH, 1969

F676 b

THE FLORIDA STATE UNIVERSITY
TALLAHASSEE 32306

October 2, 1968
SCHOOL OF HOME ECONOMICS
DEPARTMENT OF HOME ECONOMICS EDUCATION

Dr. Carl W. Proehl
Assistant Superintendent
Division of Vocational, Technical and
Adult Education
State Department of Education
Tallahassee, Florida 32304

Dear Dr. Proehl:

Persuant to the terms of Project No. 569-18, five state
curriculum guides are herein submitted for your approval and
publication. The guides are divided so that curriculum
suggestions for training are clustered in subject matter
areas; namely, 1) Orientation to the World of Work, 2) Cloth-
ing, Textiles, and Home Furnishings Services, 3) Food Ser-
vices, 4) Child Care Services, and 5) Homemaker Services.

The guides are not completely comprehensive in their
coverage nor are they the ultimate in sophistication but
they should assist a teacher with planning meaningful and
sequential learning experiences for entry into the world of
work. Since a paucity of printed materials in the area of
gainful employment in home economics seems to exist, numerous
teaching aids as well as suggestions for subject matter content
have been included in the appendix in order to offer as much
assistance as possible to the teachers.

It is anticipated that these guides will assist with the
inauguration of new programs and strengthen existing gainful
employment classes in home economics in this State as well as
in the other areas of our country.

Sincerely,

Agnes F. Ridley, Associate Professor
Home Economics Education

Acknowledgments

The State of Florida is most fortunate to have the

services of a large group of well-informed, professional home

economics teachers. Without their cooperation in the class-

room, the purposes of a curriculum guide would not be realized.

Nineteen teachers were most diligent in their efforts to pro-

duce Guides that could serve as bases for curriculum develop-

ment in the various areas of gainful employment in home econo-

mics. To these teachers should be extended sincere appreciation

for their contribution.

Not only does the State of Florida have numerous out-

standing teachers but it also has distinguished leadership in

Dr. Carl W. Proehl, Assistant Superintendent, Division of Voca-

tional, Technical and Adult Education, State Department of

Education who is largely responsible for the growth of the

occupational focus of home economics in the State of Florida.

Miss Frances Champion, Director, Home Economics Educa-

tion, State Department of Education, has given her full support

to this three-year project. Miss Allie Ferguson who was Occupa-

tional Specialist when the project was approved has been a

constant source of encouragement and direction for the Guides.

iii

To the other members of the State Department of Education,

Home Economics Section, the consultants, the graduate students and

the secretary we are most grateful for their valuable contributions.

Background of the Curriculum Guides in

Gainful Employment in Home Economics

This Guide was developed in partial fulfillment of the terms

of State Department of Education Grant No. 569-18, July 1, 1968 -

June 30, 1969, under the direction of the Principal Investigator,

Dr. Agnes F. Ridley, Associate Professor, Home Economics, The

Florida State University. During the summer, 1967, a Seminar on

Gainful Employment in Home Economics convened on the campus of The

Florida State University for the purpose of educating secondary

school teachers and county supervisors on research, current litera-

ture, methods and teaching aids related to gainful employment in

home economics. Seventy invited participants and twenty-three

guest speakers were involved as active participants and as spec-

tators in learning during the three-weeks period.

During the school year, 1967-68, a course on methods and

materials for gainful employment in Home Economics was given in

five centers in various parts of the State. About sixty-five

teachers and county supervisors were enrolled in the class which

extended over the school year. Seventeen of the nineteen teachers

involved in the production of the Guides had attended both the

Seminar and had been enrolled in the class. (Report of Phase II

describes both the Seminar and the class in detail.)

The five curriculum guides which were produced in three weeks

are not considered the ultimate in sophistication nor do they

cover every aspect of gainful employment in home economics. All

teachers, supervisors, consultants and others were most diligent

in their persuit of excellence; therefore, all mistakes and

omissions can be assigned to

Agnes F. Ridley

Direct

Co-dir

Partic:

Consult

FLORIDA CURRICULUM GUIDE FOR CLOTHING, TEXTILES AND

HOME FURNISHINGS SERVICES

List of Participants

or: Dr. Agnes F. Ridley, The Florida State University

actors: Mrs. Ava A. Gray, University of Arkansas
Mrs. Jeanne H. Brinkley, Occupational Specialist

Pants: Mrs. Mildred Fancher, Ernest Ward High School,
McDavid
Mrs. Mae Hayes, Miami Norland High School,
Miami
Miss Bertha Masterson, Winter Park High School,
Winter Park
Mrs. Violet Moseley, Avon Park High School,
Avon Park
Mrs. Kathryne Pryor, Live Oak High School,
Live Oak
Mrs. Louise Ring, Columbia High School,
Columbia
Mrs. Gertrude Roberts, Edgewater High School,
Orlando

:ants: Mrs. Anne Aletti, Broward Co. School Board,
Adult Education, Ft. Lauderdale
James Blackwell, Olin's House of Drapes,
Tallahassee
Mrs. Elizabeth Burke, Vichsha's Fabrics,
Tallahassee
George Slager, Vogue Cleaners,
Tallahassee

Graduate
Students:

Secretary:

Mrs. Bonnie B. Greenwood, Research Assistant (Ph.D.)

Mrs. Judith Dowell, Graduate Assistant (Ph.D.)

Mrs. Catherine Flanegan, Graduate Assistant (M.S.)
Mrs. Meredith von dem Bussche, Graduate Assistant (M.S.)

Mrs. Shirley Ann Gurney

vii

TABLE OF CONTENTS

Page

LETTER OF TRANSMITTAL . . . . . . .

ACKNOWLEDGMENTS . . . . . . . .

BACKGROUND OF THE CURRICULUM GUIDE . . .

LIST OF PARTICIPANTS . . . . . . .

LETTER TO THE HOME ECONOMICS TEACHERS . . .

Concept I Opportunities and Requirements for
Employment . . . . . .

Appendix
A. Opportunities and Requirements
B. Commonalities and Competencies in Clothing
C. Commonalities of Competencies in Home Furnishings
D. Knowledge and Skills Leading to Employment in
Occupations Related to Clothing
E. Knowledge and Skills Leading to Employment in
Occupations Related to Home Furnishings

Concept II Nature of Textiles . . . . . . .

Appendix
A. Handout: Textile Fibers, Care and Characteristics
B. Transparencies
C. Free Materials

Concept III Visual Design . . . . . . . .

Appendix
A. Suggested Introduction to Visual Design
B. Suggestions for the Construction and Multi-
Purpose Uses of the Visual Design Bulletin
or Flannel Board Display
C. Diagram of Visual Design Bulletin or Flannel
Board

viii

iii

. . . v

vii

. . . 1

. . . 4

TABLE OF CONTENTS--Continued

D. Comprehensive Outline and Handout for Students
E. Responses from Lines
F. Sketch of Texture for Poster or Bulletin Board
G. Are You Fair to Your Figure?
H. What Can Be Done to Make Hips Look Smaller?
I. Identification of Design Principles as Applied
to Color
J. Student Handout: Sketches to Paint for Exper-
ience with Color
K. Student Handout: Color Wheel
L. Principles of Visual Design: Comprehensive
Outline
M. Suggested Checklists for Analyzing and Selecting
a Decorative Design or Article

Concept IV Job Commonalities . . . . . . .

Appendix
A. Management Checklist
B. Checksheet for Self Evaluation
C. What Have You Got to Offer?
D. Where Do You Sew at Home?
E. The Art of Pressing
F. Instructions for Making Pressing Roll, Ham
and Mit
G. Alteration and Sewing Notes # 53
H. Alteration and Sewing Notes # 56
I. Measurement Chart
J. phe Meaning of Good Fit
K. Sewing Buttons with a Shank

Concept V Bedspreads and Pillows . . . . . .

Appendix
A. Making a Cording Strip
B. Student Handout: Measuring for Bedspreads

Concept VI Home Decoration . . . . . . . .

Concept VII Drapery Making . . . . . . . .

Page

102

114

TABLE OF CONTENTS--Continued
Page
Appendix
A. Introduction
B. How to Measure for Drapery Making
C. Sample Problem
D. Lesson Plan: Making of Lined Draperies
E. Student Instruction Sheet for Making a Sample
Lined Drapery
F. Vocabulary for Drapery Making

Concept VIII Slip Covering . . . . . . . 130

Appendix
A. Measuring and Cutting for Slip Covers

Concept IX Selling Clothing . . . . . . . 140

Concept X Selling Furnishings . . . . . . 144

Concept XI Upholstering . . . . . . . . 152

Appendix
A. Vocabulary
B. Measuring and Cutting for Upholstered Chair

Concept XII Floor Coverings . . . . . . . 164

Concept XIII Alterations . . . . . . . . 166

Appendix
A. Alterations

Concept XIV Clothing-Dressmaking . . . . . . 182

Appendix
A. Tips on Pressing
B. Grain Variations
C. Progress Chart
D. Chain Tack Stitch

Concept XV Dry Cleaning . . . . . . . . 206

Appendix
A. Reblocking Knits

Concept XVII Industrial Sewing . . . . . . 220

BIBLIOGRAPHY . . . . . . . . . . . 226

x

Dear Home Economics Teacher:

This guide has been compiled for use in training workers
for job entry in the fields of clothing, textiles and home fur-
nishings. Because time, facilities, knowledge and experience of
the teacher will determine the program, the teacher may choose to
select those areas or clusters applicable to her situation. No
course is intended to produce skilled workers in any field but basic
information is gained so that an employee may enter the field or
be able to earn money by applying a skill acquired in the gainful
employment class. It is recommended that after this introductory
course the student may want to go on to further training in the
area technical centers or vocational schools before seeking em-
ployment.

The first section of the guide deals with units common to
all jobs listed such as opportunities and requirements, the nature
of textiles, visual design and others. It is then divided into the
occupational clusters for clothing and home furnishings. After the
commonalities are explored, the teacher and students may wish to
plan together the areas most advantageous to themselves and the
community.

Suggested Clusters

Commonalities
Bedspreads and pillow-
making
Drapery making
Slip covering
Upholstering

Commonalities
Selling (clothing)
Alterations

Commonalities
Selling
Decorating

Commonalities
Selling (home furnish-
ings)
Home Decorating
Working with floor
coverings

Commonalities
Dry cleaning
Clothing maintenance

Commonalities
Bedspreads and pillow
making
Slip covering

Commonalities
Dressmaking
Alterations
Clothing maintenance
Specialized sewing

Commonalities
Industrial Sewing
Dressmaking

Commonalities
Draperies
Decorating

Each occupational cluster has been organized alphabetically.
Included in some of the concepts are teaching aids. To avoid
duplication the aids were put in the appendix of the first unit
applicable. In the resources, the teacher may refer to that section.

This guide may be used for a two semester course. It is de-
signed to be used for a block of time which would be dependent

upon the cluster of occupations selected as well as the abilities,
interests and schedules of the students.

As the guide was written primarily for girls, it is assumed
that each student will have had the comprehensive course in home
economics. However, if boys wish to enroll, it would be feasible
to slant the program toward jobs in home furnishings such as sell-
ing, decorating, working with floor coverings and upholstering.

A program of this type should be initiated with assistance
of an advisory committee. The committee should include repre-
sentatives from some of the occupations involved. Because the
world of work is different from the home economics program it is
necessary to include persons involved in the business worlk.
Other people you may want to include are the following:

School principal
Guidance counselors
A representative from the Florida Employment Service or
Youth Opportunity
County Home Economics Supervisor
Adult Vocational Coordinator or Supervisor
Representative of the radio, TV, or news media

The above mentioned individuals may prove helpful to your
program by providing valuable advice, resource speakers, trade
publications, sample fabrics, and above all, favorable publicity.
They are often pleased to assist in arranging field trips.

To provide maximum coverage of all the occupations and to
limit the size of the committee, representatives from the various
clusters should be rotated each year.

Good luck!

The Guide Committee

Clothing, Textiles and Home Furnishings

Concept: Opportunities and requirements for employment.

Generalizations:
1. A knowledge of opportunities in the field of clothing, textiles,
and home furnishings facilitates the ability to select the job
which is most suitable for the individual.

OBJECTIVES CONTENT
-- *1l

To identify types of jobs
available in textiles,
clothing and home furnish-
ings.

To identify job competen-
cies and advancement oppoz
tunities.

To enumerate personal
qualities desirable for
employment.

Through gainful employment classes, home
economics has the opportunity to serve our
society by providing students with the type
of education which can best serve both the
individual and society.

Classes in gainful employment are an impor-
- tant part of our school curriculum due to
the following conditions in our society
today:
1. An ever increasing number of women are
filling the dual role of wage earner
and homemaker.
2. As our technology advances the demand
for unskilled workers decreases and need
for skilled workers increases.
3. There is an increasing demand for em-
ployable persons in the service occupa-
tions in the areas of textiles, clothing,
home furnishings, and related occupa-
tions.

Student, Questions:

1. What are some of the jobs in these fields?

2. How do you go about finding employment in these fields?

RESOURCES

- 4 ~-~-

Illustrate occupational areas by use of
mobile or flip chart.

Prepare Bulletin Board showing: "Your World
of Work" using student ideas.

Show transparencies of job competencies in
the field.

Have resource persons in the community
present job possibilities in their respec-
tive fields. May use members of Advisory
Committee.

Field trips to observe various job oppor-
tunities in clothing and textiles and home
furnishings: dry cleaners, alterationist,
seamstress, sales, etc.

Read suggested reference and tell which of
these jobs are available locally.

Refer to Orientation to the World of Work
Guide.

See Chart #1 (Oppor-
tunities and Require-
ments.) In Appendix A

See Chart #2 in
Appendix B & C. Job
competencies and
commonalities.

See Appendix D & E

Fashions and Fabrics
pp. 493-510.

Orientation to the
World of Work.

LEARNING EXPERIENCES

Y

Clothing

Alterations

Clothing Maintenance

Dressmaking

Dry Cleaning

Industrial Sewing

Selling

Specialized Sewing

I of
Opportunitiesign

Job CoRequirementsalities

Design

Job Commonalities

Home
Furnishings

Bedspread and Pillow
Making

Decorating (home)

Drapery making

Working with Floor
Coverings

Selling

Slip Covering

Upholstering

-I

Alterations

Identification of
textiles

Use of body
measurements

Constr-ction
techniques

Fitting

Care of textiles

Clothing
Maintenance

COMMONALITIES OF COM N

Dressmaking

Dry Cleaning

CLOTHING

Industrial Sewing

Selling

Specialized
Sewing

g I I I

Identification of
textiles

Construction
techniques

Identification of
textiles

Use of body
measurements

Construction
techniques

Fitting

Care of textiles

Design

Color selection

Selection of
fabrics

Identification of
textiles

Use of measurement

Care of textiles

Identification of
textiles

Use of measurements

Construction
techniques

Identification of
textiles

Use of body
measurements

Fitting

Care of textiles

Design

Color selection

Selection of
fabrics

Identification of
textiles

Use of body measure
ments, Use of
measurements

Construction
techniques

Fitting

Care of textiles

Design

Color selection

Selection of
fabrics

Bedspread & Pillow
Making

Identification of
textiles

Selection of
fabric

Use of measure-
ments

Construction
techniques

Fitting

Color selection

Decorating

COMMONALITIES

Draperies

OP COMPETENCIES IN HOME FURNISHINGS

Floor Coverings I Selling

Slip Covering

1- t t 4 4 4

Identification of
textiles

Selection of
fabric

Use of measure-
ments

Design

Care of textiles

Color selection

Identification of
textiles

Selection of
fabric

Use of measure-
ments

Construction
techniques

Fitting

Identification of
textiles

Selection of
fabric

Use of measure-
ments

Design

Care of textiles

Color selection

Identification of
textiles

Selection of
fabric

Use of measure-
ments

Design

Construction
techniques

Fitting

Care of textiles

Color selection

Identification of
textiles

Selection of
fabric

Use of measure-
ments

Construction
techniques

Fitting

Care of textiles

Upholstering

Identification of
textiles

Selection of
fabric

Use of measure-
ments

Construction
techniques

Fitting

Care of textiles

Color selection

KNOWLEDGE AND SKILLS LEADING TO

EMPLOYMENT IN OCCUPATIONS RELATED TO CLOTHING
AND TEXTILES

KNOWLEDGE AND SKILL
IN LEADS TO

FABRIC AND CARE OF FABRICS

PATTERN INTERPRETATION

ART & PRINCIPLES OF DESIGN

GARMENT CONSTRUCTION

CLOTHING MAINTENANCE

FITTING AND ALTERATIONS

USE AND CARE OF EQUIPMENT

USE AND CARE OF .MACHINES

REPAIRING, CLEANING & PRESSING

EMPLOYMENT
----~ IN

Textile Mills
Yard Goods Dept. in Store
Dry Cleaners & Laundry Estab.
Textile Research

Dressmaker Shops
Designer's Dept. as Assistant
Self Employment
Department Stores

Interior Design Estab. as Assist.-
Department Stores

Wearing Apparel Factories
Dressmaker's Shops
Tailor Shops
Self Employment

Dry Cleaning Establishments
Nursing Homes
Hospitals, Other Group Care Institu-
tions

Dressmaker Shops
Department Stores
Tailor Shops
Self Employment

Demonstration Center
Factories
Department Stores

Factories
Self Employment
Sewing Machine Retail Stores

Dry Cleaning Establishments
Repair Shops
Laundry Establishments
Group Care Institutions

Seamstress
Alteration Lady
Tailor
Machine Operator
Reweaver
Dry Cleaner
Laundry
Institutions for Group Care
Department Store Employee
Factories
Textile Mills
Research Assistant
Self-Employment

KNOWLEDGE AND SKILLS LEADING TO EMPLOYMENT IN

KNOWLEDGE AND SKILL
IN > LEADS

FABRICS AND CARE OF FABRICS

MEASUREMENTS AND ESTIMATING

ART AND THE PRINCIPLES OF DESIGN

CONSTRUCTION OF SLIP COVERS,
REUPHOLSTRY, CURTAINS, DRAPERIES,
PILLOWS AND BEDSPREADS

USE AND CARE OF EQUIPMENT

USE AND CARE OF MACHINES

REPAIRING, CLEANING AND PRESSING

EMPLOYMENT
TO > IN
4,
Textile Mills
Yard Good in Dept. Store -
Textile Research

Department Store
Upholstery Shop
Interior Decorating Shop -
Floor Covering Dept.
Self Employment

Interior Decorating Shop
Department Stores -
Floor Covering Dept.
Self Employment

Interior Decorating Shop
Self Employment

Demonstration Center
Factories
Department Stores

Factories
Self Employment
Sewing Machine Retail
Stores

Dry Cleaning Establishments
Repair Shops
Laundry Establishments
Group Care Institutions

Drapery Aide
Salesperson
Slip Cover Aide
Upholsterer Assistants
Custom Bedspread & Pillow Maker
Floor Covering Consultant
Decorator's Aide

OCCUPATIONS RELATED TO HOME FURNISHINGS

Clothing, Textiles, and Home

Concept: Nature of Textiles

Generalizations:

1. Textiles are products of fibers and/or yarn, fabric
construction, and finish.
2. Each fiber has physical and chemical properties which
affect its performance in a fabric.
3. The finished textile will give more satisfactory service
when the characteristics of the fabric are compatible
with intended end use.
4. Knowledge of the physical and chemical characteristics
of textiles contributes to one's capacity to find
successful employment in the area of clothing and
home furnishings.

Objectives

To illustrate the
importance of
textiles in our
daily life.

To determine the
background know-
ledge of the
student in the
field of textiles.

To illustrate the
advantage of classi-
fying the fibers
into groups. I

w -

Content

Swatches of fabrics:
1. Knits
2. Crease resistant fibers
3. Various finishes
4. Blends
5. Natural fibers

6.
7.
8.
9.

Synthetics
Poor quality
Good quality
Novelty weaves

(Teacher should use as many and as large a
sample as possible to illustrate all tex-
tiles.)
Natural Fibers 9
Cotton HJ E

Students' Questions:

1. What is the difference between textiles and fabrics?
2. How is fabric made?
3. What does textile identification have to do with
finding a job?
4. What is a textile finish?

Determine the meaning of textiles. Begin
vocabulary sheet of terms to be filled in
as class progresses.

View film.

Pretest: Distribute a group of numbered
swatches of different kinds of fabrics to
be classified as to care, weaving, qualities,
uses, fiber content, etc.

Class go over pretest results to point up
areas to be studied.

Students discuss and identify the fiber
content of the fabrics they are weaving.

Handout: Textile Fibers, Care & Character-
istics.

Resources

i -

Can You Imagine.
American Textile Man-
ufacturers Institute,
Inc., Charlotte, N.C.

Opportunities in
Clothing, pp. 83-85.
Facts About Merchan-
dise, pp. 3-18.

Opportunities in
Clothing, pp. 88-92.

Textile Handbook
American Home Economic
Association.
See Appendix.

Learning Experiences

Content

Objectives

Linen

Wool

Explanation of importance of wool labeling
laws.

Silk

I

Learning Experiences

Read and discuss cotton (use and care).

View prepared transparency and filmstrips.
Outline points.

Further learning experiences in opposite
reference.

Examine fiber under microscope and/or use
burning tests.

Read and discuss linen in relation to
characteristics of fibers. Use prepared
transparency and education kit, "Linen for
Modern Living."

Read and discuss pp. 95-103. Outline main
points.

Analyze prepared transparency.

Further learning experiences: Examine under
microscope and/or the burning test.

Examine wool sweaters. Discuss effect of
agitation, alkalie, etc. in relation to
care of woolen garment.

Pressing Wool
"How to Press Wool" or "Wool Ways"

Read and discuss pp. 103-108.

View prepared transparency.

Examine kit and film strip if available.

Students view samples under a microscope
and/or use a burning test.

1

See Appendix. Guide
to Modern Clothing,
pp. 73, 74.

Textiles for Everyone

Opportunities in
Clothing, p. 89.

Opportunities in
Clothing, pp. 92-95.
See Appendix
Education Dept.,
The Irish Linen
Guild.

Opportunities in
Clothing.

See Appendix B.

Opportunities in
Clothing, p. 99.

Fashions and Fabrics,
p. 126.

Pendleton Woolen
Mills

Opportunities in
Clothing

See Appendix B.

Ed. Dept. International
Silk Assoc.
Fashions and Fabrics

pp. 127-131.

Guide to Modern
Clothing, pp. 72-73.

Resources

Objectives

The man-made fibers
Rayon, Acetate and Triacetate

Synthetics
Nylon

Acrylic and Modacrylic Fibers

Polyester Fiber

f

The characteristic of the fabric is deter-
mined by the percentage composition of the
fibers.

Content

A

Learning Experiences

i

Read and discuss pp. 109-119. Complete
question teacher will give to students.

Examine samples and discuss the differences
in fabrics. Each student list differences
before discussion.
Analyze prepared transparencies.

Introduce thermo plasticity by demonstrat-
ing ironing test.

Students add to vocabulary.

Read and discuss, pp. 119, 121. Use micro-
scope and/or burning test.

Use prepared transparency.

To illustrate strength, students tear
pieces of 100% nylon.

Read and discuss, pp. 121-123. Each student
outline main points. Papers will be
collected and graded.

Use transparency.

List characteristics and illustrate high
bulk by use of a Dynel wig, sweaters.

Read and discuss, pp. 123-126. Outline
points. Papers will be collected and graded.

Use prepared transparency. Discuss fiber
blending using samples of blends.

Opportunities in
Clothing

Man-Made Fiber Fact
Book

Fashions and Fabrics,
pp. 131-135.

See Appendix A.

Opportunities in
Clothing.

See Appendix B.

Opportunities
Clothing

See Appendix B.

Man-Made Fiber Fact
Book

Opportunities in
Clothing

See Appendix.
Fashions and Fabrics,
pp. 137-140.

Resources

Objectives

To illustrate that
differences in kind
of construction of
yarns produce
variations in
fabrics with respect
to texture, design,
function, and use.

i

Spandex

Glass & Rubber
Fibers manufactured from nonfibrous
natural substances. Illustrations of
fiber glass:
Air conditioner filter (staple)
Fabric-drapery sample
Solid piece from boat construction

The Making of Cloth
Yarns

IWeaves

Content

Learning Experiences

Use prepared transparency. Illustrate
effect of heat on spandex. Yellowing affect
may be illustrated by using old spandex.
Discuss care.

Compare rubber

Compare rubber to polyurethane foam. Where
is each used effectively?

View filmstrips.

Students study reference lists.
vocabulary list.

Demonstrate making yarn from the
a cotton puff. Let each student
cotton puff to pull apart to see
illustrate staple, and twist for

Continue

fibers in
have a
fibers,
yarn.

I-

See Appendix B.

Man-Made Fiber
Fact Book

Textile Fiber Per-
sonalities.
Care of Textiles.
Understanding Today's
Textiles, J. C.
Penny Co.

Opportunities in
Clothing, pp. 126-42.

Facts About Merchan-
dising, pp. 19-29.

Guide to Modern
Clothing, p. 88.

Fashions and Fabrics,
p. 103.

Resources

Objectives

N

Fabric Finishes

Threads, from which fabric is made, form
what is called the "grain" in woven fabrics.
No matter what the weave or texture appear
to be, the threads always cross each other
at right angles.

Content

Learning Experiences

Use filmstrip Fibers into Yarns.

Students receive several samples of differ-
ent weaves. Examine weaves with a magni-
fying glass. Construct these weaves using
yarn and 3 x 5 cards or construction paper.

Show filmstrip and use outline.

Class project:
Demonstrate on fabric samples:
1. Water repellent finishes
2. Wrinkle resistant
3. Permanent press
4. Spot resistance of both oil and water
stains
5. Others.

Further student activities for entire unit:
Students bring in hang tags from garments.
Interpret to the class the information
given. Show filmstrip.

Discuss and demonstrate grain, study printed
handout sheets on "Grain in Fabric."

i

Fibers into Yarns,

VEC
Fabric

Keynotes

Guide to Modern
Clothing, p. 107.

Opportunities in
Clothing, pp. 101-
107.

Fashions and Fabrics,
pp. 115-17.

Fabric Finish
Fabric Keynotes
VEC

Guide to Modern
Clothing, pp. 224-26.

"Grain in Fabrics"
Coats & Clark Educa-
tion Bureau.

See Appendix C for
mailing list for
free materials.

Resources

TEXTILE FIBERS

NATURAL FIBERS

FIBER CHIEF USES CHARACTERISTICS CARE
(Apparel and Household) ____
Cotton Lightweight apparel Versatile Limited only by finish,
Household fabrics Durable dye, and construction of
Withstands frequent, item
hard laundering Generally may be machine
Easily ironed at high washed and dried
temperatures Avoid risk of mildew
Inexpensive

Linen Women's and children's Beauty and luster Limited only by finish,
dresses and blouses; endure through fre- dye, and construction
summer suiting quent hard laundering of item.
Handkerchiefs Does not shed lint Iron at high temperatures
Table linens More expensive than avoid pressing in sharp
Other household fabrics cotton creases
Wrinkles easily unless Avoid risk of mildew
treated to resist
wrinkling.
Resistant to dye-type
stains

Silk Light- and medium- Natural luster Drycleaning usually
weight clothing Strong preferable
Accessories Moderately resident Careful hand laundry
Some expensive up- naturally resistant to possible with some
holstery and drapery wrinkles, readily items
returns to shape Protect from prolonged
More expensive than man- exposure to light
made (filament) silky Can be attacked by moths
yarns carpet bettles

Wool Outerwear Springs back into shape Drycleaning usually
Medium-weight clothing requires little pressing preferable
Blankets Great versatility in Will shrink and felt in
Upholstery fabrics presence of moisture,
Has insulating capacity heat, and agitation, as
increasing with fabric in laundry.
thickness; hence, Must be protected from
fabrics can be warm. moths and carpet beetles

DISTINCTIVE PROPERTIES

Fiber Chief Use Characteristics Care

Acrylic Tailored outerwear Resistant to wrinkling Remove oily stains
Acrilan* Knitted wear High bulking power before washing
Creslan* Pile fabrics Silky texture, if Waterborn stains
Orlon* Blankets desired easily removed
Zefran* Carpets Soft hand
Zefkrome* Resistant to effects of
sunlight

Modacrylic Deep-pile and fleece Soft and resilient May be ironed at
Dynel* fabrics Resistant to wrinkling extremely low
Verel* Carpets (in combination Resistant to chemicals temperatures only
with acrylic) Non-flammable

Hosiery, lingerie
Sweaters, wind jackets,
dress fabrics
Carpets

Exceptional strength
Excellent elasticity
Permanent shape reten-
tion
Woven fabrics often hot
wear

Olefin Hosiery No water absorption
DLP* Seat covers for autos, Low melting tempera-
Herculon* outdoor furniture ture
Vectra* Carpets

Wash-and-wear clothing,
often in combination
with other fibers
Curtains
Fiberfill

Sharp pleat and crease
retention
Some have resistance
to pilling
Exceptional wrinkle
resistance

Oily stains should
be removed before
Washes easily
Care must be taken to
maintain whiteness
Press at low tempera-
ture

Oily stains should
be removed before
washing
Washes easily
Care should be taken
to maintain white-
ness
Needs little ironing
or pressing

Saran Seat covers; screening Resists soiling, stain Blot stains; rinse
Rovana* Awnings; luggage ing, & weathering with clear water
Saran* Flame resistant Sensitive to heat

Mixed with other
for heat bonding

fibers

Resistant to chemicalE
sunlight
Nonflammable

Nylon

Polyester
Dacron*
Fortrel*
Kodel*
Vycron*

Vinyon

MAN-MADE FIBERS

Fibir Chief Uses Characteristics Care

Acetate Light- and medium- Drapes well Will glaze and melt
weight clothing Dries quickly at a low temperature
Drapery and upholstery Inexpensive in ironing or
fabrics Subject to fume-fading pressing
Fiberfill

Light- and medium-
weight clothing
Drapery and upholstery
fabrics
Some blankets, carpets,
table coverings

Absorbent
Inexpensive
Domerately durable
Lacks resilience;
wrinkles easily
Flammability a danger in
brushed or napped fabric

Drycleaning often
required
Can be laundered,
but does not with-
stand treatment
that can be given to
linen or cotton.
Tends to shrink and
stretch

Rubber Foundation garments High degree of stretch Wash frequently with
Lastex* Swimwear, etc. and recovery mild soap or deter-
Damaged by oils and gent
light Avoid constant over-
stretch

Spandex Foundation garments High degree of stretch May be machine laun-
Glospan* Swimwear and recovery dered with warm
Lycra* Surgical hose Resists abrasion water. Dry on
Vyrene* Ski pants, other Resistant to body oils lowest heat, shortest
sportswear cycle

*Trademark name

GENERAL CHARACTERISTICS OF THE MAN-MADE FIBERS LISTED ON NEXT PAGE

Moderate to high strength and resilence
Moth and mildew resistant
Sensitivity to heat in ironing
Dimensional stability; resistance to
stretching and shrinking

Tendency to accumulate static elec-
tricity in cold, dry weather
Non-absorbency; easy to wash; quick
drying
Resistance to non-oily stains,
but body oils penetrate the fiber
and are hard to remove
Pleat retention because of thermo-
plastic qualities

Textile Handbook
American Home Economics Association

Rayon

COTTON

Cotton

is versatile.

...can be woven, dyed or finished

wide variety
...absorbent
...durable

of effects

...can be safely
temperatures

washed and

dried

at hi gh

...can be bleached

for

LINEN

Linen

...absorbent,
weather

is lustrous.

cool and comfortable

in

...very durable
...wrinkles easily

unI ess

fin ished

prevent

...has a natural
inq texture t

slub which
o fabrics

gives

interest-

warm

it.

to

WOOL

Wool is curl

...sheds wrinkles
...warm and comfortable
...can absorb much moisture
wet

before

it feels

S. .sca Ies

on fibers

w ill

cause

it to shrink

and felt if not gently handled
I under ing

during

and

warm.

ACETATE

Acetate

is like a

gardenia

- beautiful

but fragile e.

...luxurious hand and appearance
...drapes well I

...poor strength and abrasion

...usual y

resistance

must be dry cleaned

...colors subject

to atmospheric fading

RAYON

Rayon

is the first generation

of the

synthetic

fibers.

. transitional

fiber;

manufaCtured

natural raw materials
... inexpensive ..
...combines successfully

.weak when wet

with

...can be dyed a wide ranqe of

...can be treated

mcny

fibers

coIors

with wash-wear and water

repel lent

from

finishes

TR I ACETATE

Tr i acetate

can be

permanent ly

heat-set

into cleats.

... reta ins
...resists

heat-set
wr ink I es

pI eats

...drapes we I I
...colors subject

to atmospheric

fading

POLYESTER

Polyester pops back into shape.

...resists wrinkling and abrasion
...combines with many fibers to improve

wrinkle resistance

and launderabi I ity

...does not shrink or stretch in
...may pill

I under ing

SPANDEX

Spandex has continuing

...good

bounce.

elasticity and recovery

...resistance
.. .durable
.. ..vuInerable

to perspiration and body oi ls

to chlorine bleaches

GLASS

Glass

is glass,

and fibers

of gl ass

brittle.

...not

affected

by sunlight,

fire or

mi Idew

...repeated

friction or abrasion causes

fibers to break

are

HIGH MODULUS

RAYON

The performance

of this new

rayons is as different from

generation
the old as

today's

teens

from their

parents.

.. .excel Ient

wet strength

...fine
...does

s i Iky hand
not shrink or stretch

in launderir

of
are

HYDROPHILIC

Hydrophi I ic

(AllI natural

fibers

fibers
plus

love water.

rayon

and acetate

are hydrophi I ic)

...absorb water
...may wrinkle easily

...dry slowly

unI ess

treated

wrinkle resistant

finish

...may shrink or lose shape
...requ ire pressing

with

HYDROPHOBIC

Hydrophobic
(All synthetic f

...do not absorb
...shed wrinkles

fibers
ibers

fear water.

plus

water
.. .w il

triacetate)

...dry quickly

not shrink

or

stretch

...will not absorb

surface

stains may be difficult

...should b
s streak i
.. requ ire

dirt but oily
to remove

e rinsed thoroughly to prevent
ng, graying, yellowing
little or no ironing

c: FREE MATERIALS

American Textile Manufacturers Institute
1501 Johnston Building
Charlotte, N.C. 28202
Man-Made Fiber Producers Association
350 Fifth Avenue
New York, N. Y. 10001
American .heep Producers Council, Inc.
Railway Exchange Building
Denver,Colorado 80202
The Wool Bureau
360 Lexington Avenue
New York, N.Y. 10017
Woolens and worsteds of America, Inc.
570 Seventh Avenue
New York, N.Y. 10018
National Cotton Council of America
Room 7600
350 Fifth Avenue
New York, N.Y. 10001
International Silk Assooiation
185 Madison Avenue
New York, N.Y. 10016
Belgian Linen Association
280 Madison Avenue
New York, N.Y. 10017
Irish Linen Guild
1270 Avenue of the Americas
New York, N.Y. 10020
American Rayon Institute
350 Fifth Avenue
New York, N.Y. 10001
Tricot Institute of America
39 West 55th Street
New York, N.Y. 10019
Corduroy Council of America
15 East 53rd Street
New York, N.Y. 10022

Leather Industries of America
411 Fifth Avenue
New York, N.Y. 10016
Vinyl Fabrics Institute
60 East 42nd Street
New York, N.Y. 10017

Concept: Visual Design

Generalizations:
1. An analysis and understanding of visual design contribute
to the individual's ability to identify and to organize the
basic elements of line, form, shape, texture, color and space.
2. An analysis and understanding of design organization enhance
an individual's ability to recognize and to apply the design
principles of balance, rhythm, emphasis and proportion.
3. A knowledge of pleasing visual design will enable a person
to aid others in the selection of fabrics, clothing and
articles of home decoration.
4. The ability to achieve compatibility between the design and
the material and the use of the article enhances the individ-
ual's effectiveness in home decoration and clothing and tex-
tiles work.

OBJECTIVES CONTENT

To define and expand
the ideas of visual
design and beauty.

To list and de-
scribe or analyze
the elements of
design.

See Appendix I for suggested introduction on
Visual Design, Beauty.
Terms for Discussion.
1. Art is ...
2. Beauty is ...
3. A design is ...
4. The elements of design are ...
5. The principles of design are ...
6. Good taste means ...

Design is the organization of the basic
elements of line, form, texture, spaces, and
color to carry out its purposes (usefulness
and beauty).

Elements of Design.
1. Line.
2. Form or shape.
3. Space.
4. Texture.
5. Color.

Note: Pages 38-66 were
prepared by
Miss Bertha Masterson
Winter Park High Sch.
Winter Park, Florida

5. Application of the principles of visual design will enable an
individual to achieve "good taste" on any economic level.

Students Questions'
1. Why do I need to know about design?
2. Isn't there a difference between beauty and "good" design?
3. How can I help a customer feel that her choices are of quality
design?
4..How can I know when I see a good design in any fabric or item?
5. What can I do in order to develop "good taste?"
6. Is color coordination the most important part of knowing about
clothing, textiles and home furnishings selection?
7. Why aren't all articles that I think are "cute" considered
good designs?
8. How can I have good taste when I don't have a big income?

LEARNING EXPERIENCES

I

Clarify and enlarge their concepts of the
following terms by following the pattern
used in "Peanuts."

Discuss present ideas of terms and compile
worthwhile additions in notes.

Use work leaflet from Penny's Beauty film-
strip and answer questions to expand think-
ing on beauty.

Students view flannel board or bulletin
board "over-view of design" and then re-
write in their own terms. (See Appendix
B and C.)

Students complete outline of design elements
by supplying examples and sketches as illus-
trated by the teacher on a chalkboard, flip-
chart and/or prepared posters. As each ele-
ment is discussed, the students analyze
orally and describe the element in selected,
magazine pictures. (An overhead projector
with pointer would be helpful.)

View Visual Design Bulletin Board for illus-
tration of the elements.

RESOURCES

See Appendix A.

Art in Everyday Life.

J.C. Penny's Beauty Film-
strip.

See Appendix B and C for
Over-View Bulletin Board.

Penny's Fashions and
Fabrics, The Influence of
Art in Our Lives.

See Appendix D, E, and
F for outlines.

Homes With Character,
pp 97-101.
See Appendix G & H
Art for Young America,

pp. 66-82.

See Appendix B and C.

OBJECTI.VES CONTENTlI I

To further expand
ability to identi-
fy and classify
the use of color
as a part of design

Principles of Design.
1. Balance a feeling of equilibrium and
gives a sense of stability and restfulness.
2. Rhythm organized movement to enable the
eye to travel smoothly and easily from one
part to another.
3. Emphasis centers interest on the most
important thing in any arrangement. Con-
siderations necessary in order to create
emphasis:
a. What to emphasize.
b. How to emphasize (grouping small objects
together, using bright colors or
patterned fabrics.)
c. How much to emphasize (under emphasis
is desirable.)
d. Where to place emphasis (natural focal
point of room, opposite entry into
room.)
4. Proportion refers to the relationship
among parts and of parts to the whole or
ratio among parts.

Instances of proportion which appear out of
scale:
a. A large man riding in a small foreign car.
b. A very small room crowded with heavy
massive furniture.
c. A large dominant fireplace at the end of
a tiny building.
d. A very small picture over a large divan.
e. Others.

OBJECTIVES

CONTENT

LEARNING EXPERIENCES

Students use pre-constructed sketches to
illustrate the following:
1. Color wheel.
2. Value scale.
3. Intensity scale.
4. Neutrals.
5. Color harmonies.

Assignment: Locate pictures of the following
from magazines (food displays, auto advertise-
ments, clothing pictures, people, flower
arrangements, furniture displays and room
arrangements.) Each student write a descrip-
tion of the principles of design followed in
one or two pictures.

Additional experiences in relation to the
design principles which may be woven in when
applicable as students complete above out-
lines:

1. Students examine a number of examples of
the types of balance in pictures and
arrangements of items on a surface and
experiment with arranging accessories on E
surface. Examine Visual Design Bulletin
Board for examples of balance.

2. Students view a display of objects sea
shells, leaves, vines, flowers, others -
to recognize ways that nature develops
rhythm in a design.
3. Students discuss emphasis and compile a
list of the considerations necessary in
order to create emphasis.
4. Students consider instances of proportion
which appear out-of-scale.
5. Students view Visual Design Bulletin
Board to check for observance of the Gree
rule of proportion.

a ~

opportunities in Clothing
Fashion Merchandising,
pp. 46-71.

Homes With Character,
pp. 105-113.

Appendix B and C.

RESOURCES

OBECIVESI CONTENT [II I I -

To list and describe
the classes of de-
signs.

To demonstrate
knowledge of the
elements of design.

To
and
prj
de:

3t, analyze,
pply the
-iples of
jn.

Classes of Designs:
1. Structural basic construction.
2. Decorative applied to surface.
a. Naturalistic exact impression of an
item.
b. Conventional simplified floral.
c. Abstract geometric patterns, dots,
stripes, checks, etc.

OBJECTIVES

CONTENT

LEARNING EXPERIENCES

Evaluation students use work sheet to gain
ability to recognize design principles applied
to color.

Evaluation: Objective test covering the prin-
ciples of design. Analyze selected pictures
as a test for application of the principles.

Read and outline for discussion the types or
classes of design.

Students analyze various objects found in the
classroom.

Laboratory experience in mixing hues and
painting with tempera (notebook size samples
of the same items demonstrated using
student handout.)

Students bring a picture to class and point
out the elements of design.

Evaluation pass around a series of num-
bered magazine pictures or art reprints and
have students individually describe or
analyze each of the elements in the picture.
Use teacher developed analysis sheet to
facilitate teacher evaluation.

Also have students name hues and main color
harmonies seen in a series of numbered
pictures in a pass-around picture-type test.

Students take objective type test to deter-
mine amount of information retained.

Students complete handout Outline of Design
Principles, as teacher directs discussion
with designated or volunteer students illus-
trating each principle either on chalk board
or on flip chart with markers. As each prin-
ciple is discussed use a magazine picture or
art reprint to allow students to recognize
the use of each principle to control each

Appendix G

Homes With Character,
pp. 101-104.

See Appendix H and I

See school librarian
for art reprints.

See Appendix I.

Opportunities in Clothing
Fashion Merchandising,
pp. 72-79.

Art For Young America
(for pictures)

RESOURCES

OBJECTIVES CONTENT
I

To list and de-
scribe the three
conditions that
must exist (in
addition to com-
pliance with the
design principles)
in order to create
a quality design
or product.

To evaluate ability
to recall and apply
visual design in-
formation.

Considerations in the Selection of a Decora-
tive Design.

Necessary conditions that need to exist in
addition to the principles of design.
1. The design must be suited to the function
of the article.
2. The design must be suited to the material.
3. There must exist a state of harmony- in
the entire design.

OBJECTIVES

CONTENT

LEARNING EXPERIENCES

q

element. Have students orally analyze 2 or
3 pictures for lack of use of principles and/
or for recognition of principles followed.

View samples of articles of varying structural
and applied designs and in buzz groups com-
pose a list of considerations in the selec-
tion of a decorative design.

Suggestions for samples for above:
1. Table cloths.
2. Drapery fabrics swatches.
3. Book cover.
4. Man's sport coat.
5. Pictures made of overlaid fabrics.
6. Vases
7. Ladies and men's shoes.

Students divide into buzz groups and view a
series of display objects which illustrate
good and poor design. Students orally dis-
tinguish the three factors or conditions
that need to be present in addition to the
design principles.

Develop a score card for use in selection of
decorative objects.

Examples of articles to be examined:
1. An ash tray in shape of a pig with ashes
put in its mouth.
2. Flower pot in shape of an infant with
flowers growing out of head.
3. A fly swatter of plastic with short handle
large floppy rose on swatter part.

4. Samples of upholstered chairs.
5. Samples of tables.

Students take teacher made objective tests
covering design.

Students review the Bulletin Board of "over-
view of design."

Homes With Character,
p. 104.

Appendix K for sample
list of Decorative
Design considerations.

See Appendix K for sample
scorecards.

See Appendix B and C.

See Appendix B and C.

RESOURCES

OO

To discover that
"good taste" is
learned.

Taste refers to sets of values used by an
individual or a society in making critical
judgments or fine discrimination.

Taste is affected by education, by one's per-
ceptual abilities, and by the moral pattern
of an era.

Taste involves not only considerations of
beauty but decisions of suitability and
appropriateness.

CONTENT

OBJECTIVES

LEARNING EXPERIENCES ---OURCES

Students make a list of ten or more main
conclusions that they have reached during
this study of design.

Students list illustrations of how they have
and will make applications of the information
received in the study of visual design.

Students use previously made check lists and
score cards which have been dittoed to
evaluate two or more teacher selected
decorative designs and objects.

Students define meaning of"good taste"and
"poor taste."

Discuss experiences which have contributed to
their development of likes and dislikes in
design.

Students relate satisfactions gained from
being able to choose the beautiful and the
functional.

Appendix K for sample
score cards.

RESOURCES

LEARNING EXPERIENCES

A: SUGGESTED INTRODUCTION TO VISUAL DESIGN

TODAY, we are beginning a study of some of the basic know-
ledge needed in order that you may understand the real whys behind
what we often refer to as "Good Taste" or "Beauty" or "Art" or
"Good Visual Design." Most of us feel that it is very important
to have pleasant looking surroundings because our surroundings have
a definite influence on our feelings. Hence, you should find that
our study of design is helpful in your own clothing and accessory
selections as well as an aid to you in your job whether it is work-
ing with fabrics, clothing, or household furnishings.

To find out just how much you already know about this subject
of design, etc., would you now follow the pattern that Mr. Schultz
uses in the Peanut comics and complete the following:

1. Art is..... (You may tell them that you have written your
prediction of what the majority will say on
a card to hold up later) I have found about
half of all ages 15 thru 18 will say that it
is or has to do with COLOR or PAINTING.

2. Beauty is....
3. A design is....
4. The elements of design are:
5. The principles of design are:

Now that you have finished could I have two volunteers to
tell us how you completed the phrase Art is........ (If no one
volunteers call on several students to read their statements with-
out comments). Now how many of you have on your paper that art is
or has to do with COLOR? (Count the hands and show them your
prediction which is true of about half of what any group will say
and comment on and ask why the class thinks this is what people
think is art.) Perhaps many people say Art is color because
since our early school days we've been made aware of color re-
member the coloring books that your parents bought you almost
before you knew what to do with it. Also many art teachers even
in college have you work almost entirely with color to the point
that you may get the impression that the use of color is all there
is to Art.

(Collect the papers and read some of the definitions of Beauty)

Most of us could come up with a pretty good definition of
beauty, but there are a few basic points that we need to consider
before we can get further in our study--number (1). All art is
made by man whereas number (2) God first made Beauty in our
surroundings and number (3) man using his intellect has studied

God's creations and found that if he follows certain rules seen
in nature then he too can make items of beauty which we call
ART. Another reason that man made items are referred to as art is
that in most instances a certain amount of skill was required be-
fore producing a work of art. (Pass out copies of the student
leaflet from the Penny's film-strip, "Beauty.")

Now to help you get a broader understanding of Beauty -
where it is found and what it is will you briefly look over the
leaflet that you have just received. After you are familiar with
the type of questions that you will be answering during the film-
strip we will be ready to begin. (Allow time to look over the
leaflet and further explain that they are not to write any answers
until the filmstrip reaches the same number of ***** as are seen
on the leaflet. You may want to use the questions without the
filmstrip and have each student work at his own speed. (About
thirty minutes will be required to complete the leaflets and the
filmstrips.)

Now would you visualize a tree that you consider beautiful.
Think for a minute about the fact that there are certain things
true about every tree that all of you are thinking of --- God made
each one to have roots, a trunk and leaves with perhaps flowers
and fruit -- yet each one is a little different. We say that God
followed a plan or a pattern or that he made the design for a tree.
Now do you see that if we can come to understand the elements of
God's design for the tree and the rules that he observed in his
plan or design for the tree then we will be able to recognize a
good design or a work of art. As another way of stating the idea
that we will be trying to bring into better focus for you during
our study of design will you write in your notes the statement
that I am placing on the flannel board. (After writing statement
in notes ask a student to put the statement in her own words --to
say it in her language.)

Now there you have it **** The Elements of Design when con-
trolled by the Principles of Design; and having present harmony,
fitness of design to material and function; produces Beauty or
a Good Design **** our theme song for our unit on Visual Design.

B: SUGGESTIONS FOR THE CONSTRUCTION AND MULTI-PURPOSE USES OF
THE VISUAL DESIGN BULLETIN OR FLANNEL BOARD DISPLAY

1. Do all lettering in black on white background except for
the following:

a. Letter Line in red; Shape in yellow; Texture in blue;
Color in orange; Space in green; and Form in purple
(Use these to point out the primary and secondary hues
when discussing color.)

b. Letter Rhythm, Balance, Emphasis, Proportion, A Fitness
of Design to the Material and A Fitness of Design to
its Function in the Intermediate Hues to use for illus-
trating these in discussing color. Use to show how the
intermediate are more pleasing in comparison with the
primaries and secondaries.

c. Make a mobile of the segments on the Elements of Design
by labeling the elements on each of the major forms or
shapes. (Square, Triangle or Cone, Cylinder, Circle or
Sphere and a combination shape.)

d. Arrange parts of the entire display using both formal
and informal balance. Use to illustrate balance in the
discussion thereof.

e. Use the entire display to point out examples of repeti-
tion with variation the varying sized rectangles on
which the lettering is done. Repetition of black letter-
ing from top to bottom of design.

f. Follow the Greek rule of proportion in determining the
sizes of the construction cards for the lettering and
the entire size of the display. Have students evaluate
display during discussion of proportion.

C: DIAGRAM OF VISUAL DESIGN BULLETIN OR FLANNEL BOARD
EAN OVER0VEW OF VISU tLESE eNi
IBERLU TY J IiOQ ESINJ
I IS OBTAINED WHEN

THE ELEMENTS

of

DESIGNi

RE CO NTR LL ED 8 Y

ITHE PRINCIPLES of DESIGN
RHYTHM BALANCE EMPN flSIS rPRrON
ITH E PR ESE NCE OFI
[4 FITNESS Of DESIG-N ** MATERIAL
IR FITNESS Of DESrN t IT5 FUNCTION)

FHARMONY] O MDER

D: COMPREHENSIVE OUTLINE AND HANDOUT FOR STUDENTS

(Leave out the examples and
details to hold attention
while discussing in class.
Also omit items in parenthesis
and leave more space for
student notes.)

I. The Elements of Design

A. Line

1. The types of lines are:
a. Straight--
b. Curved--
c. Combination of straight and curved--

2. Lines may be used in a design to
a. Outline shapes--
b. Express emotions (look at comic strips to find examples)
(1) Vertical--(dignity) (Little Orphan Annie)
(2) Horizontal--(restfulness, bed)
(3) Diagonal--(rhythm, movement)
(4) Tapering lines--(great speed) behind birds and
cars
(5) Drooping lines--(lazyness) or (old age) seen
in lines of faces
(6) Bold heavy lines--(masculine feeling)
(7) Delicate curved lines--(feminine feeling)
(8) Lines in many directions--(feeling of confusion)
(9) Interwining curves--(suggest luxury) as in
ornate decorations
(10) Bouyancy
(11) Straight and curved--(excitement)
c. Give the design continuity--(carries the eye)
d. Symbolize textures
e. Create a two dimensional effect (has length and
width)
f. Create a three dimensional effect (has length,
width and depth)

B. Form

1. Describes the skeleton not the skin.
2. Way we learn to identify objects.
3. Forms are shapes. They may be of 5 primary types:
a. Circles and spheres--(head, apple, eye, sun, domes.)
b. Squares--(includes rectangles) and cubes--building,
bookcase, refrigerator.)

Triangles and Cones--(Pine tree, pencil point, tent.)
Cylinders--(pencil, curtain rod, candle, finger.)
Combinations and odd shapes--(light bulb, light
fixtures.)

4. Forms or shapes are the THINGS in the picture. They
can be made three dimensional in shape.

C. Space

1. Space is the paper, canvas, wall or any area that the
design is created on.
2. Space may be flat or suggest great distance.

D. Texture (Use clown sample display of various textures of
fabrics of same color.)

1. Texture refers to the surface quality of the material
and is used as a source of beauty to create variety in
design.
2. Texture is the way a thing feels or looks like it feels
(to the touch.)
3. Textures may be
a. Rough-straw e. Soft-fur i. Sheer-organdy
b. Smooth-glass f. Hard-rock j. Sharp-broken
c. Dull g. Stiff-burlap glass
d. Shiny-plastic h. Heavy-concrete

4. Important points to remember in using textures together.
a. Texture of object should be in keeping with the
form and use of object.
b. Texture of objects should show definite relationship
to each other in order to achieve most pleasing
design combination.
c. Textures of objects used together when exact repe-
titions cause a loss of interest. (Walnut furni-
ture, walnut paneled wall, walnut design-grained
draperies and walnut lamp base, stained walnut hard-
wood floor.)
d. Textures create various atmospheres
1. Tweed fabrics suggest a casual and informal at-
mosphere and satins and damask suggest richness
and elegance.
2. A deep-textured effect suggests warmth and
luxury while surface texture seems cold and
uninviting.
3. Shiny surfaces express ornateness and dull tex-
tures imply simplicity. *

4. A heavy texture denotes strength and a light
texture suggests delicacy.
5. A combination of textures, neither too rough
and harsh nor too slippery in appearance create
a comfortable atmosphere.

E. Color

1. Color has three distinguishing qualities:
a. Hues (family name of color.) There are four classi-
fications. (See Wheel.)
1. Primary--(Red, Yellow and Blue.) Basic to all
other hues.
2. Secondary--(Orange, Green and Purple.) Made
by mixing equal amounts of two primaries.
3. Intermediates--(There are six made by mixing
equal amounts of adjoining primaries and secon-
daries. Example: blue-green and red-orange.
4. Neutrals--(often not considered actual hues.)
a. Black
b. White
c. Gray may be made by mixing the comple-
ments and
d. Brown and its tint Beige may be made by
mixing the complements and
or and .
b. Value amount of lightness and/or darkness in a
color. (Show and paint value chart)
1. Tint-amount of whiteness of a color (sky blue)
2. Shade-amount of darkness or dullness of a
color (navy blue.)
c. Intensity amount of brightness or dullness of a
color (a hue may be made duller by adding some of
its complement) (the color across from the first
on the diameter of a color wheel) (show making of
intensity chart use same color as for value
chart use tempera.)

2. Colors have a range of temperatures:
a. Warm colors (are the colors of fire and sun red,
yellow, and orange.)
b. Cool colors (are the colors of ice and water blue,
green, and purple.)

3. Colors appear to advance or recede from us.
a. The more blue a hue contains the greater distance
it seems from us.
b. The more red a hue contains the nearer it seems to us.

4. Color associations popularly known are:
a. Black evil
b. Blue the sky and serenity
c. Red danger
d. Green envy
e. White purity

5. Color choices are influenced by:
a. Family tastes.
b. Physical characteristics of room or personal coloring.
c. Color of articles on hand (pictures, draperies, up-
holstered chair, bedspread.)
d. Effect of lighting.
1. White light shows color naturally.
2. Yellow makes plum look brown and blue look gray.
3. Blue light on pink makes orchid.
4. Pink light makes blue, lavender, and pinks
look warmer.
e. Texture
f. Manner of living

6. Color harmonies or schemes that have proven pleasing:
a. RELATED harmonies (usually the most pleasing and
easy to use.)
1. Monochromatic (one color with shades or tints
of that pure or varying intensities.)
2. Adjacent or analogous a color with one or
more of the colors next to it on the wheel.
(Best between two primaries.)
Example
b. Contrasting Harmonies (Requires skill to achieve
pleasing combination.)
1. Complementary-two hues opposite on the wheel.
2. Split-Complementary a color and the colors
on each side of its complement.
3. Accented Neutral a neutral color with a color
wheel hue as accent.
4. Primary Triad the three primary hues used
together (vary value and intensity.)
5. Secondary Triad the three secondary hues
used together (vary value and intensity.)

7. Color harmonies may be developed from one of the follow-
ing bases:
a. A painting
b. Geometric design in a drapery fabric
c. A sample of wall paper
d. Striped slip cover or upholstery fabric
e. Samples of carpeting
f. Samples of wood paneling.

E. RESPONSES FROM LINES

Dignity, Formality

Restfulness
Repose

4. ^- -- Speed
Distance

Movement

Laziness 6.
Old Age

U

Masculinity

7. P Femininity
Grace

8/-s-

Confusion

Bouyancy

11.
f?,

Excitement

10. 0

F. Sketch of Texture: Poster or Bulletin Board

(Use cut out of clown and
actually cover balloons--
or styrafoam balls--with
samples of fabric of
different textures--all
in the same color------
clown could be outfitted
in polkadot terry cloth or
burlap with contact spots
of a wood texture in
same color)

G: ARE YOU FAIR TO YOUR FIGURE? *

What would you select in a pattern, or a fabric, or a ready
made dress to make you look taller? What would you suggest to
make a tall person look shorter? What is good to make the stout
person look slim? What would you do for the person with large
hips, flat chest, narrow shoulders or large waist? If you need
help in making the most of your figure, study the following sugges-
tions to help hide your figure faults and bring out your good
points.

If you are tall and thin, you should wear clothes that will
give an illusion of extra weight, feminine curves and roundness.
To get this effect, wear crisp, stiff fabrics, such as organdy,
taffetas, stiffened satins, heavy fabrics, tweeds, two colors,
large floral patterns, obvious stripes, pleats, tucks, plaids
and light colors.

If you are short and rather on the stout side, use straight
lines in your designs. Lines that lead the eye upward. Use the
princess, or "pencil slim" silhouette designs. The fabrics that
will help are the smooth light weight ones. Other factors that
will help are high necklines (if your neck and face will take
it), narrow belts and moderate shoulders.

If you have a short waist, use the princess lines with no
special emphasis at the waistline, high neckline and low narrow
belts. The long waisted person should wear contrasting belts,
low necklines and full skirts.

For broad shoulders use round or oval necklines, raglan
sleeves, full skirts or a modified flare. On the other hand, if
your shoulders are narrow and sloping, be sure to straighten and
broaden them by using shoulder pads in your dresses. Use square
or sweetheart neckline, stand up collars and moderately flared
skirts.

If you have a flat chest, use wide collars, large bows at
the neckline, frills and jabots. Stiff fabrics such as taffeta,
organdy, faille, poplin, are good for you, but if you have a
large bust line, use the V neckline, the new rounded shoulders,
soft fabrics vertical lines which give length, and quiet colors.

Check your favorite dress with one you dislike to try to
account for your reasons for not liking it. It may be that you
did not consider your figure type carefully enough when you planned
or bought the dress. Be fair to your figure when you buy.

*Source unknown.

H: WHAT CAN BE DONE TO MAKE HIPS
APPEAR NARROWER THAN THEY ARE?

LARGE HIPPED
Minimize width by concentrating
interest elsewhere.

FABRICS CAN HELP
Soft fabrics: chiffon, tissue
faille, crepes, lightweight spuns.

THE LINE OF THE SILHOUETTE CAN HELP
Gored styles only in full skirts

OTHER FACTORS CAN HELP
Degage collars.
High, wide shoulders.
Bloused bodices.
Vests extending to point below
waistline.

VERY NARROW HIPPED
Create illusion that hips are wider
than they are to balance hip and
shoulder width.

FABRICS CAN HELP
Crisp fabrics: bengaline, taffeta,
poplin, faille, plaids and stripes.

THE LINE OF SILHOUETTE CAN HELP
Full skirted.
Profile.

OTHER FACTORS CAN HELP
Smooth shoulders.
Yoke at neckline.
Circular, bias and accordian
pleated skirts.
Stiffening at hipline.
Patch pockets.

WHAT WOULD YOU SUGGEST TO MAKE THE
SHORT FIGURE LOOK TALLER?

SHORT
Suggest lines that lead eye upward.

FABRICS CAN HELP
Smooth, lightweight fabrics:
tissue faille, tricot, knit, etc.
Vertical stripes-costume with
color dominant throughout.

THE LINE OF THE SILHOUETTE CAN HELP
Princess.
Rudder.
Pencil slim.

OTHER FACTORS CAN HELP
High necklines.
Long sleeves.
Skirt fullness falling straight
and slim in pleats, folds, and
gathers.

WHAT ARE THINGS TO BE REMEMBERED
IN DRESSING A STOUT WOMAN TO LOOK
SLIMMER?

ROLY-POLY
Straight lines in silhouette.

FABRICS CAN HELP
Soft fabrics: sheers, broadcloth,
Fabrics that absorb light-monotones.
Dull textures; crepes
Dark colors.
Vertical or slightly diagonal lines
unevenly spaced.
Small, indistinct prints.

THE LINE OF SILHOUETTE CAN HELP
Pencil slim, four or six gore.
Slim hipped flare.

OTHER FACTORS CAN HELP
Moderate shoulders.
Slim front.
Narrow belts.
Moderate skirt length and fullness.
Control at front or back of skirt
gives effect of slim figure.

HOW CAN YOU GIVE THE EFFECT OF
MORE BULK OR A WIDENED SILHOUETTE
TO THE TOO SLIM FIGURE?

TOO SLIM
Create illusion of extra weight.

FABRICS CAN HELP
Stiff, heavy fabrics: Lyons velvet
tweeds, whipcord.
Shiny rich fabrics: satins, moired
effects.
Horizontal lines: obvious stripes,
pleats, tucks, plaids.
Light colors.

THE LINE OF THE SILHOUETTE
HELP
Full skirted.
Profile.

CAN

OTHER FACTORS CAN HELP
Wide shoulders.
Square neckline.
Wide belts.
Long full sleeves.
Bouffant skirts.
Extra detail.

WHAT WOULD YOU SUGGEST TO THE
CUSTOMER WHO IS FULL BUSTED?

LARGE BUST
Strive for perpendicular lines
which give length.

FABRICS CAN HELP
Soft fabrics broadcloth, crepe,
tissue faille, chiffon.
Receding colors.

OTHER FACTORS CAN HELP
Simple, loose fitted bodice.
New rounded shoulders especially
good.
V-necklines.
Bloused effect at waist.

FLAT CHEST
Add interest at bustline.

FABRICS CAN HELP
Stiff fabrics rep, poplin, taffeta
bengaline, faille.
Distinct prints.

THE LINE OF SILHOUETTE CAN HELP
Princess.
Pencil slim.
Full skirted.

OTHER FACTORS CAN HELP
Wide collars.
Large bow ties.
Bold motifs at bust line.

HOW DO YOU CORRECT THE SHOULDERS
WHEN THEY ARE TOO BROAD? TOO NARROW?
OR STOOPED?

BROAD SHOULDERED
Widen lower part of silhouette.

FABRICS CAN HELP
Crisp fabrics that flare out slightly
in the skirt.
Small motifs tie prints, etc.

THE LINE OF SILHOUETTE CAN HELP
Full skirted.
Modified flare.

OTHER FACTORS CAN HELP
Round or oval necklines.
Raglan or kimona sleeves.
Loose fitting waist and hipline.

NARROW OR SLOPING SHOULDERED
Straighten and broaden

FABRICS CAN HELP
Crisp fabrics taffeta, bengaline,
faille, rep.

THE LINE OF SILHOUETTE CAN HELP
Pencil slim.
Rudder.
Modified flare.

OTHER FACTORS CAN HELP
Square or sweetheart necklines.
Stand-up collars.
Padded shoulders.

BROWARD COUNTY PUBLIC SCHOOLS*
Adult and Vocational Education
Mrs. Anne Aletti

I: IDENTIFICATION OF DESIGN PRINCIPLES AS APPLIED TO COLOR

Directions: In the blank indicate the design principles repre-
sented by the statement. (Teacher: omit principle listed in blank)

(Emphasis) 1. Warm hues are stimulating and advancing: make an
object seem larger.
(Emphasis) 2. Cool hues seem to recede in the distance and are rest-
ful and quieting. Smaller.
(Emphasis) 3. White seems to add color and to increase size because
it reflects light.
(Emphasis) 4. Black seems to take away color and reduce size because
it absorbs light.
(Emphasis) 5. Gray seems to neutralize, and the closer the value of
the gray to the value of the color seen against it the
stronger with neutralizing force.
(Emphasis) 6. White on black is less conspicious than black on white
because white reflects color while black absorbs it.
(Balance) 7. Strong value contrasts have a tremendous power of
attracting attention and if not used wisely may pro-
duce a very restless and confusing effect.
(Harmony) 8. Close values are restful.
(Emphasis) 9. Strong value contrasts call attention to the silhouette
of an object.
(Emphasis) 10. A color may be emphasized by (1) placing it next to
its complement, (2) by combining it with a neutral,
(3) by repeating near it a large amount of the same
color in lower intensity, and (4) by repeating in some
other part of the composition a small note of the same
color in a brighter intensity.
(Balance) 11. A color may be made to appear less intense by (1) com-
bining a large amount of a very bright color with a
dull or delicate color of same or similar hues, (2)
a bright color may seem less intense if combined with
a dull color, which is of about the same value, and
slightly different in hue.
(Harmony) 12. Success in color work depends upon selecting colors,
which are beautiful for a particular purpose and com-
bining them so that they enhance rather than detract
from each other's beauty.
(Proportion 13. The Law of Area states, large areas of color should
be quiet in effect, while small may show a strong
contrast; the larger the amount used the quieter the
color should be, and the smaller the amount, the more
striking the contrast may become.
(Balance) 14. Colors may be balanced through the repetition or
crossing of colors, which insures a restful effect,
obtained by repeating an important color from one part
of an arrangement to another.

(Proportion) 15. Proportion: color combinations are most beautiful
when the amounts are varied than when they are
equal. If equal in power of attraction apply
Greek law 2 parts to 3. If very different, apply
Law of Areas.
(Rhythm) 16. Rhythm: eye should move easily from one color to
another, eliminate jumpy results.
(Emphasis) 17. Emphasis: in any color arrangement there should be
one outstanding color effect. Backgrounds should
show less emphasis than the objects which are placed
against them.
(Harmony) 18. Harmony or unity: those that give the impression
that all the colors really belong together and yet
at the same time there is sufficient variety so
that the arrangement does not become monotonous.
No color should be so dominant that is produces a
jarring note.
(Harmony) 19. The most unifying colors are the colors of light-
yellow, yellow orange grayed as tan.
(Harmony) 20. The most beautiful color schemes are those which
give single impression, as of warmth with note of
coolness for variation, etc.
(Harmony) 21. Keyed colors when each has something in common
with every other color in design, neutralizing
them, mixing, glazing, veiling or topping by
neutral color, rough texture.
(Emphasis) 22. Black, being the absence of all color has a ten-
dency to absorb color from the skin making it seem
dull and lifeless. Collar, yoke, scarf of a color
can remedy this, make-up,too.
(Harmony) 23. An ivory or warm white is more becoming to the
average person than a cool white.
(Harmony) 24. It is only by constant observation and experimenta-
tion that we gain the ability to select becoming
colors for ourselves and others. Analyze every
beautiful color scheme you see.
(Emphasis) 25. Black silhouettes the figure and should be avoided
on a large person or one with a figure irregularity.
(Emphasis) 26. A large person should wear cool colors, low values
of gray to reduce her apparent size.

INTENSITY SCALE

J: STUDENT HAND OUT SKETCHES TO
PAINT FOR EXPERIENCE WITH COLOR

(ADDING COMPLEMENT)

VALUE SCALE

q WHEEL HUE

(- TINT OF HUE

NEUTRALS

WHEEL
VALUE

(_ SHADE OF
HUE

64

7 COLOR WHEEL STUDENT HPRNDOUT

SEC) (2) (3)
--EC Y H18 \-\ ,(2) (3)
T,-r1 (DTC) (2) (3)
l_(4) .(5) (6)

NOTE TO TEACHER
This Sketch maybe used ,as a test Have Students Label Hue Name

L: PRINCIPLES OF VISUAL DESIGN Comprehensive Outline
(Hand out for student use as
teacher demonstrates and points
out examples of each principle.
Omit examples and provide more space.)

A. Balance feeling of stability
1. Three types of balance
a. Formal or Even or Symmetrical
(1). On the right and left of a center everything is
the same.
(2). Gives a feeling of dignity.
b. Informal or Uneven or Assymetrical
(1). Gives feeling of stability. Example-large and
small person balanced in a see-saw. (Large is
placed nearer the center point.)
(2). More difficult to achieve than is formal balance.
2. Ways to balance color
a. Small amount of light color will balance large amount
of dark, dull color.
b. Large areas of design should be quieter and duller-
small areas bright.

B. Rhythm movement of the eye in visual design
1. Means that the eye moves easily around a design.
2. Adds vitality and life to design.
3. Establishes order--makes design easier to understand.
4. There are four ways to produce rhythm in a design:
a. Repetition of the elements (sketch example of each
and show in pictures)
(1). Shapes
(2). Lines
(3). Color
(4) Textures
(5). Space
b. Repetition of sizes.
c. Gradation of each of the elements (give examples)
(1). Shapes (4). Textures
(2). Lines (5). Spaces
(3). Color
d. Opposition--(Give examples)

C. Emphasis
1. Design must have a center of interest.
2. Gives importance to a part of the design.
3. Areas that may be centers of interest.
a. Fireplace in a room.
b. Window in a room.

c. A person's face emphasized by collar or neck shape.
d. Bright colored object in a picture.
4. A room's center of interest should be opposite the entrance
door to room.

D. Proportion
1. Means that parts of a design are correctly related to each
other and the whole design. (Use human anatomy to illus-
trate proportion.)
2. Interest is held longer if spaces or objects are related
to each other and to the whole design.
3. Rule for arranging objects to achieve good design:
a. The space between two objects to be seen together -
should be smaller than the space occupied by one of
the objects.
b. It is always better to use an odd number of objects,
forms, spaces, lines, colors, or textures in a design
or arrangement. (Even number of objects usually
causes you to count them and is more monotonous)
4. The Greek golden rule of proportion will aid in dividing
spaces at the most interesting point so as to give good
proportion. (Use rectangular shapes cut from construc-
tion paper to illustrate the rules of proportion.)
a. Use this rule in order to produce a satisfying, in-
teresting and more beautiful design.
(1). Use to check the dimensions of a picture or
mirror.
(2). Use to find the best place to put a flower
arrangement on coffee table.
b. The rule says that space divisions are more interesting
when divided in the following ratios:
(1). 2:3 example -
(2). 3:5 example -
(3). 5:8 example -

ADDITIONAL CONDITIONS THAT MUST EXIST IN ORDER TO PRODUCE A QUALITY
PRODUCT OR DESIGN

A. The design must be suited to the function of the article -
1. Example Spoutless water pitcher doesn't pour very well.
2. Example Sheath dress made of eyelet embroidered
material doesn't wear well for a yard work dress.

B. The design must be suited to the material -
1. Example Vertical tucks in the front of a blouse made of
corduroy the tucks will not press well and
are too bulky when made of corduroy.
2. Example -
3. Example -

C. There must exist a state of Harmony or order of the entire
design and article upon which it is placed or is a part.
If any part is taken away, this order is destroyed. Every
part of the design is related to the entire object and to
each other is order to be pleasing.

M: SUGGESTED CHECK-LISTS FOR ANALYZING AND SELECTING A
DESIGN OR ARTICLE

DECORATIVE

Check List for Analyzing a Decorative Design Applied to Objects or
Fabrics

Yes

No

1. Is the design used in moderation?
2. Does the design follow the contour of article?
3. Is the motif in scale with the article?
4. Are the decorations placed at structural points
of the article?
5. Does the decoration interfere with the function?
6. Does the design fit material it is on?
7. Are the background spaces interesting? (The
background shape should be as beautiful as
the pattern in the foreground.)
8. Is it an abstract or geometric design?
(These are usually in better taste than
stylized, naturalistic, or conventionalized.)

Selecting a Decorative Article
(Vase, lamp, pillow, candy dish, scarf, purse,
shoes, dress)

Yes No

Is it superficially decorated?
Is it dryly practical? (Uninteresting?)
Is it realistically decorated?
Does it have character and individuality?
(Yet is simple.)

Clothing, Textiles and Home Furnishings

Concept: Job Commonalities

Generalizations: Since certain jobs in the area of clothing, textiles
and home furnishings use the same skills and knowledge, a study of
these commonalities contributes to efficiency in instruction and
learning.

OBJECTIVES

To interpret to students
the value of skill in
alteration.

To list the job oppor-
tunities in alterations.

To acquaint the student
with the course content.

CONTENT

Interpret the value (price) of alteration
skills in the market place.

Job opportunities: Dry cleaning establish-
ments; retail dress shops; bridal and formal
shops; department stores; men's clothing
stores, and self-employment.

Course content:
1. Altering and fitting ready-made garments
2. Proper "finishing" work on garments.
3. Knowledge of fabrics and precautions to
use in working with different fabrics.
4. Pressing.
5. Care, mending and cleaning.

Note: Articles from daily newspapers and other
periodicals are excellent sources for infor-
mation on fashions and popular designers.

Student Questions:
1. Why do we have to know the parts of a sewing machine?

2. Why do we have to have all this sewing equipment?

3. What will tell us how to press a garment?

4. How will we know whether to press or iron a garment?

LEARNING EXPERIENCES RESOURCES

Self-evaluation

Students have brainstorming session on job
opportunities.

Clip articles and mount for bulletin
board.

Appendix: A & B
Management Check List
Check Sheet for Self
Evaluation

Time Management
What Have You Got To
Offer? See Appendix

Opportunities in
Clothing, pp. 252.

Newspapers, magazines,
other periodical mat-
erials from students'
homes, copied from
library, or from Home
Economics resources.

OBJECTIVES CONTENT

To explain the
relationship be-
tween environment,
health, efficiency,
safety, and secur-
ity of the worker.

To be able to
select, use, and
care for proper
equipment.

To construct a
pressing roll,
pressing ham and if
possible point
turner and clapper.

To identify types
of fabrics.

The environment influences the quality and
quantity of work. Environment includes light,
temperature, ventilation, cleanliness, height
of work surfaces, posture, chairs and arrange-
ment of tools and equipment. All these en-
vironmental factors are important to the
workers health, efficiency, safety and security.

(Industrial arts classes could make clapper,
point turner.)

The kind of thread, interfacing, interlinings
and linings used depend upon the type of
fabric in the garment.

CONTENT

OBJECTIVES

LEARNING EXPERIENCES RESOURCES
I

Try different arrangements of work area to
find the arrangement which teacher and
students find most efficient.

Make a list of equipment each student will
need for personal use in the class.

Students assemble a kit.

Students bring a kit of tools for personal
use.

Review use and care of other equipment used
in sewing and pressing.

Set up safety precautions in the use of
equipment.

Students roll two large magazines and cover
with two layers of light colored fabric for
pressing roll.

Review references on textile fibers and their
characteristic qualities. Teacher supply
swatches for student to compare and identify
animal, plant, and synthetic fibers.

Discuss proper care for each fabric.

Discuss notions that are suitable for use
with each.

Where Do You Sew At
Home? Appendix D.

The Bishop Method of
Clothing Construction,
p.1.

Guide to Modern Clothing,
p. 330.

Opportunities in Clothing
p. 259.

See Appendix E for press-
ing information and for
"The Art of Pressing."

See Appendix F for
further instructions on
making pressing equipment.

Opportunities in Clothing
p. 20 job benefits
p. 83 fabric identifica-
tion & maintenance
p.285 construction
p.307 fitting & alteratior
for business
Clothing, a Comprehensive
Study
p. 41 fabric & garment
terms
p. 72 language of fashion
p.244 fibers & fabrics
p.273 care of clothing
p.291 checkpoints for
workmanship
,p.376 construction.

RESOURCES

LEARNING EXPERIENCES

I

To interpret use
of labels.

To draw conclu-
sions about fabric
finishes and the
effect of each on
fabric.

To compare the
appearance of
properly fitted
garments to poorly
fitted ones.

The hang tag is helpful in fabric identifica-
tion and for care instructions.

Modern fabric finishes are in wide use and
affect the reaction of fabric:
1. Hems cannot be changed in permanent press.
2. Suede, cloth, velvet, satin, etc. cannot
be released.
(There is a spray sizing to relax fibers which
reduces the visibility of creases, stitch,
holes, etc.)

The following factors influence the fit or
hang of a garment:
1. Grain allignment
2. Dart control
3. Seam allignment
4. Ease or lack of ease.

Ready-made clothing is available in a wide
range of sizes for various figure types but
is cut to fit the ideally proportioned figure
in each size range. Few figures conform to
ideal proportions. Although it may be minor
almost every one requires some alteration in
ready-made clothing.

OBJECTIVES

CONTENT

LEANING XPERENCE RESURCE

Illustrate how hang tags may be used and
retained for later reference.

Identify swatches; then verify from hang
tags.

Study basic fabric finishes from current
publications.

Students view examples. Identify qualities
and uses of each.

Use transparency to observe and contrast
well-fitted and poorly fitted garments.
Study the factors which contribute to fit
and how correct fit is achieved.

Students bring clothing which they have
a fitting problem with or garments which
need minor changes to make them more stylish.

A professional resource person in alterations
show fitting procedures for some of the
garments.

Students fit clothing and construct needed
alterations.

Professional alteration
person from local depart-
ment store.

Guide to Modern Clothing,
pp. 280-82.

See Appendix G and H.

Alterations and Sewing
Notes, no. 53 and 56.

Measurement Chart(App. I)
The Meaning of Good Fit
(Appendix J.

RESOURCES

LEARNING EXPERIENCES

To develop ability Many women work independently doing dressmaking
in altering men's or alterations in their homes. Such a
and women's gar- business offers the woman with a family an
ments. opportunity to supplement her income in her
free time without leaving home. There is a
big demand for this service, so women who do
alterations well and are good at customer
relations can have as much work as they want.

To demonstrate hou
to rip seams in a
manner that does
not damage fabric.

To be able to
reconstruct a gar-
ment using the
manufacturer's
methods.

Common alterations for men's clothing include
trouser cuffs, pockets, crotch, waistband,
zipper replacement, lengthen or shorten coat
sleeves, coat side seam, pegging trousers and
sewing on buttons.

Common alterations for women's clothing in-
clude hems, releasing seams, taking in seams,
zippers.

Note: If possible, have resource person who
uses efficient timing in her demonstrations.

Use the hang tag from perma-press trousers
for altering instructions.

Understanding the manufacturer's methods helps
in more efficient reconstruction because of
less handling of the garment.

OBJECTIVES

CONTENT

LEARNING EXPERIENCES

Resource person demonstrate basic altera-
tions for men's clothing. Students observe.

Teacher demonstrate sewing on a button with
a shank. See Appendix.

Teacher demonstrates applying a bias band
in place of a regular hem to extend the
length of a dress.

Rip apart and examine several ready-made
garments. Analyze construction methods
used.

Students select partners and practice altera-
tions on each others clothing.

Professional alterations
person from cleaners or
tailor's shop.

Opportunities in Cloth-
ing, Ch. 8.

See Appendix L.

Measure, Cut and Sew,

pp. 18-19.

Opportunities in Cloth-
ing, p. 251.

See Appendix J for
Measurement Chart

RESOURCES

A: MANAGEMENT CHECK LIST* Yes Sometime

1. Do you see the big job first do you look
ahead?

2. Do you mentally list the things you wish to
do in order?

3. Do you do the important tasks first? (Or
the non-essentials)

4. Do you leave the tasks you like till last?

5. What makes you dislike certain jobs? Do you
remedy these problems?

6. Do you analyze each individual job?

7. Do you keep these in mind (1) Get ready
(2) Do it (3) Clean up?

8. Do you finish one job before starting
another?

9. Do you try and do some task ahead of time
or do you put it off till the last moment?

10. Do you use good judgment and common sense
and think before you act?

11. Do you use tested time and energy saving
methods of work?

12. Are you in order a labeled spot for
nearly everything?

13. Do you avoid fatigue from overwork?

14. Do you allow plenty of time for completion
of a job?

TOTAL: 12 14 yes' Excellent Manager
9 11 yes' Fair Manager room for improvement
0 9 yes' Poor Manager need for improvement, you're
working yourself to death.

is No

-I

*Mrs. Anne Aletti

I

B: CHECKSHEET FOR SELF EVALUATION Broward Co. Public Schools
Adult & Vocational Educa-
tion.

This check sheet has been prepared for the purpose of self-evaluation.

Students, please check the following items whenever you feel
that you have gained the ability to successfully perform each
activity.

This may give you the opportunity of knowing what is yet to
come or what you may have missed during your absence. Please
cooperate with your instructor. It may not be possible to repeat
for you individually every demonstration you have missed.

Our goal in our clothing classes is not necessarily to con-
struct a garment to add to the wardrobe, but the garment is only
a medium through which many new learning are possible. Sewing
machines are provided and maintained for use in practicing the
new or improved principles being taught. We do not need a cloth-
ing class to teach us how to pink a seam!

Any student wishing to register for Advanced Clothing Con-
struction or Creative Dress Design may secure a card signed by the
teacher that she has an understanding of the majority of items
on the check sheet and has attended at least fifteen class sessions.

Beginning Clothing Construction

1. An Ability To
Determine minimum family clothing needs
Analyze own figure and apply the principles of dress-
ing becomingly to various figure types.
Analyze personal coloring and choose the most flatter-
ing colors.
Select appropriate fabric for pattern and style
selected; occasion and figure.

2. An Understanding of and Ability To
Choose fabrics which are reasonably straight with the
grain, and know the importance of such a choice.
Prepare fabric for pattern placement on the straight
of grain.
Take necessary body measurements for checking pattern
pieces for fit.
Alter bust dart placement, shoulder length, waistline
placement, skirt length, width changes of paper
pattern before cutting.
Use and care of sewing machine.

Pin seams together accurately on seam lines for
machine basting.
Recognize a welt, lap, flap and bound buttonhole
pocket.
Place a (Standard set-in) sleeve into armhole by
means of an ease thread and pins.
Make necessary adjustments at time of fitting to pro-
duce a well fitted garment.
Recognize the following seam finishes used in general
dressmaking; stitched false french, standing fell,
flat fell and bound.

3. Know
The importance of directional work on fabric such as
cutting, stay-stitching, seaming and pressing.
When and where, how and why to use stay-stitching.
When and where seam finishes are used and how to make
them.
The basic differences in construction of facings,
pipings and bindings.
When to choose a worked buttonhole or a bound one.
How to insert zipper at neckline and seams of both
skirt and dress.
The method of construction of belts, collars and
cuffs, and patch pockets.
How to shape hems, attach binding and hem incon-
spicuously.
How to construct a buttonhole by the 1 or 2 piece
method.
How to measure for buttonhole placement.
Principles involved in choice of fasteners and method
of attaching to garment.
Where on the garment seams should be pressed open or
finished closed.
When to clip and trim seams.
The principles involved in choosing interfacings,
underlinings and how to handle.
The method of joining bodice and skirt using a tape
for staying.
When and how to use the following stitches: temporary
stitches Slip stitch, guide and diagonal basting,
permanent stitches hemming (catch and blind hemming),
buttonhole, blanket.
The method of measuring skirtband for size, and place-
ment of center back and front.
The method of attaching an eased waistline to skirt band.

GOAL
TO PRODUCE THE MOST ATTRACTIVE, WELL FITTED, AND APPROPRIATE GARMENT
POSSIBLE; THIS GARMENT HAVING "QUALITY FINISHES", THE KIND WE FIND
ON EXPENSIVE READY-TO-WEAR CLOTHES.

C: What Have You Got To Offer? Broward County Public Schools
Adult and Vocational Education

What kind of an employee will you make? You can take stock
of yourself right now and find out. Here are some questions to
ask yourself. Answer them honestly and see how you rate.

Yes No
1. Do you have a real willingness and desire to learn
new skills and new ways of doing things?

2. Are you neat in your personal appearance and work
habits?

3. Are you punctual?

4. Can you apply yourself to a job without being
easily bored or distracted?

5. Can you adapt to new and unexpected situations
easily?

6. Can you work under pressure, when necessary, with-
out becoming nervous and upset?

7. Do you have confidence in your abilities?

8. Are you emotionally stable, capable of taking
things in your stride?

9. Have you enough initiative to be able to work on
your own?

10. Are your job plans in keeping with your own
capacities and the opportunities employers have
to offer?

11. Do you have a sense of duty and responsibility?

12. Are you reliable? Can you be depended on to do
a job satisfactorily?

13. Can you gain the friendship and respect of fellow
workers?

14. Can you cooperate with fellow workers?

15. Can you cooperate with supervision and management?

16. Can you follow directions willingly and without
argument because you respect authority?

Yes No
17. Can you understand instructions and carry them out
accurately?

18. Can you accept criticism without feeling hurt?

19. Can you work without constant supervision?

20. Do you ask questions about things you don't under-
stand?

21. Can you complete a job once you start it?

22. Are you a pleasant person to work with?

23. Do you like people?

24. Are you friendly and congenial?

BOOSTING THE SCORE
How did you do? If you answered yes to most of the questions,
you have the makings of a good employee. All you need now are the
necessary skills and training.

If, on the other hand, you answered no to more than a few of
the questions, you have some work to do. These are your weak
spots, the things about you that can stand improvement. You can
go into your "job training" right now by changing those things about
yourself and your way of doing things that will help make your
career successful.

MY JOB-SUCCESS TRAITS
GOOD AVERAGE POOR
1. Initiative
2. Self-control
3. Awareness of proper dress and job
behavior
4. Desire to learn
5. Willingness to accept supervision
6. Ability to work as well without
supervision as with it
7. Ability to accept criticism
8. Stick-to-it-iveness
9. Promptness
10. Dependability
11. Ambition
12. Drive
13. Ability to make decisions

D: Where Do You Sew at Home?

Many of us are living in small houses and do not have separate
room for sewing. (When we buy or plan a house it might be
worthwhile to plan a space for our sewing.)

Often, if we have a few free minutes, we think there isn't quite
time to open (or set up) the sewing machine, set up the ironing
board, and collect the necessary materials. So let's consider
organizing a sewing center.

Choose some location where there is good light and near a closet
or drawers. Sometimes a bedroom is a desirable room, since equip-
ment can be left, ready to be used.

Here are some ideas:
1. If you don't have a table large enough for cutting, a sheet
of plywood can be stored under the bed, placed on the bed
for cutting.
2. A card table, or other table, can be used for a portable
sewing machine.
3. A sleeve board, on a table, can be used for pressing many
short seams. The iron, on an asbestos pad, can set on the
table ready for use.
4. Patterns can stand on end and be filed in a shoe box.
5. The Singer Sewing Machine Co. has a rack for spools of
thread, on risers, so they can be seen easily.
6. Bias tapes, bindings, cords and trims can be filed in
stationery boxes in which they will fit. Cards of buttons
can fit into a box.
7. Zippers will fit in a box in which candles are purchased.
You can secure empty cigar, candy and shirt boxes which
will help you store supplies so that they are near and
easily located.
8. A full length mirror is an asset.
9. Keep your small supplies in your sewing box.
10. Pressing supplies can be conveniently stored in a shoe bag.
Hang this near where the ironing board is used.

The organization and storage of these
supplies can add to your pleasure so
happy sewing.

E: THE ART OF PRESSING

The art of pressing can be learned by anyone who learns a few
fundamentals and has patience and equipment with which to work.

Pressing Equipment

You cannot expect to do good ironing or pressing without proper
equipment. Minimum pressing equipment includes:

Iron Pressing ham
Ironing board Sleeve roll
Press cloth Pressing mitt

1. THE IRONING BOARD Comfortable working heights help prevent
fatique. There is no "right" height for an ironing board that
is satisfactory for everyone of a given height as other body
proportions may vary.

Adjust the height of the board so an erect posture can be
maintained, even while reaching the full length of the board.
In this way, one can move freely and without strain on the
neck, arms, and back while ironing.

A well padded table or a wide ironing board is more satis-
factory for shirts and large articles than the usual narrow
ironing board because less handling is needed.

2. THE IRON Select the kind of iron which most nearly meets
your needs: Steam, combination steam and dry, or dry. Some
steam irons need distilled water, and some use tap water.
All irons should have a heat regulator.

Steam irons do not eliminate all dampening and sprinkling.
If you use a dry iron, a sponge and pressing cloth will be
necessary for some fabrics.

3. THE PRESS CLOTH A variety of press cloths may be used. For
general use, one 18 x 24 inches is about right. You should
have one light and one dark. For use on wool, make one wool
on one side and cotton on the other. You may also find that
a small press cloth, just slightly larger than the iron is
helpful for hard to reach places and when pressing on the
right side.

4. PRESSING HAM, SLEEVE, AND MITT Instructions for making
these three items will be given elsewhere. The Pressing
ham is necessary to shape and mold garments during con-
struction and for pressing tailored suits. The Sleeve
roll fits into sleeves. The mitt is handy for armhole
curves and other small places.

Pressing and ironing techniques

1. Seams Before pressing seams open, press seams together
in direction of sewing wide to narrow. Then over a press-
ing roll, carefully use tip of iron to open seam. After
opening, use pressing ham or mitt for curves.

2. Darts Press from wide to point If not opened, press
center Use ham or. mitt for molding Use cardboard or
brown paper between dart and garment to prevent imprints
on right side. Lift and lower iron instead of sliding.
Allow wool to rest 30 minutes after steam pressing.

3. Buttonholes Never press on right side Use mitt as a
small pressing ham and press on wrong side.

4. Sleeve and armhole Press sleeve seam open on roll finish
on board. (A sleeve board is more convenient thant the
regular board.) Press armhole and sleeve seam together
and down toward sleeve.

5. Hems Shrink out fullness in the hem of a wool garment be-
fore putting in hem tape. Paper goes between the hem and
the garment. Shrink and curve hem tape before sewing to
hem. Other hems may be ironed on bath towel.

6. Slide Fasteners Iron wrong side over folded bath towel.
Turn and put it over a folded towel. Place the cardboard
or brown paper under flap and press using press cloth.

7. Jacket To preserve shape of a jacket over the bust, press
over the pressing ham. Use press cloth.

8. Dampening clothes-- The best dampness for ironing must be
worked out by the person who is to do the ironing. Too
much dampness lengthens the ironing time and makes seams
and areas of double thickness more difficult to iron. Too
little dampness makes it difficult to iron out the wrinkles.

Warm water for dampening lessens the time required for the
clothes to stand before ironing. From 2 to 3 hours gen-
eraly are needed for moisture to be uniform.

MANAGEMENT HINTS FOR IRONING
Ironing tops the list of tiresome and disliked household
tasks for many women. This may be caused by methods or equip-
ment. Unsatisfactory equipment or method of work may require
more time and energy to get the job done. Do you have an "open
mind" on this subject? Then here are a few ideas which you may
consider.

1. Plan time for ironing. When you are rested, perhaps on
a day when you don't wash, when you can change to a
different or lighter task.

2. Avoid unnecessary interruptions. When you are less likely
to have phone calls or other interruptions.

3. Plan a flexible ironing schedule. Allow leeway for unexpec-
ted developments. Be willing, without feeling upset, to
change your schedule when something important comes up.
You can always dry out dampened clothes or put them in the
refrigerator or freezer to prevent mildew, and iron later.

4. Plan your ironing to dovetail with other family activities.
It is more fun to iron when others are working too. Having
someone to talk to, listening to radio or watching T.V.
helps some people. If you have young children, iron near
their play area.

5. Arrange an attractive, comfortable and convenient ironing
center. You need to be in cheerful surroundings. Cheerful
colors, good lighting and ventilation is helpful. Nearness
to phone, door and children play area is important. Elec-
trical outlets should be convenient. One about four feet
from the floor is easy to use in terms of having the cord
in a good location.

Have a place to lay folded clothes and hang clothes you put
on hangers. A rolling table and one of the various kinds of
clothes racks are suggestions.

6. Learn to sit while ironing. Most women learned to iron
standing up when they were younger and felt no need to con-
serve energy. Learning to sit for even part of the iron-
ing means changing a habit. This takes practice and work.
When buying-a board, select one with adjustable heights.
A good height for you means a comfortable position of el-
bows and shoulders. Every time a task is done with elbows
or shoulders raised, fatigue is greater.

A small press board that will fit on a card table is very
convenient when sewing. It may be put close to sewing
machine so that it will not be necessary to move. Plywood
board 3/4" thick, 30" long and 14" wide will do.

7. Use a comfortable chair or stool with a back. Keep in mind
that your back needs support and your feet need to be in a
comfortable position.

8. Set practical standards for ironing. If time and energy
are limited you may find you have to change standards or
family members may share in the ironing. Some of our
standards are geared to standards of living years ago.
Women are more active today outside the home. Be sure you
are treating new fabrics and finishes the way the manufac-
turers intended them. Let male members help when it seems
possible.

9. Let the iron do most of the work. It is the even heat
rather than pressure which does most of the work in ironing
today.

10. Use proper temperatures for ironing different fabrics. When
fabric is a combination of fibers, use the temperature for
the fiber requiring the least amount of heat.

11. Exercise care in using an iron. Follow manufacturers direc-
tions. If an iron has been dropped, the thermostat may be
damaged. Starch may stick to the soleplate if garments are
improperly starched. To remove, if iron is still warm,
sprinkle table salt on waxed paper and slide the iron over
it. To remove starch from a cool iron, rub with a soft
cloth dipped in sudsy water. You can also use silver polish.
Rinse off suds or polish and wipe dry. Do not get the cord
wet. The soleplate of the iron must be absolutely clean
and free from all burned starch. The plate may be cleaned
with baking soda when the iron is cool. Put soda on a
damp cloth and rub the sole plate until it is clean. The
soda will not scratch the iron, yet it will remove even
stubborn cases of burned starch.

12. Mineral deposits inside the iron are hard to remove. Twice
a year, clean iron using a weak vinegar solution composed
of 2 oz. water and 2 oz. distilled vinegar. Pour solution
into tank and heat iron until steam appears. Pour out
solution and rinse tank thoroughly with clean clear water.
If mineral deposits have collected in your steam iron,
pour distilled vinegar in the tank. Heat the iron for a
few minutes and allow it to stand several hours. At the
end of that time, pour the vinegar out. Rinse the tank
several times with fresh water. Then it is ready to use.

13. Do not iron over buttons, zippers, snaps, pins, or other
metal objects, as they will scratch the sole plate and
roughen it.

14. Wait until the iron cools before putting it away. Always
empty out any water remaining in the tank of your steam
iron. When iron is completely cool, wrap cord loosely
around it and store, if possible, in original carton.

15. Iron with the grain of the cloth. Start ironing with those
parts of the garment which hang free while the main part of
the garment is on the board. Iron each part of a garment
until it is dry. Iron through several flat layers at once
when you can do so without creasing. Avoid ironing un-
necessarily sharp creases. Iron like kinds of articles
one after the other. Place ironed articles within easy
reach to avoid mussing. Use warm water to sprinkle clothes
as it penetrates more quickly. Store dampened clothes in
a plastic bag for an hour or two before ironing--it helps
to distribute dampness evenly. Keep an open mind. Give
new ways a try.

16. To put permanent pleats in "resin" treated fabrics: Take
a medicine dropper, and wet creases. Press dry.

To remove a hem or other crease, use the same method. This
works on many fabrics.

Broward County Home Demonstration Office
605 Southwest 26 Street
Fort Lauderdale, Florida 33315

F: INSTRUCTIONS FOR MAKING PRESSING ROLL, HAM, AND MIT*

Pressing Ham & Roll From muslin or any firm material that is
light in color and will not fade, cut 4 pieces according to
measurements on sketches below, allowing half inch for seams.
Sew with close stitch, leaving opening for turning and stuffing.
Stuff with sawdust; pack firmly, a little at a time. Wool yarn
or scraps may be used instead of sawdust. Turn in seams at open-
ing and whip closely. Make cover of outing flannel the same as
you did the muslin, leaving opening large enough to slip over
stuffed ham or roll, and whip opening together. This cover may
be removed for laundering.

Mit The mit is constructed the same as the ham and roll, again
allowing inch seam allowance. The mit may be made of only one
thickness of material if you use something heavy, as drill or
sailcloth. First, hem pocket for hand and pin to one side, be
sure this pocket is between the two larger pieces when stitching.
Turn and stuff with cotton lint or wool yarn or scraps of wool.
Be sure it is smooth and free from lumps. Whip top together.

N

Pressing Ham cut 4
muslin, cut 2 flannel,
allow " seams

Sleeve
cut 2 muslin
cut 2 flannel
allow " seams

Mitt
cut 1
allow " seams
on both

*Broward County Home Extension Office

/L 11.

G: ALTERATION AND SEWING NOTES

1. Straight skirt after getting new hemline, rip out old hem
and press along pin line. Take to sewing machine and with
small ruler measure 2 inches from press line and stitch on
tape at same time. Trim away excess material under tape.
If thin material and no tape is needed just press back at 2
or 3 inch line and no stitching is necessary; trim. Pin at
top of hem and blind stitch by hand using even stitches.

2. Straight skirt with kick pleat Open up pleat (if pleat is
made with extra piece set in, remove this completely); pro-
ceed with hem as in #1 hem. After trimming excess material
under tape sew tape along both sides of open pleat. Press
back into an open panel pleat and finish with blind stitch.

3. Full chiffon or organza hem When taking new hemline put
pins close together. Immediately make a tailor's thread
line (loose) along pin line and remove pins. If hem is to
be done by hemmer on machine, first put a stay-stitch \ inch
below thread line; out away just below stitching and put into
hemmer. Another method by machine: do not cut away yet but
take to sewing machine and turn up material k inch below thread
line and stitch right on edge; now cut away close to stitching;
turn up very slightly and stitch along the edge again.

Full hem: by hand sewing After making thread line as above,
stitch 1/4 inch below, cut away inch below new stitch line;
roll on finger and blind stitch with small stitches by hand.

4. Circular hem Press along pin line; next go to sewing machine
with garment, small ruler and tape (ribbon tape) and put on
tape at 1" or 1" depth from fold line. Remove thread and
bobbin then "stitch" around again along the tape pressing
right index finger against material in back of presser foot.
This is called stay-stitching plus and pleats fabric as it is
fed back against pressure of finger; release finger pressure
about every 6". Note: stay-stitching plus is found in Bishop
Book, page 46.

5. Lined hems Prepare same as other hems but when hemming back
at top using a blind stitch catch only tape and lining; do not
go thru to outer fabric of garment.

6. Tiered skirts Determine how much dress is to be shortened
and divide amount and take off at top of each tier; for in-
stance, if 1 is amount to be taken off and there are 3
separate bands, shorten each ". This can usually be done
by putting a tuck in under each band by machine. This method
retains original proportions of skirt.