Part 7

In the glazed colored papers in the market we may find some of these purples, especially in the tints or "pinks" which when placed beside the unglazed surfaces of the standard papers render the latter quite subdued. But in primary color education there is no place for these purest purple papers, until chemistry discovers other colors correspondingly brilliant to complete a purer chart of spectrum colors than is now possible.

Color Teaching in The Schoolroom.

In the preceding sections of this book the author has aimed to so guide the teacher who is looking for aids in elementary color teaching that she can by actual experiment determine for herself the truths regarding color, and hence be able to choose such facts as are suited to the needs of her pupils from time to time, and to present them in such a logical order as to render them of the greatest value in practical results.

It should be possible to interest the children in color more easily than in any other subject. Examples are always around them at home, in the street, in the garden and the field, if perchance they are fortunate enough to see the field, and those who see no attractive colors elsewhere certainly should find them in the schoolroom. To a teacher who is in love with the subject the world will be full of examples, every day. The beautiful yellows and greens of the spring leaves, the flowers, birds and butterflies of the summer, the autumn foliage, the sunsets and blue and purple mountains of winter, are but hints of the multitude of object lessons in color all around us; and if none of these are available the more commonplace subjects found in the latest seasonable colors of dress goods and house furnishings will be almost equally valuable. When the children are once interested they will discover, through their own observation, examples of such value as to surprise one who has had experience with only the old methods of trying to teach color, or rather the utter lack of all methods heretofore in vogue.

The value of kindergarten training has been so thoroughly demonstrated as to be beyond controversy, and all progressive school boards must soon recognize the necessity of adopting kindergarten methods in the lower primary grades, until such time as it may be possible to introduce the complete kindergarten for all the children, to precede the school proper. The conditions prevailing in the kindergarten are peculiarly favorable to the study of color, because of the opportunities afforded for introducing it in connection with the manual exercises of the gifts and occupations.

The first gift of the kindergarten, as originally introduced by Froebel, consists of six soft worsted balls in six colors, which he seems to have selected as standards without care or knowledge regarding the theory of "three primaries and three secondaries," although no doubt he may have indifferently accepted it, because it was the only one in his day suggesting any logical scheme of color combinations.

The use of colored papers educationally in a systematic way originated in the kindergarten, and comprised folding, cutting, pasting and weaving, from which some color instruction was incidentally derived by the children. But with the papers formerly in the market little special training in the selecting, matching and naming of colors, such as is of so great value at the present time, was possible. The call for better colors in papers came first from the kindergartners, and the diversity of ideas expressed by them caused the writer to institute a series of investigations which have resulted in the system to which this book is devoted. The occupations of paper folding, cutting and pasting have been adopted into the primary school from the kindergarten, and there is no question but the occupation of paper mat weaving as practiced in the kindergarten should also be introduced in the lowest primary grades for those who have not had kindergarten training, because of its value in simple manual work and in designing symmetrical patterns and harmonious color combinations.

By general consent colored papers have been chosen as the most available material for this work, because while relatively cheap, the purest colors possible in pigments are secured, and the material is adapted to the most elementary manual training and education in form as well as color. It is not the author's aim to here provide a definite course of lessons to be given in a perfunctory way or in a fixed order, but rather to furnish suggestions based on practical work in the schoolroom that may be of value to those who have carefully examined the preceding pages of this book and become familiar with the experiments described. The suggestions are based on the experience of teachers who have been using the system here advocated for several years and testing it in various ways, and therefore it is hoped that they may be of value to any earnest worker who is not fully satisfied with her efforts in teaching color up to date. Consequently a brief outline of work is suggested for the earliest years, according to a definite order, and then further suggestions and experiments are introduced, somewhat in the order in which they may naturally present themselves.

The time has passed when it is necessary to offer any argument for the study of color in the schoolroom. Every child begins his school life with many color impressions which he has been acquiring since the day when his baby fingers first stretched toward some bit of color, and his development demands a clear presentation to him during the earliest school years of the fundamental facts concerning color upon which all later work must be based.

The Glass Prism.

A glass prism is one of the first requisites in the appliances for teaching color, and a prism which may be bought for a few cents will work wonders in the hands of an interested teacher, although a more perfect instrument, such as is sold with physical apparatus, will give colors which are better defined.

Experience in many schoolrooms has proved that a spectrum can be shown somewhere in the average room at some hour in every sunny day, especially in the longer days of spring and summer, and it is well to have the prism when not in use so fixed as to project the spectrum into the room much of the time, so that it may become familiar to the younger children. Observation of the spectrum enthuses the children with a feeling for color which can be developed in no other way, and they never tire with watching the wonderful vibrating effects of the liquid colors; and by studying it the mental image of each of the six colors becomes as distinct as that of the cube after it has been handled and modeled. If the schoolroom is provided with shutters or dark curtains a much better spectrum can be produced by closing them, as even a slight change from a bright sunny daylight has a very perceptible effect in bringing out the colors. A person who has never seen a carefully prepared spectrum in a room almost perfectly dark can have no realizing sense of the purest possible expressions of color.

Accident once disclosed a simple means by which one teacher secured a very good spectrum. There was a deep, dark closet opening from the schoolroom and one bright day when the prism was being used the spectrum was accidentally thrown into this closet, and the sudden and enthusiastic expression of approval by those pupils who were in position to discover it was certainly interesting to the teacher of that country school, with a dark coal closet.

In a spectrum such as can be produced in a dark room with the most perfect form of prism, all the various colors can be separated and carefully examined and by special appliances compared with pigmentary colors. Experiments of this kind are exceedingly interesting and instructive, and demonstrate the wonderful intensity and purity of the spectrum colors as compared with the purest pigmentary colors that can be produced. Such experiments were carried to a great degree of perfection when the six standard colors for the Bradley Colored Papers were selected.

How the Bradley Color Standards Were Chosen.

After many months of labor in securing samples of material colors, and many days spent with the spectrum, a committee of artists, scientists, teachers, and artizans unanimously decided that æsthetically and psychologically the colors adopted were the best possible material expression of the six localities in the spectrum corresponding to the feeling or psychological perception of red, orange, yellow, green, blue and violet. Many subsequent experiments have apparently proved that practically the same six colors best serve the purpose of primaries from which to make all others by combination.

In accordance with these selections the educational colored papers have been made, and since that time an expert scientist has accurately located each of these colors in the spectrum by its wave length. Consequently after the children have come to know the six colors in the sun spectrum the six standard colors of the papers may be shown as the best imitations possible. In studying the six colors from the spectrum in a schoolroom it frequently happens that one color may be best seen on the floor, another on the wall or even the blackboard, and another on the ceiling, and after the order of the colors in the whole spectrum has been observed, it is well to get each color where it can be best secured.

Paper Color Tablets.

When the spectrum has been studied so that the children have some idea of the six colors and their location relative to each other, give each of the children a package of the colored paper tablets, one inch by two inches, containing the eighteen normal spectrum colors, i.e., those in the central vertical column in the Chart of Pure Spectrum Scales, Page 41, and tell them to select from the eighteen the six which they have seen in the spectrum and which may be named to them as red, orange, yellow, green, blue and violet.[C]

[C] Tablets of paper instead of cardboard are recommended because in primary instruction the standards or types of color presented to the child ought to be the purest possible expressions of the colors represented, and a piece of color material cannot meet this requirement after having been used one year by a child. The necessary expense of cardboard tablets practically precludes a new supply each year. But the papers can finally be used to form, by pasting, some chart or combination which the pupil may be allowed to own as a sample of his work.

If a sheet of neutral gray cardboard can be secured for use on each desk all early color work will be more valuable, because of the undesirable effect of the usual yellow or orange color of the wood of the desk.

If some of the pupils do not make the correct selection of the papers it may be well to let the error pass for that time and have another exhibition of the spectrum before the next trial. Get as many of them as possible to make the selection of the six colors from the eighteen solely by comparison with the spectrum. Later if some are still unable to succeed, a paper spectrum may be shown to them, or what is better, six bits of paper like their own, pasted on a card, with an interval as wide as two papers between each two. When every child can readily select the six standard colors from the eighteen then all of them may with advantage be told to lay the six in a row on the gray cardboard or desk, in their proper order, and sufficiently separated to allow room for two other papers between each two. When all have made the attempt and some have failed to arrange the papers correctly the card having them properly mounted may again be shown and each one in error may make the necessary corrections by comparison.

In a solar spectrum such as is possible in the ordinary schoolroom the intermediate colors between the standards cannot be very distinctly seen but the child can be shown that between the red and orange, with which he is familiar, there are colors different from both and possibly he may be led to see that these colors seem to be a mixture of the two. With this impression in the minds of the children the following experiment may be a very interesting psychological test of the natural color perception of each child, or in other words his "color feeling."

Ask the children to arrange the remaining twelve papers between the six standards in pairs and one outside of the red and violet at the ends. This exercise will serve to bring each of the other colors to the critical attention of the children so that they may not be entirely strangers to them in the succeeding exercises. At this stage the color wheel or color top or both will be most valuable.

Color Wheel or Top.

If the wheel is available let the teacher place on it combined red and orange disks of medium size and in front a small red disk. Before beginning the six papers should be laid on the desk in order, separated by two spaces. Call attention to the fact that the red disks are like the red sample of paper. Explain how the disks are joined and that the two larger ones can be made to show more or less of the orange and the red.

Then introduce a small amount of orange, perhaps not enough to cause the effect to be perceived by the children when the wheel is in motion, and rotate. Ask if they see any difference between the small disk at the center and the larger surface. Add more orange till they see a difference, and continue to add orange to the red until nearly one-half the disk is orange or till it may be questionable whether the color made by rotation is more nearly orange or red. This point will be reached before the orange nearly equals the red, because the orange is more luminous. Explain that all these colors which the children have been seeing are orange-reds and ask the pupils to select that color from their papers which is orange-red, or most like the orange and red. In the meantime set the orange and red disks to the proportion of R. 85, O. 15, which nearly or exactly matches the orange-red paper. When the children have selected the paper which they think is orange-red, put the wheel in motion and ask them if their selection is like the color on the wheel. If not, see that all understand and have selected the orange-red paper to place next the red sample. When this has been done remove the disks from the wheel and readjust the larger ones so as to show a combination that is nearly all orange; then replace them and substitute in front a small orange disk instead of the red one and proceed to show a series of red-orange colors from the orange toward the red, as previously shown from the red toward the orange. With experiments before adults this break in the order of proceeding and the change of disks would be unnecessary, but with children it is desirable to mark a distinction between the orange-red and the red-orange colors, a fact which is emphasized by the mechanical manipulation. When the children have been asked to place their red-orange paper in its proper position the disks may be set to R. 50, O. 50, and an imitation of their red-orange paper shown.

If the school is provided with color tops their use may be begun at this point by allowing the children to attempt to repeat the wheel experiments with the tops and thus produce for themselves an imitation of the two intermediate spectrum hues in the papers. In all combinations of colors by disks as well as pigments there is some loss of purity and hence the colors of papers in the intermediate hues may be a little brighter in some cases than the results of two disks in combination.

This suggestion for the presentation of one pair of the intermediate spectrum hues may serve to illustrate all the others, and the time which can be devoted to the whole subject must determine the detail with which each pair is treated.

If the tops are provided in a school but no color wheel then the teacher must begin with a top as a substitute for the wheel and let the children follow her with their tops by dictation. At first this will be much more difficult than if the wheel could be used, but after the children have become somewhat familiar with the handling of the top by dictation the result will be quite surprising. There will be in every school some children who are exceedingly awkward in the manipulation of the top, until the happy day arrives when all school children are graduates of kindergartens. At present the average kindergarten pupil will handle the top better than the children in the lowest primary grades who have not had the advantages of kindergarten instruction.

When all the hues except the red-violet and violet-red have been located, the teacher should be prepared with a chart made by pasting the eighteen paper samples, including standards and intermediate hues, in their order on a strip of paper, so that by bringing the ends together the children may see that when they place the violet-red at one end of their row and the red-violet at the other they are really completing a spectrum circuit and forming a chart of natural colors. Ever since Newton's day it has been fashionable to speak of the spectrum as nature's chart of colors. This expression is but partially true and is entirely false if we mean that it contains examples of all the colors in nature. The spectrum is valuable in color study only from the fact that it enables us to establish permanent standard colors from which all colors in nature and the arts may be named and by the combinations of which such colors may be imitated.

Unless the standard colors in a system of color instruction are the closest possible imitations of corresponding spectrum colors there is no logical relation between such a system and a chart of colors based on the spectrum, because the spectrum does not furnish a complete circuit of colors and its only value is, as before stated, in furnishing a permanent standard on which to found a nomenclature of colors.

Up to this time we have not suggested the practice of introducing any natural objects or calling the attention of the children to various colors found in their surroundings. Each teacher must use her judgment regarding this matter, but as soon as miscellaneous colors are to be considered the two questions of hues and tones are necessarily involved, and experienced teachers have been divided in their opinions as to which should be first considered, tone or hue. When it was thought necessary to occupy a long time in presenting all the spectrum colors this question assumed greater importance than at present, but very many teachers have become convinced that we have not been giving the children credit for nearly as much ability in the recognition of colors as they deserve, and that with the methods at present in use the six standard colors and twelve hues can be learned in a few weeks, during which time it may not be necessary to discuss the complicated combinations of colors in nature and our domestic surroundings. This is not intended to mean that the child will in this time be able to name the various hues when seen separately, but that having the eighteen paper tablets he may feel their relations to each other to such an extent as to be able to lay them in their spectrum order. Those pupils who seem to have no natural perception of the proper relationship of colors will require more experience than the rest of the class before they can be sure of their colors and the teacher must exercise her judgment in deciding how long to hold the class to this subject of spectrum hues on their account.

As in other class work it is not necessary that the dull children perfectly comprehend all that is told them at each step, because there will always be some in a class who will comprehend and thus the others may learn by observation, and in this subject particularly every step in advance must necessarily include a continual review of all that has preceded.

Consequently when a teacher has given as much time to the study of hues in the arrangement of the papers as she deems profitable, considering the entire time that can be devoted to the subject during the year, she may well proceed to tones.

The Study of Tones.

It is unnecessary at the beginning to use the word tones with the children, as "light and dark" colors will be understood more clearly. The first lesson in light and shade may be given with some book bound in a bright color, as red for example, which is common in cloth bindings. For this experiment partially open the book and hold it vertically, with back toward the class, in such position that a strong light from one side of the room will fall directly on one cover while the other is in the shade. If properly manipulated this simple experiment may be made effective to an entire class by moving the book in various directions to accommodate the several members, so that at different times all the pupils may get very clearly the idea of light and dark colors in the same scale.

This idea can be more clearly shown by means of a simple model very easily made for the purpose. Take, for example, three pieces of standard red paper, 4×4 inches, and mount them on a piece of cardboard side by side, in a row. Trim the card parallel to the edges of the papers, leaving a margin of uniform width, and with the point of a knife "score" a line partially through the card from the front, at the joining of the papers, so that it can be neatly bent to the form shown in Fig. 16 which represents the model as seen by the class. By holding one of the rear edges with each hand the faces can be folded to different angles with each other and the model turned to different positions with relation to the children. Possibly the windows at the rear of the room may be partially darkened to advantage; they certainly can be if they have a sunny exposure at the time. The object is to give a fair daylight on the central surface for the standard, a strong light on one side to form a tint of the standard and a shadow on the other for a shade of the same color.

By a trial before school, in company with some other teacher perhaps, the best positions for different parts of the room as well as best lighting of the room may be determined in advance and thus such a success achieved with the first experiment that the whole idea of tint and shade may be impressed on each child for all time and definitions firmly fixed in his mind for these two most abused words in our every day vocabulary. Added interest may be excited by showing similar models in several other colors during the same lesson, thus avoiding the possible impression on any mind that the term tint and shade apply to any special color.

Tints and shades may also be shown very beautifully by some kinds of colored materials. Colored satin ribbons, folded or crumpled, and velvets and plushes give good object lessons. One of the most effective exhibitions of tints and shades may be found in a material used for upholstering furniture and technically called "crushed plush," which is a worsted plush embossed in figures and very changeable in its effects as its relation to the light is changed, giving at the same time very light tints and very dark shades in different portions.