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PATTERN ALTERATION
Thesis for the Degree of M... A.
MICHIGAN STATE UNIVERSITY
Gwendolyn Lucille Daley
1966;.
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ABSTRACT

THE DEVELOPMENT AND USE OF SLIDES TO ILLUSTRATE
THE PRINCIPLES OF CLOTHING CONSTRUCTION AS
APPLIED TO FITTING AND PATTERN ALTERATION

by Gwendolyn Lucille Daley

Increased numbers of students in all areas of edu-
cation have impelled teachers to search for more efficient
and effective methods of teaching. To date educators and
audio-visual specialists have been unable to find a blue-
print for making educationally significant teaching materials.
The purpose of this study was to gain insights into methods
of producing and utilizing slides to illustrate fitting and
pattern alteration.

The specific objectives of this study were to:

(1) develop a set of slides to relate Principle 1* of the
Principles of Clothing Construction to fitting and pattern
alteration; (2) examine factors involved in the development
of slides; and (3) evaluate the effectiveness of slides for
teaching fitting and pattern alteration by obtaining the re-
actions of a panel of judges.

Data for this study were obtained through four
instruments: two score sheets; a reactionnaire; and an in-

formation sheet concerning participants. A five point rating

Gwendolyn Lucille Daley

scale was utilized on the score sheets to obtain an evalu-
ation of the achievement of purpose and clarity of each
illustration on the slides.

The panel of judges was composed of five students,
18 homemaking teachers, and five specialists in home eco-
nomics. Division of the pOpulation into students, teachers,
and specialists was undertaken to determine any differences
in reactions to the slides.

From the ratings and reactions of the judges, and
from analysis of the techniques used in developing the
slides, specific suggestions for the develOpment of slides
to illustrate fitting and pattern alteration were formulated.

Some slides carried printed captions and some did
not. Although the pOpulation was in favor of the printed
information that had been used on the slides, little agree-
ment was found on whether printed information should be used
on slides showing fitting problems and pattern alterations.
Twenty-two of the 28 respondents were in favor of the printed
explanations that had been used; but less than half expressed
a desire for printed explanations on the slides showing fit-
ting problems and alteration techniques, and nine felt that
printed explanations should not be used.

One area of interest was the determination of the
best time during the slide series to illustrate the problem
in fabric, before or after the paper pattern alterations.

The majority of the respondents favored the illustration

Gwendolyn Lucille Daley

showing the problem in fabric first because students were
more accustomed to seeing a poor fit in fabric than in
paper, and problems were easier to see in fabric.

Students, teachers, and specialists were not
always found to be in agreement on the rating of the slides,
the order of placement of the illustrations, or on the use
of printed explanations on the slides. The highest ratings
were given to the slides by the students, while the special-
ists gave them the lowest rating. Students and homemaking
teachers favored the illustrations of the problem in fabric
shown first, while the specialists favored the reverse order.
Students expressed a desire for printed explanations on the
slides as they would be helpful for review, while the
teachers and specialists were fairly equally divided between
positive and negative reactions.

Based on evidence presented in this limited research
the following conclusions were drawn: (1) viewing a fitting
problem in fabric before seeing it in a paper pattern makes
the fitting problem easier to understand; (2) specialists and
students do not always agree on the most meaningful order of
presenting information for comprehension of fitting problems
and alteration procedures; (3) teachers predicted that the
slide series as deve10ped would be an effective teaching aid
for illustrating fitting problems and pattern alteration in

classes with advanced high school students or beginning

Gwendolyn Lucille Daley

college students; and (4) the advantages of using slides
to illustrate fitting and pattern alteration in large

group situations outweigh their disadvantages.

*Principle I: Shaping flat fabric to conform to
body curves requires reducing the.perimeter of garment pieces.

THE DEVELOPMENT AND USE OF SLIDES TO ILLUSTRATE
THE PRINCIPLES OF CLOTHING CONSTRUCTION AS
APPLIED TO FITTING AND PATTERN ALTERATION

BY

Gwendolyn Lucille Daley

A THESIS

Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of

MASTER OF ARTS

Department of Textiles, Clothing and Related Arts

1966

ACKNOWLEDGMENTS

The writer is indebted to all who have assisted
in making this study possible. Special gratitude is ex-
pressed to Dr. Mary Gephart for her guidance and under-
standing in directing the writer's graduate program and
eSpecially this thesis.

The writer also wishes to express her gratitude
to Mrs. Arla Karl, Beth Guillaume, Kathy Harper, Denise
Grace, Laura Kelley, and Karolyn Smalley whose patience
and c00peration while posing as models for the illustra-
tions made the development of the visuals possible.

Appreciation is extended to Dr. Pearl Aldrich,
Miss Bernetta Kahubka, and Miss Kathryn Bratzler, and to
the writer's advisory committee: Dr. Anna Creekmore,
Dr. Twyla Shear, and Mrs. Stephanie Winkler. Special
thanks go to fellow graduate students, especially Helen

Kilbourne, who helped in countless ways.

ii

TABLE OF CONTENTS

Page
ACKNOWLEDGMENTS . . . . . . . . . . . . . . . . . . . ii
LIST OF TABLES . . . . . . . . . . . . . . . . . . . v

LIST OF APPENDICES . . . . . . . . . . . . . . . . . Vii

Chapter

I. INTRODUCTION . . . . . . . . . . . . . . . . . 1
Focus of Study . . . . . . . . . . . . . . . 4
II. REVIEW OF LITERATURE . . . . . . . . . . . . . 7
Theory of Learning . . . . . . . . . . . . . 7
Value of Visuals . . . . . . 9
Development and Selection of Visuals . . . . 12

Fitting of Clothing and Its Effect
on the Individual . . . . . . . . . . . . 16
III. METHODOLOGY . . . . . . . . . . . . . . . . . 21
Development of Audio-Visual Materials . . . 21
DevelOpment of Instruments . . . . . . . . . 27
Pretest . . . . . . . . . . . . . . . . 28
Selection of Sample . . . . . . . . . . 29
Administration of Instruments . . . . . . . 29
Analysis of Data . . . . . . . . . . . . . . 30
IV. ANALYSIS OF SCORE SHEETS . . . . . . . . . . . 31
Description of P0pulation . . . . . . . . . 31
Analysis of Score Sheets . . . . . . . . . . 34
V. REACTIONNAIRE . . . . . . . . . . . . . . . . 51

Presentation of Illustrations of

Problem in Fabric . . . . . . . 51
Use of Printed Explanations in Slides . . . 54
Evaluation of Slide Series as a Whole . . . 57

iii

Chapter Page
VI. SUMMARY, CONCLUSIONS, AND RECOMMENDATIONS . . . 65

Summary and Conclusions . . . . . . . . . . . 65
Recommendations . . . . . . . . . . . . . . . 71

BIBLIOGRAPHY . . . . . . . . . . . . . . . . . . . . . 73
APPENDICES . . . . . . . . . . . . . . . . . . . . . . 78

iv

LIST OF TABLES

Table

1. Average rating of students, teachers and
Specialists for each of the eleven
slides in the introductory series
(Score Sheet A). . . . . . . . . . .

2. Questions used for rating and average. .
> rating of students, teachers and special-
ists for each illustration in each slide-
of ten series of slides (Score Sheet B).

3. Number of respondents indicating pref-
erence for illustrations of the problem
in fabric shown first and last in the
series and the reasons for the prefer-
ence . . . . . . . . . . . . . . .

4. Responses and comments in reply to the
question, "Do you feel that printed ex-
planations on those slides showing fit-
ting problems and alterations would help
clarify the illustrations?" . . .

5. Responses of students, teachers and
Specialists to the question, "Do you
feel that printed explanations on those
slides showing fitting problems and al-
terations would help clarify the illus-
trations?" . . . . . . . . . . . . . .

6. Number of responses and comments of re-
spondents indicating that additional
slides are needed in some places for
a smoother flow of ideas . . . . .

7. Number of responses and comments to the
question, "What suggestions do you have
for improving the illustrations?"

Page

35

39

52

S6

57

60

61

Table Page

8. Number of reSponses with comments to
the question, "What do you consider
to be the advantages in using these
slides to teach fitting and pattern
alterations?" . . . . . . . . . . . . . 63

9. Number of responses and comments of re-
spondents to the question, "What do
you consider to be the disadvantages
in using these slides to teach fitting
and pattern alterations?" . . . . . . . 64

vi

Appendix

LIST OF APPENDICES

Score Sheet A .

Score Sheet B .

Reactionnaire to Slide Series
Information Concerning Participants
Letter to Judges

Information Sheet

Photographs of Selected Slides

vii

Page
79
80
85
88

90
93

CHAPTER I
INTRODUCTION

Changes in the American society during the twentieth
century have had a great impact on educational needs and
methods. Increased numbers of students in all areas of edu-
cation have necessitated finding more efficient and effective
methods of teaching. Not only is there a greater number of
youth in the United States today but an increased number are
staying in school longer. In 1900 about 11 percent of the
eligible youth between 14 and 17 years of age were in high
school; in 1920 this percentage figure stood at 32; and in
1940 at 73. By 1960 approximately 90 percent of all youth
in the age group 14 to 17 were attending high school. Dur-
ing this same period the number of youth in the 14 to 17 age
group increased from 6 1/6 million in 1900 to 11 1/3 million
in 1960,1 an increase of about 84 percent.

"Enrollments have risen steadily at all levels of
education, and as wave upon wave of new students have swept
upward through the grades, educators have come to realize
that this is not a temporary phenomenon, but a problem-~and

fl

1Carl H. Gross and Charles C. Chandler, The History
of American Education Through Readings (Boston: D. C} Heath
and Co., 1964), p. 411.

 

a challenge--that will be with us for the foreseeable future."1

Schools are overcrowded, understaffed and illequipped. By
1957 the public school systems had a shortage of 142,000
classrooms and 1,943,000 more pupils than "normal" classroom
capacity.z Some elementary and high schools found it impos-
sible to hire well-qualified teachers and this shortage has
now reached up to the college level. Thus, public institu-
tions are faced with a problem of providing instruction to
more students without increasing the number of teachers.

"The task before the schools today is so broad in
scope and so complicated in character that education must
utilize every tested and approved method known."3 Public
institutions must find methods to provide instruction for
an ever increasing number of students.

During the past few years educators have been
questioning long accepted practices and concepts, and are
searching for new and better ways of providing an education
for the nation's young people. Today, an understanding of
principles, generalizations, and basic concepts is recog-

nized as an important aSpect of the educational process.

 

1Ford Foundation, Teaching by Television. A Re-
port from the Ford Foundation and the Fund for the Advance?
ment of Education (New York: Ford Foundation, Bay, 1959),

p. 1.
2Gross and Chandler, Op. cit., p. 422.

3James S. Kinder, Audio Visual Procedures in
Teaching (New York: American Book Co., 1950), p. 9.

 

In the field of clothing construction, skills are definitely
involved; however, the emphasis in instruction has shifted
from teaching skills alone to the comprehension and applica-
tion of basic principles and unifying concepts. The great
problem in the area of clothing construction exists in tying
together the discipline-oriented (concepts, principles) and
the problem—oriented (how-to-do) areas of subject matter.1
In 1957 the College of Home Economics at Michigan
State University recognized the need for curriculum revi-
sion. The traditional pattern of instruction with heavy
emphasis on laboratory time, and based on the development
of skills, had proven to be unsatisfactory in terms of stu-
dent and faculty time, and on utilization of laboratory
space. The old course in beginning clothing construction
required one hour of lecture and six hours of laboratory;
the new course, which emphasized the principles basic to all
clothing construction, was planned with two hours of lecture
and two hours of laboratory. The develOpment of various
types of audio-visual materials became mandatory in the lar-
ger group lecture situation. ”Formerly charts and actual

garments were used; however, with large group instruction,

these proved inadequate."2 The need for large, clear,

 

1Thelma Porter, Administrators' Workshop on Home
Economics in Higher Education (East Lansing, Michigan:
College of Home Economics, Michigan State University, 1960),
p. 67.

 

 

2Anne Kernaleguen, "Principles Approach to the
Teaching of Beginning Clothing Construction," Proceedings,
A speech to the Nineteenth Conference of Teachers of Tex-
tiles and Clothing held at Michigan State University,
October 23 to 26, 1963, p. 35.

 

projected visuals became evident in a lecture situation en-
compassing some 80 to 120 students.

The following Principles of Clothing Construction
were developed by a faculty committee for use in the begin-
ning construction course:

I. Shaping flat fabric to conform to body curves
requires reducing the perimeter of garment
pieces.

Corollary 1: The amount of reduction of the
perimeter of garment pieces is
relative to the degree of pro-
minence of body curves.

Corollary II: Darts, tucks, gathers and ease
radiate from the most prominent
body curves to be covered by a
given garment piece.

11. When concentric circles or arcs of different
radii are used in clothing construction, cer-
tain adjustments in the circumference are
necessary.

III. Manipulation of any given material is dependent
upon its component parts.

Corollary I: Structure is a determinant of
the extensibility of fabric.

Corollary II: Texture is a determinant of the
behavior of fabric.

IV. Choice of construction methods and techniques
and choice of fabric are interrelated.

Focus of Study

 

Application of Principle I of the Principles of

Clothing Construction to fitting and pattern alteration was

 

1Principles of Clothing Construction as presented
in TCRA 152, College of Home Economics, Michigan State Uni-
versity, East Lansing, Michigan.

chosen for this study because of the great need for illus-
trative material in presenting this section of the course
related to fitting to a large group of students.

The present study was undertaken with the assump-

tions that:

1. Principles of fitting must be thoroughly
understood before they can be applied.

2. Some students have limited backgrounds in
clothing construction and thus have limited
ability in fitting.

3. Slides can be developed to illustrate the
principles of fitting.

4. Effectiveness of slides can be determined

by a panel of judges.

A major prerequisite of making well-fitted gar-
ments is the ability to analyze fitting faults and to know
when and where to make alterations. DevelOping proficiency
in fitting is complicated by the fact that anatomical struc-
tures vary in prOportions and actual measurements. The
person studying clothing construction, and particularly the
prospective teacher who will be teaching others, requires
a thorough comprehension of principles, and an understanding
of specific techniques applicable to individual fitting
problems.

Visual aids used to complement the teaching of fit-

ting should enable the student to establish correct concepts,

broaden experiences, and stimulate a desire for proficiency
in fitting. The objectives of the present study are:
1. The develOpment of a set of slides to relate
Principle I to fitting and pattern alteration.
2. An examination of the factors involved in the
develOpment of slides.
3. An evaluation of the effectiveness of slides
by obtaining the reactions of a panel of

judges.

CHAPTER II
REVIEW OF LITERATURE

The educational systems deve10ped by many great
educators have centered around the use of the concrete and
realistic. During recent years the experience theory of
education as pr0pounded by Dewey has again stressed the im-

portance of realistic experiences in the learning process.

Theory of Learning

 

Man experiences his environment mainly through the
five major senses-~sight, hearing, touch, smell, and taste.
In the process of learning all of the senses are used in
building eXperiences and each new perception is a blend of
past and present experiences. Precepts are "the totality
of experience connected with a sensory object or fact...
and are chiefly habit reactions to familiar 'cues' which
have occurred and re-occurred in similar situations."1
What a person perceives depends partly'on the sensory object
and partly on the background of experiences which are used

to provide meaning. The accumulation and assimilation of

many sense perceptions leads to a higher level of learning,

 

1James S. Kinder, Audio-Visual Materials and Tech-
niques (New York: American Book Co., 1950), p. 45.

 

7

the building of concepts. A concept is given meaning through
the organization and interpretation of previous sensory data
into "configural patterns which function for the learner as a
unit."1 In the process of learning an individual attends to
many mental activities, starting with the more concrete and
simple and ascending to the more abstract and complex. This
process, starting with sensation and progressing to reasoning
and thinking, has been visualized by Kinder as containing the

following intellectual processes:

Reasoning COMPLEX
Thinking

    
 
   
 

Conception
Comparison

Imagination
Imagery

Memory
Perception

SIMPLE Sensation

Perception, then, is a vital link in the process
of learning and may be considered as the fundamental basis

of learning.

 

1David Goodman, "The Principles, Origin and Early
Deve10pment of Educational Realism," Educational Screen,
XXII (March, 1943), p. 109.

2Kinder, op; cit., p. 46.

Value of Visuals

 

In order for learning to take place in any school
situation there must be appropriate interaction among the
student, teacher, and subject matter. Resource materials for
classroom learning range from contact with actual things or
real situations to verbal transfer about unfamiliar situa-
tions or experiences. Since the meaning derived from language
symbols is dependent upon the richness of background sensory
experiences, perhaps the greatest value of visual aids is that
they provide substitute or vicarious experiences which serve
as the background for interpreting the new concepts to be
learned. "The fewer real experiences our students have, re-
lating to the subjeCts we teach, the more important it is to
use visual aids to help them develop correct initial con-
cepts and prevent the forming of false and inaccurate
interpretations."1

E. G. Olsen categorized learning into three basic
types dependent on the level of abstraction required for
each. Starting with the least abstract or more concrete and
working toward greater abstraction these levels are:

1. Direct learning through firsthand experience

involving immediate sensory contacts with

reality.

 

1Mineta Meston, "Vitalizing Teaching Through the
Correct Use of the Still Picture," Educational Screen, XVI
(April, 1937), p. 115.

 

10

2. Vicarious learning through audio~visual
materials utilizing mechanical representa-
tions of reality.

3. Vicarious learning through words involving

abstract symbols of reality.1
All tools of learning have one main purpose--ef-

fective learning. "They are means to an end, that end being
the transmission, creation, interpretation, and evaluation

of experience."2 In the classroom the main avenues of learn-

ing involve the sense of sight, hearing, and touch. The use

of words alone has a way of leading the thinker into "blind
alleys." The use of real things as a basis for observation
makes possible accuracy of perception and concept that other
materials cannot match.3 But the limitations of their use
are obvious. Some objects or phenomena may be too small or
too complex to be seen clearly by pupils in large classes,

or even by pupils in the last rows of seats in a conventional

sized group. Semi-concrete or vicarious representations of

direct experiences can furnish the learner with a meaningful
background on which to build concepts. However, the quality
of the reminder or representation portends its possibility

for real educational value.

 

1E. G. Olsen, "Perspective in Audio-Visual Education,"
Educational Screen, XXV, No. 3 (March, 1946), p. 120.

 

2Kinder, 0p. cit., p. 10.

3. Carlton W. H. Erickson, Fundamentals of Teaching
with Audiovisual Technology (New York: The Macmillan Co},
1965), p. 43.

 

 

11

Visual imagery is fundamental to much of our
thinking and visual symbols can make lasting impressions
upon the mind. The eye is probably the most retentive and
active of the sense organs. The inherent nature of visual
symbols, namely their concreteness, makes it imperative
that they be accurate and excellent in quality.1 An inac-
curate or ambiguous symbol can lead to inaccurate concepts
and faulty interpretations. An error at any stage in the
learning process is a breakdown in communication.2 Misin-
formation, haziness, errors of all kinds must be followed
by remedial treatment. Correct initial learning results in
more economical learning.

Kinder cautions that although a large amount of
learning comes through the sense of sight other sense organs
must not be neglected, for they too play an important role
in learning. Research has indicated that verbal as well as
non-verbal clues are used in most thinking processes. ”On
the one hand, we use audio-visual materials to make the
meaning of words clear, and, on the other hand, we use
words...to make pupils' experiences based on audio-visual

presentations clear, meaningful and useful."3

 

1Dean McClusky, "Principles of Utilizing Audio-
Visual Materials in the Curriculum," The Audio-Visual Reader,
eds. James S. Kinder and F. Dean McClusky (Dfibuque, Iowa:
Wm. C. Brown Co., 1954), p. 40.

2Wilfred L. Veenendaal, "The Visualization of an
Idea," Audio Visual Instruction, XI (December, 1957), p. 260.

gErickSOn, Op. cit., p. 6.

 

 

12

Kinder suggests that audio-visual materials, when
properly selected and used in the learning experience, have
the following practical values because they:

overcome the limitations Of restricted personal
experiences Of pupils.

. overcome the limitations Of the walls Of the
classroom.
provide for the direct interaction of the pupils
with the realities Of the social and physical
environment.

. provide uniformity of precepts.

. awaken new desires and interests.

. give initial concepts which are correct, real,
and complete.

. provide motivation and stimulation.
provide for economical learning.

. provide integrated experiences which vary from
concrete to abstract.

Development and Selection Of Visuals

TO date educators and audio-visual specialists
have been unable to find a blueprint for making education-
ally significant teaching materials. Wagner suggests that
the best technique for making an effective aid is to base
it on important elements in the learning process itself.
He pr0poses that three elements basic to creating designs
for exposition are: amplification, simplification, and
organization.

Through such amplification the powers of human Ob-
servation are enlarged, and attention of whole

groups of learners may be directed to a common im-
age leading to common understanding . . . . Simpli-
fication is a matter Of making things clear, distill-
ing the essential meaning Of an experience . . . .
Organization involves the arrangement of ideas,

if

1Kinder, Op. cit., pp. 60-65.

1—

l3

facts or events.in a purposeful order of pattern .

a clear and memorable arrangement of information,
but also an arrangement of that material by experts.
However, Bloom cautions that the ”organization
the specialist finds most useful is not necessarily the
organization that provides the easiest learning path for

the student."2

Visual materials should not be used indis-
criminately but should be selected with care tO "avoid a
mere confusion Of sensory stimulation without any real
Organization of the sensations by the pupil."3

Very few students can learn how tO do a complex
act from written or spoken directions; it is through emu-
lation that most learners most easily acquire their ability.
If a learner cannot actually see the act being done it is
important that he be given a substitute experience in which
he is able to emulate a correct model. These substitute
visual aids should not only be "authentic, accurate, truth-
ful and significant but also they should be simple in organi-
4

zation and construction. The simpler the visual the better."

Complex pictures tend to distract attention, thus weakening

 

1Robert W. Wagner, "Design in Exposition," The
News Letter, XVI, NO. 3 (December, 1950), pp. 1-4.

2Benjamin 8. Bloom, Taxonomy of Educational Ob-
jectives, Handbook 1: Cognitive'DOmain (New YOfk: *David
McKay CO. Inc., 1956), p. 37.’

3William H. Johnson, Fundamentals in Visual In-
struction (Chicago: The Educational Streen Inc., 1927),
p. 37.

 

 

 

4Paul T. Williams, "Building Mental Images," The
Nation's Schools, XXXXII, NO. 6 (December, 1948), p. 54.

 

14

the value of a picture. Trolinger maintains that visual
aids in themselves are not always instructive. "PeOple do
not always see the significant features of a picture
Interpretation is always a keynote."1

Most writers agree that clearness and definiteness
of outline are important qualities in any projected visual.
Clearness is particularly important in a relatively small
2 x 2 slide as amplification tends to exaggerate all faults
and deficiencies.

The following criteria for the selection Of visual
aids and other illustrative material were established by
Hogan in 1948; she prOposed that all aids must:

contribute directly to the unit being studied and to
the goals of the class.
be based on the interests and needs of the students
for which it is intended.
. contribute to the individual growth Of the student.
. assist in clarifying a point.
. emphasize application of the principles being taught.
. stimulate and maintain interest on the part of the
student.
. set commonly accepted standards for the particular
level.
be easily interpreted by the group.
attract attention by its artistic appeal.
contain information which is up to date.
allow the student to visualize the finished product.
be adaptable for different uses.
be durable.
. be easily stored.

 

1Lelia Trolinger, "Evaluation Of Still Pictures
for Instructional Use," The Audio-Visual Reader, eds. James
S. Kinder and F. Dean McClusky (Dubuque, Iowa: Wm. C. Brown
Co., 1954), p. 81.

2Catherine Hogan, "Research in the Preparation of
Illustrative Material for Advanced Dressmaking Courses,"
(unpublished Master's thesis, Cornell University, 1948).

 

15

Although the following criteria and standards
were developed for selecting commercially prepared flat
pictures, the writer feels that they could also serve as
guides for the preparation and selection of projected il-
lustrations.

Hollis secured the opinion of eight competent
judges from the commercial and educational worlds to es-
tablish the following criteria for the selection and
evaluation of pictures: '

1. Truth and Authenticity—~Are the facts true and well
vouched for?

2. Relevancy-—Does it illustrate the particular topic
under discussion? ‘

3. Concentration--Does it direct attention toward sig-
nificant facts, or are they obscured by unimportant
details?

4. Technical Qualities--Is there clear definition or
focus?1

William Gregory advocates the following standards
for selecting pictorial illustrations:

. The picture should be clear and distinct.

. The picture must show clearly the points desired.
Simple pictures are best for teaching purposes.
Pictures must show actual conditions to be of high
pictorial quality.

. The picture should contain one principal subject.
Pictures should be selected so that a series of
views is Obtained.

AMNH
O O

C‘U‘l
O

In a study designed to ascertain the difference

in learning between groups viewing colored versions and

 

1A. P. Hollis, Motion Pictures for Instruction
(New York: Century Co., 1926), pp. 197-205.

2Standards advocated by Gregory as reported by
Wilbur Emmert, "Standards for Selecting and Evaluating Still
Pictures," Educational Screen, XVI (December, 1937), p. 318.

 

 

16

groups viewing black and white versions of five training
films, Vander Meer found there was very little immediate
difference in learning. The 500 ninth and tenth grade
students in the study retained the same amount of infor-
mation immediately after viewing the two types of films,
but after six weeks those who had seen the color version
of the same film had forgotten less than those who had
seen the black and white version. The viewers also pre-
ferred the colored films over the black and white films.1
Color appears to be a factor in making a picture more
aesthetically satisfying and less tedious to interpret.
Tests have shown that colors vary in both their
memory value and attention value. The hues with the great-
est memory and attention value were found to be red, green

and yellow. Blue does not have as high a memory value as

the first named colors.2

Fitting of Clothin and Its Effect
On the IhdiVidfial

 

 

Very often first impressions of an individual are
formed from the clothing he is wearing. Sociologists and

psychologists have suggested that clothing is a type of

 

1M. A. Vander Meer, "Color vs. Black and White in
Instructional Films," Audiovisual Communication Review, 2
(1954), pp. 121-134. ‘

2Office of Naval Research, Human Engineering De-
partment, A Review of Literature Pertinent to the Desigp
and Use of Effective Training Aids, Technical Report S
404-08-IT(PortTwashihgton, New York: Special Devices Center,
1956), p. 121.

 

 

17

consumer goods which is not primarily used for ”physical
welfare" but rather for ”psycho-social welfare.”

Stone asserts that "appearance means identifica-
tion of one another . . . the self as object and attitude
is established by appearance."1 He prOposes that the self
is established when one's dress calls out in others the
"same" identification of the wearer as it calls out in the
wearer. Stone further emphasized the value of clothing by
saying that "as the self is dressed, it is simultaneously
addressed, for, whenever we clothe ourselves, we dress
'toward'or address some audience whose validating responses
are essential to the establishment of our self . . . . By

appearing the person announces his identity, shows his
2

 

value, expresses his mood, or prOposes his attitude."

 

Ryan adds that since clothing is one of the clues used by
people in their first reactions, it may play a part in the
actual selection of our friends and acquaintances.3
Grace Morton comments that:
Clothes help to make us self-confident, self-respecting,
jolly, free, or they make us self-conscious, shy,

sensitive, restrained. They determine how much we go
into society, the places we go to, the exercise we take.

 

1Gregory P. Stone, "Appearance and the Self,"
Human Behavior and Social Processes, ed. Arnold Rose
(Boston: ’HOughton Mifflin Co., 1962), p. 92.

2

 

Ibid., p. 101.

3Mary Shaw Ryan,‘Clothing: A Studypin Human Be-
thavior (New York: Holt, Rinehart and—Winston, Inc., 1966),
Po .

 

18

They help us to get jobs and to hold them, to miss
them and to lose them.

Writers agree that, of the several factors which
affect the appearance which clothes give the wearer, the
way a garment fits is one of great importance. A poor fit
can never be concealed and "the beauty of a garment can be
completely destroyed if it does not fit the figure properly."2
Bishop comments that "even the most expensive
clothes can never have a quality look, unless they fit well."3
Mansfield asserts that nothing is more important
to the appearance of a garment than the way it fits. She
adds that "dissatisfaction with a garment can more often

4 In

be traced to a fault in fitting than in construction."
her study designed to obtain expressed satisfactions in

home sewing, Ostapovitch found that half of the one hundred
home sewers contacted had made garments for themselves which
they seldom or never wore. "Poor fit," ”error in style
selection," "looks home made," and "poor choice of fabric"

were the most frequently mentioned reasons for not wearing

the garments. Ostapovitch concluded that "there are

 

lGrace M. Morton, "Psychology of Dress," Journal
of Home Economics, XVIII (1926), p. 585.

2Mildred Graves Ryan, Dress Smartly: a 100 Point
Guide (New York: Charles ScribnerTs SOns, 1956), p. 1172

 

 

3Edna Bryte BishOp and Marjorie Stotler Arch,
Fashion Sewing by the BishOp Method (New York: L. B. Lip-
pincott Co., 1962), p. 18.

4Evelyn A. Mansfield, Clothing Construction (Boston:
Houghton Mifflin Co., 1953), p. 49.

 

19

indications that students need experience and training in
altering and fitting patterns to overcome figure defects."1
Erwin defines a well-fitted garment as one that
"feels comfortable, is becoming, is consistent with present
fashions, and adjusts naturally to the activities of the
wearer--in general it hangs or sets without wrinkles, sag-

2 She states that the first step in

ging, or poking out.”
solving a fitting problem is the "recognition of wrinkles,
an off-grain condition, slanting lines where they should
be straight, lack of balance at bulges or poking-out areas,
and a strained tightness or a place too loose—-not snug
enough to be neat or in fashion."3 Erwin adds that once
the fitting problem has been recognized, the next step is
to determine the cause, find a remedy, and then choose the
neatest, simplest method of alteration.

The process of fitting requires very careful
analysis of faults, and the fitter must "observe the figure

keenly and study the relationships among its contours just

as a sculptor would do."4 An understanding of when and

 

1Annette Ostapovitch, "A Study of Motives for and
Satisfactions of Home Sewing as Expressed by a Selected
Group of Michigan Women Who Do Home Sewing" (unpublished
Master's problem, Michigan State University, 1961), p. 31.

 

2Mabel D. Erwin, and Lila A. Kinchen, Clothin
for Moderns (3rd ed.; New York: The Macmillan Co., 196%),
p. 404.

31bid., p. 338.

4Marion S. Hillhouse, and Evelyn A. Mansfield,
Dress Design (Boston: Houghton Mifflin Co., 1948), p. 195.

 

20

where to make alterations requires learning to trace wrinkles
and bulges to their point of origin to determine whether they
are caused by figure irregularities, poor pattern shaping,

or posture.

The ability to recognize a good fit and to fit a
garment is one of the great problems of women who sew. With-
out an understanding of fitting, the fitter may overfit, or,
in the process Of removing one bulge or wrinkle, may create
an even more serious one. To become skilled at fitting re-
quires careful analysis of flaws, recognition of basic
fitting principles, and an understanding of alteration or

corrective methods.

CHAPTER III
METHODOLOGY

The development of audio—visual materials comprised
the major portion of this exploratory study. This chapter
describes the production of the visuals, the sample selection
procedures, and the characteristics of the sample. These
methodological considerations will be presented in the fol-
lowing order: (1) deveIOpment of audio-visual materials;

(2) deveIOpment of instruments; (3) pretest; (4) selection
of sample; (5) administration of instruments; and (6) methods

of analysis.

Deve10pment of Audio-Visual Materials

 

For several years the committee of instructors in
Principles of Clothing Construction have been experimenting
with fitting and pattern alteration and trying to develop
more effective methods of teaching underlying principles.

A review of literature revealed that theoretically slides
would be an ideal medium for presenting the details of fit-
ting and pattern alteration. The final selection of the
unit was limited to the application of Principle 1 of the
Principles of Clothing Construction to fitting and altering

the bodice of a basic dress with the assumption that, if

21

Iii 11‘!!! 1i I 4| i l. i N
.. If i ‘11 III.
l i I: .Ila . LII! I! in Ill 1" l [I

22

Principle 1 were thoroughly understood in this narrower ap-
plication, the principle could then be adapted and trans-
ferred to new situations of changing fashion silhouettes or
individual preference for ease.

The selection of the unit was followed by the
preparation of a content outline, the "storyboard" for the
deveIOpment of the visuals, and the preparation of slides.
The slides were developed to meet the needs of students in
a specific classroom situation, and throughout the deve10p-
ment of the slides the researcher attempted to follow the
expressed wishes of the instructors in the course.

All slides were taken on Kodachrome 11 Professional
Type A film with a Honeywell Pentax camera equipped with a
Super-Takumar 55mm lens. Number 2 standard Photoflood
(3400 K) lamps and two ten inch metal reflectors served as
lighting equipment. A 1:1 ratio of key to fill-in light
was used throughout the shooting of the pictures.

Approximately 1,200 slides were taken; 600 of
these were of fabric illustrations and 500 were of illus-
trations in the paper pattern. The slides were edited'

down to about 80, of which 67 were included in this study.

Selection of Fabric

 

Four fabrics were used in the study; three of
these appear in the final set of slides. The fabrics used

were:

23

l. a light green cotton and Dacron polyester
broadcloth (see photograph of slide 3 Series
B in Appendix G),

2. a medium weight, plain weave, brushed cotton
in a medium blue color (see photograph of
slide 1 Series I),

3. a medium weight, plain weave wool in a slightly
darker blue color (see photograph of slide 2
in the introductory series),

4. a basket weave, dress weight wool in a dark
green color (no illustration of this fabric

appears in the final set of slides).

The light weight cotton and Dacron broadcloth
proved unsatisfactory for illustrating fitting problems.
The material tended to sag and wrinkle when required to
bridge a gap between two very different body dimensions,
and easing around the sleeve cap appeared puckered in the
finished illustrations. The light green color proved to be
susceptible to color change in photography; a one F-stOp
change on either side of the suggested meter reading pro-
duced either a washed out green or a green of a considerably
darker value. The dart lines in the slides were not as
visible in the green fabric as in either of the blue fabrics
used.

Medium weight brushed cotton was satisfactory in

some respects and unsatisfactory in others. The material

24

was heavy enough to hold its shape without undue wrinkling
when spanning a gap between different size body dimensions,
but wrinkles appeared around the cap of the sleeve in the
finished pictures as the material did not shrink success-
fully. The color stability of the fabric was very critical
and tended to shift from blue to blue green under different
arrangements of lights and under lights that had burned
for over four hours of a suggested six hour life span.

After a few pictures were taken the light weight,
basket weave wool was eliminated because the fabric tended
to sag and wrinkle rather than providing a smooth line
between different sized body contours. The dark green
color showed no Objectionable change of color when photo-
graphed under new or "tired" Photoflood lamps.

The most successful of the four fabrics for photo-
graphic purposes was the medium weight wool; the fabric had
enough weight and body to reduce sags and wrinkles when
spanning different body dimensions; the sleeves eased in with-
out producing noticeable wrinkles in the finished picture;
and the color remained reasonably consistent (up to one F-
stOp on either side of the suggested meter reading). The
medium blue color of the wool fabric did not show any notice-
able change in color in the finished slides when taken under
Photoflood lamps that were utilized until bulbs burned

out .

25

Selection and Preparation
ofPaper‘Patterns

 

 

Commercial pattern companies utilize different
grades and weights of tissue paper for patterns. The
heavier weight paper proved to be the most satisfactory
for photographic purposes. The lighter weights of tissue
paper, in addition to being more transparent, did not show
wrinkles or folds to illustrate a fitting problem as well
as the heavier weight papers; lighter tissue paper also
had a greater tendency to reflect light and produce "hot-

spots."1

The problem of tearing and ripping of the paper
pattern while on the model was reduced somewhat by using
patterns printed on heavier weights of tissue paper.
The'investigator found that patterns pressed with
a dry iron to remove the wrinkles still tended to appear
creased and wrinkled in the slide. Pressing with a steam
iOrn not only removed the wrinkles but made the pattern
crisper and less prone to wrinkling while on the model.
The addition of short pieces of cellophane tape2 placed
along the seam allowances of the neckline, armscye, and

waistline strengthened the patterns and gave a crisper,

neater appearance to the fitted pattern in the slide.

 

1For a comparison of weights of paper see slide 3
Series F. The sleeve is printed on a heavier paper than
that used for the back bodice section.

2Magic Mending transparent tape is more satisfac-
tory than regular transparent tape.

26

Methods of Overcoming Optical
Illusion Created by Photography

 

 

The author found it expedient to employ several
remedial methods to overcome Optical illusion created by
the photographic media. Alignment of the center front and
center back lines of the paper pattern with the center of
the figure tended to be particularly prone to distortion.

To obtain the appearance of a prOperly placed center front
and center back line in a photograph required pinning or
anchoring the paper pattern about one—quarter to three:
eights of an inch back from the true center of the figure
at the bust level.‘.Photography did not appear to distort
the alignment Of the center front or center back lines at
either the neckline or waistline; consequently these points
were centered on the figure in the normal fitting position.

The small amount of lengthwise ease normally
allowed at the waistline in fitting a paper pattern appeared
in the slide to be excess; therefore, the author found it
necessary to eliminate this ease in order to produce an ac-
ceptable illustration. Generally, a paper pattern one size
smaller than that "normally" utilized by the model gave the
appearance of a perfect fit in the finished slide..

Ease in the garments for the slides showing fabric
fittings had to be curtailed also. To avoid excess wrinkles
and attain the illusion of a prOperly fitted garment in the
finished slide all body ease was reduced to a minimum and

in some cases almost completely eliminated.

27

Development of Instruments

 

Four instruments were developed to Obtain data
for this study: two score sheets, a reactionnaire, and an
information sheet.

Score Sheets A and B (see Appendices A and B)
were developed for the purposes of: (l) assessing the tech—
nical quality of the slides; and (2) determining adequacy
of the illustrations in accomplishing intended purposes.
Each illustration was scored separately in order to better
tabulate the information for comparison and evaluation. A
five point scale from 5, ”Very clear," to 1, "Not at all
clear," was used for rating the illustrations.

Score Sheet A was designed to assess adequacy of
the illustrations in the introductory series; Score Sheet B
was designed to ascertain technical qualities and adequacy
of purpose Of illustrations showing fitting problems and
alterations. Two forms of Score Sheet B were used with the
same questions appearing in a different order; Form 1 of
this score sheet was arranged with questions regarding
fabric illustrations placed last, while Form 11 had the
same questions placed first.

An instrument called a "Reactionnaire to Slide
Series" (see Appendix C) was developed to Obtain data for
the purposes of:

l. evaluating the effectiveness of the slide

series as a whole,

28

2. obtaining an assessment of the slide series
as to:
a. the most meaningful order of presenting
the slides,
b. the utilization of printed information
on the illustrations,
3. obtaining judges' suggestions for improvement
of the slides.
Fixed alternative questions were included when possible to
facilitate tabulation and analysis of responses. Free re-
Sponse questions were employed to qualify answers to other
questions and when specific suggestions or attitudes of the
respondents were desired.
A separate sheet called ”Information Concerning
Participants" was devised to obtain background information

and teaching experience of the respondents (see Appendix D).

Pretest

The reactionnaire and score sheets were pretested
on a group of three faculty members and five graduate as-
sistants in the Textiles, Clothing and Related Arts Depart-
ment at Michigan State University. On the basis of the
findings in the pretest, changes in the wording and in the

format for responses were undertaken for the sake of clarity

and ease of administration.

29

Selection of Sample

 

From a listing of all home economics teachers in
the state of Michigan, those within approximately a 30 mile
radius of Lansing were contacted by letter (see Appendix E)
and asked whether they would be willing to participate in
the study. An Information Sheet describing the background
and procedures of the study was included (see Appendix F).
Similar letters were sent to extension clothing specialists,
faculty members, graduate students, and senior students in
advanced clothing courses in the department. A11 partici-
pants were invited to the university campus to view the
slides during four selected times; the final viewing of the
slides was conducted during three of these periods. Sixty
letters were sent out; the final population consisted of 28

women.

Administration of Instruments

 

The revised reactionnaire, score sheets and infor-
mation sheet were checked by the participants. About one
and one-half hours were required to present the audio-visual
materials for evaluation and for the completion of the re-
actionnaire and sheet concerning information about the par-
ticipants. During each of the three viewing periods the
researcher attempted to keep the introduction and commentary
as nearly similar as possible. The Information Sheet was

read to the pOpulation to acquaint them with the background

Illalll' Ill 0". i .5
11‘! Ill ll! it‘ll!

30

and procedures of the study. Verbal commentary during pre-.
sentation of the slides was kept to a minimum to better
assess the value Of the illustration in transmitting infor-
mation. One circuit of three fluorescent lights was left
on during the showing of the slides. This illumination
probably interfered with the adequate perception of the

visuals but was necessary in checking the score sheets.

Analysis of Data

 

The reactionnaire and score sheets were analysed
question by question. Data from closed questions were tabu-
lated, and the information from Open-ended questions was
summarized and tabulated with reference to frequency of re-

sponse. Conclusions and/or generalizations were drawn.

CHAPTER IV
ANALYSIS OF SCORE SHEETS

This chapter is concerned with a description of
the pOpulation to whom the reactionnaire and score sheets
were administered, and an analysis of the responses to the
questions on Score Sheets A and B. The reactionnaire is

analyzed in Chapter V.

Description of Population

 

The population consisted of 28 women with varied
occupations and experiences in the field of clothing, ranging
from senior students in advanced clothing courses to univer-
sity teachers and extention clothing specialists. A break—
down of the pOpulation according to present occupation was
as follows:

Number of
Present Occupation Respondents

 

 

 

Homemaking teacher 1
Adult education clothing teacher

Supervisor of home economics

Extension clothing Specialist

Faculty member in textiles and clothing

Graduate student in textiles and clothing

AhHmeN

Senior student in textiles and clothing
TOTAL 28

31

32

The population represented a variety of teaching
experiences in different levels of instruction. Of the 22
respondents who checked some teaching experience, eight
had experience in junior and senior high school, university,
or adult classes; 11 indicated experience in two fields; and
three disclosed experience in three different types of situ-
ations.

In addition to obtaining an over—all evaluation
of the slides the investigator was interested in determining
whether or not there are differences in evaluations among
students, teachers, and Specialists. For the purposes of
this study, "students" are considered as those respondents
attending university classes and not having teaching experi-
ence, and "specialists" are those respondents in specialized
fields of clothing or in supervisory positions.

Three senior students and two graduate students
had had no teaching experience and were classified as stu-
dents. The specialist category included three extension
clothing specialists, one Michigan State University faculty
member, and one supervisor of home economics. The eighteen
re5pondents classified as teachers were all teaching, or
had recently taught, either general home economics classes
or special clothing construction classes.

Teaching backgrounds of the homemaking teachers
ranged from student teaching experience for one respondent

to over thirty years for another. The median for experience

33

for the group was five to nine years with eight respondents
having less than seven years and eight having more than
seven years, while the mean was 10.4 years.

The range of teaching experience for the special-
ists was from two years to almost thirty years. The median
years of experience for the group was ten to 14 with two
respondents having more than 14 years and two having less
than 14 years. The mean experience for the group was 12.4
years.

The specialists in the pOpulation had a slightly
greater number of years of teaching experience than the
homemaking teachers. The teaching experience of the students,
teachers, and specialists is as follows:

Number and distribution of teaching

experience of students, teachers, and
Experience specialists

 

 

 

 

Students Teachers Specialists Total

 

None 5 - - 5
Up to 4 years - 8 l 9
5-9 years - 2 1 3
10-14 years - 2 l 3
15-19 years - l l 2
20 or more years - 4 l 5

Total 5 17* 5 27*

it
One respondent failed to indicate number of years

of teaching experience.

Respondents were asked to rate themselves in terms

of how experienced they felt they were in fitting a paper

34

pattern. Although the number of respondents in the student
and specialist categories is small (five), both groups tended
to feel they were "Fairly experienced." The home economics
teachers were fairly equally divided among "Very experienced,"
"Fairly experienced," and "Fairly inexperienced." The self
rating of the students, teachers, and Specialists is as
follows:

Number of students, teachers, and

Level of Experience in specialists at different ievels of
Fitting a Paper Pattern experience

 

 

Students Teachers Specialists Total

 

 

Very experienced — 6 l

Fairly experienced 3 6 2 ll

Fairly inexperienced 2 5 1

Very inexperienced - - - -
Total 5 l7 4 26*

a
One teacher and one specialist failed to indicate
level of experience.

Analysis of Score Sheet

 

A five point scale for both Score Sheets A and B
was developed to rate the slides. The following scale was
used for the ratings: S—-Very clear; 4--Reasonab1y clear;
3--Fairly clear; 2--Not very clear; and l--Not at all clear.
The investigator established an arbitrary cutting point of
3.5, or slightly above average, for the acceptance of the
projected visuals. The author felt that any illustration
rated below this level was unsuitable for the adequate trans-

mission of information to the student.

35

The over-all rating of the slides is presented
first, followed by a breakdown and discussion of the dif-
ferences in evaluations among students, teachers, and
specialists.

Respondents were asked to evaluate the slides
for achievement of purpose. The eleven slides in the
introductory series appear to be acceptable as the average
rating established by the respondents ranged from 4.1 to
4.7 (see Table l) on a five point scale.

Table l.--Average rating of students, teachers, and special-

ists for each of the eleven Slides in the introductory
series (Score Sheet A).

 

 

Average Rating Of Respondents
Slide Number

 

Students Teachers Specialists Total

 

1 4.6 4.7 4.2 4.6
2 5 4 35 4 4 4
3 4 4 35 4 8 4 4
4 5 4 6 4.4 4 6
5 4 2 4.6 4 4 4 5
6 4 8 4.8 4 4.6
7 4 8 4.5 3 6 4 4
8 4 6 4.8 4 4 4 7
9 46 4 55 38 44

10 4.8 4.2 3.2 4.1

11 4.8 4.55 3.2 4.4

 

36

The 11 slides in the introduciOry series (rated
on Score Sheet A) carried only one illustration on each
slide. Approximately one-third of those in the remaining
32 slides (rated on Score Sheet B) had only one illustration
on the slide, and 20 had two illustrations on the same slide
(see Appendix G).

Each of the ten series of slides showing fitting
problems and alterations illustrated the following: (1) an
imprOperly fitting pattern on the figure; (2) a suitable
alteration in the flat pattern; (3) the altered pattern on
the figure; (4) the garment as it would appear if cut from
the unaltered pattern; and (5) the garment cut from the
altered pattern.

In each of the ten series, the slide showing an
imprOperly fitting pattern on the figure carries only one
illustration on the Slide. In most cases, an illustration
of the alteration in the flat pattern and an illustration
of the altered pattern on the figure appeared on the same
slide. The alteration in the flat pattern appeared on the
left hand side of the slide while the illustration of the
altered pattern on the figure was placed on the right hand
side of the slide.

Each of the ten series contained two illustrations
in fabric placed on the same Slide. An illustration Of the
garment as it would appear if cut from the unaltered pattern

was placed on the left hand side of the slide, while an

illustration of the garment cut from the altered pattern
appeared on the right hand side of the slide.

In all cases, where two illustrations appeared
on the same slide they were rated separately for clarity
and accomplishment of purpose. The illustration on the
left was rated first, followed by the illustration on the
right hand side of the Slide. While each series contained
from five to six separate illustrations they appeared on
either three or four slides.

The ten separate slide series were shown in dif-
ferent order. Series A, B, C, D, and E were shown with
the single illustration of the problem in the paper pattern
first, (slide 1) followed by the slide of the pattern al—
teration in the flat pattern and altered pattern back on
the figure (slide 2). The third slide (slide 3) in each
series contained two illustrations; one of the problem in
fabric cut from the unaltered pattern and the other of the
altered garment.

Series F, G, H, I, and J were shown in reverse
order with the slide of the illustrations of the problem
in fabric and the altered garment shown first (slide 1).
This was followed by the single illustration of the fitting
problem shown in the paper pattern (slide 2). The third
slide in the series contained two illustrations; the al-

tered flat pattern, and the altered pattern on the figure.

A In}! A I'll"
III} I i'lllul. ..I.IIII.|I. III‘

 

38

Series H, I, and J had some variations from the
general pattern. Both Series H and I had an extra illus-
tration (slide 3) of the pattern alteration procedure on
the figure which was shown in third place in the two series,
after the illustration of the problem in the paper pattern.
Series J contained an extra slide as the illustration of
the pattern alteration in the flat pattern and the altered
pattern back on the figure were not combined into the same
slide.

The rating of the Slides as they appear in Table 2,
page 39, are organized according to the questions used to
rate each type of illustration. Since the slides in the
latter five series were not Shown in the same order as the
first five series, and in some cases did not contain the
same number of slides, the slide numbers for the different
series do not coincide and are shown separately. In all
cases, where the same number appears in conjunction with
two different questions, the first question concerns the
illustration on the left hand Side of the slide and the
second question deals with the illustration on the right
hand side of the slide.

All but two of the 52 separate illustrations
evaluated by the respondents received a rating of 3.8 or
more and were considered to be acceptable as teaching aids.
Two of the illustrations, Slide 1 Series B, and slide 3
Series I are marginal in accomplishment of purpose as they

received ratings of 3.5 and 3.6 respectively.

 

39

 

 

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41

Although Slide 1 Series B (see Appendix G) re-
ceived the lowest rating of any Slide in the total series,
it was not among those the reSpondents suggested be deleted
or improved. Part of the low rating may be due to the fact
that it was the only slide showing two fitting problems at
the same time.

Slides 3 of both Series H and I were made using
the same techniques and methods--a close-up shot of the
pinned-in alteration tuck; however, Slide 3 of Series H was
given a 4.8 rating and Slide 3 of Series I was rated at 3.6.
Several respondents made suggestions, such as adding color
to the tuck, for the slide in Series I (see page 61) but the
same technique used in the similar slide in Series H received
no comment. A comparison of the illustrations would suggest
that possibly part of the lower rating of the illustration
in Series I is due to the pinned-in tuck being placed too
near to the waistline seam which resulted in the proximity
of the two lines interfering with the perception of the tuck.

A difference in rating expressed by reSpondentS in
answer to the question, "How well do you feel the altered
garment fits the model," for Slides 3 of Series C and E is
most interesting. These illustrations are duplicates of the
same slide. The difference in rating given to the two illus-
trations (4.3 for the illustration in Series C and S for the
same illustration in Series E) would indicate that possibly

the respondents were not evaluating how well the altered

42

garment fit the model, but rather the amount of difference
between the altered and unaltered garments. The same situ-
ation is evident in the ratings for the altered garments
for Series G, H, and J. The illustrations of the altered
garment used in the three series are duplicates of the same
slide and were given ratings of 4.4, 4.5, and 4.7 respec-
tively.

A breakdown of the ratings of the slides among
students, teachers, and Specialists evidenced some differ-
erences in the ratings of the three groups. The students
tended to give the highest ratings, while the Specialists
were inclined to give the lowest ratings to the illustrations.
Of the 63 separate illustrations evaluated, the specialists
gave the lowest rating of all the respondents in 73 percent
of the cases. The specialists' ratings for the slides were
lower than the students' on 79 percent of the illustrations
and lower than the teachers' ratings on 68 percent of the
illustrations.. The differences in the ratings of the three
groups may indicate that the specialists were evaluating
the illustrations by a different set of criteria than were

the students and teachers.

Secondary Problems Visible
in the Illustrations

 

 

The paper pattern is stiff and does not conform
to body curves as well as fabric. The researcher was inter-

ested in obtaining an assessment as to whether or not the

43

stiffness of the paper created distracting problems. The
illustration of the problem in the paper pattern was selected
as a representative sample.

Slide 1 of the first five series showing fitting
problems and Slide 2 of the latter five series both illus-
trated an imprOperly fitted pattern on the figure. Three
questions on the score sheets dealt with this one illustra-
tion. Besides being asked to rate how well "the problem is
illustrated in the paper pattern" the respondents were asked,
”Do you feel there is any other problem visible in the pic-
ture?" and "If yes, what other problems are visible?" Re-
spondents were also asked to rate how much they felt this
problem, if one were visible, detracted from the main prob-
lem illustrated.

The secondary problems apparent in each illustra-
tion of the problem in the paper pattern and the amount each
problem detracted from the illustration are discussed in
detail later in the chapter. A summary of the problems ap-
parent in each illustration of the problem in the paper
pattern for each of the ten series of slides appears on the
following page.

Slide 1 Series A showed a pattern too small through
the waist area for a person with a thick waistline. The
secondary problems most frequently mentioned were: lack of
ease over the bust; a wrinkle at the waistline dart; and a

problem with the armscye.

Slide and Series
NumBer

 

Slide 1 Series A
Slide 1 Series B
Slide 1 Series C
Slide 1 Series D
Slide 1 Series E
Slide 2 Series F
Slide 2 Series G
Slide 2 Series H
Slide 2 Series I
Slide 2 Series J

44

Number of apparent secondary problems
visiEle in the illustration of the prob-
lem in the_paper pattern in each of ten
series ofislides ‘

 

 

 

(NWF—‘UJUJNKOVVM

The secondary problems mentioned by the respondents,

the number citing the problem, and the amount the problem

detracted from the main problem illustrated are as follows:

Secondary Problem

 

Visible in the
illustration

 

 

Lack of ease over
the bust

Number of respondents indicating

a secondarypproblem in the illus-
tration and the amount the prOblem
detracts from the iilustratibn

 

 

 

 

Number of Amount the problem
reSponses detracts*

4 2,2,2,3

Wrinkle at the waist-

line dart
"Armscye"

"Bust dart too short"
"Bust dart too small"
"Raise underarm dart".
"Waist dart overfitted”

b—‘l—‘I—‘l—‘NN
.mr—IJHJHNN

*Rated on a five point scale with 5, A great deal;
4, Considerably; 3, Some; 2, Very little; and 1, None.

Slide 1 in Series B illustrated a pattern that re-

quired more length and width to fit over a high, prominent

Shoulder blade. The shoulder dart was also too long for the

45

high shoulder blade. Ten of the respondents indicated

there was a secondary problem visible in the illustration.
A summary of the problems visible, the number of respond-
ents reporting the problem, and the amount the problem de-

tracts from the main illustration is as follows:

Number of respondents indicatin

 

 

 

 

 

 

 

Secondary Problem a secondary proBlem visible in t e
Visible in the illustration and the amount the prob-
Illustration lemwdetracts from the’illustration
Number of Amount the problem
responses detracts*
Shoulder dart too long 3 2,2,3
Short waisted at center
back 2 1,3
Direction of shoulder
dart 2 3,3
Armscye 2 2,2
Waist dart too Short 2 2,3
Waist dart does not fit 1 3

Neckline pulls away
from the neck 1 4

*Rated on a five point scale with 5, A greal deal;
4, Considerably; 3, Some; 2, Very little; and 1, Not at all.

The author felt that those reSpondents who listed
"Shoulder dart too long" and "Short waisted at center back"
as secondary problems were probably not listening to the
commentary as both of these faults were suggested as part
of the original problem and were corrected in the pattern
alteration.

The illustration of a pattern that did not have
enough shoulder length for a person with broad shoulders

(Slide 1 Series C) had a secondary problem visible to 18 of

46

the women in the sample. The majority of those who con-
sidered another problem was visible in the illustration
listed ”Excess ease across the chest,” ”Bust dart too low,"
and a "Wrinkle from the bust to the neck” as being the

secondary problems. A summary of the responses is shown

 

 

 

 

 

 

 

 

below.
Number of respondents indicating
Secondary Problem a secondary probiem in the illus-
Visible in the tration and the amount eacH—’
IllustratiOn thought the prOEiem detracted
from the illustration
Number of Amount the problem
reSponses detracts*
Wrinkle from bust to neck 5 3,3,3,3,4
Excess ease across the
chest 4 2,3,3,3
Bust dart too low 4 2,3,3,4
"Darts too small" 1 2
"Neckline too small" 1 3
"Fit at Shoulder above bust” l 4
"Hard to say" 1 3

*Rated on a five point scale with 5, A great deal;
4, Considerably; 3, Some; 2, Very little; and 1, None.

'Slide 1 Series D illustrated a paper pattern too
snug across the bustline. Sixteen of the women felt that a
secondary problem was visible in the picture. The most
commonly mentioned problems were the uneven shoulders of the
model and a variety of comments about the bust dart. The
secondary problems mentioned by the reSpondents, the number
citing the problem, and the amount that the secondary prob-

lem detracts from the main problem are shown on the follow-

ing page.

47

Number of respondents indicating

 

 

 

 

 

 

 

 

Secondary Problem a secondary prOblem in the illus-
Visible in the tration and’the amount each thou ht
Illustration ‘ the prOblem detractedifrom the i -
lustration
Number of Amount the problem
reSponses detracts*
Uneven shoulders 6 2,2,2,4,4,5
Neckline too low 2 2,4
Bust dart needs altering 2 3,4
Position of dart 2 4,4
Shoulder seam too long 2 2,2
Fit of dart below the
bust 2 3,4
"Waist dart too long" 1 -
"Short waist" 1 4
"Pattern drOps between
the shoulder and the
neck" 1 3

*Based on a five point rating scale with 5, A
great dean 4, Considerably; 3, Some; 2, Very little; and
1, None.)

Nine of the respondents felt that a secondary
problem was visible in Slide 1 Series E showing a pattern
out too high at the Shoulder tip for a person with leping
shoulders. Eight of the women listed "Too long at the
center front" as the only secondary problem visible in the
illustration, while one person felt that the "Center front
is not visible with the extra paper left on" was a problem
but that it detracted "Very little" from the main problem
illustrated. Of those who listed "Too long at the center
front" as a problem, two thought it detracted "Some;" five
that it detracted "Very little;" and one felt that it did

not detract at all.

48

Only three respondents felt a secondary problem
was visible in Slide 2 of Series F showing a sleeve pattern
too long both above and below the elbow. One respondent
listed "One long fingernail" as detracting "Considerably"
from the illustration of the original problem; one listed
"Sleeve too big" as detracting "Some;" and one stated "Must
alter turn up at bottom of Sleeve" to be a problem but did
not rate how much she felt this problem detracted from the
illustration.

Three of the women felt there was a secondary
problem visible in Slide 2 of Series G showing a pattern
too full over the bustline. One of the women felt that
the second illustration on the slide was not necessary and
detracted "Some" from the illustration of the problem, and
one listed "Neck too high" as a problem but felt that it
did not detract from the main problem. The third problem
mentioned was "Dart length," and the respondents felt that
this detracted "Considerably" from the main problem.

Only one respondent listed a secondary problem
in Slide 2 of Series H which illustrated a pattern with
too much fullness at the armscye; she felt that the "Bust
is not right" but that it detracted ”Very little" from the
main problem as illustrated.

Slide 2 of Series 1, showing a pattern too long
waisted at the center back, had a secondary problem visible

to three of the women. The three secondary problems listed

49

were: "Waistline is too small,” "Center back is too far to
the left," and a "Pucker running diagonally from the armscye.”
All reSpondents felt that the problem as listed detracted
"Some” from the main problem.

Seven of the respondents listed secondary problems
for Slide 2 of Series J which illustrated a paper pattern
with the placement of the bust dart too low for the figure.
"Too much length at the center front" was listed by six of
the respondents as being a visible problem. The respondents
felt this detracted "Considerably" from the main problem;
three felt it detracted "Some;" and one indicated "Very
little” detraction from the main problem. One respondent
felt that the waist dart needed to be increased and that
this detracted "Some" from the illustration; while one re-
spondent felt that a problem centered around the ”Armhole"
detracted "Very little."

During the presentation of the slides the respond-
ents became more discerning in their Observation and evalu—
ation, as evidenced by the reduced number of secondary
problems ascribed to the illustrations. The paper pattern
is stiff and does not conform to body contours as well as
fabric. Informal discussions with the respondents, and some
of the comments on the reactionnaire, indicate that the
ability to isolate actual problems from apparent problems
created by the stiffness of the paper pattern required some

practice. One reSpondent commented that "Some of the wrinkles

50

in the patterns I'm sure were due to photographic enlarge-
ment of the problem," while another stated that "Some of
the minor problems I thought I saw in the paper pattern
disappeared after the major problem was corrected."

The investigator felt that had some of the il-
lustrations in the later series been shown near the begin—
ning of the viewing session, they, too, would have received
a prOportionately greater number of suggested secondary

problems.

CHAPTER V

REACTIONNAIRE

This chapter is concerned with the over-all evalu-
ation of the Slides, the suggestions for slide improvement,
the use of printed explanations on slides, and the order of
arrangement of illustrations. The reactionnaire was analyzed
question by question; the results appear in the following
order: (1) presentation of illustration of problem in fabric,
(2) use of printed explanations on slides, and (3) evaluation

of Slide series as a whole.

Presentation of Illustrations
of Problem in Fabric

 

 

All respondents agreed that the illustrations of
a finished garment helped in understanding the fitting prob-
lems; 27 thought that they helped "Considerably," and one
that they helped "Some."

Five series of slides were shown with the illustra-
tion in fabric placed at the end of the series, while five
series had the fabric illustration placed at the first of
the series. Respondents were asked "Which order of presen-
tation do you feel made the fitting problem easier to under-

stand?," and ”EXplain why you feel this way." (See Table 3)

51

52

Table 3.--Number of respondents indicating preference for illus-
trations of the problem in fabric shown first and last in the
series, and the reasons for the preference.

 

 

Total
Response Number of Number of Reasons for Preference
ReSponses Responses

 

Illustration l7 9 Easier to see the problem in
in fabric fabric.
shown first
6 Problem in fabric is closer to
students' experience in fitting.

5 Fabric fits the body contours
better--hard to decide if the
problem in paper is really a
problem.

2 More realistic--1ess difficult
to transfer knowledge to a dif-
ferent medium.

1 "With the paper first it was
necessary to visualize in fabric
what the paper would be trans-
ferred into."

 

1 Interest was gained more quickly.
Illustration 7 4 Pattern first and fabric last is
in fabric the logical arrangement.
shown last

3 Markings on the paper pattern

made the problem clearer.

l "Seems to be the way I would
attack the problem as a student."

1 "I had my curiosity aroused about
how this would look if we didn't
bother with the fuss of altering
the pattern."

 

Do not know 2 1 Not significant to me.

 

53

The majority of the respondents (17) felt that the illustra-
tion in fabric shown at the first of the series made the
problem easier to understand; seven thought the fabric il-
lustration at the end of the series was better; and two
answered "Do not know."

The most common reasons for placing the fabric
illustraion at the first of the series were: the students
were more accustomed to seeing a poor fit in garments than
they were in the paper pattern; the problem was more evi-
dent in fabric than in the paper pattern; and the paper
pattern, being stiff, did not conform to body contours and
presented some distracting problems.

Those reSpondents who felt that the fabric illus-
trations should be placed at the end of the series felt it
was more "logical" to start with the paper pattern as "the
pattern is the basis and the beginning" of the sewing pro-
cess.

A breakdown of the reSponses into student, teacher,
and specialist categories indicated some differences in
Opinion among the three groups as to the placement of the
fabric illustrations in the series. The majority of the
students and home economics teachers favored the illustra-
tions in fabric presented at the beginning of the series
because the problem was "closer to the students' own ex-
perience in fitting" and "easier to see in fabric;" and

the specialists tended to favor the "logical" arrangement

54

of placing the fabric illustrations at the end of the series
because of the "natural correlation with the actual process
of sewing."

The number of students, teachers, and specialists
indicating preference for illustrations of the problem in
fabric shown first or illustrations of the problem in fabric
shown last was as follows:

Number of students, teachers, and
Order of Presenting specialists indicating order of pre-

Illustrations of the sentation ofithe prOblem in fabric
Problem in Fabric in the slide series

 

 

 

 

 

 

 

Students Teachers Specialists Total

Fabric illustrations

shown first 4 12 1 17
Fabric illustrations

shown last 1 4 2 7
DO not know - l l 2

 

 

 

 

Total 5 17 4 26*

*One teacher and one Specialist did not respond
to the question.

Although the number of specialists in the sample
is small, the data would indicate that possibly the special-
ists' arrangement of subject matter in the area of recog-
nition and correction of fitting problems may not be the
arrangement that students and teachers find the most bene-

ficial.

Use of Printed Explanations on Slides

Some slides in the introductory series contained

printed explanations; the majority of the Slides in the

55

later series had no printed explanations on the slides. In
answer to the question, ”Do you feel the printed explanations
on the slides are helpful?", the majority agreed that the
printed explanations were helpful: 22 answered "Yes;" four
answered "No;" and two checked "DO not know."

While the respondents were in favor of the printed
explanations that were used, there was less agreement as to
the use of printed explanations on the Slides showing fit-
ting problems and alterations. In reply to the question,
"Do you feel that printed eXplanations on those slides show-
ing fitting problems and alterations would help clarify the
illustrations?", 13 responded "Yes;" nine, "No;" and six,
"Do not know."

When asked, ”Explain why you feel this way" (see
Table 4), the most frequently stated reasons for using
printed explanations on the slides were: they would help
to point out the specific problems to the student; any re-
inforcement would be helpful; and they would be helpful to
serve as a review.

The respondents who said that printed explanations
would not be helpful felt that printed explanations might
detract from the problem or confuse the student; that the
problem was clearer when the instructor pointed out the im-
portant points to focus attention upon; and that it would

take more explanations than could be put on the slide.

‘1‘]. d. {I . a!

56

Table 4.--Responses and comments in reply to the question, "Do
you feel that printed explanations on those slides showing fitting
problems and alterations would help clarify the illustrations?"

 

 

Total
Response Number of Number of Comments
Responses Responses

#4

Yes 13 4 Would help point out Specific prob-
lems to the student.

Any reinforcement would be helpful.
Helpful to serve as a review.

2 Not so dependent on the Skill of
the person talking.

2 Information is retained longer by
seeing explanations in print as well
as hearing it explained.

 

1 Some students grasp printed material.
easier than oral.

NO 9 3 Printed explanations might detract
from the problem or confuse the
student.

3 Would take more explanation than

could be printed on the slide.

3 Clearer when instructOr points out
the important points to focus atten-
tion upon.

2 Teacher can verbalize the problem
better in relation to class needs
and vocabulary.

 

1 Explanation by narrator could help
start questioning if not clear.

1 "Commentary worked well here, but
it should be either one pr the
other."

DO not know 6 l Depends on length and type of ex-

planations.

l Depends on knowledge and skill of
instructor. In a programmed situ-
ation it would be more important.

1 ”Might confuse the student. Teachers
explanation was clear and easy to
follow.”

 

57

A breakdown of the responses among students,
teachers, and Specialists evidenced differences of Opinion
as to the use of printed explanations on the slides. The
students were in favor of printed eXplanations in case they
"miss part of the explanations" or "want to go over it
again." The teachers and Specialists were fairly evenly
divided between "Yes" and "NO" as to the use of printed ex-
planations (see Table 5).

Table S.—-Responses of students, teachers, and Specialists
to the question, "Do you feel that printed explanations on

those slides showing fitting problems and alterations would
help clarify the illustrations?"

A

A .4

Number of ReSponses

 

 

 

Response ~
Students Teachers Specialists Total
Yes 4 8 1 13
No l 7 l 9
Do not know - 3 3 6
Total 5 18 5 28

 

Evaluation of Slide Series as a Whole

 

When asked to rate the over-all effectiveness of
the slide series as a teaching aid for illustrating fitting
problems and pattern alterations, 16 of the respondents said
they were "Excellent" and 11 rated them as "Very good." One

person neglected to answer the question.

58

Over half of the women thought the series would
be most appropriate for use in classes with advanced senior
high school students or beginning college students, but
that they could also be used in both advanced and beginning
adult classes and in classes of advanced college students.
A summary of the reSponses to the question, "At what level
of instruction do you feel the series would be apprOpriate?

(Check as many as you feel are apprOpriate)" is shown below.

 

 

 

 

Level of Instruction for Which the Series Number of
WOuld be Appropriate Responses*
Jr. High School--beginning students 1
Jr. High School-—advanced students 7
Sr. High School-~beginning students 8
Sr. High School--advanced students 22
College or University-~beginning students 24
College or University--advanced students 15
Adult classes--beginning students 18
Adult c1asses--advanced students 19
Others 5

*Based on answers from 27 respondents.

In reply to the question, "Do you feel there are
slides which Should be deleted from the present series?",
the majority felt that slides Should not be deleted: seven-
teen replied "No;" and ten replied "Do not know." One
person felt that slides should be deleted; she suggested
leaving out the second illustration of the paper pattern
too full across the bustline (Slide 2, Series G).

Those respondents who did not know whether slides

should be deleted from the series gave the following reasons:

59

Number of
Respondents Comments of Respondents

 

 

 

2 Depends on instructors' methods and con-
tent, and needs of students.

2 May be too many to Show to a beginning
class all at once.

1 Depends on verbal explanations.

1 Paper pattern illustration on Slide 2 of
Series E and Slide 3 of Series I were
confusing.

1 "Maybe the one showing the sleeve too
long."

1 "Seemed complete to me--all part of a
unit."

1 "Would like to review all of the slides
again before I would make any recommenda-
tions."

When asked, "Do you feel additional Slides are
needed in some places for a smoother flow of ideas?",
eight women reSponded "Yes;" eight said "No;" three checked
"Do not know;" and three did not respond to the question.

Of the eight women who thought additional slides
were needed, the most frequently mentioned suggestion was
the need for additional illustrations of the steps between
the recognition of the problem and the solution, particularly
in the series involving the moving of the bust dart. A
summary of the responses and comments appears in Table 6.
Six reSpondents either made suggestions for additional
series such as skirt alterations or commented on the brief-
ness of the verbal explanations accompanying the slides and

their answers were not included.

60

Table 6.--Number of responses and comments of respondents
indicating that additional Slides are needed in some places
for a smoother flow of ideas.

 

 

Number of

 

omme
Respondents C nts

4 Additional steps in moving the bustline dart.

2 Repeat fabric illustrations at the end of the
series.

1 Illustrations of the steps in the process of
doing the alterations.

1 A preview of the problem at the beginning,
then go into each problem as was done.

1 "Can't remember for sure."

 

When asked for suggestions for improvement of the
illustrations, ll of the respondents felt the illustrations
were acceptable as they are, while 17 made suggestions for
their improvement. The most frequently mentioned sugges-
tions for improving the illustrations were: (1) better
clarity of dart lines in the fabric illustrations as they
were difficult to see in the blue fabric; (2) increase the
prominence of the tuck in the alteration for the short back
either by changing the camera angle or using red on the tuck;
and (3) illustrate overlapping in a different color so that
the difference between adding to the perimeter and reducing
the perimeter would be clearer. A summary of the responses

and their frequency of mention appear in Table 7.

61

Table 7.--Number Of responses and comments to the question,
"What suggestions do you have for improving the illustrations?"

 

 

Number of

 

Responses Comments

4 Better clarity of dart lines--hard to see in
blue fabric.

4 Increasethe prominence of the tuck in the
back alteration either by changing the camera
angle or use red on the tuck.

2 Illustrate overlapping in a different color so
the difference between adding perimeter and re-
ducing perimeter is clearer.

2 Use both front and Side views of problems.

2 Red "true-up" lines are not too visible-~use
another color.

1 Typing would look better on a colored back-
ground.

1 Change color of fabric from one problem to the
next.

1 Some problems might be clearer in a fabric
with a stripe.

1 Side views are better than straight forward
views.

1 Close-ups were better.

1 View entire bodice each time. More complete
picture of the problem in relation to the
entire bodice.

1 Most of the altered patterns laying on the
paper were fuzzy and not clear--over~all ap-
pearance was low.

1' Improve the wrinkle from the bust to the
Shoulder line in fabric illustrations of Series
D and G.

1 Background seemed dark in some, but not Objec-'

tionable.

 

62

All of the women in the population felt there
were advantages to using these slides to fitting and pattern
alterations (see Table 8, page 63). Among the most fre-
quently stated advantages for using the slides were:

(1) easier for students to comprehend the problem and
therefore the teacher's explanation could be less lengthy;
(2) all could see the problem from the same perspective at
the same time; (3) the advantage of showing the problem and
the prOper fit in both pattern and fabric at the same time;
(4) a more complete range of problems discussed than what
would probably occur in an actual class; and (5) the illus-
trations could be used as reference material by the students
for study or rechecking of the problems.

In reply to the question, "Do you feel there are
disadvantages in using these Slides to teach fitting and
pattern alterations?", 15 said there were no disadvantages;
ten said there were disadvantages; and three said, "Do not
know."

The most frequently stated reasons for feeling
there were disadvantages to using the slides were: slides
are only as clear as they are presented by the instructor,
and it takes a skilled instructor to use slides; students
still need explanations other than slides; and the series
may be too much for a beginner to grasp. A summary of the
responses and the number giving each response in shown in

Table 9 (see page 64).

63

Table 8.--Number of responses with comments to the question,
"What do you consider to be the advantages in using these
slides to teach fitting and pattern alteration?"

 

 

Number of

 

Responses Comments

8 Easier for students to comprehend the problem--
simplify lengthy discussion by the teacher.

5 All can see the same problem from the same per-
spective at the same time.

4 Advantage of showing the problem and the prOper
fit in both pattern and fabric all at once.

3 More complete range of problems discussed than
those which would occur in an actual class.

3 Could be used as reference material for study and
rechecking.

2 Clearer and larger view than showing examples on
a live model.

2 Before and after view of problem in fabric is
particularly good.

2 More precise than demonstrations.

2 Students can focus their attention on the specific
problem without being distracted by the total
situation.

1 Student model is saved embarrassment from having
her "problem" the focus in class.

1 Saves time over the use of illuStrating with paper
in front of the class.

1 "Seeing the problem and the alteration at the same
time you are being told about them makes things
much clearer--a straight lecture is confusing."

I "When you actually become involved in these prob-
lems in the laboratory or at home, although you
may also have a text book describing the Operation,
the slide makes it clearer as you have a mental
picture of it."

1 ”Much clearer than any illustrations I've seen.
Bust for advanced students."

1 "Important to Show students [materials] in every

possible way Since some do not understand written
directions."

 

64

Table 9.--Number of responses and comments of respondents

to the question, "What do you consider to be the disadvan-

tages in using these slides to teach fitting and pattern
alterations?"

 

 

Number Of Comments of Respondents

 

Responses

4 Slides are only as clear as they are presented
by the instructor. Takes a Skilled teacher to
use slides.

2 Still need explanations other than slides.

2 Series may be too much for a beginner to grasp.

1 Students can not refer to them as they can to
an illustration.

1 Students may not feel there are additional
variations.

1 Might be shown too quickly for some students
to comprehend.

1 You do not see the complete picture of the
pattern or garment on the person fitted.

1 "If one happens to have a Slow class I am
afraid these slides would not be too meaning-
ful."

l "The person presenting would have to know the
technique."

1 "Hard for students to take notes in a dark

room."

 

CHAPTER VI
SUMMARY, CONCLUSIONS, AND RECOMMENDATIONS

The beginning clothing construction course, Princi-
ples of Clothing Construction, at Michigan State University
places emphasis on principles basic to the understanding and
interpretation of clothing construction techniques, rather
than on manual skills. The course consists of one two-hour
lecture and one two-hour laboratory per week. Increased
enrollment in the course has necessitated finding more ef—
ficient and effective methods of teaching. Instructors are
finding previously used illustrative materials inadequate
in the large lecture situation encompassing between 80 and
120 students.

This exploratory and descriptive study was under-
taken to: (1) develop a set of slides to relate Principle 1
of the Principles of Clothing Construction to fitting and
pattern alteration; (2) examine factors involved in the de-
velopment of slides; and (3) evaluate effectiveness of
slides by obtaining the reactions of a panel of judges.

Four instruments were developed to obtain data.
for this Study: two score sheets; a reactionnaire; and an

information sheet.

65

66

The score sheets were utilized to obtain an evalu-
ation of the achievement of purpose and clarity of each il-
lustration in the slide series.

The purposes of the reactionnaire were: (1) to
determine the effectivenessthe slide series as a whole;

(2) to obtain an assessment of the slide series as to:

(a) the most meaningful order of presentation, and (b) the
utilization of printed information on the illustrations;
and (3) to obtain suggestions of judges for improvement of
the slides.

Through the information sheet background informa-
tion and teaching experience of the respondents was secured.
The reactionnaire and score sheets were pretested with a
group of three faculty members and five graduate assistants
in the Textiles, Clothing and Related Arts Department at
Michigan State University.

Final viewing of the Slides was conducted during
three sessions with a total pOpulation of 28 women. The
population was composed of five students, 18 homemaking
teachers, and five Specialists in home economics. Verbal
commentary during presentation of the slides was kept to a
minimum to better assess the value of the illustration in
transmitting information.

One area of special interest to the researcher
was the determination of the best time during the series

to illustrate the problem in fabric, before or after the

67

paper pattern alterations. The majority of the respondents
favored the illustrations of the problem in fabric Shown
first because they were closer to the students experience
in fitting, and problems were easier to see in fabric than
in paper.

The researcher was also interested in Obtaining
reactions as to the use of printed information on the slides.
Although the respondents were in favor of the printed infor-
mation used on the slides, little agreement was found on
whether printed information should be used on Slides showing
fitting problems and pattern alterations. Twenty-two of the
28 reSpondents were in favor of the printed explanations
that had been used; but fewer than half (13) expressed a
desire for printed explanations on the Slides showing fitting
problems and alteration techn1ques; and nine expressed the
Opinion that printed explanations should not be used.

A division of the population into student, teacher
and specialist categories revealed that the three groups were
not always in agreement as to: the rating of the slides; the
order of placement of the illustrations; or on the use of
printed eXplanations on the slides. The Specialists tended
to rate the slides lower than either the students or home-
making teachers. Part of the explanation for this may be
that the specialists were aware of more variables on which

to judge the illustrations than were the students and teachers,

68

and thus the three groups were not evaluating the illustra-
tions along the same dimension.

Analysis of responses in the reactionnaire to the
question concerningthe arrangementcufsubject matter revealed
that the specialists' choice of arrangement in recognition
of fitting problems and alteration procedures was not neces-
sarily the order found most effective by the teachers and
students. The students and homemaking teachers favored the
illustration of the problem in fabric shown before the paper
pattern illustration while the specialists favored the re-
verse order.

Based on the evidence presented in this limited
study, the researcher feels justified in making the follow:
ing general statements regarding the development and use
of slides. Specific suggestions for the develOpment of
slides to illustrate fitting problems and alterations and

suggestions for utilizing slides are also presented.

A. General statements made by respondents regarding the

develOpment and use of Slides indicate that they believe:

1. The slide series as deve10ped would be an effective
teaching aid for illustrating fitting problems and
pattern alterations.

2. The complete slide series would be most suitable
for use in classes with advanced senior high school
students and beginning college students and that

selected illustrations would be suitable for use in

69

classes ranging from advanced junior high school
level to adult classes, depending on the needs and
abilities of the students.

Viewing a fitting problem in fabric before seeing
it in a paper pattern makes the fitting problem
easier to understand.

Specialists and students do not always agree on the
most meaningful order of presenting information for
comprehension of fitting problems and alteration
procedures.

The advantages of using slides to illustrate fitting
and pattern alterations in large group situations

outweigh their disadvantages.

Specific suggestions for the develOpment of slides to

illustrate fitting and pattern alterations:

1.

Medium to heavy weight fabrics produce a more
wrinkle-free illustration than do lighter weight
fabrics.

Fitting problems in both paper and fabric that are
exaggerated beyond "normal" are necessary for a clear
illustration of the problem.

Base in both paper and fabric needs to be reduced

to a minimum, and in some cases almost completely
eliminated to produce the illusion of a proper fit

in the illustration.

70

Patterns printed on heavier weights of paper produce
an illustration more clearly showing the fitting
problem and with fewer unwanted wrinkles than do
patterns printed on lighter weights of paper.

Only one problem should be shown in each illustra-
tion to avoid confusion in the isolation of indi-
vidual problems.

In colored illustrations, alteration tucks or darts
undertaken in the paper pattern while on the figure
would probably be clearer if shown in contrasting
color.

Alteration tucks running parallel to a seamline
would be easier to see if not placed too close to
the seamline.

The introduction of different colors or methods of
graphic presentation help in clarifying the dif-
ferences between spreading or overlapping the

pattern in making alterations..

Suggestions for utilization of slides:

10

Other visUal materials should be shown in conjunc-
tion with slides.

Slides should be supplemented with demonstrations
of fitting on live models.

All of the slides in the present series should nOt
be shown at one time; the number used would depend

on the needs and abilities of the students.

71

Oral presentation accompanying slides should be
individualized for Specific class needs.
Teachers should be thoroughly familiar with the
techniques and procedures used in slides.

Slides should not be Shown too rapidly.

Recommendations

 

From the findings of this study, the following

recommendations for further study in the development and

use of slides are presented:

1.

Conduct a follow-up study to determine the effec-
tiveness of the slides in different classroom
situations.

Investigate procedures for transmitting information
to students in other areas of clothing construction
to ascertain the order of presentation students
find most beneficial.

Determine whether printed explanations on slides
showing fitting problems and alterations are bene-
ficial to students.

Investigate other areas of clothing construction
suitable for presentation by projected slides.
Develop a series of Slides to illustrate the ap-
plication of Principle I of the Principles of
Clothing Construction to other areas of fitting,

such as Skirts and sleeves.

72

Extend use of slides by:

a. duplicating illustrations in flat pictures for
mounting on bulletin boards along with suitable
printed explanations.

b. develOping a manual for students to supplement
the visuals.

c. utilizing Slides in examination questions.

d. programing a rear projection unit with accom-

panying script or tape for self-study or review.

BIBLIOGRAPHY
Books

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Appleton-Century-Crofts, Inc., 1953.

Bane, Allyne. Creative Sewing.. New York: McGraw-Hill Book
Co., Inc., 1956.

 

BishOp, Edna Bryte and Arch, Marjorie Stotter. Fashion Sew-
ing by the Bishop Method. New York: L. B. Lippin-
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Bloom, Benjamin S., et a1. Taxonomy of Educational Objec-
tives, HandBooE l: COgnitive Domain. Neinork:
David McKay Co., Inc., 1959.

 

Brown, James W., Lewis, Richard B. and Harcleroad, Fred F.
A-V Instructioninaterials and Methods. New York:
McGrawiHill BOOk Co., Inc., I959.

Erickson, Carlton W. H. Fundamentals of Teaching with Audio-
visual Technology. ‘NewTYofk: The Macmillan Co.,
1965. -

 

 

Erwin, Mabel D. and Kinchen, Lila A. Clothingfor Moderns.
3rd ed. New York: The Macmillan Co., 1964.

 

Gross, Carl H. and Chandler, Charles C. The History of
American Education Throu h Readings. Boston:
D. C. Heath and Co.,'l9 .

 

Haas, Kenneth B. and Packer, Harry Q. Preparation and Use
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Hall Inc., 1955.

 

Hillhouse, Marion and Mansfield, Evelyn. Dress Design.
' Boston: Houghton Mifflin Co., 1948.

 

Hollis, A. P. Motion Pictures for Instruction., New York:
Century Co., 1926.

 

73

74

Johnson, William H. Fundamentals in Visual Instruction.
Chicago: The Educational Screen Inc., 1927.

 

Kemp, Jerrold E. Planninggend Producin Audiovisual
Materials. San Francisco: C andler Publishing
Co., 1963.

 

 

Kinder, James S. Audio-Visual Procedures in Teaching. New
York: American Book Co., 1950.

 

. Audio-Visual Materials and Techniques. New York:
AmericanBook Co., 1950.

Kinder, James S. and McClusky, Dean F. The Audio-Visual
Reader. Dubuque, Iowa: Wm. C. Brown Co., 1954.

 

Mansfield, Evelyn. Clothing Construction. Boston: Houghton
Mifflin Company, 1953.

 

McClusky, Dean. Audio-Visual TeachingTechniques. Dubuque,
Iowa: Wm. C. Brown Co., 1954.

Ryan, Mary Shaw. Clothingif A Study in Human Behavior. New
York: Holt, Rinehart and Winston, Inc., 1966.

Ryan, Mildred Graves. Dress Smartly: A 100 Point Guide.
New York: Charles Scribner's Sons, 1956.

Sands, Lester B. Audio-Visual Procedures in Teaching. New
York: The Ronald Press Co.,“1956.

 

Seltiz, Claire, et a1. Research Methods in Social Relations.
rev. ed. New York: *Holt, Rinehart andTWinston,
1961.

 

Strauss, Harry and Kidd, J. R. Look, Listen and Learn. New
York: Associated Press, 1948.

 

Wittich, Walter and Schuller, Charles. Audio-Visual Materials:

 

Their Nature and Use. New York: Harper and
Brothers, 1953.

 

Articles and Periodicals

 

Beher, Eldon A. "A New View in the Lab.," Audio-Visual In-
struction, IX (October, 1964), 531-532.

 

 

Bildersee, Max U. "Learning IS Motif for ETU Seminar,"
Audio-Visual Instruction, (November, 1957), 228-300.

 

75

Byrne, Annette G. "Why Visual Aids," The Educational Screen,
XVII (January, 1938), 8-9.

 

Dale, Edgar. "New Understanding Through Visual Aids, " Edu-
cation, LVIII (October, 1937), 65- 69.

Emmert, Wilbur. "Standards for Selecting and Evaluating
Still Pictures," Educational Screen, XVI (December,
1937), 317-318.

 

Goodman, David. "The Principles, Origins, and Early Deve10p-
ment of Educational Realism," Educational Screen,
XXII, (March, 1943), 108-110.

Hamilton, George E. "The Lantern Slide in Education," The
Stereograph and the Lantern Slide in Education.
Meadv1lle, Pa. ’Keystone View Co. ,1946. pp. 25-
48.

Kinder, James S. "Improving Classroom Instruction Through
Audio-Visual Research," Audio-Visual Administration,
eds. Fred Harcleroad and William Allen. Dubuque,
Iowa: Wm. C. Brown Co., 1951. pp. 70-76.

 

Meacham, Ester. "Television in the Clothing Classroom,"
Journal of Home Economics, LVI (February, 1964),
89-94.

 

Meston, Mineta. "Vitalizing Teaching Through the Correct
Use of the Still Picture," Educational Screen,
XVI (April, 1937), 115- 116.

 

Morton, Grace. "Psychology of Dress," Journal of Home Eco—
nomics, XVIII (1926), 584-585.

 

Olsen, E. G. "Perspective in Audio-Visual Education," Edu-
cational Screen, XXV (March, 1946), 120-122.

 

Sanborn, William B. "Our Future Stake in Instructional
Tools," Educational Screen and Audiovisual Guide,
XXXVIII (December, 1959), 638-641.

Spaulding, S. "Communication Potential of Pictorial Illus-
trations," Audiovisual Communication Review, IV
(Winter, 1956), 31-46.

Stone, Gregory P. "Appearance and the Self," Human Behavior
and Social Processes, ed. Arnold Rose. Boston:
Houghton Mifflin Co., 1962.

 

 

Thralls, Zoe A. "The Selection and Use of Pictures," Journal
of the National Education Association, XXI (Novem-
ber, I932), 247- 248.

76

Trolinger, Lilia. "Evaluation of Still Pictures for Instruc-
tional Use," Educational Screen, XVIII (March,
1939), 81-83.

 

Tyler, Ralph. ”Education in a World of Change," Journal of
Home Economics,,LIV, NO. 7 (September, 1962), 527-
533.

 

 

VanderMeer, M. A. "Color vs. Black and White in Instruc-

‘tional Films," Audiovisual Communication Review,
11 (1954), 121-134.

 

Van Ness, Paul H. "A Plea for the Magic Lantern," Educa-
tional Screen, LVIII, (February, 1939), 48.

 

Veenendaal, Wilfred L. "The Visualization of an Idea,"
Audio-Visual Instruction, 11 (December, 1957),
260-262.

Wagner, Robert W. "Design in Exposition," The News Letter,
XVI, No. 3 (December, 1950), 1-4.

 

Williams, Paul T. "Building Mental Images," The Nation's
Schools, XLII, No. 6 (December, 1948):T54-55.

 

 

Zisman, S. B. "Improving Illustrative Material in Textbooks,"
Educational Screen, XVII, No. 7 (September, 1938),
218-219.
Reports

"Administrator's WorkshOp on Home Economics in Higher Edu-
cation," A report compiled by Thelma Porter,
College of Home Economics, Michigan State Univer-
sity, East Lansing, Michigan, August, 1960.

Ford Foundation for the Advancement of Education. "Teaching
by Television," New York: Ford Foundation, May,
1959.

Nineteenth Conference Of College Teachers of Textiles and
Clothing, Central Region. "Proceedings of the
Nineteenth Conference of College Teachers of Tex-
tiles and Clothing," East Lansing, Michigan, 1963.
(Mimeographed)

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to the Design and Effective Use of Graphic Train-
ing Aids," Technical Report SDC 404-08-1, Port
Washington, New York: Special Devices Center, 1956.

77

"Research and Theory Related to Audio-Visual Information
Transmission," ed. Robert M. W. Travers, Univer-
sity of Utah, Bureau of Educational Research,
1964.

Unpublished Material

 

DeLong, Marilyn Revell. "A Study of Student and Faculty
Reactions to the Teaching of a Course in Princi-
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Master's thesis, Michigan State University, 1962.

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Unpublished Master's thesis, Cornell University,
1948.

Kernaleguen, Anne Paul. "The Application of Principles of
Clothing Construction to Pattern Making and De-
signing with Emphasis on Fitting," Unpublished
Master's thesis, Michigan State University, 1963.

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factions of Home Sewing as Expressed by a Selected
Group of Michigan Homemakers Who DO Home Sewing,"
Unpublished Master's problem, Michigan State Uni-
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Master's problem, Michigan State University, 1959.

Zack, Margaret. "Problems in Pattern Fitting," Unpublished
Master's.problem, Michigan State University, 1959.

APPENDICES

APPENDIX A
SCORE SHEET A
Score sheet A is to be used for the first group Of slides.

Circle the number that indicates how adequately you feel each
of the following slides accomplishes its intended purpose.

Very Reasonably Fairly Not Very Not at all
Clear Clear Clear Clear Clear
1. 5 4 3 2 1
2. 5 4 3 2 1
3. 5 2 l
4. 5 3 2 l
5. 5 4 3 2 1
6. 5 4 3 2 l
7 5 4 3 2 l
8 5 4 3 2 1
9 5 3 2 l
10. S 4 3 2 1
11. 5 4 3 2 1

79

APPENDIX B

SCORE SHEET B, FORM I

Score sheet B is to be used for the second group of slides.
SERIES NUMBER (Used for rating Series A, B, C, D and E)

Slide 1.

1. Circle the number that best describes how well you
feel the problem is illustrated in the paper pattern.

Problem very clear 5
Problem reasonably clear 4
Problem fairly clear 3
Problem not very clear 2
Problem not al all clear 1

2. Do you feel there is any other problem visible in
the picture? Circle Yes, No, or Do not know.

Yes
No
Do not know

If yes, what other problems are visible?
3. If another problem is visible, how much do you feel

this secondary problem detracts from the main prob-
lem illustrated?

A great deal 5
Considerably 4
Some 3
Very little 2
None 1

80

81

Slide_2.

4. How clearly do you feel the altered pattern is i1-
lustrated?

Very clear
Reasonably clear
Fairly clear

Not very clear
Not at all clear

l—‘NLN-bm

5. How well do you feel the altered pattern fits the

model?
Very well 5
Reasonably well 4
Fairly well 3
Not very well 2
Very poor 1
Slide 3.

6. How well do you feel the problem is illustrated in
fabric?

Very well
Reasonably well
Fairly well

Not very well
Very poor

HNCN-‘PU'I

7. How well do you feel the altered garment fits the
model?

Very well
Reasonably.well
Fairly well

Not very well
Very poor

HNUJJhU'l

SERIES NUMBER F (Used for rating Series F, G, and J)
Slide 1.

1. Circle the number that-best describes how well you
feel the problem is illustrated in fabric.

Very well
Reasonably well
Fairly well

Not very well
Very poor

HNM-PU'I

82

2. How well do you feel the altered garment fits the
model?

Very well
Reasonably well
Fairly well

Not very well
Very poor

i—‘NM-hU‘l

Slide 2.

3. How well do you feel the problem is illustrated in
the paper pattern?

Problem very clear 5
Problem reasonably clear 4
Problem fairly clear 3
Problem not very clear 2
Problem not at all clear 1

4. Do you feel there is any other problem visible in
the picture? Circle Yes, No, or DO not know.

Yes
NO
Do not know

If yes, what other problems are visible?

5. If another problem is visible, how much do you feel
this secondary problem detracts from the mainprob-
lem illustrated?

A great deal
Considerably
Some

Very little

None

l—‘NLN-bm

Slide 3.

6. How clearly do you feel the altered pattern is il-
lustrated?

Very clear
Reasonably clear
Fairly clear

Not very clear
Not at all clear

HMO-1430'!

7. How well do you feel the altered pattern fits the
model?

Very well
Reasonably well
Fairly well

Not very well
Very poor

HNMAU'I

83

SERIES NUMBER H (Used for rating Series H and 1)

Slide 1.

1. Circle the number that best describes how well you
feel the problem is illustrated in fabric.

Very well
Reasonably well
Fairly well

Not very well
Very poor

p—aNoq-rs-m

2. How well do you feel the altered garment fits the

model?
Very well 5
Reasonably well 4
Fairly well, 3
Not very well 2
Very poor 1
Slide 2.

3. How well do you feel the problem is illustrated in
the paper pattern?

Problem very clear 5
Problem reasonably clear 4
Problem fairly clear 3
Problem not very clear 2
Problem not at all clear 1

4. Do you feel there is any other problem visible in
the picture? Circle Yes, No, or Do not know.

Yes
NO
DO not know

If yes, what other problems are visible?
5. If another problem is visible, how much do you feel

this secondary problem detracts from the main prob-
lem illustrated?

A great deal 5
Considerably 4
Some 3
Very little 2
None 1

84

Slide 3.

6a. How well do you feel the pattern alteration pro-
cedure on the model is illustrated?

Very well
Reasonably well
Fairly well

Not very well
Very poor

i—‘NM-bm

Slide 4.

6b. How clearly do you feel the altered pattern is
illustrated?

Very clear
Reasonably clear
Fairly clear

Not very clear
Not at all clear

I—‘NUJ-bm

7. How well do you feel the altered pattern fits the
model?

Very well
Reasonably well
Fairly well

Not very well
Very poor

HNCNAU"

APPENDIX C

REACTIONNAIRE TO SLIDE SERIES

The purpose of this reactionnaire is to obtain your assess-
ment of the slide series as a whole.

DO you feel the slides showing a finished garment helped
you to understand the fitting problem?~

Considerably Some Very little Not at all
Some of the series showing fitting problems were organ-
ized with the illustration of the problem in fabric
shown first while others had the illustration in fabric
placed at the end of the series. Which order of pre-
sentation do you feel made the fitting problem easier
to understand?

Illustration of problem in fabric shown first
Illustration of problem in fabric shown last

Do not know

Explain why you feel this way.

Do you feel the printed explanations on the slides are
helpful?

Yes NO Do not know

Do you feel that printed explanations on those Slides
showing fitting problems and alterations would help
clarify the illustrations?

Yes No Do not know

Explain why you feel this way.

85

86

Do you feel there are slides which should be deleted
from the present series?

Yes No Do not know

If yes, which ones would you leave out?

Do you feel that additional slides are needed in some
places for a smoother flow of ideas?

Yes No Do not know

If yes, what places do you feel require additional
illustrations?

What suggestions do you have for improving the illus-
trations (e.g. format, color, fabric, camera angle).

How would you rate the over-all effectiveness of the
Slide series as a teaching aid for illustrating fitting
problems and pattern alterations?

Excellent Very good Average Fair Poor

At what level of instruction do you feel the series
would be apprOpriate? (Check as many as you feel are
apprOpriate.)

Jr. High School-~beginning students
Advanced students
Sr. High School--beginning students
Advanced students
College or University--beginning students
Advanced students
Adult classes--beginning students
Advanced students

 

 

 

 

 

 

 

Others (specify)

 

10.

11.

87

Do you feel there are advantages in using these slides
to teach fitting and pattern alterations?

Yes No Do not know

 

 

If yes, what do you consider to be the advantages?

'Do you feel there are disadvantages in using these

Slides to teach fitting and pattern alteration?

Yes No Do not know

 

 

If yes, what do you consider to be the disadvantages?

APPENDIX D
INFORMATION CONCERNING PARTICIPANTS
What is your present occupation?

Have you ever taught clothing construction classes?
Yes No

If yes, how many years have you taught clothing con-
struction at each of the following levels?

Level Years taught at level

Jr. and Sr. High School
College or University
Adult classes

Others (Specify)

 

 

 

 

How would you rate yourself in terms of your eXperience
in fitting a paper pattern?-

Very experienced
Fairly experienced
Fairly inexperienced
Very inexperienced

 

 

 

 

88

APPENDIX E

LETTER TO JUDGES

Members of the staff in textiles and clothing at Michigan
State University have been experimenting with slides to il-
lustrate fitting and pattern alteration techniques. Would
you be willing to help us evaluate the usefulness of our
slide series as a teaching aid? We estimate you will need
a one and one-half hour block of time for this evaluation.

Could you come to the university to view the slides, either
during the-day or evening, sometime between March 14 and
March 17? We are interested in obtaining the reactions of

a group of sophisticated judges with varied backgrounds and
experiences in clothing construction.. Your assessment will
be very valuable to our study. An information sheet to give
you additional information about our slide series in enclosed.

Would you complete the enclosed card and return it as soon
as possible. You will note there are four periods of time
listed on the card; please check as many times as would be
convenient for you. You will be contacted by telephone
during the next few days to set a definite time to see the
Slides. We are looking forward to meeting you at that time.

We thank you for your COOperation.

Yours truly,

Gwen Daley
Graduate Assistant

Mary Gephart, Chairman
Textiles, Clothing and Related Arts

Enclosure

89

APPENDIX F

INFORMATION SHEET

Teachers of clothing construction at Michigan State Univer-

sity have been eXperimenting with the principles approach

in teaching clothing construction over the past five years.

Four broad principles have been deve10ped as a basis for

the classroom lectures and for an understanding of patterns,

fitting and alteration, and construction processes. These

principles are stated as follows:

I.

II:

III:

IV:

Shaping flat fabric to conform to body curves re-
quires reducing the perimeter of garment pieces.

Corollary 1: The amount of reductiOn of the per-
imeter of garment pieces is relative
to the degree of prominence of body
curves.

Corollary ll: Darts, tucks, gathers, and ease
radiate from the most prominent body
curves to be covered by a given_
garment piece.

Manipulation of any given material is dependent
upon its component parts.

Corollary 1: Structure is a determinant of the
extensibility of fabric.

Corollary ll: Texture is a determinant of the be-
havior of fabric.

When concentric circles or arcs of different radii
are used in clothing construction, certain adjust-
ments in the circumferences are necessary.

Choice of construction methods and techniques and
choice of fabric are interrelated.

90

91

This study is concerned only with Principlelg'which applies
directly to fitting and pattern alteration. For the Reac-
tionnaire and Score Sheets you are being asked to evaluate
only the fitting and alteration techniques and the general

application of Principle 1, not the Principle itself.

Teachers in clothing instruct the students to use the fol-
lowing techniques and methods which are not intended to be
a part of your evaluation:

1. ,The paper pattern is fitted on the figure.

2. Tapes placed around the figure are used to anchor
the paper pattern for the fitting.

3. Points of bulge are marked, alteration tucks, darts,
and folds are pinned into the pattern and other
alterations noted on the pattern.

4. The cut and slash method of paper pattern alter-
ation is the acceptable method of accomplishing
the alterations.

The Slides you will see have been deve10ped for use in an
introductory clothing construction course at the college
level. Many of the students enrolling in the course have

had very little or no previous experience in fitting and

pattern alteration.

Each slide will not be discussed as it would be used in an
actual learning situation. The commentary with these Slides
will consist of either a very brief discussion or merely a

statement of the intended purpose of each slide.

92

For the purposes of this evaluation the slide series has
been divided into two groups. The first group of slides
consists of a basic introduction to Principle I and
general fitting and alteration procedures. Please use

score sheet A for these slides.

The second group of slides has been prepared to help the
student understand problems frequently encountered in fit-
ting and pattern alteration. Each series consists of five
or Six illustrations showing: (1) a pattern requiring a1-
teration; (2) the alteration in the paper pattern; (3) the
altered pattern on the figure; and (4) the finished garment
as it appears before and after the alterations are made.

Please use score sheet B.for this group of slides.

 

APPENDIX G

PHOTOGRAPHS OF SELECTED SLIDES

‘ 1' W; fabric to conform to body cu
l8|n3yortlocor of garment pieces.

 

Slide 2. Introductory Series

93

 

94

 

 

Slide 1. Series B

 

 

 

Slide 3. Series B

 

95

 

Slide 3. Series F

 

 

M W H ”w.
1...

Slide 1. Series I

MICHIGAN STATE UNIV. LIBRARIES

1| 11 II II Hill I!”
9

 

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