A DEVELOPMENT OF OVERHEAD TRANSPARENCIES AND PRGCEDURES FOR LARGE GROUP INSTRUCTION FOR SELECTED" TECHNIQUES IN CLOTHING. CONSTRUCTION Thesis I90 flu Dogma 05 M. A. MICHIGAN STATE UNIVERSITY Martha Ann Golding 1964 GQLIdIrHJ, IIAIIInd Arwl _.._4" ‘ . I4 . £3 . .I.&}65'Q- - cv‘mxs ‘- A Dwvelmpmmnt t )F Overhead HEW) “I DATE @EUQQTO GtildiIIQ, Mcu“tfmi AFN} (H I)e%\£(&@].tx|:>n1egr1~t, (q‘f I4 .. A ,. 1. ‘57, {fad}. IHKU (fivenflweawj TWWHHS$N1F LIBRARY Michigan State University PLACE IN RETURN BOX to remove this checkout from your record. TO AVOID FINES return on or before date due. MAY BE RECALLED with earlier due date if requested. DATE DUE DATE DUE DATE DUE 6/01 cJCIRC/DateDuepGS—pJS Martha Ann Golding COPYRIGHT 1964 A DEVELOPMENT OF OVERHEAD TRANSPARENCIES AND PROCEDURES FOR LARGE GROUP INSTRUCTION FOR SELECTED TECHNIQUES IN CLOTHING CONSTRUCTION BY Martha Ann Golding A PROBLEM 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 1964 ACKNOWLEDGMENTS The author is deeply indebted to Dr. Mary L. Gephart, Chairman of the Department of Textiles, Clothing and Related Arts, for her generosity of self expressed through her ad- vice, direction and encouragements and for sharing her wis- dom throughout the development of the study. An individual's success in an educational experience is a measure of the trust and confidence shared mutually by an academic advisor and the student. The author is grateful to Dr. Gephart for providing the trust and confidence and for the opportunity to study under her direction. To Dr. Elinor R. Nugent and Mrs. Stephanie B. Winkler, members of her committee, appreciation and thanks are given for their willing and constructive criticisms of the manu- script and illustrations. The author appreciates and thanks Wilfred Veenendaal, Donald J. Wilkening and Doris M. Saenz of the Audio-Visual Center for their technical advice, for the exactness and attention to detail in the rendering of drawings and for their ever—present patience during the production of the visuals. To Barbara Gibson, Jean Schubel, Shirley Brown and Beverly Hart, the author is grateful for their assistance in proofreading and typing of the manuscript. The author thanks Judy Stam for sharing ideas and results of her study of audio-visual methods in clothing construction. Gratitude is expressed to the students and graduate assistants in the Department of Textiles and Cloth- ing for their suggestions and helpfulness. To Dr. Helen Hollandsworth and her students for the interest in reviewing and evaluating the transparencies, the author is appreciative. For their kindness, encouragement, unselfish sac- rifices, generosity and spirit of family-sharing, the author expresses appreciation and thanks to her parents, brothers John and Peter, and sister Mary, all of whom made the past two years possible and so rewarding. iii TABLE OF CONTENTS ACKNOWLEDGMENTS O O O O O O O O O O 0 LIST OF TABLES O O O O O O O O O I O 0 LIST OF CHAPTER I. II. III. IV. VI. PLATES O O O O C O O O O O O 0 INTRODUCTION . . . . . . . . . Statement of Problem. . . . . REVIEW OF LITERATURE . . . . . METHODOLOGY. . . . . . . . . . Purpose of Study. . . . . . . Selection of Units. . . . . . Development of Audio—Visual Materials . Preparation of Teacher's Guide. . . . . Development of Reactionnaire. PreteSt O O O O O O O O O O 0 Criteria for Selection of Units for Evalua Administration of Instrument. Analysis of Data. . . . . . . TEACHER'S GUIDE FOR THE USE OF PARENCIES IN TEACHING UNITS IN STRUCTION O O O O O O O O O O O Hems. . . . . . . . . . . . . Supportive Fabrics. . . . . . Waistband . . . . . . . . . . REACTIONNAIRE. . . . . . . . . Description of Population . . Analysis of Responses . . . . .1. 00000000 :5 cod-0.0000 OVERHEAD TRANS- CLOTHING CON- Evaluation of Selected Overhead Transparencies SUMMARY, CONCLUSIONS, AND RECOMMENDATIONS. . . Disadvantages of Using Overhead Projected Instruction. . . . . . . . . iv Page iii vi vii 21 21 22 23 28 28 3O 31 32 33 34 34 79 133 177 177 178 179 197 201 CHAPTER Page Advantages of Overhead Projected Instruction. 201 Recommendations . . . . . . . . . . . . . . . 202 BIBLIOGRAPHY. O O O O O O O O O O O O O O O O O O O O 207 APPENDIX A——Tape and Symbol Representations . . . . . 212 APPENDIX B—-The Czalid Process 0 o o o o o o o o o o o 214 APPENDIX C--Opaque Reproductions of Overhead Trans- parencies for Units Showing Single Concept and Single Concept Developmental Learnings Used in Reactionnaire for Evaluation. . . 216 APPENDIX D--Overhead Transparency Unit with Overlays for Series "Uses of Supportive Fabrics" Showing Multi-Concept Developmental Learn- ing and Suggested Television Script Pre- sentation . . . . . . . . . . . . . . . . 221 APPENDIX E--ReaCti0nnaire o o o o o o o o o o o o o o 236 APPENDIX F--Tables Referred to But Not Included in Text 242 APPENDIX G--Glossary. . . . . . . . . . . . . . . . . 245 10. LIST OF TABLES Teaching Experience of Respondents. . . . . . . Profile of Teaching Situations in Schools with Home Economics Programs. . . . . . . . . . . . Distribution of Color Rankings by Respondents Showing Relative Importance of Each Color. . . Responses and Comments of Teachers to the Ques— tion "Do you think that the transparencies achieved their objectives?" with Respect to Purpose and Clarity. . . . . . . . . . . . . . Responses and Comments of Teachers to the Ques- tion "Do you think that the transparency (2-A) achieved its purpose?" with respect to Accuracy of Subject Matter and Mechanical and Technical GraEhj-cs O O O O O O O O O O O O O O O O O O 0 Responses and Comments of Teachers to the Ones- tion "Do you think that the transparency (2-B) achieved its purpose?" with Respect to Accurac of Subject Matter and Mechanical and Technical GraEhj—CS O O O O O O O O O O O O O O O O O O 0 Responses and Comments of Teachers to the Ques— tion "Do you think that the transparency (2-C) achieved its purpose?" with Respect to Accuracy of Subject Matter and Mechanical and Technical GraEhiCS O O O O O O O O O O O O O 0 O O O O 0 Summary of Responses to Questions Regarding Audio-visual Programs in Home Economics with Reasons and Explanations . . . . . . . . . . . Summary of Frequency of Preparation and Utiliza- tion of Audio-visual Materials Reported by Home Economics Teachers . . . . . . . . . . . . . . Preparation of Transparencies and Use of Over- head (Transparency) Projectors by Home Eco- nomics Teachers (1962-1964) with Respect to Teaching Experience and School Enro1lment. . . vi Page 178 180 183 185 188 189 191 194 243 244 PLATES I, II, III IV, V, VI VII, VIII, IX X, XI XII XIII, XIV, XV, XVI XVII, XVIII, XIX, XX XXI, XXII, XXIII XXIV, XXV, XXVI, XXVII, XXVIII XXIX, XXX, XXXI, XXXII, XXXIII XXXIV, XXXV, XXXVI, XXXVII, XXXVIII XXXIX, XL, XLI, XLII, XLIII XLIV XLV, XLVI XLVII XLVIII, XLIX, L LIST OF PLATES Preparation of Hem . . . . . . . . . . Grade Seams to Eliminate Bulk. . . . . Pressing Hem Allowance . . . . . . . . Depth for Hem. . . . . . . . . . . . . Preparation and Application of Tape. . . . . . . . . . . . . . . . . Kinds of Hems. . . . . . . . . . . . . Marking Location for Depth of Kick Pleat O O I O O O O 0 O O I O O O O 0 Handling Hem in Kick Pleat . . . . . . KiCk Pleat O O O O O O O O 0 O O O O O Supportive Fabrics...Are Shaping Materials 0 O O O O O O O 0 O O O O 0 Preparing Skirt Pattern as Pattern Liningo O O O O O O O 0 0 O O O O O 0 Preparation for Cutting Underlining and/or Lining . . . . . . . . . . . . Drum Lining for a Skirt. . . . . . . . Assembling Lining Unit . . . . . . . . Handling Lining at Zipper Placket. . . Underlining. . . . . . . . . . . . . . vii Page 38 43 48 52 55 58 64 69 74 85 92 99 105 107 110 112 PLATES LI, LII, LIII, LIV LV, LVI, LVII LVIII, LIX, LX LXI, LXII, LXIII LXIV, LXV, LXVI, LXVII LXVIII, LXIX, LXX, LXXI, LXXII, LXXIII LXXIV, LXXV, LXXVI LXXVII, LXXVIII, LXXIX LXXX, LXXXI, LXXXII LXXXIII, LXXXIV, LXXXV, LXXXVI LXXXVII, LXXXVIII, LXXXIX xc, XCI, XCII XCIII XCIV, XCV, XCVI XCVII, XCVIII, XCIX, c, CI Page Constructing an Underlined Garment . . 11? Handling Darts in Underlined Garments. 122 Handling Seams in Underlined Garments. 126 Handling Hems in Underlined Garments . 130 Preparation for Cutting Waistband. . . 136 Marking Waistband. . . . . . . . . . . 142 Interfacing-~to Add Firmness to waiStband 0 O O O O O O O O O O O O O 150 Interfacing and Machine Padding Waistband . . . . . . . . . . . . . . 155 Closing Ends of Waistband. . . . . . . 159 Attaching Waistband to Skirt . . . . . 164 Finishing Waistband. . . . . . . . . . 169 Fastenings . . . . . . . . . . . . . . 174 Supportive Fabrics . . . . . . . . . . 217 Preparation of Hem . . . . . . . . . . 218 Uses of Supportive Fabrics . . . . . . 232 viii INTRODUCTION Statement of Problem Increasing numbers of students in all areas of edu- cation has made it necessary for newer methods of instruc- tion, including mass media, to be adopted. Gordon Sabine challenged college and university teachers of Clothing and Textiles at a conference held at Michigan State University when he stated: With increasing numbers of students in our univer— sities, the problem is to maintain and increase high quality instruction as we handle more quantity. In 1950, the population was 151 million-~today it is 190 million. The numbers in college will in- crease to where a class of 10 today = a class of 18 in 1970. These students will have read more, know more. There will be more girls and more high ability girls. . . . Their goals will be high. Ninety percent of the new students go to public institutions because these schools do not set limits of enrollment.1 From the late 1950's to the present "there has been a restless stirring in the nation's schools and colleges. This ferment has taken the form of a questioning of accepted practices, a challenging of long-held concepts, and a search for new and better ways of going about the job of providing lGordon Sabine, "The Challenge of Educating Large Numbers of Students," Proceedings of the Nineteenth Con- ference of College Teachers of Textiles and Clothing, Cen- tral Region, A Speech to the Nineteenth Conference of Teachers of Textiles and Clothing held at Michigan State University, October 23 to 26, 1963, p. 25. a better education for the nation's young people."1 Part of the reason for the increasing enrollments in educational programs is the influx of adults returning to regular high school and university courses as well as extension and adult education programs. The major enrollment increase has been stimulated by the unprecedented increase in the number of boys and girls to be educated. The World War II "baby—boom" and birth rate increase since the end of the war has caused an annual rise by more than 50 percent for the years between 1954 and 1957. The yearly birth rate, approximately four million, is about one and one-half times that of the depres- sion decade of the thirties which produced the present lim- ited number of available teachers. Never before has there been so small a group of well-qualified teachers to meet the needs of such a large group of able students. "Enroll- ments 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 a challenge-- that will be with us for the foreseeable future."2 Since the end of the war, the number of new college graduates entering teaching has not kept pace with 1Ford Foundation, Teaching by Television, A Report from the Ford Foundation and the Fund for the Advancement of Education (New York: Ford Foundation, May, 1959), p. 1. 21bid., p. l. the number of teachers leaving the profession . . . 1 and this shortage of well-qualified teachers has now edged up to the college level, where the numbers of new faculty members with a Ph.D. is declining steadily while the number of new faculty members with less than a Master's degree is rising at a corresponding rate.2 Thus, public institutions must find methods to pro- vide instruction for more students utilizing existing phys— ical facilities and without increasing the number of staff appointments. "Teachers come from a low birth-rate period-— there are g25_more teachers. Students come from a high birth rate period."3 Presently, there are not enough teach- ers to instruct the increased numbers of students by tradi- tional educational methods. To provide the type and qual- ity of education that the able students need and deserve, it becomes the moral obligation of college deans, depart- ment heads and staff members to investigate and adopt means to give students a first-rate education in college curriculum. In the College of Home Economics at Michigan State University, the critical problem was recognized in the late 1950's and steps were taken by the faculty to revise its curriculum. In the area of clothing construction the tra- ditional pattern of instruction, based on the development of skills and techniques, and with heavy emphasis on laboratory 1Ibid., p. 1. 21bid., p. 2. 3 Ibid., p. 2. work, proved economically impractical in terms of student time, laboratory space, equipment, and utilization of fac— ulty time. As a result of curriculum analysis, textiles and clothing staff members explored the possibility of teach- ing clothing construction through comprehension and appli- cation of principles. "The university initiated this study [curriculum revision] in anticipation of increasing enroll- ment and with the objective of improving classroom instruc- tion,"1 utilizing existing resources. The new curriculum was implemented winter term of 1962 when the revised course in beginning clothing construction was given. "In the be- ginning class in clothing construction the contact hours with students have been reduced from one hour of lecture and six hours laboratory to two hours lecture and two hours laboratory. . . . "2 The large group lecture situation made it necessary to develop some type of audio—visual material. "Formerly charts and actual garments were used; however, with large group instruction, these proved inadequate."3 1Anne Kernaleguen, "Principles Approach to the Teach- ing of Beginning Clothing Construction," Proceedings, A Speech to the Nineteenth Conference of Teachers of Textiles and Clothing held at Michigan State University, October 23 to 26, 1963, p. 35. 2All students were registered for the same two hour lecture consisting of 60 to 100 students, and were enrolled in laboratory sections of 15 to 22 students. 3Kernaleguen, op. cit., p. 35. As clothing construction instructors prepare to handle larger groups of students, the need for accurate, clear, projected visuals becomes evident. Since World War II, advances in invention and tech- nology in communications have made available a wide selec- tion of audio-visual education equipment. The Second World War acted as a catalyst for the development of training aids because our military leaders were faced with the prob- lem of teaching technical information and skills to large groups of servicemen of varying abilities and backgrounds within an accelerated learning situation. So successful were the results with students (servicemen) trained via specialized audio-visual aids that plans for their use and development increased. James Finn, an audio-visuals spec- ialist, states that, "Military—training and industrial-train- ing programs are now planned with the assumption that an adequate supply of all types of audio-visual equipment will be available at all times."1 In 1957, apparently the schools of the United States had not yet reached the same level as military and industrial organizations, though the amount of equipment purchased was increasing yearly. An audio- visual specialist at Michigan State University predicts that the use of the overhead projector as an audio-visuals aid will become more important than the chalkboard in 1James D. Finn, Audio-Visual Equipment Manual, ed. Edgar Dale (New York: The Dryden Press, 1957), p. xii. classroom instruction, and that by 1970, he anticipates that overhead projectors will be installed as a part of the standard equipment in all new school buildings and that older schools will have their classrooms adapted for use of the overhead projector.1 The use of the overhead projector in the teaching of a skill is not entirely new. A simple overhead projec- tural accompanied by a tape recorded script for a "knot tying demonstration"2 proved an effective demonstration technique for trainers of war workers over twenty years ago. Other subject matter involving the comprehension and application of a skill has been taught by a lecturer using projected visuals for lesson presentation.3 A research study of instruction by overhead pro- jected materials, undertaken by Judy Yaryan Stam,4 compared 1Interview with Archie Watson, Instructor and Cam- pus Coordinator, Audiovisual Center, July 28, 1964. 2Stanton C. Oakes, "Knots to You," Educational Screen and Audio-Visual Guide, Vol. iv (October, 1963), p. 571. 3Comparison of groups receiving instruction by traditional demonstration methods and audio-visual methods discussed in annotated references. Office of Naval Re- search, Human Engineering Department, A Review of Litera- ture Pertinent to the Degign and Use of Effective Training Aids, Technical Report soc 404-08-1 (Port Washington, New York: Special Devices Center, 1956), pp. 167, 181. 4Judy Yaryan Stam, "An Evaluation of the Effective- ness of the Overhead Projector in Teaching Clothing Con- struction" (unpublished Master's thesis, Michigan State University). ' the performance of two groups of students enrolled in the beginning clothing construction course (TCRA 152) at Mich- igan State University. The control group received instruc- tion in the traditional lecture-demonstration manner; the experimental group received instruction by lectures with overhead projected materials. Stam's hypothesis, "The over- head projector presentation of clothing construction tech- niques will be as effective as the classroom presentation,"1 was accepted. Analysis of the paper and pencil tests re- vealed that the experimental group performed as well as the control group.2 The use of more audio-visual materials proved justifiable for increasing enrollment in clothing construction classes. Because there are no commercially available over- head transparencies for teaching clothing construction, the author planned (1) to develop projected visuals for three selected units in clothing construction in response to the expressed needs of staff and in anticipation of the author's future teaching plans and (2) to develop proced- ural instruction for using projected visual materials in clothing construction. Technical terms convey definite meanings to spec- ialists in their own areas; use of the same terms may suggest 11bid., p. 24. 2Ibid., p. 55. an entirely different or an even incorrect concept to a person unfamiliar with trade jargon. The author will de- fine and use technical and/or trade terms throughout the study to assure communication to and comprehension by the readers. Terms and their meanings as will be used in this study are defined in the Glossary. (See Appendix G, p. 2452) CHAPTER II REVIEW OF LITERATURE The lack of existing instructional materials having local application, the trends in new class groupings that require new types of resources, and a number of personal values all justify the local preparation of audiovisual materials.1 "As increasing recognition is given to the audiovisual media and as more suitable facilities are provided for their use educators will see increased dependence on various media to serve many instructional purposes--and not as enrichment devices to be used if time permits [italics author's], but rather as carefully planned and integrated parts of the teaching—learning environment."2 In almost all areas of education, the teacher finds use of mass media instruction more important and more fre- quently used for large numbers of students. For this reason personalized instruction must be reserved for special stu- dents, such as small groups with specific problems or in— terests. To provide time for teachers to conduct seminars for students with special interests and abilities, it is necessary to devise methods of instructing basic generalized 1Jerrold Kemp, Planning and Producing Audiovisual Materials (San Francisco: Chandler Publishing Company, 1963), p. 3. 2Ibid., p. ix. 10 information to large groups having limited or no background in the area.1 Courses on beginning and intermediate levels, intended to provide basic principles and concepts, are being taught successfully by the use of selected audio-visual materials and mass media. Thoughtful educators have sought audio-visual in- struction for "multiplying the effectiveness of gggg teachers that are available at the school and college level"2 and of reconciling the breach in the growing number of students and the shortage of able teachers. In addition to the growing number of students and shortage of teachers, two other factors have encouraged new approaches in education. "The dramatic increase in the range of knowledge today's students will have to acquire in order to live intelligently in the space age, and a sim- ilar increase in the complexity of new things to be learned"3 have emphasized the responsibility of the educator. He must provide learning experiences for all students within the framework of existing physical facilities, available staff and within the traditionally accepted length of time for education. Recently a minimum of four years of high 1Focus on Change:;Guide to Betger Schools, A report of the Commission on the Experimental Study of the Utili- zation of the Staff in the Secondary School (Washington, D.C.: National Education Association), 1962. 2Teaching by Television, 0 . cit., p. 2. 3Ibid. 11 school, now extending to four years of study on the univer- sity level, is allowed for the educational development of individuals. Hans L. Zetterberg stated: The per cent enrolled in schools has increased in every age and stratum, and educational attain- ment has increased too; at the beginning of this century the average American completed elementary school, while now he completes high school and in- creasingly often goes on to college.1 Sociological changes in America have created a "teen- aged, junior—adult" who marries young,2 produces offspring early,3 needs a strong educational background to qualify for most types of employment, and becomes an economic lia- bility to his (her) family and society for a longer period of time. During this time he is increasing his liability without increasing his potential assets through education. Many students who would have been potential university ma- terial ten years ago find that limited space or impractical use of facilities causes the rejection of their applications. The children of high school age will double in the 1960's. The age group between 20 and 24 will increase by 90 per cent between 1960 and 1980, while the entire population increases 45 per cent. Schools . . . will have to face this, as will 1Sgciological Almanac {gr the United States, edited by Murray Gendell and Hans L. Zetterberg (New York: Charles Scribner's Sons, 1964), p. 21. 2Ibid., p. 45. 20.2 years for females, 22.3 years for males. Figures obtained from table ”Median Age of Husband and Wife at Selected Stages of the Family Life Cy- cle of the American Family, 1890...l959." 3Ibid. The average age of both parents at the birth of their last child is 27.9 years and 25.8 years for the male and female, respectively. 12 parents who, according to the prevailing pattern sponsor to a large extent, in financial and other ways the entries of young adults into colleges, jobs, and marriages. Enrollment in universities in 1964-65 is "expected to expand by nearly eight per cent this year alone."2 Pro- jections for college enrollment for 1970 are interesting to note in comparison with college enrollments for other years. PROJECTIONS OF 1970 OF SCHOOL AND COLLEGE ENROLLMENT3 (in millions) ... Estimated Projected ... 1955 1960- 1965 1970 00. 0.. .00 0.. ... College and Pro- fessional School 2.4 3.6 4.4 5.3 General expansion of educational facilities has contributed to the reduction of educational inequalities in "terms of sex, race, religion, and income, but it has at the same time increased the inequalities in terms of age."4 Interests in adult education on all levels have lIbid. 2"Billions for Johnny," Time Magazine, August 21, 1964, Vol. 84, No. 8, p. 80. 3Zetterberg, op. cit., p. 78. 4Ibid., p. 19. 13 not expanded as rapidly as have those for young people. However, the emergence of colleges for adults, and two-year community colleges, has provided educational facilities for those who seek higher education. Adults have sought intellectual stimulation through evening and extension courses. More places must be created for both the young and older people in our educational institutions. Mass media for teaching large groups in lecture situations, radio and television informational programs, specific (local) audio-visual materials must be made available to communi- cate information. "Effective communication can no longer be consid- ered possible with words alone. The very nature of our language, coupled with the limited experiences of most people, often makes it difficult to convey ideas and in- formation efficiently without resources beyond words."1 Students have grown up in a pictorial or visual age. Mo- tion pictures and television programs, educational and entertaining, have been a part of their environment. To stimulate interest in new subject matter, to maintain, to reinforce, and to apply knowledge, the student refers to both what he has heard and seen. In the educational proc— ess, careful preparation and proper use of audio-visual materials have been shown to: lKemp, op. cit., p. 3. 14 Increase understanding of a topic Add interest to a subject Lengthen the retention time of information Teach a skill effectively Contribute to a desirable attitude Stimulate people to action 1 Offer experiences not easily obtained in other ways. 0 O 0 0 O O 0 Plans to continue development of visual materials for teach- ing principles of clothing construction were initiated and made possible through an All-University Research Grant. Textiles and clothing staff members and graduate assistants involved in the teaching of the beginning clothing construc- tion course (TCRA 152) felt that the use of lecture-instruc- tion with use of overhead projected visuals was as effective as the lecture-demonstration method for the same units.2 Three units have been developed through this study. Units selected to be presented were based on the expressed need by textiles and clothing staff members and a study of home sewing practices. Clothing construction problems most often encountered are centered around single techniques3 such as zippers, collars, sleeves, belts, buttonholes, skirt linings.4 lIbid. 2Judy Yaryan Stam, op. cit., p. 56. 3Annette Ostapovitch, "A Study of Motives for and Satisfactions of Home Sewing as Expressed by a Selected Group of Michigan Women Who Do Home Sewing“fl(unpublished Master's problem, Department of Textiles, Clothing and Re— lated Arts, College of Home Economics, Michigan State Uni— versity, 1961), p. 8. 4Units developed by Stam for audiovisual presenta- tion of beginning clothing construction techniques include: Pattern Layout, Closures--Zippers and Buttonholes, and 15 The general classification of audio-visual aids is associated with the creation of a desired response in the perceiver through auditory and visual stimuli. Result- ing from the response is a reaction representing a change in behavior or learning. Teaching, the means by which the stimuli are presented, facilitates learning. "Broadly speaking, teaching is a pattern of provid- ing situations and directing the activities of students so as to facilitate learning that leads to the acquisition of desirable habits, skills, knowledges, attitudes, apprecia- tions and tastes."1 Teaching is, then, a careful selection of systematically presented stimuli to students for apply— ing comprehension toward a specific objective. Language stimuli alone may be involved in teaching, or with other types of stimuli. Because learning is effected through the senses, the more appropriate stimuli are applied, the faster is the rate of learning, the longer the ”retention time of information,"2 and the greater the understanding of the learning. The use of the present type of overhead projector Setting in a Sleeve. Units developed by the author for audio-visual presen- tation of clothing construction techniques include: Prep— aration and Types of Hems; Supportive Fabrics--Lining, Under- lining, Interfacing, and Interlining; and Application of Skirt Waistband. lBen F. Holland et al., Audio-Visual Materials and Devices (Lubbock, Texas: Rogers Litho., 1958), p. 2. 2Kemp, op. cit., p. 3. 16 for classroom instruction is fairly recent. The predeces- sor of the overhead projector was the lantern slide projec- tor equipped with short-focal-length lenses and a system of mirrors for front-of-the—room projection. The principal difference between the overhead transparency projector and the older overhead slide projector is the size of the trans- parency. "The newer machine can project transparencies that are as large as 10" x 10" in size1 while the earlier ones accepted 2" x 2" slides only. The commonly accepted generalization that it "takes about fifty years for a new idea to gain general acceptance in American education"2 and to become a part of general practice is partially true when applied to the use of audio- visual materials and devices in education and training. Fifty years ago the audio-visual equipment available was not refined enough technically to be of value in teaching. Technical advances in sound and photography, necessity to communicate with larger groups of students, changes in at- titudes towards use of audio-visual materials and devices have done much to bring about greater interest in and demand for audio—visual instruction in diverse subject areas. Finn credits the wide use of audio-visual equipment to four im— portant developments: 1Finn, o . cit., p. 151. 2Teaching by Television, pp. cit., p. l. 17 l. The creation of adequate and sufficient mate- rials to be used with the equipment, 2. The categorical establishment, by research agen- cies, of the value of audio-visual materials in teaching, learning, and communication, 3. The field development of means to provide and maintain the equipment and materials, and, 4. A constantly expanding program of teacher edu- cation including adequate texts on the nature and use of audio-visual materials.l Universities are studying and appraising2.instruc- tional methods and curriculum aims in home economics. The future of home economics will be determined by the univer- sities where it has a stronghold. Schools and colleges of home economics have the responsibility for developing leader- ship in strengthening and improving American homes and home life as well as furthering the growth of a profession con- cerned with various aspects3 of home economics. Colleges and departments of home economics are challenged to develop the best possible educational programs. As one outcome, audio-visual techniques are becoming essential parts of the lFinn, op. cit., p. xii. 2Jeanette A. Lee and Paul L. Dressel, Liberal Edu- cation and Home Economics, A Monograph published for The Institute of Higher Education (New York: Bureau of Publi- cations, Teachers College, Columbia University, 1963), dis- cusses current issues in Home Economics education in the college and university curriculum. 3Committee on Criteria for Evaluation of College Programs in Home Economics, Home Economics in Higher Edu- cation (Washington, D.C.: American Home Economics Associ- ation, 1949), p. l. 18 teaching—learning process rather than incidental materials for instructional enrichment only. Currently colleges of home economics include instruction via programmed learning;l lectures with overhead projected visuals;2 instructional television;3 team-teaching4 and combinations of these meth- ods.5 Kernaleguen suggested that the advantage of visuals use may be realized in the area of development of standards. Teaching principles for comprehension and application is less difficult than teaching standards. She claimed that some work had been done with standards, but more needed to be done and an investigation of the best approach and media should be considered. "With less laboratory time, larger classes and more independent work done outside of the 1Sister Mary Celeste, R.S.M., "Programming Textiles," and Ruth Hall, "A Self-Teaching Device for Use in Flat-Pat- tern Construction Classes," Proceedings, A Report to the Nineteenth Conference of College Teachers of Textiles and Clothing held at Michigan State University, East Lansing, October 23 to 26, 1963, pp. 39-42, 43—46. 2Kernaleguen, op. cit., pp. 35-38. Three units in a beginning clothing construction course (TCRA 152) at Mich- igan State University were taught by means of lessons pre- pared for presentation by a lecturer using overhead pro- jected transparencies in large group instruction. 3Esther Meacham, "Television in the Clothing Class- room," Journal of Home Economics, LVI, No. 2 (February, 1964), pp. 89-94. 4Two courses at Michigan State University have been taught by a team of instructors consisting of a regularly appointed staff member who served as lecturer and graduate assistants who taught recitation sections. 5Combinations of methods have been used successfully in beginning clothing construction and beginning textiles courses. 19 classroom, there is less direct teacher contact in teach— ing standards, consequently the need for more efficient methods of developing an appreciation and a recognition of standards of workmanship" is desired.1 In the production of any learning tool--whether it be a text, wall chart, blackboard diagram--absolute ac— curacy and consistency of content and scale relationship is important. The planning and production of an audio- visual material will be discussed in Chapter III under Meth— odology. "There is general agreement among educators that the effectiveness of graphic aids in teaching, other things being equal, is largely determined by the instructor's use of them."2 To assist in the use of the visuals and the develop- ment of favorable student attitudes towards audio-visual instruction, a teacher's guide in Chapter IV accompanies reproductions of diagrams correlated with the diagrams on the transparencies. Suggestions for use and mechanical manipulation of the transparencies during lecture-presenta- tion are included. Chapters V and VI deal, respectively, with the ad- ministration of the reactionnaire to teachers enrolled in 1Kernaleguen, op. cit., p. 38. 2Technical Report SDC 404-08—1, op. cit., p. 193. 20 a Workshop in Homemaking in Junior High School (Education 881), and the summary, conclusions and recommendations for use of visuals in the clothing construction curriculum. CHAPTER III METHODOLOGY The methodology for this exploratory study will be presented in the following order: (1) purpose of study, (2) selection of units, (3) development of audio—visual materials, (4) preparation of teacher's guide, (5) admin- istration of reactionnaire, and (6) methods of analysis. Purpose of Study Because "there is little commercially prepared materials for use on the overhead projector"1 in many sub— ject areas and virtually none in the area of teaching cloth- ing construction,2 the author elected to investigate the possibilities of developing three units in clothing con- struction for use in university and adult education classes. The general objectives for the study are: 1. To develop projected audio-visual materials for use in teaching clothing construction with the overhead projector. 1A. J. Foy Cross and Irene Cypher, Audio—Visual Education (New York: Thomas Y. Crowell, 1961), p. 85. 2Library research of available audio-visual mate-‘. rials and letters to companies producing overhead trans- parencies revealed that there has been no work published or produced in this area. 21 22 2. To develop procedures for use of projected audio- visual materials for instruction in clothing con- struction. Specific objectives are: 1. To plan, prepare and produce units of projected audio-visual materials (overhead transparencies) for the following selected techniques in clothing construction. A. Hems....Preparation and handling of hems using several methods of garment construction and fabric types; special handling of kick pleats. B. Waistband....Preparation, application and fin- ishing details. C. Supportive fabrics....Types, uses, and applica- tions; construction techniques. 2. To prepare a teacher's guide to accompany trans- parencies for audio—visual instruction. The completed units in the series in clothing con- struction concepts and techniques have been designed to be coordinated and used in conjunction with the units developed by Judy Yaryan Staml for large group and mass media instruc— tion. Selection of Units Selection of a specific unit from a larger, more 1Stam, loc. cit., Appendix B, pp. 91-141. 23 general subject area necessitated choosing the most signif- iggpp_units for the desired outcomes. Clothing construc— tion provides many opportunities for audio-visual materials in place of or in addition to demonstration techniques. A committee of subject specialists and graduate teaching assistants, as well as the review of literature, indicated that certain units might be presented effec— tively through overhead projected visual instruction. The author's graduate committee accepted the proposal for the development of visuals for the units on hems, supportive fabrics and the waistband. Development of Audio-Visual Materials After selection of the units, a definition of the audience and determination of the characteristics (female adults enrolled in a clothing construction course) was made. This was followed by a breakdown of units into a series for preparation of the script. In the following "script" (content outline) Arabic numbers indicate the base frame and introduction of the unit; lower case letters indicate addition of overlays to develop and elaborate the techniques and points of special interest. Epptent Outline with Frame Titles or Headings for Preparation of Hem l. Prgparation of hem. a. Hang bias cut skirt garment for several hours. 24 b. Measure location for hemline. c. Mark hemline with pins at 3-inch intervals. 2. Preparation of hem. a. Mark turn line for hem. b. True turn line of hem with guide basting. 3. Preparation of hem. a. Turn up hem along marked line; insert heavy brown paper between hem and garment. 4. Etc.l A review of available literature, textbooks, exten— sion bulletins, sewing instruction books, commercially pre— pared educational materials and pattern guide sheets provided ideas for depicting topics and also served as source of reference for currently used clothing construction techniques. A "storyboard” with sketches and narration notes was prepared. From this sequential development, a composite drawing was executed by the author for review by committee members and subject specialists to consider accuracy and logical presentation of content. In the single composite drawing with lines in several colors, each color represented a separate overlay in the finished unit. For example, the base frame was drawn in black line, the first overlay was shown in red; the second, third, and fourth were rendered in green, blue and yellow, respectively. The method of lAfter Kemp, loc. cit., p. 14. 25 preparation was suggested by Wilfred Veenendaall to insure better registration of components of transparencies with overlays rather than preparation of a separate tracing for each cell. Stam found that the use of several overlays was less distracting to students than the manipulation of many separate masked foils and at the same time presented a more integrated lesson. Production of Overhead Transparencies Preliminary sketches for mechanicals were drawn in one-quarter, one-third or one-half scale representing pattern pieces, seam allowances and construction techniques. To assure accuracy, correctness of scale and regu— larity of lines, drafting equipment2 was employed in the preliminary drawings for the mechanicals. After review by subject matter specialists, and prior to production, the composite drawings were studied by graphics specialists at the Audio-Visual Center. The illustrator's work refined details and made corrections in perspective. The author checked the final revised me— chanicals before delivery to the Graphics Presentation 1Assistant Director, Audio-Visual Center, Michigan State University. 2Drawing board, T-square, triangle, architect's scale, French curve, "C-Thru" plastic ruler (W-25) marked in l/8" grids, an engineering drawing pencil and colored leads. 26 Studio for production. Technical Production of Masters Experimentation by graphics specialists at the Audio—Visual Center show that clarity, unity and economy in production of the masters are best achieved by using "Chart-Pak" tapes, "Zip-a-tone" patterns, and "Artype" for often repeated symbols and lines. Use of these materials assures "permanent accuracy and uniformity in detail work."l Corrections during production are made easier by reposition- ing the pressure-sensitive tapes and acetate symbols than changing lines rendered in India ink. A graphics specialist drew lettering of captions and copy using a mechanical lettering guide. Size and weight of letters2 were determined after consultation. -At regular stages the author checked masters for accuracy and detail. Development by the Ozalid process followed. (See Appendix B, p. 214.) Mounting the Transparencies The objectives set for the specific concepts to lChart-Pak, catalog (Leeds, Mass.: Chart-Pak Cor— poration), p. 2. 2Lettering was done with a lettering guide. The first number represents the size of letter; the number following the plus sign refers to the stylus used. Titles ' were lettered in l75+3 point, subject heading in 120+2 point, and captions in 100+2 point. 27 be presented determined the order for mounting the trans- parencies. Single-concept developmental overlays were mounted with hinges placed to the left side of the mask. As concepts are presented, each successive overlay is low- ered over the base to complete the image. Numbered and/or colored tabs on the transparencies indicate to the operator the order in which transparencies are dropped--red, first; green, second; then blue; and then yellow. /¢/7 Schematic for successive overlay pattern (1-2-3- 1 etc.) only For the mounting of multi-concept overlays, the transpar— encies are placed over the base with hinges on adjacent and/or opposite sides of the mask to facilitate manipula- tion of the cells to achieve various combinations for con— cept develOpment. (See Appendix D, p. 221.) Schematic for alternative ________ L- 14_____-___-1 or successive overlay pattern 1-2—3- 1—3—4- __ 1-4-5- : 1-2-3-4- 1 1-2-4-5- I I I B---—— 3 { 1 K 1-2-3-4-5— etc. In--- .. - 5' —--_—--—- --—l 28 To assist the teacher in the effective use of the audio-visual material for clothing construction, a guide follows in Chapter IV (see pp. 35-176). Preparation of Teacher's Guide Visual material is communicated better when another sense is involved. Directions and an outline for projec- tion were designed to accompany the presentation of the clothing units, to assist the teacher in planning and uti- lizing the audio-visual material; and to suggest ways for individualizing the clothing construction for the specific needs of the course. The guide (see pp. 35-176) for each set of transparencies and overlays precedes the reproduc— tion of the composite image. The component foils are ar- ranged with the composite transparency in the first posi- tion, and successive overlays in reverse order of presenta— tion. (See Appendix D for example of transparencies and overlays; see Chapter IV for example of reproduced composite image and accompanying outline for presentation.) Development of Reactionnaire An instrument called a ”reactionnaire" was devel- oped to obtain data for this study (see Appendix E) for the purposes of (l) determining the availability of usable audio-visual training aids in educational facilities for home economics programs, (2) determining the availability and utilization of school-owned audio-visual aids in 29 homemaking programs, and (3) evaluating a representative sample of overhead transparency units developed for teach- ing clothing construction. In gathering data to support the assumption that audio-visual instruction for teaching clothing construction on most levels (high school, college and adult education) would be practical and that the expense in the development of transparencies is justifiable, a reactionnaire was de- signed in order that information could be tabulated for comparison and inference. Questions were designed to learn specific facts about the teachers in the sample and the schools in which they taught. Both "closed" or "fixed alternative” questions and "open ended” questions were used;1 closed end types were included when possible to facilitate administration and tabulation and analysis of responses. Free responses were elicited when specific responses were needed and could not be answered with a "yes" or "no” and when motives or attitudes of the respondents were desired. They were also valuable when used to qualify answers to other questions. The areas studied and the number of items in the instrument (see Appendix E) relating to them are: Descriptive factors: concerning teachers and their experience Part I: 1For a description of closed and open-ended ques- tions see Claire Selltiz et al., Research Methods in Social Relations (rev. ed., New York: Holt, Rinehart and Winston, 1961), p. 256. ing 30 Questions 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, ll, 12, 13 concerning the schools where they taught Part I: Questions 14, 15, 16, 17, 18 Evaluation of selected audio—visual units in cloth- construction: concerning ranking of colors indicative of their rela- tive importance Part 11: Question 1 A concerning objectives, presentation, accuracy of sub- ject matter, mechanical and technical aspects Part II: Question 2 A, B, C concerning presentation and interest expressed in learn- ing how to prepare transparencies for audio-visual in- struction Part III: Questions 1, 2, 3, 4, 5, 6 Audio-visual instruction in the school: concerning availability and utilization Questions 12, l3, 14 Teacher reactions and attitudes: concerning the use of overhead transparencies for audio— visual instruction in clothing construction, Part IV: Question 1 concerning the role of the teacher in homemaking pro- grams where much of the instruction is presented via audio—visual training aids. Part IV: Question 2 Pretest The reactionnaire was pretested on a small group of subject matter specialists. The purpose of the pretest was to determine two things: if the respondents could com- prehend the meanings behind the questions; and if the for— mat for responses in which the reactionnaire was laid out could be followed easily. Changes in wording and layout, for the sake of clarity, were effected before administration 31 to the reactionnaire group. To produce unbiased response from a teacher, identification by student number only was used. A check with the registrar's office or reference to the schools where the respondents taught could reveal their identity. The name of the school or district became impor- tant in obtaining information from the State Department of Public Instruction when enrollment had been expressed according to classification by letter rather than numbers. Criteria for Selection of Units for Evaluation Three frames presented to teachers for evaluation were chosen on the basis of (l) representativeness of the type of overhead transparency, (2) statement of objective for the transparency, (3) availability of completed trans- parencies at the time reactionnaire group could be sched- uled to meet, and (4) utilization of color in rendering of transparency. Frames selected for evaluation were of single con- cept and multi-concept types; "Supportive fabrics" (see Appendix D, p. 221) and "Preparation of hem" represented the former and "Uses of supportive fabrics," the latter. The frame, "Supportive fabrics" (2-A), was chosen for its single concept presentation as an introduction to a series. "Uses of supportive fabrics" (2-B) was selected to follow (2-A) as the position after the introduction seemed logical and for the use of multiple overlays with several colors in multi-concept developmental learning. Frame 2—B 32 ("Uses of supportive fabrics") was placed second, rather than last in presentation, to eliminate the possibility of its being chosen as the one that "gave new information" to the perceiver merely because of its later viewing. Selection of the series "Preparation of hem" (2-C) was made on the basis of representation of single—concept sequential development of a learning through the use of overlays utilizing a single color (black). Random selection of frames for evaluation from the completed units would have been more desirable; however, evaluation of transparencies by a reactionnaire group dur- ing the summer term necessitated the selection of available representative frames. A more detailed evaluation with a larger sample consisting of home economics specialists and graphics spec— ialists and randomly selected frames would, presumably, permit conclusions concerning validity and reliability of responses to be drawn. Administration of Instrument The revised reactionnaire was administered to teach~ l About 25 minutes were re- ers enrolled in Education 881. quired to present the audio-visual materials for evaluation and completion of the reactionnaire. To orient the group 1Homemakinggin the Junior High School Workshop, Michigan State University, Summer, 1964. 33 to perception of the projected image, five two—inch squares of colored transparent acetate (blue, red, green, yellow and black) were placed randomly over the projector aperture, producing colored images on the screen above the operator's head. To familiarize the respondents with the procedure of "viewing and evaluating" simultaneously, the investigator suggested orally to the respondents: "Please rank the colors in the order that you consider indicative of their relative importance, placing the name of the color that you consider most important in the first position and the name of the color that you rank as least important in the last position." The investigator purposely avoided using color names sug- gesting a ranking of any kind. Once the pattern for observ- ing and reacting had been established, the presentation of the overhead transparencies for evaluation followed. Analysis of Data Data from closed questions were tabulated; informa— tion from open-ended questions, subjected to content analy- sis were summarized and tabulated with reference to fre- quency of response. Generalizations and/or conclusions were drawn. CHAPTER IV TEACHER'S GUIDE FOR THE USE OF OVERHEAD TRANSPARENCIES IN TEACHING UNITS IN CLOTHING CONSTRUCTION The purposes for developing this teacher's guide are (1) to provide an outline for the study units, (2) to give detailed instructions for obtaining the best results from the teaching units, and (3) to key the information in the transparencies with step-by-step directions for ef- fective presentation. Most of the transparencies developed for each unit require explanation and interpretation by the instructor. They are intended to supplement the lecture as visual aids and are not expected to replace verbal instruction. Transparencies, overlays and/or coverlays may be projected, or they may serve as a base on which opaque ob- jects are silhouetted. For each unit, the series of transparencies are arranged in a suggested presentation order. However, the transparencies may be used in any sequence that a teacher feels will best meet the needs of the students. Hems Following are a teacher's guide and opaque repro- ductions of the diagram appearing on the transparencies 34 35 for the overhead projected instruction unit on hems. Each plate carries the identification code for the transparency series represented. Plate numbers, transparency title, code (in parentheses) and page references are given. Plate I, II III IV, V, VI VII, VIII, IX X, XI XII XIII, XIV, XV, XVI XVII, XVIII, XIX, XX XXI, XXII, XXIII XXIV, XXV, XXVII, XXVIII XXVI, Title Preparation of Hem (HEcc 1 a,b)1 Preparation of Hem (HEcc 2 a) Preparation of Hem (HEcc 3) Grade Seams to Eliminate Bulk (HEcc 4 a,b) Pressing Hem Allowance (HEcc 5 a,b) Depth for Hem (HEcc 6 a) Preparation and Application of Seam Tape (HEcc 7 a,b,c) Kinds of Hems (HEcc 8 a,b,c) Marking Location for Depth of Kick Pleat (HEcc 9 a,b,c) Handling Hem in Kick Pleat (HEcc 10 a,b) Kick Pleat (HEcc ll a,b,c,d) identification Page 37 4O 42 46 51 56 62 68 72 1 220. See Plates XCIV, XCV, XCVI in Appendix C, pp. 216- 36 HEccl PREPARATION OF HEMl 2 Overlays (a,b) The preparation of a hem begins with hanging the garment to allow bias to stretch. The base slide shows the hanging garment; two overlays illustrate the establishment of the length for the skirt and marking of location for hemline. Directions for Projection Outline for Presentation Materials: Transparency. Pencil to serve as pointer. Base: 1 I. Hang bias cut skirt for several hours. A. Define "bias." Jverlay: a II. Measure location for hemlingp Lower overlay A. Discussion of hemline into position. location. 1. Current fashion. 2. Skirt type. 3. Personal preference. B. Method of measuring and marking location for hemline. 1. Person being fitted should wear shoes, undergarments, etc., that will be worn with garment. 2. Person being fitted should stand erect and look into a full-length mirror. Display in classroom or C. Use of hem marking tools. laboratory some hem 1. Tools. marking devices. a. Yardstick. b. Chalk or pin hem marker. Demonstrate during lec- D. Role of partner. ture presentation the 1. Determine attractive role of the partner length for garment. and movement of part— 2. Mark hemline by moving ner in fitting. around person being fitted. 1See Appendix C, p. 216,for opaque reproductions. HEccl (cont'd.) Overlay: b Lower overlay into position. 37 ~III. Mark hemline with pins 2tg3 inch intervals. A. Placement of pins 1. Horizontal placement; pins placed parallel with floor. 2. Place pins at 3 inch intervals. B. Some pins may not be in alignment. HEcc2 PREPARATION OF HEMS (cont'd.) l Overlay (d) "Trueing up" the hemline or establishment of a smooth arc or straight line for the hem is illustrated with a base slide and one overlay. Directions for Projection Materials: Transparency. Outline for Presentation Base: 2 Overlay: a Lower overlay into position. IV. Hemline indicated with line of pins. A. Some pins may be out of line. V. True up line for hem with ggide basting to mark hem- line. A. Create a line between pins to resemble a smooth arc or a straight line. 1. Mark with tailor's chalk or wax. B. Run a line of basting stitches along marked hemline. 1. Use silk thread to mark turn line for hem in wool fabric. a. To avoid thread imprint of stitcheSo mzjxuz omen; I..V 1...... 62.1.2”... ¥m<3 Oh 02....mdm wage 1.53 2m: mo... m2... a: mac». 0 . oz... . .6 m2... 2:; 35062. maxim: 0 2m... .....0 20:344.".me min-29.. Guy—142 IV I - I .sz ...—0 NZ... 2.53 omhdgoz. wz_42m: 0 2m: .....o ZO_._.>..._<:.¢4mh<¢oo Sucizu mo 5.2.54.1 ..................... 02.2... Jamming... pzuzgco 4 ..o 222» 9:. Zodiac 32o ... tied”. mac 3 3.3242 .2233 23.23 :6 323.. .n mom... 2235.. us: are 22... 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Same pattern pieces used for lining as for gar- mento Bo Certain adjustments must be made in patterno l. Shorten pattern at lower edge° Overlay: a ‘,,II. Length for finished liningo Lower overlay A: 1"-2" above lower edge into position: of finished garmento 10 Draw line across pat- tern l"-2" above lower edgeo 20 Fold pattern along marked line° Overlay: b IIIo Omit kick pleat extensiono Lower overlay A° Shaded area includes kick into positiono pleat and pleat exten- sion from pleat seam to Point to pleat extension center back seamo (indicated by cross- 10 Fold pattern along hatching): center back seamo Overlay: c Lower overlay into position° HEccl4 (cont'd.) Overlay: d Lower overlay into position: To emphasize new cutting line, mark with grease pencil during lecture: 91 IV: Add seam allowance at cen- ter back: A: Place strip of paper under tissue pattern along seam line° B. 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ASSEMBLING LINING UNIT 1 Overlay (a) Handling of darts and seams and hand finishing of {alxaat opening during assembly of lining unit are showno IDirections for Projection Outline for Presentation Ma terials : Transparency o Grease pencil. EBaLse: 17 I. Assembling lining unito A0 Stitch center back seam qurth coverlay in placeo above pleat opening° Bo Turn under the edges of pleat opening and press° ‘ Chaverlay: a 11° Clipgpleat opening at end Remove coverlay° of stitching and press edges under° LIse grease pencil to A0 Hem edges of openingo jpoint to opening. IIIo Stitch darts and press toyard sideso A. To eliminate bulk where garment darts and lin- ing darts coincideo IV° Stitch side seams leaving seam open for placketo A. Press all seams openo .zumo mldum .34 mmwma ..wauudqm co“. zmao Idwm oz.>004 24mm xoou< 24mm 3040 cmhzwo zothm O .52: 02.2.... @zjmimwm4 109 HECClB HANDLING LINING AT PLACKET Treatment of seam allowances at placket of garment lining and concealment of slide fastener tapes is illustrated. Directions for Projection Outline for Presentation Materials: Transparency. I. Handling lining at placket. Grease pencil. A. Press under seam allow- ances of lining. To emphasize pinning, draw 1. Pin lining to tapes pins on transparency at of slide fastener. fold where lining is slip— 2. Slip stitch lining stitched to tapes. to tape. HANDLING LINING AT ZIPPER PLACKET SLIP STITCH LINING TO ZIPPER TAPES lll HEccl9 UNDERLINING 2 Overlays (a,b) Steps in underlining are illustrated in this trans- parency; two overlays, representing placement and pinning of underlining fabric to garment piece show the first step in the construction process. 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Permanent machine stitch— ing. 1. Stitch size. a. 12 to 14 stitches per inch for most fabrics. b. Adjust stitch size to fabric weight. Overlay: a Lower overlay into position. Overlay: b Lower overlay into position. Draw in lines for trim- ming excess allowance at wide end of dart. II. Darts in garments with heavy underlining. A. Trim away underlining. l. l/8" from stitching line on each side of dart. III. Darts in garments of bplky_fabrics. A. Slash darts through cen- ter. 1. Trim dart to 1/2" from stitching line. 2. Underlining may also be trimmed to 1/8" from stitching line. B. Pressing darts in under- lined garments. 1. Press slashed darts open and flat. 2. 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N 3.3.. o < on: m: . mhszmdo omz_4mwoz: 2. «Eu... 62.4024: . ..... .... ............................................................. .................................................................. ......................... .. ............................................-.d-<.¢¢¢1 u. ....................................................................... ............................................................ .............................................. ................................................ .......................................... .... 325,344 3.: 2. 33302 _ m. 3.23592: 5:: am: .8 m2... _. mm4.. 002430.34 2400 ... 024000.43 0020.2.“— 00 2P9? 02». 00.3... ”25.0.? «32426.34 :43 o24 244232: mo... :2. 1.2.3....2u2m234u2 5.43 ”2523 _ . . a ..n. + ..2 .2: _ 0240h0.43 no 0000 00.02. 20 20.2.... 00......444. .000200F0 com 0042.00 000 2.400 00.32.0201. 20 024000.43 0044a. ”0.004... 0240...0.43 02......00 00.“. 20....4040000 ... . M \. A“545......“ . 3433 02400.0.43 ...00 0000 00.02. 20 20.2.... 000L440 .000200P0 00.0 u04>400 00... 2.400 00.320.020.— 20 0240.10.43 0044... ”0.004.... 02400.0.43 02.0.0.00 00.0 20....4040000 HEcc26 MARKING WAISTBAND 140 4 Overlays (a,b,c,d) Base slide shows unmarked waistband with selvage for one edge. Steps for marking locations for matching points along waistband are shown in colors through successive over- lays placed over the base slide. Directions for Projection Materials: Transparency. Outline for Presentation Base: 26 I. Marking waistband. A. Discuss methods of mark- ing waistband. l. Tailor's chalk or wax. 2. Thread marking in con- trasting colors. 3. Clipping into seam allowance. B. Advantage of marking. 1. Aids in matching sec- tions of a garment at key points. Overlay: a Lower overlay into position. II. Mark seam allowances at ends of waistband and waistline seam. A. At ends. 1. Finished length of waistband is from seamline to seamline. 2. Seam allowance is 1/2". B. At waistline seam. l. Seam allowance is 1/2". 2. Mark with tailor's chalk or wax. Overlay: b Lower overlay into position. Use transparent ruler to measure 3". Overlay: c Lower overlay into position. Use transparent ruler to show measurement. III. Mark underlap with chalk or thread. A. Measure 3" from seamline at end of waistband. B. Underlap extends from back towards front of garment. IV. Mark side seam with thread. A. Distance across front of garment is l" more than distance across back, e.g.: 1. Total waist measure— ment of 25". 2. Distance across front is 13". 3. Distance across back is 12". HEcc26 (cont'd.) Overlay: d Lower overlay into position. Use transparent ruler to measure location. Use strip of paper the length of waistband. Fold according to side seams to locate centers. 141 V. Mark center front and center back with chalk or thread. A. Center locations are at half the distance from side seam to side seam. B. Fold side seams together to locate centers front and back. VI. Baste-mark in colored threads. .2040 000204 2400 00.0 OF 3400 00.0 802.0 02400.0 N) n 2040 20b200 #2020 000204 3400 00.0 00. 3400 00.0 2020 0024h0.0 «x. a 0.202... 200.200 2040 000204 2400 00.0 00. 2400 00.0 2420. 020! ... IP202... 00.0204 2400 00.0 00. 2400 00.0 24. ..N 4324334 243 ..«xmuoso :43 34- 243 . p22... :43 3.. 2:23 . 33 2:23. 3.. -+II.III uuuuuuuuu vinn uuuuuuu w uuuuuuuuuuuu r nnnnnnnnn 2- . .. . . . .. u n n n . u . F. 4442322 0042.00 002... #0420 0040220. 00201.00 2. x243n0h0400 . 204a 2323 .24 #202... 2323 .3343 3..» .444232: :43 “22.45.43 224 342.242. 3 32m ..4 «3243344 243 22420 . o24m._.m.4.s 62.2242 00. 3400 00.0 242k 2040 000204 2400 00.0 0203 ... Ib202... 000204 2400 00.0 00. 2400 00.0 044 :0 «3242.344 243 31354 2400 2400 304%.." 00.0 00.0 nliqIIIIIIIIIIIII uuuuuuuuuuuuuuuuuuuuuuuu .0 . w . . - . ... . u , 0442002: 004>400 24420020.!400 02.40.0.43 024 02400.0.43 0.0 #002400 00.0 0020 0.4 0002430444 3400 2242. 342.243 62.2242 24.. 4 «324.634 243 .5132; . a": I I I -9-- + I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I-O‘II+I .._—'_. F 244232: 004>400 244200.20 .2400 02.40.0.43 024 02400.0.43 0.0 0020 0.4 0002430444 2400 2242. 02400.0.43 02.2242 30243344 243 ..~\."35o .. , .. 343mm .2400 02.4.P0.43 024 02400.0.43 0.0 0020 0.4 0002430444 2400 2242. 02400.0.43 02.2242 "00.00 004>4 0W. 02400.0.43 02.2242 147 HECC27 INTERFACING--TO ADD FIRMNESS TO WAISTBAND 3 Overlays (a,b,c) The base slide shows pressing of crease line of waistband to mark top edge. The first overlay illustrates the opened waistband with crease line marking upper edge enuigivesdirections for cutting interfacing fabric. Two successive overlays with diagrams in contrasting color represent application of interfacing fabric and pinning to waistband piece. ' Directions for Projection Outline for Presentation Materials: Transparency. Base: 27 I. Interfacingr-to add firm- ness to waistband. A. Materials needed: 1. Garment fabric. 2. Supportive fabric. B. Interfacing. 1. Choice of interfacing materials. a. Woven. b. Non-woven. 2. Reasons for use of interfacing. a. Add firmness and support. b. Retain dimensional stability. C. Selvage is used as fin— ish for lower edge. 1. Eliminate seam allow- ance. a. Reduce bulk. b. Retain dimensional stability. 2. Smooth finished edge. Use grease pencil as D. Fold waistband bringing pointer to shadow along selvage‘to stitching! line for selvage. line. Press sharp crease to mark upper edge of waistband. Overlay: a II. Cut strip of interfacing Lower overlay on same grain as band. into position. HEcc27 (cont'd.) Overlay: b Lower overlay into position. Overlay: c Lower overlay into position. 148 III. Place interfacing on under- side of waistband within fold line and seam allow- ances of ends of waist- band. A. "Underside" of waistband refers to part closest to the body. IV. Interfaced area represented by colored areas. V. Pin at right angles to fold line. A. Secure interfacing to waistband piece with pins at regular inter- vals. ..- 02.4 040... 0... 004024 0.20.2 0.4 2.2. ..- ..- 0- 0. ...- 0. On. 0... 0- 02.4 040.... II . 004>400 Iv 0240h0.43 00 0020 00 0002430444 2400 024 02.4 0400 2.2.23 02400.0.43 00 00.02002: 20 025402002. 00440 C 0240 04 2.420 0240 20 02.04020»! 00 0.2.P0 0.00 O 02.4 0400 I 004>400Iv 004020 02420 00020 O .02.4 02.200200 00. 004>400 02.02.20 02400.0.43 0400‘ . 02.4 02.200000 004>400|v I 1%.... ........... . 004>400 \ 6242.243 as 3322.... 34 0» 3284.232. o n F b a 02.4 0400 lfi 004>400|I+ m i 0240h0.43 00 0020 00 0002430444 2400 024 02.4 0400 2.2.53 02400.0.43 00 00.02002: 20 02.04020h2. 00440 C 0240 04 2.420 0240 20 02.040200.2. 00 0.20.0 0.00 0 TM}-.. uuuuuuuuuu ... uuuuuuuuuu ... H .— mz... Soulrw " . mo<>dmni . 004020 02420 00020 O .02.4 02.200..0.0 00. 004>400 02.02.20 02400.0.43 0400. 02.4 02.200..0.0J 004>400 \ 02400.0.43 00. 0002250 004 00. ..02.040200.2_ 004020 02420 00020 O .02.4 02.200..0.0 0... 004>400 02.02.20 02400.0.43 0400. 02.4 02.200000 J 004>400 \. 02400.0.43 00. 0002220 004 00. 302.0402002. 153 HECCZB INTERFACING AND MACHINE PADDING WAISTBAND 2 Overlays (a,b) The interfaced waistband with center and side seam locations marked is the base slide. One overlay in con- trasting color illustrates marking of stitching guide lines for machine padding; the second overlay shows waistband and techniques for machine padding and gives standards for reinforcement stitching. Directions for Projection Outline for Presentation Materials: Transparency. Grease pencil. Presser foot. Base: 28 I. Interfacingyand machine padding waistband. A. Discussion of types and methods of padding. 1. Hand padding stitches. 2. Machine padding stitches. 3. Uses of padding stitches. a. Reinforcement and stability. b. Decorative padding stitches. Overlay: a II. Mark stitching guide lines 2§_interfacing. A. Pencil lines may be used on interfacing. 1. Standards for guide lines. a. 1/4" to 1/8“ apart. b. Extend guide lines beyond seam lines at ends of waist- band. Presser foot may be B. Use presser foot as guide moved along guide lines for stitching. to show method of l. Toe of presser foot achieving accurate along straight line spacing between lines serves in place of of machine stitching. pencil marked guide. 154 HEcc28 (cont'd.) Overlay: b III. Machine-stitch interfac- Lower overlay ing to underside of band. into position. A. Standards for machine padding. 1. Stitch size (12-14 in.). 2. Parallel stitching lines. 3. Spacing between lines is equal. 4. Ends of stitching lines are secured within seam allow— ances of ends. MP... 0.0404 ..0\. 1....) xm 92.10:; .3 23¢ moi... 2:3 .8 mo.» 59.5 0» av... 02.25.32. 52502.54: .95 ./// 02.040200.z. 20 002.4 00.00 02.200000 x242 02400.0.43 02.0040 02.2042 024 025402002. 028402002. 20 002.4 00.00 02.200000 x242 0240.50.43 02.0040 02.2042 024 02.0402002. 02400.0.43 02.0040 02.2042 024 025402002. HEcc29 CLOSING ENDS OF WAISTBAND 158 2 Overlays (a,b) The interfaced and machine padded waistband with selvage coinciding with waistline seam and center and side locations marked is shown in the base slide. A contrasting color overlay indicates location for stitching lines. The second overlay illustrates trimming of corners and grading of seam allowances for a smooth finish. Directions for Proiection Materials: Transparency. Grease pencil. Point turner. Outline for Presentation Base: 29 Use grease pencil to mark pin location at ends of waistband. Overlay: a Lower overlay into position. Use grease pencil to show "back tacking." Overlay: b I. Fold waistband with right sides together. A° Selvage coincides with waist seam line. B. Secure ends with pins at right angles to edge. II. Stitch ends. A. Back-tack to reinforce ‘ stitching. III. Trim corners and grade seam allowances to less than 1/4". A. Trim corners. 1. Cut across corners at diagonal. 2. Reduce bulk. B. Grade seam allowances. l. Seam allowance is wider on front side of waistband. 2. Reduce bulk. Place point turner, knitting needle on aperture for shadow effect. IV. Turn to right side and 23.5.8: A. Sharpen corners at ends. 1. Use point turner or point of knitting needle to get sharp point° B. Press. 1. Follow procedures for pressing. we a .m brown“... 9:. h z: a» o ' .. \. 2420. ._ o 0. 000 ’fi“‘.' 044 4 24.00 0 0 024 020 220 0 :_K c. o 002 0 0 24 20 Emma.» _ - . - ‘w m- 00“ 4 t J. w ..M .......... ”Ilwlnllllllllllln lllllllllll luv-olnnuuuunnuu uuuuuuuuuuuuuuuuuuuu .....Hnn:......u................. .......... 0 .‘fl. luluIII-”HHUHHHHHHHHHHHHHHHH”Hun“ IIIIIIIII 02 C .‘l—.- mu_T-0F 3 024MWMO. 000 .(3 .0 040 ... ........... ...“...I....... 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J... ..., O .n. «a 0 ‘ .... 1 L..\M. ....mim o» $35.43 3203.2 _ , .. x . 0 .0 §Okk , 2.0.0100 smmsssaw ‘ * = ' ' ...mmmum ....mc. m 2. 335.4; 92.1052 168 HEcc31 FINISHING WAISTBAND 2 Overlays (a,b) The base slide is a diagram upon which successive multi-concept frames are superimposed. Techniques and stand- ards for grading of seam allowances at the waistline seam are shown in the first overlay. A second overlay, placed over the base, illustrates the waistband turned to the right side and pinned preparatory to invisible hemming. Directions for Projection Outline for Presentation Materials: Transparency. Grease pencil. Base: 31 I. Finishing waistband. With overlay a in A. Reduce bulk of seam al- position. lowance at waistline. 1. Grade seam allowance of skirt 1/4" or narrower, depending upon fabric. 2. Grade seam allowance of waistband 3/8" or narrower, depend- ing upon fabric. Remove overlay a. Overlay: b II. Pin underside of waistband Lower overlay with selvage on stitching into position. line. A. Selvage and waistline seam line should coin- cide. 1. Match center and side locations accurately. 2. Pin at right angles to waist seam line. III. Invisibly hem in position. .20.00000 2. 202 >40.0.>2. . .02.4 02.200000 20 004>400 2....3 02400.0.43 00 00.020020 2.0. a ‘1 ’ 0 I l 0 M V 0 .0 3020 x 0‘00 >400 . I . 33'22.))_))£!3U ’ .. , .. 0 0 ._ 02400.0.43 02.20.2_0 ‘1 I I1)")),’)‘ I I 2.;3(),’3l’(’l))3*w)l)n. . 2 m T ox :0 I :4. $02.33.... 34m» “.3450 0 0 .0 302.0 0‘00 300 02400.0.43 02.20.2.0 . , 0 0 ,0 .0 - x _ H 0. 0032.0 ;. I ~ ...; 0. . ,, .. m 0 0 , , . . n r 0 I I I I I 02400.0.43 02.20.2.0 172 HEcc32 FASTENINGS 2 Overlays (a,b) Skirt with slide fastener applied and finished waist- band forms base on which actual objects may be placed for shadow effects. Use of the button and buttonhole as a means of fastening waistband is shown through one overlay; another overlay shows the use of snaps and hook and eye closures. Directions for Projection Outline for Presentation Materials: Transparencies. HEcc31. Closures (Stam's unit). Hooks and eyes. Buttons. Snaps. Slide fastener. "C-Thru" plastic ruler. Base: 32 I. Fastenings. A. Discussion of types of Place objects (closures) fastenings, closures, on aperture of projector. etc. ‘ 1. Slide fastener. 2. Buttons. 3. Snaps. 4. Hook and eye. B. Advantages for using cer— tain closures. 1. Convenience. 2. Appearance. 3. Appropriateness. Remove objects. Overlay: a II. Hook and eye closure. Lower overlay A. Marking location for eye into position. placement. 1. Align eye with seam Remove overlay a. line. 2. Eye may be metal or Use ”C—Thru” plastic thread. ruler to demonstrate B. Marking location for measuring for placement. hook placement. 1. Align hook with seam line. HEcc32 (cont'd.) Overlay: b Lower overlay into position. Use ”C-Thru" plastic ruler to demonstrate measuring for placement. Supplement: Unit on closures (refer to Stam's thesis). 173 III. Button and buttonhole closure. A. Marking location for buttonhole. l. Buttonhole extends 1/8" from cross mark for button placement. B. Marking location for button placement. 1. Align button with slide fastener stitching line. 2. Center button on waistband. 0 § --------- Q" 4': 5.. f \ 002.200.040 002.2 00.040 002.2 00.040 CHAPTER V REACTIONNAIRE This chapter is concerned with the description of the population to whom the reactionnaire was administered. (See Appendix E, p. 236.) Characteristics of teachers en— rolled in the education workshop (ED 881), and schools where they taught, the evaluation of specific overhead transpar- encies for teaching clothing construction, the inventory of teacher preparation, availability and utilization of audio-visual materials; and the attitudes of teachers to- wards use of overhead transparencies in clothing construc— tion teaching were analyzed. Description of Population General Information The reactionnaire group consisted of twenty female home economics teachers enrolled in an intense two-week course on the graduate level. Teaching backgrounds ranged from only student teaching experience for one respondent to twenty years of teaching experience for another. The median for experience of the group was three to six years with seven respondents having less than six years and seven having more than six years, while the mean was 6.8 years of experience. The higher value for the mean resulted from 177 178 the greater total number of years expressed by respondents with more than six years' experience. Significant deduc- tions concerning "teacher experience" may be obtained from Table 1. Analysis of Responses TABLE 1. Teaching Experience of Respondents Experience Number of Teachers Student Teaching 1 l-3 years 6 4-6 5 7-9 2 More than 9 years 5 N.R.' l ‘N.R. One teacher failed to indicate number of years of teaching experience and is not included in this analysis. Average = 6.8 years' experience. Teachers on the junior-senior high school level (50% of the population) and teachers on the high school or junior high school level, only (28% and 12%, respec- tively), taught general home economics; all had had cloth— ing construction teaching experience at some time. None taught clothing exclusively. Respondents were teachers in schools varying in total enrollment from 200 to 4,000 students with enrollment in home economics programs rang- ing from 50 to 300 students. Enrollment in home economics 179 laboratory sections varied from four in a school of 380 with laboratory facilities to 26 in a school of 2,500 hav— ing no special workrooms for home economics classes. A profile of teaching situations in which respondents were involved is presented in Table 2 (page 180). Surveyed were total enrollment of school, number of students taking home economics courses, average class size, laboratory facili- ties provided, and availability and utilization of the over- head projector. To the question, "Is there a special room used as a laboratory or workroom for home economics c1asse8?," 16 teachers responded that there was a laboratory for home economics classes. A current graduate student did not re- spond to this question. Three teachers reported schools having no special home economics classroom facilities; one teacher on the junior-senior high school level had no home economics facilities in her junior high program. In three of these four cases, schools owned an over— head projector; one teacher used it in home economics classes. The other two, who met a total of 235 students, responded exclamatorily, ”Not," and explained that the projector was kept in the science department. One commented during the evaluation of the transparencies, "I can use this.” Evaluation of Selected Overhead Transparencies The investigator was interested in obtaining reac— tions and comments from specialists in home economics 180 :.ucm&uumamv mocmflum ca unmxnnoz= 0: mm» mm» mm» on ma mma +oom 0 mm» mm» mm» mom oc\mm> mm oom oom.m v2 .m.z .m.z .m.z .m.z mm» mm mNH com 2 :.ummm was» 30c m.uHIIum>mz: on a mmh mm» mm» hm omN oom.m A .m.z .m.z mm» no» no» om com com x a a mm» mm» mm» om oma oom.a a II II II on now om om 0mm H :.mumnummu Ham an now: on on mdbllhpcmc 00» #02: mm» mm» mm» mm» mm» ma ow 0mm mm .m.z .m.z .m.z mm» mm» ma ooa omm w .uouumnoum o“ mmmuum mm: :uw>mc: 0030mm» moasocoum 080m :»02: 0: mm» 0: mm» 0: ON OHH com m :.pmuu0chmuu on u.cwo ”Boon mucmfiUm CH bomb: on mm» 0: mm» mm» Hm mma mm¢.~ H mm» mm» mm» mm» mm» mm mma ooo.¢ Na .m.z .m.z .m.z .m.z mm» mm omm mm¢.m Ho umxmemeoc msfluaasm mumcummp mpsuflumpsm m m mm» mm» mm» v om mdm m a a a A no» ma oma com 4 Tim In 4TH as us )TES 33 3L 8 mumcumma mUHEocoum mEom can HouUMnoum 6mm: %mm %% 0 mm mm. mm. 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AmuHumHuc voow quHHmUxm “CMEEOU oz HmmHU Hammmoausm ooow poom zum> I quHHmUxm LOQ‘OV‘Q‘ v-IN 380$ ..HO COHumummmum: mm» HH onm om AUOSCHwCOUV .v mam¢fi 187 that the transparency could be improved by the addition of color to the lettering and by the Esuggestion of a sup- portive fabric" by showing "varieties of yard goods." Be- cause the symbols for supportive fabrics on the transparency failed to carry on the projected image, suggested changes in graphics work were performed on the master for clarifi- cation. The author felt that the teachers who considered the material "unrelated" or "dated" and the title confusing either did not realize the purpose for the frame or did not understand the use of the term "supportive fabric." This belief was reinforced by the respondent who asked, "Does it mean interfacing?" The teachers generally agreed, as is indicated in Table 5, that "Supportive Fabric" (frame 2-A) was acceptable in terms of accuracy of subject matter and mechanical and technical graphics. During presentation of transparencies, teachers be- came more critical in their observation and evaluation, as evidenced by explanations given for responses. Three teachers felt that the transparencies had real value as a basis for teaching and were applicable on all educational levels. Concerning mechanical and technical aspects, three felt that in "Uses of Supportive Fabrics" (frame 2-B) involve- ment and proportion of line width and spacing between lines were confusing; one remarked that use of color was effec- tive. For summary of responses and comments, refer to Table 6, p. 189. 188 .mCHzmup mo szHmsv HmmCHH ou ummmu ou uovmmHumm>CH >9 omuwumumpCH humusuum>Cou on on ompCmpCH uQmUCou mo OMCm #02 MH umnnm ma anonm :mnoom cum» mo moHumHnm>= H o: m quEEou oz 5 mCHumuuwH now MOHou mo mm: ummmmsm H :UGflMUIIU0#MH®HCD: N :«mchonz m:«mcHumm m lumuCH CmmE pH mmoollmCHmCMCou mHuHB= N mEmum mHCp now own pmoCmpCH mCOHummsd H :UHHQMM m>Huu0QQSm mo COHummUOSm meow m>mn “COHZ: N mumuduo< Hm 0000 N mm» 5H 9 Cm>H0 mpCmEEou UCm mmmCommmm mmmCommmm mUHCQmuo >UCmHma momCOQmmm umcumoe HmUHCCumE UCM ImCmuH Hmnumma mo nonesz HMUHCmcumz pCm mo Honesz umuumz pumHnsm mo humusuu< pcmumcoo m .mmOQHCQ mo pCmEm>mHC0m u z .mUHCQmum HMUHCCumv UCm HMUHCMCUOE UCm umpums pumhnsm mo humusuum on uuwmmmu Csz :mmmOQHSQ muH om>chum zUCmummmCmuu on» non» xCHCu so» on: .COHpmmSU on» on mumnummp mo muCMEEou pCm mmmCommwmll.m mqmdfi .muummmm 030 mmmnv Co noquEEOU muCooCommmu OBBN .muumamm mmunu 000:» C0 pmpCmEEOU quoCommmu QCOH 189 quEEOU oz H .m.z H 0 0C 0 “CMEEOU oz m :uom moms 00m 00 000mg H HH03 >H0> muCHoa omumuumsHHH N 0>Huummmm mHOHou m0 mmD H MH0>0H :HHM: MOM mHQMUHHQQm mmCHnummp mom mHme 0000 . N OCHmSMCou OCHUMQm 0C0 CuUHz N H mCHH m0 C0Huuoaonm 0C0 quEm>H0>CH . m =.C0H000HCSEEOU N H Hmnum> mo H000 ummum 0 000C 0H503: H zomsam> Hmmu mm: mHnu xcflce= HH =mUHunmm m>Huuoa 0000 a Imam mo ammo: ucmHHmuxu m mm» mH mum om mumCummB >0 C0>Hm mqufieou 0C0 mmmCommmm mmmCommmm mUHCQmuw mzmHuw>o mmmCOQmmm umCUmmH H00HCC009 0C0 Cqu >UC0 monumma mo 000852 HMUHCmnumz 0C0 lummmCmua mo Honesz umuumz pumHnsm mo zumuzuu< quumCOU m .mmoausm mo qua 10>0HCUM u x .mUHCmmwm HMUHCCumu 0C0 HMUHCMCUOE 0C0 wouHME uuwfinsw Mo zumusuum on pumammu CpHB :mmmomusm uHme 00>0chm AmzmHum>o 0C0 mmmnv mmHUCmHMQmCmup mnu umzb XCHCH so» on: .COHummso 0:0 0» 000C000“ mo mquEEou 0C0 momCommmmll.m maméy 190 Although the wording of the directions for evalua- tion of the purpose for "Preparation of Hem" (frame 2-C) (see Appendix C, p. 216) should have read, "To teach tech- niques for development of a skill," instead of, "To give students practice in a skill," 17 teachers felt that the unit, "Preparation of Hem," would be effective for the stated purpose. In comparing the units presented for eval- uation, more teachers responded that they would have use for "Preparation of Hem” (frame 2—C) in their classes. ,There seemed to be a preference for the single-concept, step-by-step developmental presentation. The teachers com- mented that they liked the "sequence" as it "clarified tech- niques." Two respondents questioned the representation of skirt styles; one skirt appeared fuller than the other two shown in the same frame. Another teacher suggested that the drawing "could give more detail on position of pin” in marking hem location. Modifications based on suggestions by respondents were incorporated in the final masters prior to production of transparencies. In Table 7, p. 191, teachers' responses are summarized. Because the reactionnaire was designed to be admin- istered to "non-sewers," as well as clothing specialists, questions one to five were concerned with learnings gained from transparencies. Because it was assumed that all home economics teachers could prepare a hem, the intent of the 191 .030 00:00 0C0 C000 00HH50 0000000 0C0 M000H00 00000 03000 0CH300Q m .0000000 C000 C0 000C00000 00C000HN .0000000 C000 Co 000C00000 00CU00BH 0C0HH00xm H 0000 H CH0 mo 80H0Hmoa 000 0H000H000 H00000 000: H .m.z m 0C08800 oz m 0C 0 0H0005 N 000H00 00 000%0 030 00 00: 00 C0H000m00 N 00SUHCCU00 00HMH00HU mN C0H000HC58800 H0000> 0000z H 000H0 0H 0x08 00C05000 CH 00000 . N 000HQ mCHM00 mCHC000q N HN 00000 000H008 N I000CH 000 00000C 00H0C00000C000 0002 H :800 00 0000 0 C0H0000Q00m: 0C0HH00xm HH 00> 5H UIN 0N 00030009 mp C0>H0 00C08800 0C0 000C0000m 000C0000m 00HCQ000 0>0H00>o 000Com00m 0000005 H00HCC00B 0C0 C0H3 >0C0 00:0009 mo 00080z H00HC0CU02 0C0 I0000C00B 00 000852 000002 uumHnsm 00 >0000004 0C000C00 0 .0000030 00 0C080>0HC00 u z .00HCQ00m‘H00HCC000 0C0 H00HC0CU08 0C0 000008 000n000 00 N0000000 00 0000000 C0H3 :00000000 0H0C0 00>0HCU0 A0>0H00>0 0C0 00000 00H0C000Q -0800» 00:0 xchu so» on: .C0H00030 0:0 00 00000000 00 00C08800 0C0 000C0000MII.> 04049 192 question was to determine if enough information was pro- vided through use of the transparencies to instruct a non— sewer in the techniques. To avoid insulting the special- ists, the investigator suggests that the following questions might better have been stated in this manner: Question 3. Change ”you" to your students. Question 4. Change "you" to they. Question 5. Change "you" to they. Analysis of responses revealed that, when asked in question three if they felt they "could now prepare a hem," twelve felt that they could on the amount of infor- mation provided, seven felt that more information was needed and two did not respond. When asked,in questions four and five, if further information would be needed, 10 believed that additional instruction should follow in the form of a demonstration, reading assignments, pattern guide sheets and the like. Of the six who said that no further information was re- quired, four replied that demonstrations, charts and other materials would be helpful. Two did not respond. Part III of the reactionnaire was concerned with the communication of information and potential value of overhead transparencies in clothing construction; questions six through 14 were concerned with availability and utili- zation of existing overhead projection facilities in schools. See Table 2, "Profile of Teaching Situations...,” p. 180. Of the 13 schools reported as owning overhead 193 projectors, 10 home economics teachers had access to the use of one; two never had access; five did not respond; one did not know. One of the respondents who used the over- head projector last term mentioned difficulty or inconveni— ence in obtaining it for use in her class. Other aspects concerning teacher interest in audio-visual programs in home economics are summarized in Table 8, p. 194. As schools purchase and use more audio—visual mate- rials and equipment, the training of teachers becomes im- portant. Some schools provide "in-service" courses for teachers in the use of audio-visual equipment. Five schools, with enrollments of 250 (two), 680 (one), 800 (one), and 2,000 (one) have such training programs; one of these re- ceived help from representatives of firms producing equip- ment. Ten schools did not have a course for teacher-train- ing in audio-visual instruction; five teachers did not know or did not respond to the question. Most teachers reported having used or prepared vis- ual aids for home economics classes including the following: films, filmstrips, charts, bulletins, mobiles, flannel and magnetic boards, recordings, sound movie and slide project- ors, transparencies, and samples of sewing techniques (see Appendix F for summary). Generalizations concerningyteacher attitudes toward teaching with overhead projected instruction Analysis of statements made by teachers to questions one and two of Part IV of the reactionnaire revealed attitudes 194 :.00H0080000H 0000 0>00 00: 00: :.C0H0050H0 30C 0050 002: N 00000 m .m.z :.0H00 00 0000 00x00 000000H0 H050H>10H050 MHH050D :m0C080H500 .8000000 0000000 30C 00 0000 00 002: CH 0C H050H>I0H050 00 005 000 CH :.0>H000C0000000 mCHCH000 0000000 000 0000500 80Hm 8000 0005000 00 C00 0H00 :00H>000ICH: 00H>o00 0800000 050 00000H0 H080om 02 .003 0 CH: 0 00> 0N H00000 000 H00000 050m 0000: o .m.2 :.0o000no00 000000>o 0.Hoo000 00 000000 0>00 00C 0000 0000000 00H80C000 0800: H 0C .00000n000 QC 000 00H03 H00000 0 CH 000500 :00»: 000030C0 003 0C00C00000 0C0 “8000 00 0200: .000000>o 0.Hoo000 00 005 0>00 00C 0000 8000 005 0H503 003 0C0 :meH00000 050% CH L000H0800 0000H000X0 mCHC000H 0x08 8000 005 50» 0H503 0H00HH0>0 o0 00Co H0C0H0H000 0003 00000 0H: mH 00» ON 0H050H> 00000 000 50» 0H: 0 .m.2 :m00000H0 050% CH: :N00000000 0 0C 00H80C000 0800 00 H50005 om 00» om 00 H000H> 00 0000 0000 0H003= .00H0C00000C000 0000000 H .m.2 :000H0C00000C000 0000 00 300 30Cx >0000H0 000 0000 0000 H OC I00>o 0000000 00 300 mCHC000H 0000000 CH 00000H0CH 0C00C0000m 0H 00% ON ...CH 00000000CH 00 so» 0H503: H .m.2 :000HUC00000C000 000000>o H 0C 00 005 00CH 000H0CH 30C 50% 0H 00% ON 0>Hm COH000C00000 000 0H0: 00C08800 0C0 0000000 000C0000m 000C0000m 0000009 000H00050 00 000852 00008800 0C0 0000000 00H3 00H800000 0800 CH 08000000 H050H>I0H050 OCH000000 000H00050 00 000000000 00 >00880mll.w mqm