50-7 
 
CORNELL UNIVERSITY LIBRARY 
 
 3 1924 067 971 667 
 

 Art in Dress 
 
 WITH NOTES 
 
 ON HOME DECORATION 
 
 .I!2£te3 
 
 LYDIABOLMAR 
 KATHLEEN M?NUTT 
 
 II 
 
 ^ 
 
 Rgy 
 
 =<§^ 
 

ART IN DRESS 
 
 WITH NOTES ON 
 
 HOME DECORATION 
 
 BY 
 LYDIA BOLMAR and 
 KATHLEEN McNUTT 
 
 THE MANUAL ARTS PRESS 
 PEORIA, ILLINOIS 
 
TTS^7 
 5C 
 
 Copyright Z9x6 
 
 by 
 
 Lydia Bolmar 
 
 and 
 
 Kathleen McNott 
 
 Thiid Edition, 1920 
 
INTRODUCTION. 
 
 THE notes and illustrations brought together in this pamph- 
 let are intended for the use of students in domestic art 
 courses. They have been developed thru several years 
 of teaching the subject to high school students, and to groups of 
 teachers, and they are now presented to a larger number of stu- 
 dents in the hope that they will prove as useful to the many as 
 they have to the few. 
 
 To secure the best results in the use of these notes a copy 
 should be in the hands of each student. The pamphlet is, in fact, 
 a textbook on art as applied to dress and home decoration. 
 
 The fundamental purpose in the study of art principles in 
 connection with dress and home decoration is to create a desire 
 in the minds of the students for beauty in those things which 
 surround them in every-day life. To obtain this harmony and 
 beauty in the ordinary things of life, one must understand the 
 basic principles of good color and line. Few realize that every 
 time we combine two colors or two lines we create a design 
 whether we desire to do so or not, and the result is good or bad 
 according to the knowledge or instinct that is guiding the hand 
 of the worker. A girl's selection of a hat or a gown evidences 
 her feeling, or lack of feeling, in design. It is therefore greatly 
 to be desired that she should have a guiding principle, rather than 
 to follow in blind obedience the erratic fashions of the day. 
 
 Comparatively few persons are endowed with an unerring 
 instinct for harmony ; the rest must rely on prescribed rules and 
 principles to attain it. In order that these principles may be of 
 benefit, they must be applied to concrete problems, and so em- 
 phasized that one without artistic instinct may develop a standard 
 of good taste ; for beauty is the result of obedience to the laws 
 of fitness and orderly arrangement, not the result of chance or 
 accident. 
 
 In order that each step, in the work, may be easily and 
 quickly grasped by the beginner, it must be presented in a clear, 
 simple, and direct manner, using illustrations of the most rudi- 
 mentary character possible. When the fundamental princi- 
 ples are thus established, the more elaborate problems may be 
 readily built upon them, without fear of confusion to the worker. 
 
Cornell University 
 Library 
 
 The original of tiiis book is in 
 tine Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924067971667 
 
CHAPTER I 
 
 DESIGN IS BASED ON SELECTION AND 
 
 ARRANGEMENT 
 
 THE foregoing principles may be understood, with less ef- 
 fort, if we begin by reducing our illustrative material to 
 the simplest of abstract areas, good in proportion and so 
 divided that each resulting part is pleasing in itself and in good 
 proportion to the whole. 
 
 Abstract Areas Wei,i< Selected and Arranged 
 
 Figs. I, 2, and 3 represent abstract surfaces with spacing^ 
 arranged to illustrate proportions, good or bad, from the view- 
 point of good form in design. 
 
 
 Fio. 1 
 
 Equal areas are not pleasing, Fig. i, a, because they are 
 mechanical and monotonous. 
 
 Too much difference in area is disagreeable. Fig. i, h, be- 
 cause there is no consistent relationship between the parts. 
 
 Successive sizes are desirable only when you wish to lead 
 the eye up to a point of interest, Fig. i, c. 
 
 When a small space is left on the outside it looks weak. 
 Fig. I, d. 
 
 Greek rule of proportion. Spaces are well related and be- 
 come a unit when there is an approximate, not a mathematical, 
 relationship of size or when the spaces bear relationship similar 
 to that of 7 to 1 1 or 5 to 7, Fig. 2, a. 
 
 More than two spaces well related. The first division should 
 be made according to Fig. 2, a, either of the resulting divisions 
 may then be subdivided according to the same rule, or, as in 
 Fig. 2, c, the smaller space may be equally divided and placed 
 on either side of larger division. 
 
O ART IN DRESS 
 
 When spaces of different widths are separated by back- 
 ground areas, these areas should be of equal width; conversely, 
 Fig. 2, d, ii the spaces are of equal width, the background areas 
 should be of unequal widths. 
 
 
 
 
 
 
 
 
 
 
 ^ 
 
 
 
 
 
 
 
 
 
 
 a 
 
 Fig. 2 
 
 ' Fig. 3 demonstrates the rules of spacing applied to Roman- 
 striped ribbon with a as the space unit. 
 
 In spacing for decoration only that part of the article is 
 considered which will be seen in connection with the decoration 
 
 I 
 
 Fio. 3 
 
 when the article is in use ; for example, Fig. 4, in the table run- 
 ners, that portion which hangs over the edge of the table ; in the 
 tie, the end after the knot is tied. 
 
 After a satisfactory space arrangement has been decided 
 upon, the central space may be broken into pleasing spots and 
 spaces as, Fig. 4, b and c; or by spacing with tucks, singly and 
 in groups, as in e, f, g; or by trimming a ruffle in accordance 
 with the rules of spacing, as in h; or, where there are margins, 
 as in i, they should be of such width as to make a good setting 
 for the enclosed space. Side, top, and bottom margins should 
 bear some such relation to one another as, sides 5, top 7, bottom 
 II. 
 
 Underlay Figures Used to Construct Dress Designs 
 
 A simple block figure, as shown in Fig. 5, may be used on 
 which to construct designs for clothing. This figure, although 
 rather crude, will be found very satisfactory, especially for be- 
 
DESIGN BASED ON SEI^ECTION AND ARRANGEMENT I 
 
 ginners and younger pupils, as it is simple in construction and 
 easily varied to suit different types, yet sufficiently accurate to 
 keep the design in good proportion. The head, hands, and feet 
 are omitted, as they are too difficult a problem for the beginner. 
 
 
 
 
 
 
 
 if 
 
 
 A .. .. 
 
 1 til 1 J L S ■ 1 i 
 
 4^ 
 
 ^ 
 
 
 
 
 ^ 
 
 
 
 
 
 
 a b c 6 
 
 WELL .SELECTEri AHD ARRANGED 3PACE5 FOR BORDER, DECORATIOM 
 
 e-f-g 
 
 SPACING 
 FOR TUCKING 
 
 K-G00t> aPACIHG FORTRIAWlNq OFARUFFLE 
 
 Fig. 4 
 
 — rri — \\, — I — T' rTlniT — I — T 
 
 L-5PAC1N6 OFnARGiriS 
 
 For advanced work, figures as shown in Plates I, II, III,* may 
 be used on which to construct the designs. Place a sheet of 
 transparent paper directly over the plate and, without tracing the 
 
 •Plates I, n, and III will be found in the back of the book. These 
 sheets may be removed and used for underlay in constructing dress designs. 
 
8 
 
 ART IN DRESS 
 
 figure, construct the design to conform to its lines. The feet, 
 hands, and head may then be traced if desired. Anyone wishing 
 to have a number of these plates can easily and quickly reproduce 
 them with a hectograph. 
 
 BLOCK FIGURE MOblFED 
 TOSUrrVEByTALLFKORE 
 
 STANBARD FWUREABOUT 
 
 7 HEADS HIGH — HEAD 
 
 r MEASURE, WAIST Z, SKIRT 4. 
 
 SHOULDER^S 1^ TOS.AHbBOTTBA 
 
 OF SLEEVE TO WAIST LINE I MEASURE 
 
 Fio. 5 
 
 BLOCK FIGURE AODIFIEB 
 TO 5UIT VERy STOUT FIGURE 
 
 At this point a number of problems, such as designs for 
 underskirts, nightgowns, etc., should be worked out, so that the 
 pupils may become thoroly accustomed to the use of the con- 
 structive figure, and to the proper division and harmonious ar- 
 rangement of space divisions. 
 
DESIGN BASED ON SEi:.ECTION AND ARRANGEMENT 
 
 A^MPLE OF /UTERIAL 
 
 c 
 
 SA/^PLES OF TRIAVUnS 
 
 UNDERSKIRT DESIGN CONSTRUCTED ON BLOCK FIGURE 
 
10 
 
 ART IN DRESS 
 
 )r<;>~*c>'"<rf=Vi>jr't- I 
 
 SAMPLE OF MATERIAL SAMPLES OF TRIMMINS5 
 
 CORSET COVER DESIGN CONSTRUCTED ON BI,OCK FIGURE 
 
DESIGN BASED ON SEt,ECTION AND ARRANGEMENT 
 
 11 
 
 SAMPLE OF AUTEBIAJ, JAMPLE5 Or TRIWUMM 
 
 NIGHTGOWN DESIGN CONSTRUCTED ON BtOCK FIGURE 
 
CHAPTER II 
 
 DRESS AND ITS RELATION TO THE WEARER 
 
 DRESS should be decoration, never ornamentation. Orna- 
 mentation is a gaudy show, attracting attention to itself 
 without reference to the object to which it is applied. Dec- 
 oration exists to add beauty to the object decorated, by harmoniz- 
 ing with it in texture, line, and color. Therefore, dress, to be 
 
 
 Fio. 6 
 
 in good taste, should be decoration appropriate in texture, line, 
 and color^to the figure upon which it is to be worn. AH of this 
 will, however, lose its value if we fail to take into consideration 
 the occasion for which the costume is intended. For instance, a 
 figure perfectly gowned for an afternoon or evening reception 
 would be a gaudy show if seen on the street in the morning. 
 
 If we were all built on perfect lines we could, without ex- 
 ception, follow the rule that, in the main, decorative lines should 
 follow and strengthen structure; but, as few of us are so con- 
 structed, and as similarity of line and shape intensifies bad as 
 well as good characteristics, the best that we can do is to avoid 
 or modify bad lines and repeat and strengthen good ones. A 
 tall, angular figure in pronounced vertical stripes appears ema- 
 ciated, whereas the use of a soft plain or figured material which 
 
 12 
 
DRESS AND ITS RELATION 
 
 13 
 
 has nothing in its make-up to emphasize vertical structure will 
 tend to bring out the cross-lines, a tendency which will be height- 
 ened by the material being of a light, fluffy texture which seldom 
 or never lies in straight, hard folds, but stands out from the body 
 and adds to its breadth. Materials striped or figured with a 
 vertical tendency will do much to lengthen a short or stout figure, 
 
 "h-,. 
 
 Fig. 7 
 
 provided the design be not too pronounced or the striiJes too 
 widely separated. The texture of the material should be such 
 as to lie in straight, flat folds, thus emphasizing vertical structure. 
 
 Dominant Lines of the Costume Should be Adapted to 
 Dominant Lines op the Figure 
 
 A thin, angular face, Fig. 6, a, should avoid having its 
 length accentuated by repetition in the neck and yoke lines. 
 
 Contrasting lines, if not too violent. Fig. 6, b, will do much 
 to correct this defect. 
 
 If the lines of the face are repeated they should be modified 
 by a second line. Fig. 6, c. The hair also may be arranged to 
 offset the shape of the face. 
 
 The broad, blunt face may be lengthened by the use of gradu- 
 ally contrasting lines, Fig. 7, b and c. 
 
14 
 
 ART IN DRESS 
 
 Fig. 8 
 
 In Fig. 8, a, h, c, d, e, and / are shown examples of neck 
 and yoke lines which may be used to modify the lines of the face ; 
 g, h, i, and / are examples of line which intensify the already bad 
 lines of the face. 
 
 / 
 
DRESS AND ITS RELATION 
 
 15 
 
 Lines Echoing Length Lines are Especiai,i,y Good for 
 THE Stout Figure 
 
 Well related vertical divisions tend to lengthen the figure, 
 Fig. 9, a and b. 
 
 Avoid the use of cross-lines, fulness, trimming about the 
 hips, Fig. 9, c, or very narrow panels on a stout figure, as they 
 all apparently add width. 
 
 Fio. 9 
 
 Vertical divisions on exact center line, Fig. 9, d, should be 
 used only on slender figures. 
 
 Long, continuous lines. Fig. 9, e, are especially good for 
 stout figures, as they lay strong emphasis on vertical structure. 
 
 A narrow belt should be used for a stout figure. 
 
16 ART IN DRESS 
 
 HoRizoNTAi, Lines and Divisions Tend to Modify an 
 Over Slender Figure 
 
 There should be as little emphasis as possible on vertical 
 structure, Fig. lo, a, when the figure is over slender. Well spaced 
 horizontal divisions are especially good for the slender figure, 
 Fig. lo, b, c, and d. 
 
 A wide belt line may be used to shorten a very tall, long- 
 waisted figure. Fig. lo, e. 
 
DRESS AND ITS RELATION 
 
 17 
 
 Since the length of the arm so much exceeds the width, many 
 cross divisions, equally spaced, may be used. Fig. lo, /. 
 
 Every Costume Should have Unity, Either of Line or 
 
 Color. 
 
 Fig. II, o, is violent in both line and color. It is violent in 
 line, because the lines do not support the structure, a defect 
 
 which is greatly magnified by violent contrast in color. Violence 
 of line may be made less conspicuous by unity in color. Fig. 1 1, &. 
 When lines are in harmony with the structural lines of the 
 body, more violence in color may be allowed, Fig. ii, c. 
 
18 
 
 ART IN DRESS 
 
 BsiyTs AND Tie Ends 
 
 Structural lines in ties should echo the structural lines of the 
 body, and the length of the tie should make good space divisions 
 between the neck and belt line, Fig. 12, a, h, c, d, e, f, and g- 
 
 Fig. 12 
 
 Structural lines of belts and belt buckles should also be in 
 accord with the lines of the figure. Fig. 12, h, i, and /. 
 
 Violent opposition of line attracts too much attention and 
 does not support structure, Fig. 12, k, I, m, n, o, and p. 
 
CHAPTER III 
 
 PRINCIPLES OF DESIGN APPLIED TO 
 HAIR-DRESSING 
 
 IF our faces were all built on the perfect lines of the features 
 of a Greek goddess, we might follow the freaks and fancies 
 of fashion with little or no fear ; but, unfortunately, we are 
 not all so constructed. A face, already bad in line, often has its 
 defects greatly magnified by a thoughtless repetition of these 
 lines in the dressing of the hair. For we must remember that a 
 
 ^ff-)-— ) 
 
 
 ^ 
 
 Fig. 13 
 
 bad line, let it be found where it may, is always made worse by 
 being repeated ; whereas, by avoiding or neutralizing these lines 
 and giving proper emphasis to the good ones, we may do much 
 to remedy the defect. 
 
 The head marked a, in Fig. 13, is already too long for its 
 width. This defect is greatly exaggerated by dressing the hair 
 on top of the head, thus supporting and strengthening the vertical 
 
 19 
 
20 ART IN DRESS 
 
 Structure. The head marked b, in Fig. 13, is exactly the same 
 head as in a, with the hair arranged to support horizontal struc- 
 ture, thus giving width where it is most needed. 
 
 The heads marked c and d, in Fig. 13, illustrate the same 
 principles as a and b. The use of the ribbon, and the loose 
 dressing of the hair, as shown in d, are effective in relieving the 
 awkward appearance of the neck. 
 
 Heads e and / show how the defect of an over-prominent 
 and severe jaw line or tilted nose may be lessened by the proper 
 arrangement of the hair. 
 
 The hair over the forehead should be brought as far for- 
 ward as the most prominent feature of the face, g and h, and the 
 coil of the hair will give a more pleasing effect if placed at a 
 point other than opposite the prominent feature. 
 
CHAPTER IV 
 
 PRINCIPLES OF DESIGN APPLIED TO MILLINERY 
 
 IN no department of dress are the rules and principles of good 
 color and line so often violated as in millinery. We seem to 
 forget that a hat, to be a hat, must, first of all, fulfil the 
 very reason for its existence — ^that of being a covering and pro- 
 tection for the head. When a hat has fulfilled this requirement 
 of use it has also fulfilled one of the demands of decoration, for 
 decoration which does not conform to use has retrograded into 
 
 f-^J c 
 
 mere ornamentation. Now, when the requirement of use is ful- 
 filled in a pleasing and artistic way, the lines of the hat must 
 conform to the lines of the head and face, repeating and strength- 
 ening good lines, avoiding or modifying bad ones. 
 
 In constructing the hat crowns shown in Fig. 14, o and h, 
 the shape and size of the head have been entirely disregarded. 
 In c a true relationship has been established. 
 
 A hat should not be hung on a corner of the head. Fig. 14, 
 
 a and h, but it should be placed so as to become, apparently, a 
 
 part of the head. 
 
 21 
 
22 
 
 ART IX DRESS 
 
 Good space relation should exist between width of brim and 
 height of crown. Fig. 15, a, b, and c. 
 
 Two curves of equal length Fig. 15 d, are not as pleasing 
 as one long and one short curve, Fig. 15, c, for equal curves, like 
 equal areas, are monotonous. 
 
 Two or, at most, three are as many dents or curves as may 
 be used with good effect in the brim of a hat. Fig. 1 5, /. 
 
 Equal divisions should be avoided. Fig. 15, 5' and h. 
 
 Rei/ATion of Trimming to Structure of Hat 
 
 The portion of a hat crown covered with trimming should 
 bear a pleasing relation to the space left uncovered, Fig. 16, a 
 and b. A little contrast is often desirable to avoid monotony. 
 Fig. 16, c. 
 
 in general, the lines in the trimming should conform to the 
 structural lines of the hat. Fig. 16, d. 
 
 Lines in trimmiifg entirely out of harmony with the lines of 
 the hat are shown in Fig. 16, e. 
 
 Many points of equal or nearly equal interest are not de- 
 sirable except in wreath form, when points of interest are equally 
 spaced, Fig 16, /. 
 
 Similarity of line accentuates both good and bad lines, 
 Fig. 16, g, h, and i, so that we should avoid repeating in the lines 
 of the hat any but the good lines of the face. As a person ad- 
 
Plate I 
 
.v.-.\ 
 
 ^ 
 
 ^ 
 
 :>:^ 
 
 Plate II 
 
AK 
 
 H 
 
 V ) 
 
 Plate III 
 
DESIGN APPLIED TO MIIvUNERY 
 
 23 
 
 vances in age and the full, round curves of the face are straight- 
 ened and hardened, the lines of the hat should become less severe. 
 
 Fig. 16 
 
 taking on a soft, curved tendency, thus tending to neutralize the 
 general effect. 
 
 Too much contrast is as bad as too much similarity, Fig. i6, 
 / and k. 
 
CHAPTER V 
 
 COLOR 
 
 IN dress and home decoration color plays a most important 
 part.^ To persons of good taste strong colors in large 
 amounts are as distressing as loud noises that last a long 
 time, and an inharmonious combination of strong colors is as 
 painful to them as a discordant crash of sounds from a musical 
 
 YUV-i- mrznsiTY 
 
 Tm. 17 
 
 instrument. To develop an understanding of color, a thoro study 
 of the theory of various colors, their combinations, and areas, is 
 necessary. 
 
 'A large color wheel made and mounted on a neutral background will 
 be found of great value in the study of color. 
 
 24 
 
cowR 25 
 
 Since there are so many ways of expressing color, it is well 
 to give an outline of the color terms and definitions used in the 
 following pages. 
 
 Hue, value, and intensity are the three properties of color. 
 Hue is the property by which one color is distinguished from an- 
 other. Value is the degree of lightness or darkness of a color. 
 Intensity is the degree of life and brilliancy in a color. 
 
 Theory of Coi<or 
 
 Each color expresses a distinct temperamental feeling and 
 in order to use color intelligently one must sense it. Red, yellow, 
 and blue are the primary colors. Orange, green, and violet are 
 the binary colors. Red is heat, intensity, violence; yellow, 
 light, cheef'fulness, gayety, vivacity; blue, coldness, distance, 
 reserve; orange expresses intense light, fire, heat; green is re- 
 freshing and restful, and expresses life and growth; violet is 
 dark, depressing, somber, and dignified. 
 
 CowR Harmonies 
 
 Colors to be harmonious must be related. Some colors of 
 the spectrum (see color wheel, Fig. 17) are naturally related 
 because they lie next to each other in the spectrum circle and 
 therefore partake of the same nature and resemble each other 
 somewhat in hue. Example : red orange, orange, yellow orange, 
 and yellow. When colors are not naturally related they may be 
 made so by keying; that is, by mixing a little of each in the other, 
 thus drawing them together in hue. Any two colors may be 
 made harmonious by keying. For example: orange may be 
 keyed to green, producing numerous steps of relationship be- 
 tween the two, such as russets and bronze greens, all of which 
 may be combined in costumes or interior furnishing with har- 
 monious effect. The most unlike colors, those which are called 
 complementary colors, may be keyed in like manner and used 
 together with satisfactory results, as keying always tends to 
 soften or gray any color. This process of keying complementary 
 colors is called neutralizing and the resulting tones are called 
 neutralized colors. These are more restful to the eye than pure 
 colors and are therefore more suitable to clothing and house fur- 
 nishing. 
 
 Use op Color 
 
 Just as line must be kept subordinate to the structure of the 
 figure, so color must be kept in harmony with the personality 
 
26 
 
 ART IN DRBSS 
 
 and color characteristics of the individual. Since red is 
 heat and intensity, on a delicate, flower-like blonde, it would en- 
 tirely destroy her personality. A Carmen dressed in cool, deli- 
 cate green would scarcely express the character and vitality of 
 Carmen. Green is cool, refreshing, and restful. Bright blue is 
 cold, unfeeling, and therefore, unless very dark, not suitable for 
 winter use. The most beautiful blues are the ones that have been 
 considerably neutralized. Orange, being a combination of heat 
 and light, is one of the most trying colors in large areas, but very 
 effective if used in small spots. Yellow, being light, vivacious, 
 and cheerful, is better suited to evening than daytime wear. Vio- 
 let, being the complement of yellow, and possessing the opposite 
 characteristics, is dark and dignified. All light colors, like light 
 materials, are more cheerful and refreshing than dark ones, and 
 therefore are more appropriate for festive occasions. 
 
 Neutral colors in strong, durable materials should always 
 be used for street and business costumes. The perfect costume 
 is one which is perfectly appropriate to its use and which forms 
 the best background for the complexion, hair, and eyes of the 
 wearer. No full intense color is ever suitable to wear except in 
 very small spots as in trimming. There, as in other decorative 
 usages, small spots of intense color, like loud musical sounds of 
 short duration, give vitality, vigor, and interest. In finding the 
 most becoming color, decide which is the best feature and the 
 most desirable to emphasize — ^hair, eyes, or complexion. Certain 
 color values will be found more pleasing than others. The best 
 ones may be found only by experinjenting. Bright yellow, cerise 
 red, and violet are colors that demand a clear, healthy complex- 
 ion. People with sallow or poor complexions will find dark, neu- 
 tral colors most becoming. 
 
 Color Schemes 
 
 One mode color scheme. A one mode color scheme is one 
 made up of different values and intensities of one color, as brown 
 and orange. This is a good scheme for street use, but is likely 
 to be lacking in individuality. 
 
 Complementary scheme. A complementary scheme is one 
 devised of colors directly opposite on the color wheel, which, if 
 mixed together, form neutrality. This is a perfectly balanced 
 scheme, because one color possesses what the other lacks. It is 
 a trade scheme, one often found in rugs, draperies, and other 
 furnishings. A good illustration of a harmonious, balanced 
 
• COWR • ^ 2/ 
 
 scheme is a half neutral blue body color with trimmings in which 
 there are small spots of brilliant orange. The complementary 
 colors are red and green, yellow and violet, blue and orange. 
 
 Analogous scheme. An analogous, or, in other words, re- 
 lated scheme, is one made up of colors existing together on the 
 same side of the spectrum between two primaries, and may in- 
 clude one, but never both, of these primaries, as blue and blue 
 green; green and yellow green; red and red orange; orange 
 and yellow orange; etc. In dress this is a delicate scheme to 
 handle, as large masses of these colors combined is a costume 
 would not be good. The best use for it is in a surface pattern. 
 A waist in an allover design of yellow green, green, and blue 
 green, with blue green predominating, to be worn with a skirt 
 of the same blue green, darker and more neutral, is a good illus- 
 tration of the application of the scheme. Never cross a primary 
 to combine such colors as red orange and red violet, or as blue 
 violet and blue green. There is one exception, in the combining 
 of yellow orange knd yellow green, because the tonality of yel- 
 low dominates and unifies the scheme. 
 
 Color is largely affected by texture, as different textures re- 
 flect light differently, thus affecting the brilliancy of the color; 
 for instance, the same color will appear much more brilliant in 
 satin than in soft wool or velvet. 
 
 Areas 
 
 The area of a color governs the intensity. Very intense 
 colors should never be used except in small spaces. 
 
 I \lM I ll I !□ 
 
 a b c 
 
 ria. 18 
 
 If areas are similar in size, the value and intensity may be 
 similar, Fig. i8, a. 
 
 If one color area greatly exceeds the other, there may be a 
 wide difference in values, Fig. i8, b. 
 
 If colors are widely different in intensity, one should greatly 
 exceed the other in area. Fig. 19, a. 
 
 Work out several costume designs in color, including hat 
 designs, using one mode, analogous, and complementary color 
 schemes. 
 
28 
 
 ART IN DRESS 
 
 Outline for Use in Designing a Dress 
 
 f To suit 
 
 figure ii 
 
 l-question 
 
 /I. Selecting 
 
 f I . Selection of De- J / " =■"'.•• f S*°"* 
 sign2 S figure in i 
 
 l-auestion t Slender 
 
 2. Selection of Ma- 
 terial 
 
 f Complexion 
 3. Selection of Color-^ 
 
 i-Use 
 
 \2. Arrangement 
 
 Arrangement of 
 Space Divisions 
 
 Arrangement of 
 Color 
 
 {According to law of 
 well related 
 or Greek rule 
 
 spaces 
 
 According to theory 
 of color, law of back- 
 grounds,^ and law of 
 areas 
 
 "For a thing to be well decorated, decoration should follow and 
 strengthen structure. Eemember always, however, that the repeating of any 
 line strengthens it for better or worse, so we must avoid or modify bad 
 lines and strengthen good ones. 
 
 'Law of laehgrounds. Backgrounds, such as dresses, side walls, picture 
 mats, etc., should, with few exception, be less intense in color than the 
 objects shown upon them. 
 
 t 
 
CHAPTER VI 
 
 PRINCIPLES OP DESIGN APPLIED TO EMBROIDERY 
 
 PUPILS of a Domestic Art Department probably have nc» 
 more difficult task than that of selecting suitable designs 
 
 and colors for their embroidery problems. It is impossible 
 for them to create their own designs on account of the lack of 
 time and training, but their judgment may be developed so that 
 they will select good designs and apply them consistently. 
 
 A little study of embroidery designs should arouse an en- 
 thusiastic and intelligent interest in this subject. It may be pos- 
 sible to obtain a few colored plates of Chinese, Japanese, Italian, 
 or French embroideries. These will show the best of various 
 types of embroidery. The Chinese and Japanese are famous for 
 their gorgeous embroidered kimonos, screens, and wall tapestries. 
 These are a clear and beautiful record of their ideals of harmony. 
 Nowhere will one find more brilliant colors skilfully used in 
 one design. The most wonderful Italian embroideries are those 
 found in the church robes and altar cloths which are done in 
 complex designs of jewel-like color. "Embroideries French," by 
 Marie Tenichev, is an excellent illustration of modern French 
 embroidery. The International Studio, Arts and Decoration, 
 and The Craftsman often have beautiful colored plates of em- 
 broideries. 
 
 It is not necessary to go into detail in this study. However, 
 it is well to see the highest types of the art in order to develop 
 higher ideals of beauty and create a desire for beauty and har- 
 mony in ordinary surroundings. After developing these ideals, 
 pupils will quickly see what cheap and tawdry ornamentations 
 fill our department stores and, unfortunately, some of our homes. 
 The home should be refined and harmonious to give mental and 
 physical rest. Domestic embroideries, in our country, have 
 scarcely reached that plane of harmony and good design where 
 they may be called "applied art," There is no art in the two 
 types of design we find dominant. In one, we find the purely 
 naturalistic, of enormous roses, pansies, or even worse, lilies of 
 the valley, adorning the top of a coarse crash pillow. In the 
 second, we find an attempt at abstract design which seems prin- 
 cipally based on the triangle or cube, somewhat resembling the 
 
 29 
 
30 ART IN DRESS 
 
 cubist art, done in garish colors. Very rarely do we find a good 
 design well applied. The reason for this is that the fundamental 
 principles of good design are not understood by the general pub- 
 lic and there has not been sufficient demand for what is truly 
 beautiful and harmonious. Volumes have been written, by the 
 most brilliant geniuses of the world, on what constitutes beauty. 
 From the study of design we learn that beauty is perfect har- 
 mony. Consistency is the first element of good taste. There- 
 fore the character of the decoration to be placed on an object 
 will be determined by its intended use, the material of which the 
 object is made, and its general shape. If our object is thus con- 
 sidered, the result of our work will be decoration, not ornamen- 
 tation. In other words, decoration exists for the sake of the 
 thing decorated and should be in perfect harmony with it. Fur- 
 thermore, the component parts of the decoration must harmonize 
 with each other. When these laws are violated all will degen- 
 erate into mere ornamentation, which exists to exploit itself with- 
 out reference to the object on which it is placed. 
 
 Relation between Decoration and Object Decorated 
 
 In selecting and applying decoration to sofa pillows, table 
 runners, bags, dresser scarfs, collars and cuffs, and all other arti- 
 cles of fancy work, the principles of good design should be fol- 
 lowed. Continual reference should be made to the chapter on 
 well related spaces and the chapter on color, during the study of 
 the following principles. We often find in embroidery books 
 and magazines excellent motifs badly arranged, which may, with 
 the aid of the following suggestions, be rearranged into good 
 designs. 
 
 Selection 
 
 Careful consideration should be given to selecting a design 
 which shall be suitable to the texture to which it is to be applied. 
 
 (a) In semi-conventional designs the motif should be de- 
 rived from a flower which, in its characteristics, suggests the 
 material on which it is to be embroidered. Tree motifs, water 
 lilies, nasturtiums, and other rather large flowers furnish excel- 
 lent suggestions for designs to be used on handwoven crash. 
 Lilies of the valley, ferns, and many delicate flowers and plants 
 may be conventionalized and' used very effectively in designs for 
 'the embroidery of fine white linen. 
 
DESIGN APPLIED TO EMBROIDERY 
 
 31 
 
 (b) Long, straight lines and points are seldom gobd in 
 embroidery because of the flexibility of the materials used. 
 
 (c) Violent curves in the general arrangement of a design 
 are equally bad when they are in opposition to the weave of the 
 cloth and the enclosing form. 
 
 (d) The lines of a design should be modified to suit the 
 texture of the cloth. 
 
 
 l^t^Sac^l 
 
 , 
 
 FiQ. 19 
 
 Arrangement of Designs for Sofa Piti<ows 
 
 Principle I. Decoration should strengthen structure and add 
 beauty. 
 
 Principle II. The contour of the enclosing form determines 
 the line movement within. 
 
 According to Principle II, decoration should never be placed 
 in the center of any object if the center is to be used, as has been 
 done in Fig. 19, o. 
 
32 
 
 ART IN DRESS 
 
 In Fig. 19, b, the same flower motif has been used as in Fig. 
 19, a, but conventionalized and arranged to follow the enclosing 
 form and is therefore much better. 
 
 In Fig. 19, c, the decoration bears no relationship in size to 
 the background. There should be a consistent relationship be- 
 tween the background spaces and the decoration as illustrated in 
 Fig. 19, b, d; Fig. 20, b, d; and Fig. 21, b. 
 
 
 Sf=^ 
 
 'oS^ 
 
 m 
 
 
 ' 
 
 Fig. 20 
 
 Dividing a corner in half with a diagonal line, as in Fig. 
 20, a, weakens the structure and breaks the space into acute an- 
 gles and lines opposed to the enclosing form, violating Principle 
 II. 
 
 In Fig. 20, b, the same design has been modified and ar- 
 ranged to suit the space and strengthen structure. 
 
 Such a design as Fig. 20 c, composed of two squares so ar- 
 ranged that the points of one square oppose the straight lines of 
 the other, forming triangular spaces which have no relationship 
 in form to the object decorated, is always bad according to Prin- 
 ciple II. 
 
 If, as in Fig. 20, d, the square is used as a motif, it should 
 be so arranged as to conform to the boundary lines. 
 
DESIGN APPI.IED TO EMBROIDERY 
 
 83 
 
 Circles inclosing or inclosed by squares or triangles, see Fig. 
 21, a, are always bad because of opposing lines and unrelated 
 shapes. As a curved line approaches a straight structural line it 
 should adjust itself to that line, as in Pig. 20, a and b. 
 
 Pio. 21 
 
 An arrangement like that in Fig. 21, b, is always good, be- 
 cause it breaks the space into well related parts and the lines are 
 consistent. Different motifs may be consistently arranged within 
 these border lines. 
 
 The difficult problem of working out the corner for a design 
 constructed on the oblong will be much simpHfied by employing 
 the device shown in Fig. 22 : Draw a line at any point, as A-B, 
 through the motif, such as to form a 45° angle with the side line 
 A-D. Trace all of the design on one side of the diagonal Una A-B, 
 after which, using A-B as an axis, turn D-A-B over and retrace. 
 The result will be a good corner design, as M-O-N. If desired, 
 the part of the design A-C-B may be used with equally good 
 results. 
 
34 
 
 ART IN DRESS 
 
 The Use op Color in Embroidery 
 
 It is well to follow some definite color scheme for use in 
 colored embroidery, as it takes very skilful handling to arrange 
 a beautiful scheme in brilliant colors. Almost all embroidery 
 silks come in very intense colors. One dark neutral color, se- 
 lected in accordance with the background, should predominate 
 with two or three more intense colors of different values. Colors 
 should vary in area according to their value and intensity. ( See 
 chapter on color. ) A background should always be of neutral 
 color. In order to" hold the design to the background, the back- 
 ground color, may be repeated in the design in a different value 
 and in greater intensity. For instance, in a one mode scheme 
 of green with a light neutral green background, the large masses 
 of the design may be done in a darker green with the center of 
 interest a very intense light green. In a complementary scheme 
 of blue and orange, the background may be tan (neutral orange) 
 with the larger masses of the design in a neutral blue and the 
 center of interest bright orange. Brilliant color should always 
 be used in small spots, marking the center of interest. In a re- 
 lated scheme, it is wise to select for a background a color which 
 has less warmth inasmuch as cool color has a tendency to recede. 
 Backgrounds should never force themselves beyond the design. 
 Warm colors predominate for the center of interest because the 
 center of interest should be the most attractive part. The center 
 of interest may be further emphasized by a contrast of brilliant 
 or darker color. If a warm color is used for a background, it 
 must be very neutral. Thru the juxtaposition of very brilliant 
 unrelated colors in small spots it is possible to produce a neutral 
 tone. This arrangement of color is very beautiful in very com- 
 plex surface patterns. It is often seen in oriental rugs and old 
 embroideries. 
 
DESIGN APPLIED TO EMBROIDERY 
 
 35 
 
 ■ / 
 
 CURVED tINE DESIGNS SUITABLE FOR WHITE EMBROIDERY 
 
86 
 
 ART IN DR^S 
 
 TTIi 
 
 .M M &. », &, 
 
 MMIIMWIIIM 
 
 •<P> 
 
 <^ 
 
 
 4Q^ 
 
 'o ■& 
 
 A<§>^ 
 
 C^ V C3 
 
 METHODS OF REPEATING AND ARRANGING MOTIFS FOR 
 TABLE RUNNERS 
 
DESIGN APPWED TO EMBROIDERY 
 
 37 
 
 OuTwNE FOR Use in Working Out Embroidery Designs 
 
 'I. Selection 
 
 I. Selection of Ma- J Use 
 terial [Fitness 
 
 iln accord with 
 surroundings and 
 law of background 
 
 3. Selection of Space to be Decorated 
 (Greek rule) 
 
 4. Selection of 
 Motif 
 
 (Geometrical 
 Floral 
 
 ^2. Arrangement 
 
 'i. Space Divisions ■ 
 
 2. Arrangement of , 
 Color 
 
 In accord with laws 
 of space arrange- 
 ment 
 
 (See Chapter I) 
 
 Theory of color 
 Law of backgrounds 
 Law of areas 
 
 (SeeChaptecV) 
 
CHAPTER VII 
 
 HOME DECORATION 
 
 THE activities in which the principles of art may be employed 
 are unending, but one in which all women are interested is 
 the furnishing of a home. We shall not entitle this discus- 
 sion "Interior Decoration," for that would necessitate a very 
 complex and extensive study, but we shall give a few elementary 
 principles concerning color and arrangement which are very es- 
 sential in creating a pleasing home. Unity, symmetry, and re- 
 pose of line and color are the first things to be attained. 
 
 Line Arrangement 
 
 At one period of decorative development, draped curtains, 
 much-carved furniture, and ornate rugs with realistic designs 
 and whirling curved lines were in vogue. These gave a jumbled, 
 confused effect to a room. The curved lines and naturalistic 
 flowers and animals in rugs and carpets seemed to deprive the 
 floor of its rightful mission of remaining flat. One could not 
 walk about without the feeling of crushing flowers or doing vio- 
 lence to our friends of the animal kingdom. Rugs and furniture 
 were placed across corners and in opposition to the lines of the 
 room, as illustrated in Fig. 23, a. The structural lines of a room 
 are vertical and horizontal; consequently, many strong lines in 
 opposition, such as those of draped curtains. Fig. 23, c, rugs, and 
 large pieces of furniture placed on the bias, produce a feeling of 
 distraction and unrest. The balanced straight line arrangement 
 in Fig. 23, b, d, and /, is symmetrical and restful. Fig. 23, e, is 
 bad in balance. 
 
 The highly ornamented and bizarre may interest for a min- 
 ute, but only those things which are beautiful in proportion and 
 simple in line stand the test of time and long satisfy the aesthetic 
 taste. Rugs, draperies, and furniture — ^the' things we must live 
 with and see daily — should be useful, suitable in line and color, 
 and should be placed in spaces in which they fit. 
 
 Color 
 
 It is a recognized fact in science that color has a distinct 
 efifect on the nervous system. For this reason, careful thought 
 is being given in some sanitariums to the color of the walls of 
 
 38 
 
HOME DECORATION 
 
 39 
 
 ■^— 
 
 ?! 
 P 
 
 
 
 s 
 
 Ini --^n 
 
 y 
 
 fl . M. .11 . 1 
 
 -anc 
 
 ,^— -^^ 
 
 
 
 ^"^ 
 
 , ■" 
 
 ^■^ ' v^ 
 
 
 
 i 
 
 a 
 
 D 
 
 i 
 
 
 
 ^^^ 
 
 pn 
 
 " 1] 
 
 m 
 
 
 -m 
 
 m 
 
 
 
 
 
 FlO. 23 
 
 f 
 
 .D 
 
 A, c and e are examples of bad line arrcingement ; h, d and / 
 are good. 
 
40 ART IN DRESS 
 
 certain rooms. A fever patient would be sure to find light blue 
 or green more refreshing than dark brown or red. Knowing 
 that color has a temperamental effect on us we should be careful 
 to use it intelligently. 
 
 The amount of light in a room must first be considered in 
 determining the color to be used. All colors used in large masses 
 must be quite neutral. A light, south exposure living room may 
 be done in a dark neutral cool color. In dark, gloomy rooms a 
 light, luminous color should be used, such as yellow, yellow 
 orange (tan), or colors in which yellow predominates. Yellow 
 reflects light and means cheerfulness. Blue, blue green, and gray 
 are colors of distance and recede, giving a room a larger appear- 
 ance. The dark browns and reds tend to make a room look 
 smaller, because they are dark and aggressive. 
 
 The use of a room is another determining factor in the 
 choice of color. Dark neutral colors produce a quiet, studious 
 atmosphere in a library. The warm tans and neutral reds are 
 good in reception halls and dining rooms where a spirit of wel- 
 come prevails. The same general rules of use and light apply 
 to bedrooms, except that the main intent should be to get a 
 clean restful color. 
 
 Ceiung, Side Wall, and Floor Coverings 
 
 A ceiling should never attract attention, but should reflect 
 light into a room and, therefore, must be light and luminous. 
 Only very small figures in the same hue, if any, are permissible. 
 In case the ceiling is very high and there is a need of lowering its 
 effect, a darker color, or a drop ceiling will tend to accomplish it. 
 
 Side walls should, first of all, be a good background, neutral 
 always, and about middle value, varying, however, in value and 
 intensity according to the light and use of the room. All natural- 
 istic motifs, prominent stripes, designs with a pronounced diag- 
 onal, or with spots, should always be avoided. Wallpapers of a 
 one mode color scheme, and also of complex design — even if the 
 designs are of different colors, or if they are near in value to the 
 background — form beautiful coverings for the wall. The most 
 important consideration for a side wa,ll is to keep it flat and rest- 
 ful, avoiding a confused effect in line and color. Borders and 
 paneling must be handled very skilfully. 
 
 The floor covering must, of course, repeat the coloring in 
 the side walls in predominance. It should be darker in value 
 
HOMB DECORATION 41 
 
 than a side wall. Avoid large geometric figures or naturalistic 
 designs. 
 
 Draperies and Decorations 
 
 Draperies must repeat the color used in the side walls, but 
 may be slightly more intense. Curtains should be toned ecru or 
 cream if used in a room where warm color predominates. White 
 curtains are better in bedrooms with cool walls. All draperies 
 should conform in line to the structural lines of the windows and 
 doors, as a curved line opposed to a straight line attracts the at- 
 tention unpleasantly. Fig. 23, c. 
 
 A few good pictures should be hung in spaces to which they 
 conform in line and shape. Frames and picture mats should be 
 toned to hariponize with the coloring of the picture and should 
 be secondary to it. The general effect of a room must be con- 
 sidered in selecting picture frames, for one large, ornamental 
 frame may destroy the harmony of the room. 
 
 All useless bric-a-brac should be done away with as it catches 
 dust and adds nothing to the beauty of a room. The only place 
 in a house for curios and souvenirs is in a den or some very 
 intimate room, not in the living room or reception hall. 
 
 Decorations placed in a room may attract the attention, pro- 
 vided they are not out of the normal circle of vision, thus causing 
 the eye to fly toward the ceiling or the floor. Bright notes of 
 color are legitimate in sofa pillows, pictures, and in such articles 
 as belong near the eye level, but are out of place in riigs, carpets, 
 ceilings, or walls. They should remain in the background. A 
 few pieces of useful, beautiful pottery may be adapted to add 
 the necessary note of color. 
 
 Class Exercise 
 
 By the expenditure of a little thought and time the ingenious 
 instructor may devise many ways by which the problem of house 
 furnishing may be carried out in the schoolroom in a manner to 
 be both practical and concise in its application. For instance, a 
 collection of furniture and rug catalogs, as well as many samples 
 of wallpaper and hangings, should be made. From one to three 
 large sheets of cardbo&rd may be arranged to represent the side 
 walls of a room to be decorated ; all openings, such as windows, 
 doors, etc., being cut out. 
 
 First, a class discussion should be carried on, in which such 
 general questions as use of room, situation in regard to light, and 
 
42 
 
 ART IN DR^S 
 
 expense, should be decided upon. Then, by dividing the class 
 into groups, one for papering, another for selecting hangings, 
 and still a third for the actual furnishing, the usual objection to 
 large and unwieldy classes may be avoided. When each group 
 has made its selection, including first and second choice, class 
 criticism should be resorted to for the final decisions, then all 
 will have the benefit of each step. The problem may be cora-- 
 pleted by each group actually placing the final selections on or 
 against the cardboard frame. The wallpaper may be pasted on, 
 or held in place by cardboard or light wood frames made to fit 
 in the openings. When all is finished, a third and final class 
 criticism may be resorted to, when general effect and arrange- 
 ment should be discussed. 
 
 To make the problem more nearly complete the wallpapers 
 should be worked out in water color, as of course the design on 
 the papers from among the wallpaper samples will be found far 
 too large for our miniature room.