UC-NRLF $B 2MD SSfl ELEMENTARY INDUSTRIAL WORK GEORGE H. JENSEN. B. S. I Digitized by the Internet Archive in 2007 with funding from Microsoft Corporation '_ http://www.archive.org/details/elementaryindustOOjensrich ELEMENTARY INDUSTRIAL WORK . . . BY . . . GEORGE H. JENSEN, B. S. Director of Manual Arts, Louisiana State Normal School NATCHITOCHES, LA. Illustrated and Published by the Author NATCHITOCHES, LA. Copyright 1910 BY GEORGE H. JENSEN .***. 284437 PREFACE. We are no longer required to prove to the public that training in the Manual Arts is an essential factor in any educa- tional curriculum. We are frank to admit, however, that we are not conceited enough to say that we have learned the best methods of giving training along this line. The contents of this book are what seem to the author the best that has been found up to the present time for the particular phase of the work for which it is intended. Each problem has been selected only after careful testing in the classroom. All of them have demon- strated their practicability. In a general way, nearly every- one knows about the crafts problems and projects suitable for classwork. But when it comes to using them as such, trifling details, simple in themselves, come up and cause the proposed handwork to be omitted. The wise teacher who has not thoroly learned how to do the work readily, substitutes. Often a few simple suggestions would have cleared up all vagueness. The material in this book is of such a nature that any "wideawake" teacher may with a little patience and applica- tion use it without an instructor. The teaching of this subject has always been somewhat handicapped by the scarcity of text-books that are suitable. Most of them treat only some of the materials that may be used — it is the purpose of this book to treat all that are advisable. Students in my classes have often asked that we have a text-book treating the subject-matter that we cover. In answer to this and the other demand referred to, this little volume has been prepared. INTRODUCTION. The title of this book does not mean to. imply that we are to train for any trade, but it is evident that industrial training necessarily must be included in our curriculum when thirty of our thirty-two millions of workers must earn their living by the use of their hands. A mere "busy-work" period coming for its share of time is not sufficient. The work must stand for something definite, and tangible results must be in evidence. The standard of skilled labor demanded by the industries is already being raised. This elementary work paves the way for the shopwork which will come later. Handwork is often an incentive to more concentrated application at other subjects. Pupils will work harder if they are looking forward to a period when they can lay aside their books and work with their hands. ' While working, keep in mind design and proportion. It is just as easy to teach good proportion as it is to permit the development of a disregard for proportion, if the child is only guided in his efforts. Never strive for quantity at the expense of quality. Honest constructions should always be adhered to, even tho imita- tions may shorten the work and be "just as good." Have your problems so graded that the children for whom they are planned can execute them in a creditable way. There are teachers who are wont to say that a certain execution is very good considering the age of the child — that is a poor standard Plan the problems so that good results can be demanded. Exhibits are a necessary evil. A great deal of time and effort are expended for same, which reduces the time for actual classwork, which is too short as it is. It is fortunate, of course, that parents and friends are interested in the results achieved by the children, but it is such a temptation to help the child in preparing his piece for the exhibit by executing parts of it that he cannot execute himself. The product then ceases to belong to the pupil and becomes the work of the teacher. Vll There are two general suggestions for methods of pro- cedure that are worth while. In the lower grades, use the work in teaching history, industries, occupations, etc.; in the higher grades, constructions and technique should be mastered and emphasized. All of the time, however, initiative should be considered and developed. The different phases of the work need not be taken up in the order of the chapters that follow. Each chapter begins with the simplest manipulation of the subject-matter of which it is treating, and leads up to the more difficult. This book does not attempt to carry any of the crafts into the realm of professionalism. But since most schools, both rural and city, are doing work of this kind in the lower grades, this book hopes to accomplish its mission by helping those who study it to develop better and more sincere methods of instruction. Vlll CONTENTS. Page. CHAPTER 1. Mechanical Drawing . . . . 1 A Simple Working Drawing ... 2 Lettering 5 Designs 9 Geometric Problems . . . . 10 Community Work . . . . . 14 A Barnyard Scene . . . . 16 A Street Scene 18 Doll-House Construction ... 23 The Building of Houses . . . .31 Special-Day Exercises .... 36 Holiday Season . . . . . .37 Envelopes 40 Boxes 42 St. Valentine 43 Washington's Birthday . . . .46 Easter Season . . ... . 49 Hanging, Gift and May Baskets . .51 Miscellaneous Paper Sloyd. . . 56 Cord and String Work . . . .66 Watchchains 67 Guard for Scissors . . . . . 69 Square Knot 70 A Portiere 70 A Small Bag . 71 The Double Sailor's Knot . . .72 Whips . 72 A Hammock 74 CHAPTERJVI- Burlap Work. ..... 76 A Mat 76 A Napkin Ring 77 A Shaving-Pad 78 A Holder 79 ANeedlebook 80 CHAPTER IV. CHAPTER V. CONTENTS— Continued. 6. A Cardcase . 7. A Bag for Books 8. A Pincushion 9. Sofa Pillows IX Page. CHAPTER VII. I. 2. 3. 4. CHAPTER VIII. 1. 2. 3. 4. CHAPTER IX. CHAPTER X. Weaving Single-Mat Weaving A Woven Box Right and Left Weaving Hand-Loom Weaving . . . . 82 . . 82 . . . 83 . . 85 . . . 87 . . 91 . . . 93 . . 95 Raffia Work . 109 Wrapped Work 110 Braided Work 115 Knotted Work 117 Porch Pillows 120 Simple Bookbinding . . . .123 Desk-Pads 124 Portfolios 127 A Simple Booklet 129 Another Book . . . . .130 Loose-Leaf Books 131 Art Books 133 Basketry 135 Reed Mats 136 How to Utilize Mats . . . .142 Reed Baskets 145 Willow Baskets 151 Coiled Baskets . . . . .151 Hard-Coiled Baskets . . . .153 Baskets of Natural Material . .159. Flat Reed Baskets 160 CHAPTER XI. Design 163 1. Block-Printing 171 2. Stenciling . . . . . . .172 CHAPTER XII. Bird-Houses 176 1. A Wren-House 176 2. A Larger Bird-House . . . .179 3. Other Bird-Houses . . .181 I. WORKING DRAWINGS. An understanding of simple working drawings is necessary for hand work of any form. Mechanical drawing differs from free-hand work. In free-hand drawing things are represented as they are seen, or as they impress one. In mechanical drawing things are drawn as they exist, or really are. In drawing any view of an object, either top, end or side, only two dimensions are used. Those are length and breadth. The point of view is assumed to be at an infinite distance from the object; there- fore, no thickness or third dimension is considered. Instruments shown in Figure 1 are essential, being a drawing-board, T-square, 30x60 and 45x45 degree triangles, and thumb-tacks. A compass will also be needed. In using the T-square, the beam (part to which the blade is nailed) should be firmly held against the end of the board in order that all of the lines drawn will be parallel. The triangles are used to draw lines per- 2 ELEMENTARY INDUSTRIAL WORK. pendicular to those drawn with the T-square and for drawing lines to make the various angles mentioned under Figure 1 . The T-square may also be used from the top of the board if the upper left-hand corner is square so that the angle it makes with the line already drawn will be a right angle. In addition to what has already been mentioned, Figure 1 also shows a sheet of drawing paper 9"xl2" in place. The edge of the paper must be parallel with the blade of the T-square. This is easily done by fastening only one of the lower corners and then moving the paper until the upper edge is just in line with the T-square, when the other tacks may be inserted. The character " to the right and above the Figures 9 and 1 2 in the preceding paragraph designates inches. If there is but one of these characters ('), that designates feet. These characters will be used thruout this book. 1. A SIMPLE WORKING DRAWING. A simple working drawing is shown in Figure 2 with all construction lines and method of projection. Figure 3 shows the drawing complete, after inking in all necessary lines and erasing the construction lines. The conventions in the lower right-hand corner of Figure 2 are not a part of that plate, but are for the purpose of learning their names. No. 1 is a line used to represent visible edges; No. 2, invisible edges; No. 3, dimension lines; No. 4, working or projection lines; and No. 5, center lines. WORKING DRAWINGS. 5&)x Top Front" End / z 4- a j-- F.g2 The first step in the making of a working drawing is the drawing of lines parallel with the four edges of the sheet, leaving a margin of i n in case the sheet is 9"x12", the size of the sheet, of course, governing this width. This done, proceed to measure your 4 ELEMENTARY INDUSTRIAL WORK. object, and, comparing it with the length and width of the area on which it is to be drawn, determine the scale. By scale is meant whether it is to be drawn full size, one-half size, one-quarter size, etc. The spaces to the right and left of the views drawn should be equal, but those above and below so arranged as to get a spacing that looks well. Drawing to scale is sometimes confusing to be- ginners. The parts are drawn to scale, which makes the whole drawing proportionate, gaining a definite idea of the full-sized article; but, in putting in the dimensions, use those of the article itself, otherwise we would not be representing what we started out to draw. In drawing the pencil lines, make them slightly longer than necessary, in order that they may cross at the corners, which will avoid errors in inking, since a part of the drawing is covered with the T-square or triangles. The views are placed, as a rule, just as they are labeled in Figure 2 — the top view with the end view to the right of it, and the side, or front, view directly below the top view. The top view is always drawn first, and most of the parts on the side and end view can be projected from this. By projection is meant the continuation of a certain line or lines in order to get a point or a part of the other view without measuring. The different views are never labeled in the real drawing, since the position for each view is fixed. Begin, having the margin lines drawn, by drawing the long horizontal lines. Next space off on these by means of dots where the vertical lines will cross. Fol- WORKING DRAWINGS. 5 lowing this the shafts of the dimension lines are drawn. The drawing is now ready for the insertion of dimensions, but first, draw lines to aid in the lettering and numbering. After drawing said lines as shown in Figure 2, do the lettering; but the barbs on the dimension lines are not drawn in pencil, since they are directly done free-hand and in ink. The inking comes next. Ink the heavy lines first (visible and invisible), and then the lighter lines. Lastly, using a fine pen, ink in the letters, figures and barbs. Erase all pencil and finger marks, and the drawing is complete. If Figures 2 and 3 are not understood after the foregoing explanation, examine a box and try to see the different views. The sides of the box are nailed to the ends, and the bottom is nailed on the lower edges of both sides and ends. Get a better insight by making a few drawings similar to Figure 3 from models that may be had. 2. LETTERING. Working drawings should never be labeled or marked in script. Script is not in keeping with the work, so the practice of the practical draftsman is followed. The lettering may "make or break" a drawing. In other words, a drawing, tho perfectly drawn, presents a disagreeable appearance if poorly lettered. It does for the drawing what paint and decoration do for the house. ; In our work in the grades we shall not aspire to 6 ELEMENTARY INDUSTRIAL WORK. the skill acquired by a professional draftsman, but work away from top-heavy and poorly-proportioned letters. Lettering immediately resolves itself into drawing and design. It is design until a properly sized, shaped and proportioned letter has been decided upon. The execution then is simply drawing. The style commonly accepted is the plain "Gothic." It meets the requirements as to simplicity and ease of execution, making possible speed with practice. For work in the grades these should always be used except in designs where only a few letters are necessary. In teaching the alphabet, first draw the letters free-hand on the blackboard, using four guide lines in the beginning. This is shown in the lettering on the plate in Figure 2. The capitals, or upper case, Figure 4, should be taken up first. Have the pupils rule horizontal lines similar to those drawn on the board by the teacher. Discouragement can often be avoided in the beginning if the letters are not made too tall. It will be found that I" is a good height. When the guide lines have been drawn, lettering may be started. It is not well to begin and letter from A to Z. H being the most fundamental letter, it may be taken first. The vertical parts must be made at a single stroke of the pencil and as nearly vertical as possible. The horizontal is then drawn in the center or slightly above the center. There is only one letter that has the cross or horizontal line below the center, which is A, altho the horizontal line in G is sometimes drawn below the center, which is permissible. WORKING DRAWINGS. ABCDEFGHIJKLMNOPQRSTUVWXYZ Fig 4 abcdefghijklmnopqrsfuvwxYZ 1 2 34567 8*9*0 ABCDEFGHIJKLMNOPQRSTUVWXY BDEHN ABHlTV F/g S r~.g 9 BLOCK FULL BLOCK Umm EXTENDED The width of the letters varies from I to W, but the majority of them are of the same width as that of the letter H. After a line of H's has been drawn, the other letters in this group may be practiced — I, L, T, F, E and N — drawing the vertical lines first in each case. The next letters to be studied are A, M, K, W, X, Y, Z. No new difficulties are presented. It should be noticed, tho, that the M and W differ in that the sides of the M are straight, while those of the W are drawn at an angle. This angle should not be very large, or the letter will look weak. The Y should not be made too wide, or it will look top-heavy. The letters involving curved lines are taken up next— U, J, 0, Q, C, D, G, P, R, B, S. U and J are made by adding curves to the horizontal lines. The letter is made by drawing a left-hand curve 8 ELEMENTARY INDUSTRIAL WORK. from top to bottom, and then a right-hand curve, joining at the top and bottom. What has been said about the U, J and will make the others possible. In S care should be taken to avoid making the lower half smaller than the upper half. The numerals in Figure 6 are studied next. Only the 6, 8 and 9 need analysis. The 6 and 9 are drawn as indicated by the numbers on the figures in Figure 6, 1 being the first stroke, and 2 the second. The number 8 is made up of two ovals, the upper one being slightly smaller than the lower one. The lower-case letters (Figure 5) are practiced last. No difficulty should be experienced. Keep the straight lines horizontal. Only after considerable practice is it wise to attempt either upper case, lower case or numerals at an angle as shown in Figure 7. The width of the letters has been mentioned, but not in proportion to the height. This varies considerably; but, if it is figured mechanically, two- thirds is a safe proportion for average lettering. For sake of variety, or because of the smallness of the space, letters can be drawn much narrower in pro- portion to the height. These are called condensed, and show in the plate on lettering. When they are much wider in proportion to the height, they are called extended. Spacing is a very important consideration. Area of space between the letters should be equal or nearly so, rather than the actual distance in a horizontal line from one letter to another. If the spaces are equal in width, dark spots will appear. Therefore, H and E coming together should be more widely separated than E and F, or F and J. And even F and J can WORKING DRAWINGS. 9 be drawn closer together than E and F. The eye must learn to gauge the proper spaces, as no set rule will always effect good spacing. T can be made to overlap the letter preceding or following it, and Y and T coming together are sometimes narrowed. The letters should now be drawn with the aid of only two guide lines. But never attempt to letter without any guide lines, altho some are able to work with but one, which is the reward of persevering practice. 3. DESIGNS. It is desirable, even in the lower grades, to design titles, valentines, illuminated initials, posters, port- folios, etc., involving more elaborate lettering than has been studied up to this time. The block letters just below Figure 8 are the simplest of these, since they can be drawn without the aid of instruments. By the addition of serifs (labeled A in Figure 9) and spurs (labeled B in Figure 9) we make of the block a full-block letter. The "Classic Roman" (Figure 8) is an alphabet drawn in outline. This affords a letter that can be colored, which is quite effective. The "Italian Renaissance" (Figure 9) is quite similar to the "Classic Roman," but executed in solid and not in outline. Those desiring to elaborate along this line have only to notice what is around them. Window signs, magazine covers, headlines in magazines, and various magazine advertisements, provide ample material for many and varied letters and executions. 10 ELEMENTARY INDUSTRIAL WORK. A-|*- ^S-* Fig 10 4. GEOMETRIC PROBLEMS. In executing the different prob- lems in hand-work construction and design some geometric constructions are necessary. Only those most frequently used will be given. The problems are to be worked out by means of the ruler and compass. The T-square with triangles is not to be used here, since we are brought in contact with these problems when drawing board, T-square and triangles are not available. In the solution of a geometric problem we have three parts: First, that which is given; second, the construction; third, that which is required. The part required in the problem is drawn heavier in the figure than parts 1 and 2. I — To draw a perpendicular to a given line at a given point in the line (Figure 10): With C as center, and a radius less than CA or CB, strike arcs at 1 and 2. With 1 and 2 as centers, and a radius greater than one-half the distance from 1 to 2, strike arcs intersecting at 3. Draw a line from point C passing thru 3, which is the perpendicular required. F, 9 \b WORKING DRAWINGS. 11 II — To draw a perpendicular at the end of a given line (Figure 11): With A as center, and any radius, draw an arc, nearly a semicircle, cutting the line AB at 1 . With 1 as center, and with the same radius, strike an arc cutting this arc at 2. With 2 as center, and with the same radius, strike the arc 3-4. With 3 as center, and with the same radius, cut the arc 3-4 in four. A line drawn from point A thru the intersection at 4 is the required perpendicu- lar. Ill — To bisect a given straight line or an arc of a circle (Figure 12): Take A and B as centers, with a radius greater than one-half of AB, strike arcs inter- secting at 1 and 2. Draw line passing thru 1 and 2 which passed thru 3 and 4, bisecting both arc and line. This line is also perpendicular to the straight line AB. lV — To draw a line parallel to a given line at a given distance (Figure 13): Let CD be the given line and AB the given distance. With 1 and 2 as centers (any two points in the line CD), and radius AB, strike arcs 3 and 4; then draw EF, the required line. V — To bisect a given angle (Figure 14): With B, in the ABC, as center, strike an arc intersecting AB and BC in 1 and 2. With 1 and 2 as centers, and any radius greater than one-half the distance from 1 to 2, strike arcs intersecting at 3. Draw the line B3 which bisects the angle ABC. VI — To trisect a right angle (Figur 15): Withe B as center, and any radius, strike an arc intersecting A and C in 1 and 2. With the same radius take 1 and 2 as centers, and cut the arc in 3 and 4. Draw B3 and B4, trisecting the right angle. 12 ELEMENTARY INDUSTRIAL WORK. VII — To inscribe a regular hexagon within a given circle (Figure 16): Draw a diameter cutting the circle at A and B. With A and B as centers, and the radius of the circle as radius, strike arcs cutting the circumference at 1, 2, 3 and 4. Draw 1-3, 3B, B4, 4-2, 2A, Al, and the inscribed figure is the regular hexagon. To divide a circle into three equal parts (Figure 1 6) : Draw lines from 1 , 2 and B to the center instead of joining the points in the circumference to form the hexagon. To divide a semicircle into three equal parts (Figure 16): Draw lines from 1 and 3 to the center of the line AB. This applies to the upper half of the figure. VIII — To inscribe a regular octagon within a given circle (Fig- ure 17): Draw a diameter cutting the circumference at 1 and 2, then draw another diameter at right angles to the first one, cutting the circumference at 3 and 4. Bisect the right angles thus formed, cut- ting the circumference at 5, 6, 7 and 8. Draw lines connecting the intersections in the circumference, and the inscribed figure is the regular octagon. IX — To construct a regular octagon within a given square (Figure 18): With ABDC the given square, draw diagonals intersecting at the center. With A, B, FiqJ9 WORKING DBA WINGS. 13 C and D as centers, and a radius equal to one-half of the diagonal as radius, strike arcs intersecting the sides of the square in points 1,2,3, 4, 5, 6, 7 and 8. Draw 5-3, 8-2, 4-6 and 1-7, making the required octagon. X — To inscribe a regular pentagon within a given circle (Figure 19): Draw a diameter AB and a radius EC perpendicular to it. Bisect AE at 1. With 1 as a center, and radius 1C, cut the diameter AB at 2. With C as a center, and radius C2, strike an arc cutting the circumference at 3. C3 is a side of the required pentagon. Set off this distance on the circumference five times. Draw 4C, C3, 3-6 t 6-5 and 5-4, and the required pentagon is complete. 14 ELEMENTARY INDUSTRIAL WORK. II. COMMUNITY WORK. In a genuine course of hand-work two things should be sought for: First, the interrelation of different problems; secondly, there should be some- thing about the work that should make each phase or part of it contribute to the whole of the year's work and not let any one part of it be an isolated fragment. And this second, which is sometimes violated in trying to overcome the first, is a flexible program prescribed by the immediate surroundings and interests of the children. It is never advisable to have a fixed and definite program to be carried out in every room of the grade for which it is intended. No flexibility is in evidence and the imagination is hampered. In choosing the form of community work to be executed, care should be exercised so as to avoid anything that will necessitate elaborate material or equipment. Children should be permitted to select the problem to be executed, but the teacher can always get them to choose something possible. Any local industry can be worked out in a simple way. An ex- cursion or visit to the factory should always precede the beginning of the work. Since most of the community work is construc- tion from paper and cardboard, do not try to exclude all other material. Weaving, clay modeling, and the use of splints and reeds are often resorted to; and, since this often takes up several months, work COMMUNITY WORK. 15 for the special days must receive its share of time in due season. Exercises for Thanksgiving, Christ- mas, Valentine Day, Washington's Birthday, etc., are used to advantage. Among the most possible executions in the form of community work are the following: 1. A barnyard scene, including the building of fences, representation of fowls and animals, foliage, etc. 2. Street scenes, including houses, stores, churches, carts, wagons, telegraph poles and wires, trees, etc. 3. Railway stations, including station, freight and passenger cars, cabs, automobiles, en- gines, etc. 4. A dollhouse constructed of dry-goods boxes. Furnishing to include not alone furniture, but the covering for the walls and floors, and curtains for the windows. 5. Indian life in connection with Hiawatha. 6. History of transportation. 7. Industries, as lumbering, mining, cotton, etc. 8. Eskimo life. 9. Modern villages, giving attention to, or using it to teach sanitation and to give some defi- nite ideas about the planning of homes. (When using the same industry or scene for different rooms of the same grade be sure that each room carries a distinction of its own, so that it will not be executed in precisely the same way as the others.) What has been suggested is applicable to the first three or four grades. And No. 9 is applicable to the upper grades. 16 ELEMENTARY INDUSTRIAL WORK. The paper for this work should be rather heavy. Any of the construction papers are good, and bogus paper which is used for many purposes is quite de- sirable, since it takes crayon so well. The best way to use paste is to cut small pieces of cardboard and put a small amount of paste on a piece for each child, returning the paste that is not used to the jar. A formula for paste is given in the chapter on Miscellaneous Paper Sloyd, page 56. 1. A BARNYARD SCENE. White paper, scissors and paste are needed for this problem. It is well to have the blunt-pointed scissors, so that the young children will not injure themselves. The cuttings are free-hand, and then pasted on the blackboard. After the work is finished the paste is easily removed by washing, and you have a fresh, clean board. This is probably one of the simplest forms of community work, and makes an excellent problem for the first grade. Silhouette work is of the same type where the cutting is done in black paper and mounted on white or manila paper. The scene il- lustrated in plate 1 is only one of the many possible ones. Story-telling can be illustrated in an interesting and fascinating way. After the subject has been decided upon, let each child decide upon the things he will have in his barnyard. Then permit him to cut free-hand. You will be surprised at the originality that some will show. COMMUNITY WORK. 17 wKSgP+w&t Il§3#''; |S^ BH FH"- ^Ml Pjate I H br 81 19 |a[| Kn^fl bHJBB| HnHp ^B BM • ~^fl eITjHBI marmSBBm BBF" WsBBm ■ A M n ' wM /jb^b (M^HHHI 18 ELEMENTARY INDUSTRIAL WORK. Do not infer that the cuttings of all of the different things are to be made at one sitting. Decide upon an animal or object for each lesson, and then have each one cut a number of these and select some of the best ones for mounting. It is not wise to devote too long a period, since the children become tired and possibly their interest will wane. After enough subjects have been gone over to complete the group the mounting is taken up. Let the children assist in the arrangement. This is favor- able to the blackboard, since the children can remain seated while the teacher or one of the pupils does the pasting, and in mounting the silhouette work this is not always possible. Emphasize the point that those objects nearest them appear larger than the ones farther away. The road and the water in plate 1 were done in crayon. This could be done to a certain extent along with the cuttings. If so desired, a hen-house could be added to the scene. And that would include coops and additional chickens. The field just beyond the barnyard gate might also be utilized by having a man working the soil with the aid of a team of horses. As a rule this problem will be of interest to the children long after it has been completed. But re- member that it is worth while even tho the interest is only transitory. 2. A STREET SCENE. This is best worked out on the sand table. It is just a little in advance of the barnyard scene, and may be used to advantage in the second grade, and COMMUXITY WORK. 19 with some elaboration may be repeated in the third and fourth if necessary. If no sand table is at hand, one can be readily made by nailing strips of 1 "x4" to the edges of a table, so that they project three inches above the top, and then sawing the legs so that it will be of a convenient height for the children to work at. Any clean sand can be used. If no sand table can be made, use a large shelf or the top of a table which has been covered with paper. If this problem is being executed in a city, then a certain street, or a part of one, can be decided upon. In the country teach them about the city by means of this problem. Have the children work from memory, and begin by cutting outlines of the buildings, and then represent the doors and windows as well as other parts of a single view by the use of pencil or crayon. Figures 20 and 21 show two different houses. Since we are to represent but one view of the house, and that by a single sheet of paper, some kind of a support is necessary. Figure 25 is designed for that purpose. Fold on the dotted line, and paste the part indicated to the back of the part to be supported. If the paper is fairly stiff, only one support is necessary. The store in Figure 22 may be used to advantage, and can be varied if a shopping district is being exe- cuted. The churches in Figures 23 and 24 are typical forms. The piece of paper in Figure 26 is to be rolled and pasted for a telephone pole, and a cross-arm pasted at the top. If used on the sand table, the end is simply pushed into the sand; but, if used on the table or 20 ELEMENTARY INDUSTRIAL WORK. w^y shelf, one end is cut as indicated, and, bending on the dotted lines, the parts are pasted to the table. The one in Figure 27 is much simpler, since the pole and cross-arm are cut out in the flat and supported in the same manner. In Figures 28 and 29 are shown two representa- tions of trees. They are cut out in the flat, and supported in the same manner as the telephone poles. The fence in Figure 30 is made and supported as in the first five figures in the plate; but, in using this with more advanced pupils, spaces can be cut out between the pickets, also some of the other prob- lems might have openings cut for windows, doors, etc. COMMUNITY WORK. 21 Figure 32 can be represented in the flat and supported, which is advisable for lower grades. The construction for the cart in three dimensions is shown in Figure 31. A square piece of paper is folded into sixteen squares. Cut on the solid lines, and fold and paste. The dotted lines represent the folded lines. The wheels are pasted to the sides of the cart and the shafts to the bottom. The wagon with a top in Figure 35 can also be represented in the flat or constructed in three dimen- sions. A square (Figure 33) is folded, and then cut on the solid lines as indicated. Figure 34, used for the top, is not a separate piece in addition to the square, but is cut from the row of four squares at the bottom of Figure 33. The pasting is similar to that of the cart. The body of the wagon is open in the rear. This body can be shortened, in which case a buggy will appear. No construction is given for the dray in Figure 36. This can be worked out, however, if the previous constructions have been executed. The street car in Figure 37 is slightly different, being more like an inverted box with the ends closed. The wheels are pasted on the inside, as indicated by the dotted lines, and are smaller than those on the wagon. A monument, such as we find in various cities, usually in a public square, is shown in Figure 38. The constructions (Figures 39 and 40) are self- explanatory. No flaps are shown for securing one to the other when the smaller one is placed upon the larger. These may be added if the pupils are advanced enough. £i£i lis u Uj ir± uj ±y ± iiiij. ziii/uwiin^x. *-- ter ••-'-*-■' COMMUNITY WORK. 23 3. DOLL-HOUSE CONSTRUCTION. This can be used to advantage in any of the first three grades. It is necessary to first have the house, and then construct the furniture, tint or paper the walls, and treat the floors, because furniture is never bought and then a house built to suit the furniture. The teacher will remember that, either consciously or unconsciously, he will teach these children things about home-building that will influence them very materially in their later life in reference to home- building as well as its furnishings. So let us be ex- tremely careful that we teach nothing that is vulgar or untruthful. Keep to the simple constructions involving few curves, and let the decorations be simple if any is necessary. Simple furnishings and furniture are not only more beautiful and artistic, but more sanitary. They are sanitary, since straight edges and smooth surfaces do not provide a place for dust to accumulate and germs to breed. Highly-carved furniture, even when well cared for, is dusty nearly all of the time. To make the house itself use dry-goods or soap boxes. They are placed on their sides with the top or open part of the box representing the front of the house. Notice the box in Plate 2. If the box is large enough a partition can be added, which divides the box into two stories. Then, by nailing parts of another box together, a gable roof is formed. If the boxes are small, one can be placed upon the other, forming the two stories in that manner, which is a much 21 ELEMENTARY INDUSTRIAL WORK. simpler operation. Each of these stories may then be divided into rooms. Windows are cut, and casings may or may not be made, depending upon the facilities. Cigar boxes cut into strips make good material for casings. If the house is to be painted, do so at this time. A very small can of paint bought at a drugstore is sufficient, or some boy will usually volunteer to bring the paint from home. The tools needed are a saw and a hammer. These may be had in the same way as suggested with reference to the paint. A steel square can also be used to advantage, but is not absolutely necessary. The nails extracted from the boxes will prove ample. The walls of the kitchen may be covered with paper tinted gray. Then a wainscoting is also de- sirable, and can be made from strawboard, ruling pencil lines to represent the beading. If no special material has been provided, tablet backs can be used. The paper in the bedroom may be decorated by the repetition of some simple unit. Chapter XI may be consulted. The dining-room may be a plain color, beginning on the lower parts of the wall, and gradually becoming thinner until it is a light wash on the ceiling. For the floor in the kitchen use designed linoleum, to be executed in black or appropriate color. Folding manila is a most excellent paper for this, but other paper can be used. The designs worked out in single- mat weaving in the chapter on weaving afford ex- cellent suggestions for this design. If matting is wanted for one of the rooms — say, the dining-room — it can be woven from raffia. This weaving is also given in the chapter on weaving. COMMUNITY WORK. 25 Rugs are described in the same chapter. Four small rugs can be woven and sewed together, forming an art square. If a pattern is involved, each fourth has a part of the pattern, and will be complete when the four are put together. The Figures 41-64 are quite complete, the dotted lines representing folded lines, and the solid ones cut lines. Uniform-sized squares of bogus or construction papers are used. Con- venient sizes are 6" or 8". The constructions are all based on the sixteen squares. The folding should be done in concert as described in the chapter on weaving under the heading * 'Right and Left Weaving." Brown wrapping-paper is a good substitute for the papers mentioned. If this text is being used without an instructor, do not attempt to interpret the figures by merely glancing over them. Take a square of paper, and fold and cut as you attempt to read the figure, and success is assured. After folding Figure 41, cut on the solid lines, and then, putting the large piece together, a chair is constructed. The squares that have a cross in them fall away and are not used. The seat will be one square from the floor, with the back two squares in height. The children will probably suggest of their own accord that the back is too tall. Draw diagonals in the upper square, and cut as in Figure 41. If the children are not yet familiar with the term "diagonal," this affords an easy opportunity of teaching it. The three squares marked "support" are to be pasted on the back of the chair, making it stronger. It saves time to do this at the time of pasting and before the back is cut down. 26 ELEMENTARY INDUSTRIAL WORK. /V i 42 D 43 2/- 4 + r rr "» - - T I n LtB 'Rails ?! 47 4-S X I X ^2k 1 . .1 "V 1 , i ' 1 ' i i [ i i | X © - - i i i ■ i i J"2 — {--- Foot ' 1 - _ . .!._. Hep 1 / 1 1 ^ ' 1 " . I , -si - - . J. . . r _ .M, 1 1 1 N £ 1 1_ _1_ Vl 62 61 rr**- r , 1 {--■ 1 t r — 64- Figures 60-62 show the construction for the summer-house in Figure 63. The base or floor is shown in Figure 60, and the support (Figure 61) for the roof (Figure 62.) The posts shown in Figure 63, on which the support for the roof is placed, are not represented by a construction. Flat splints may be used, or posts can be made of paper with flaps at either end for pasting. The summer-house is a val- 30 ELEMENTARY INDUSTRIAL WORK. uable addition to the lawn if a large table-top or shelf isjised to support the doll-house. The steps in Figure 64 are necessary where the doll-house has a foundation. Only two steps are ordinarily required. Figure 64 makes an excellent grand-stand if working out a project that demands it. A broom is constructed by securing a number of short pieces of raffia to one end of a small splint, and fraying out the raffia with a pin. tf Any other articles of furniture desired in a scheme of this kind are readily worked out if the twenty-four figures given are understood. Simply study the piece of furniture you wish to make, and then take the folded square and begin operation. Stopping to think how difficult it will be never does anything but harm. Such additional-articles of furniture as pianos, bookcases, writing-desks and kitchen cabinets are desirable. No constructions for the gymnasium shown in the attic of Plate 2 are given. These are readily executed, some of them even without studying the objects themselves, as ladders, dumbbells, Indian clubs, mats, trapezes, etc. As has been suggested in Figures 58 and 63, the yard is a part of the general scheme. Bogus paper makes good concrete walks. Trees and shrubs are constructed from green paper. Green twigs should be avoided if possible, since they dry up and are not a good representation of shrubbery. With very young children, however, it is permissible. Tennis courts and swings are also suggested. If a barn is to be included, its construction can be had from the following section on houses. COMMUNITY WORK. 31 4. THE BUILDING OF HOUSES. The construction for a house given in Plate 3 can be executed by fourth- or fifth-grade children. If it is necessary to use it for such a grade, different-size houses may be constructed, and some of them may have the chimneys omitted and be used to represent barns. Bogus paper, folding manila, tagboard and the various construction papers may be used. Roof End flevation Front E/evatton The dotted lines are to be folded, and the solid lines represent the ones that are to be cut. The flaps are for pasting when putting the house together. The roof will be found the most difficult to paste. 32 ELEMENTARY INDUSTRIAL WORK. This problem increases in interest, however, when it is used as a seventh- or eighth-grade project, where the classes have acquired considerable skill in the measuring, cutting and manipulation of the paper. Plate 4 shows parts of two villages constructed in the manner here suggested. The first steps are the construction of a house such as the one in Plate 3, being careful that accurate results are obtained. If the class is advanced enough, a simple free-hand drawing of the front and end ele- vation should precede the construction. After the house has been constructed, the drawing of the floor plan, end elevation and front elevation should be done with the aid of a ruler. Two elevations and the floor plan are shown in Plate 3. If drawing-kits are avail- able, they should be used here. Consult the chapter on mechanical drawing unless it is quite fresh in your mind. A house or building for the village is next decided upon by each member of the class. These may be chosen from books or magazines that are to be had, or from houses that are to be found in the vicinity of the school. Here again it is necessary to have sketches of the elevation and of the floor plan. At this stage it is necessary to decide upon the size of the lots, other- wise the houses will not fit well into a city scheme. If the class is large, and the place for mounting the city not correspondingly large, 9"xl2" will be found a convenient size. A plan of the lot, full size, is next drawn, and the house located by means of the floor plan for the house. Then finish the plan for the lot, which will include walks, grass and shrubbery. It may include, \j lyiu itj. u ii i J. J. ir viui -- 34 ELEMENTARY INDUSTRIAL WORK. in addition to this, a garden, barn, fences, garage, etc. Be sure that the house is first represented on the lot by the floor plan, and then the walks, shrubbery, etc., because, as a rule, houses are not built to accom- modate shrubbery, etc., but the shrubbery, walks and other additions are made to beautify the house and make it more convenient. A pattern is first constructed from bogus or manila paper. The main part of the house should be made from one piece, however. If necessary, single rooms or galleries may be added. The dormer and bay windows are constructed separately and pasted to the house. Foundations should be represented. Bogus paper is used to advantage as concrete, stone or stucco work. The columns for the verandas and porches may be made either square or round. In choosing paper for the construction of the house itself, use a darker tone of the same, or another color, for the trimmings or roof. The windows and doors may be represented in several ways — by ruling lines and pasting on the paper for the casings, cutting out the windows and pasting thin paper on the inside, pasting a piece of paper on the inside on which draped curtains have been drawn in pencil or ink. While the work is going on, an opportune time for teaching the pupils and having them become familiar with the various parts of a house is afforded. Such terms as corner-board, water-table, weather- board, entablature, cornice, frieze, architrave, rake and return of cornice, corona, facia, post, capital, parts of the window (muntin, meeting-rails, sash, casing or trim, sill, and wash), etc., should now become a part of their vocabulary. COMMUNITY WORK. 35 The house completed and the other demands of the plan executed, a complete working drawing is made. Make as many elevations as are necessary. Only one side elevation is necessary if both sides of the house are constructed alike. A in the floor plan, Plate 3, represents a door, and B windows. This problem always carries so many good things with it that it has been found very much worth while. It reflects to a large extent the living ideals of the children, and affords us an opportunity of correcting them where they are wrong. Many uses can be made of this problem. In addition to an ordinary village, it may be used to execute villages in connection with geography. Tropi- cal villages can be made an interesting method of teaching history, and the tropical towns become much more real when brought to the schoolroom in minia- ture. The Spanish and other architecture can be taught and made a concrete rather than an abstract thing. Last, but not least, we can build Japanese village's, and represent that nation at home and at work surrounded by beauty. 36 ELEMENTARY INDUSTRIAL WORK. III. SPECIAL-DAY EXERCISES. As has been suggested in the preceding chapter, there has always been a demand for special-day exercises. Of these, Christmas, St. Valentine, Wash- ington's Birthday and Easter will be considered. Before proceeding farther with this work, get in mind the fact that you should notice from time to time how suggestions offered for one of the special days may readily be converted into material for any of the others. The progressive teacher can take advan- tage of this, and always have a large number of dif- ferent projects if there is a need for them. The execution of these depends on the age and ability to handle material. Crayon should be used in the lower grades, and replaced by water-colors as soon as possible. Lettering should be done, as a rule, in black. It makes a pleasing variety to have some of the work outlined in black and then filled in in color, especially where a somwhat similar card, calen- dar or booklet is used in several of the grades. Any kind of drawing or construction paper may be used. Bristol board can be put to many uses. Be especially careful of the lettering in all of this work. The chapter on mechanical drawing should be consulted in lettering. Good results in lettering should be demanded as low as the third grade, and surprisingly good, results will be obtained in the first and second grades if a little special attention is given to it. The letters should for the most part be drawn free-hand. Avoid SPECIAL-DAY EXERCISES. 37 long quotations or greetings in the lower grades. If there is a lack of material for the decoration of these projects, consult the chapter on designs. Envelopes, gift boxes, hanging baskets, May baskets, and candy boxes will be included in this chapter. 1. HOLIDAY SEASON. For the decoration of these, the motifs have been taken from Christmas symbols or things associated with the holiday season. ! -jl F.gs 65 ff • T y JW 69 7/ fl %# -1-T»4--£££A- 7b 77 18 Figures 65 and 66 are very simple calendars designed for the first two grades. The circles are holly berries, so they will be colored red. The lines may be green or black. The square and oblong forms 38 ELEMENTARY INDUSTRIAL WORK. represent the places for the calendars. The small calendar pads, which can be obtained from any drug or novelty store, or ordered along with other materials, are pasted in place as indicated. The calendars are then complete. Figure 67 is shown ready for a greeting. The card or frame is made from a square piece of paper. Begin by folding it in the center both ways. The folds are indicated by the dotted lines in the figure. Then fold each corner so that it comes just to the point where the dotted lines cross. The corner is then folded back again, taking the position shown in the figure. Any simple design may be used on the corners and colored or inked. The motto or greeting is lettered on a square of paper and placed inside of the square, thus covering the lines left by folding. The diameters may be ruled on the back side, and the greeting lettered on the folder itself. This project can be used for a picture frame, valentine or Easter card. It may be varied by punching holes and tying at each corner with cord, raffia or ribbon. Cutting away the small corners or triangles makes a larger unit possible. The bookmark in Figure 68 speaks for itself. The wider part at the top, which has the conven- tionalized tree, is folded over. Figure 69 makes a very attractive folder, and can be used for any of the special-day projects, and also makes a very attractive form of invitation. In- vitations are often made to use in inviting parents and friends to school exercises or programs, and afford not a little training for the children. The greeting may be written on the inside if done by SPECIAL-DAY EXERCISES. 39 young children, and a simple decoration used on the cover. For older children using the design in Figure 69, letter the greeting on a separate piece of paper, and paste by putting a small amount of paste in one spot, just enough to keep it in place. A little in advance of the preceding are Figures 70-72. For the cover a heavier paper is used. This is cut away and folded in the center as shown in Figure 70. The leaves are cut just a little smaller, so that the covers will project a little beyond the leaves, as they do in any book. It will be well to emphasize again that we should always notice the practical example of the article that we are construct- ing. The design in Figure 71 is a most simple one, and can also be worked into a border. The one in Figure 72 is more difficult to execute, and is intended for older children. The suggestions in Figures 76-78 may also be used so as to have a variety. Figure 73 is simply a card, showing what can be done in this direction. Stress should be placed on the lettering. This card demands an envelope; in fact, all of the projects in the holiday class do. The plate, including Figures 79-89, shows three styles of envelope. The one in Figure 81 is most desirable for gift-work. The proportion should be first worked out for the finished envelope, and enough added for the flaps in order to ascertain the dimensions of the paper from which it is to be cut. After the paper is cut, draw the pencil lines indicated by the dotted lines. Cut the flaps as indicated in the same figure. The envelope folded and pasted in Figure 89 shows that the flap at the top is rather narrow. This is done so that it is more easily closed. 40 ELEMENTARY INDUSTRIAL WORK. Figure 74 is a decorative calendar, differing from Figures 65 and 66 in the design and proportion only. Children who attempt this and cannot draw well may cut a holly leaf from paper and mark around it in order to get all of the parts alike. This calendar is supported in the same way as the different projects using the con- struction given in Figure 25. The folder in Figure 75 is similar to Figure 69. The Christmas tree may be used in many other decora- tive ways. Figures 76-78 show simple borders. Many additional projects could be suggested, but the ones given are more than sufficient to give material for a working basis. Only remember not to try to do detailed and elaborated projects. 2. ENVELOPES. Figures 79-82 show the different steps in the execution of a very simple and effective envelope. A square piece of paper is cut and folded as indicated in Figure 79. Then Figure 80 shows it folded a single time, making two thicknesses of paper; Figure 81 shows that each lower corner is folded towards the center; and Figure 82 with the upper corner or triangle folded down, making the completed envelope. The envelope is then partially unfolded and pasted. The last or upper flap in Figure 82 is not pasted unless it is to be sealed, and even then, if using it for gift-work, it is more effective and satisfactory if inclosed in an- other envelope. This envelope is especially desirable for small children who can do no measuring at all. No dimensions are given for the report-card envelope shown completed in Figure 85, since the SPECIAL-DAY EXERCISES. 41 Ft 9 s79 e>3 • 1 J m 87 / }\ &6 OS sizes vary. In order to determine the size of paper from which it is to be made, take for the size of the large oblong in Figure 83 slightly more than the size of the card, in both length and width. To get the width of the oblongs on either side, add j" to one- half of the width of the large one. The width of the flap on the lower part of the envelope is to be cut in 42 ELEMENTARY INDUSTRIAL WORK. proportion to the size. Figure 84 shows Figure 83 after cutting on the solid lines, and is ready for pasting. After pasting cut a niche at the top of the envelope as shown in Figure 85. This aids in withdrawing the card from the envelope. Figures 86 and 87 need little explanation, the size of the paper being determined in the same manner as in the paper for Figure 85. Notice that the flap below the large oblong is much wider than the one above it. This is more appropriate for the gift en- velope, since the upper one is inserted in the envelope instead of pasting it. If it is to be pasted, the flaps may be of the same width. Be careful to have the corners of the lower flaps to coincide with the edges of the flaps on the ends. These envelopes are suitable for all of the gift- work. 3. BOXES. The boxes in Figures 88-92 are typical of what can be done in the way of making boxes. Figure 88 is one of the simplest that can be executed. A square of the desired size, and three dots made on each edge, dividing the edge into four equal spaces, are first executed. Then draw lines for folding, indicated in Figure 88 by the dotted lines. Fold and cut solid lines as indicated. In folding it will be seen that the four corners make a suitable top, or cover. Paste where necessary to hold the sides together. A plain open box is shown in Figure 89. Cut on the solid lines and paste the flaps on the inside. This box may be used with or without a cover. The SPECIAL-DAY EXERCISES. 43 cover is made in the same manner. The sides are not to be more than 1" in height. It is constructed (Figure 90) the same as Figure 89. w \ / V > * X rra ^ r4 t> fiqsae 69 S>0 1 i *-* r ^n . . ■ . L / •— r i _ . _ _ i i ■ i i i 97 3^ The gift-boxes in Figures 91 and J2 can be varied both in design and construction, especially Figure 92, which may be decorated by repeating some unit, using a block print. Consult the chapter on design which explains about the cutting of the block as well as designing the unit. 4. ST. VALENTINE. No large number of motifs are available, but much can be done with those suggested in Figures 93-107. 44 ELEMENTARY INDUSTRIAL WORK. Avoid the gaudy colors except for very young children. A heart will not appeal to them unless it really is red. Figure 93 may be made from one or two pieces of paper. Fold a piece of paper in the center, and cut the desired shape so that both halves of it will be uniform. For the lower grades cut a large heart and a small one, pasting the white one on the red one. The message or greeting is written on the white one. If one heart is used, draw a small heart on the large one, and the message will be in the same position. The construction for Figure 94 is simplest if a large heart is cut and parallel lines drawn on it, making smaller hearts so that they may be cut and drawn in turn, thus having the whole set conforming to the same shape. The large one drawn, cut for the second one; draw the second, and cut for the third, etc. Punch holes and secure by means of cord, or cut slits, and use ribbon. Lettering is done free-hand. Remember the suggestions offered in the preceding pages. Figure 95 is made in two ways. The two hearts may be cut separately and then secured with ribbon or cord, with a bow at the end for hanging. To make it more difficult, but stronger, draw it so as to be cut in one piece. Figure 97 is designed to have a message written between the two covers and a greeting on the outside cover. Figure 96 shows the construction for Figure 97. Color is applied around the outer edge without guide lines, which gives an irregular outline, dividing the white from the colored part of the valentine. The fire-cracker valentine (Figure 98) will be of great interest to children in any of the elementary SPECIAL-DAY EXERCISES. 45 grades. Use red paper for Figure 100. This is to form the fire-cracker proper. Roll it on a pencil or some round object, and paste. Then slip out the pencil, and you have a red tube. Figure 99 is for the message, and has a piece of cord pasted along 46 ELEMENTARY INDUSTRIAL WORK. one edge. Write the message and roll around the cord, and slip into the tube. It will unroll enough to keep it in place. The part of the cord left hanging out forms the fuse, and is used to withdraw the mes- sage. This makes it equal in appearance to a real fire-cracker and far less harmful. Figures 101-104 are cards, and show different methods of decoration. The folder in Figure 105 is intended to have the message printed on a card and mounted under the covers of the folder the same as in the Christmas folders, Figures 69 and 75. Figure 106 illustrates what may be done in the way of booklets. The envelope in Figure 107 is but one of the possible decorations. The different-sized hearts may be drawn in the same manner as sug- gested in Figure 94. Avoid the use of darts or arrows as much as you can, and especially the cutting of them attached to the hearts, for that makes a poor construction, since the darts are so weak that they tear off easily, thus making a valentine shortlived. 5. WASHINGTON'S BIRTHDAY. Programs are often planned at this season that require some of the classes to parade or march, and banners, shields, badges, etc., are needed. A very effective badge is made like Figure 109. Cut three circles of the same size (Figure 108), one of each, red, white and blue. If paper in the three colors is not available, drawing paper may be colored. After the circles are cut, cut a line from the center to SPECIAL-DAY EXERCISES. 47 the circumference, as shown in the figure. The circles are then slipped within each other and turned, so as to adjust themselves, showing equal parts of red, white and blue (Figure 109). Paste so they will remain in place. For the shields (Figures 1 1 and 111) use drawing paper. A half sheet, 6"x9 n , is a good size. To get a pattern, fold paper in the center lengthwise, and cut free-hand for the form of the shield, and trace on the drawing paper. Measure down a proportionate dis- 48 ELEMENTARY INDUSTRIAL WORK. tance from the top for the blue field. The stripes are then measured and ruled. The stars are cut and traced on the blue field. The shield is now ready for color. Crayon or water-colors may be used. For very young children the stars may be cut from colored paper and pasted in place. If banners for marching are desired, attach same to a pole as shown in Figure 112. A simple hat is shown in Figure 1 1 4. The con- struction (Figure 113) is quite simple, being only a circular piece of paper folded in six places. Draw three radii, and fold nearly half their length, beginning at the circumference. The other three folds indicated in the figure complete the hat. A good size for a tent (Figure 115) is 6"x9". Begin the construction by folding the dotted lines as indicated in Figure 1 16. Cut ends of the folds in the center as indicated in Figure 1 1 7 . The tent is then set up and pasted at the gables. The soldier's knapsack in Figure 1 1 8 is dimen- sioned; not in inches necessarily, but in terms of a unit. It is folded lengthwise and pasted. The flap with the 1 J is the one used for closing. Then a piece of paper is pasted with an end on each side to act as a shoulder-strap for carrying. Figure 1 1 9 shows a more elaborate hat than the one in Figure 1 14. The brim is shown in Figure 120. The dimensions are given on the hat. The central part is cut out and the crown shown in Figure 121 is cut and put in place. The band in Figure 1 22 is pasted around the crown. If the folds on the dotted lines in Figure 1 20 were carefully made, the hat is now complete. Flags may be made of cheesecloth, and colored by using water-colors. SPECIAL-DAY EXERCISES. 49 6. EASTER SEASON. If the previous parts of this chapter have not been worked out, it will be well to at least read them before attempting the Easter problem. To make the card in Figure 123, cut a pattern and mark around it in order to cut the eggshaped pieces of drawing paper, or whatever kind of paper is being used. It may be finished by simply coloring and securing by means of a cord or ribbon. The drawing on the card in Figure 123 may be executed if the pupils can draw the figures. A drawing in out- line is easier and perhaps better. This card may have the greeting only if that is sufficient. Instead of having two separate pieces for the upper part, let the pattern overlap the one already drawn on the paper, and then cut out the two in one piece. Figure 124 is a modification of Figure 123. Cut a pattern of the largest egg and mark around it. Cutting it down by means of a line parallel with the edge, use it to trace the second egg, etc. Secure in the same manner as Figure 123. Figure 125 is a folder with a suggestion of what may be done in designing simple bands or borders. The executions shown in Figures 1 26 and 1 27 are for cards, or place cards. The shading may be omitted and the drawing outlined in black and then covered. In designing them, avoid having small parts that project out from the large parts like the ears of the rabbit. When made long and small they are weak and tear off easily. 50 ELEMENTARY INDUSTRIAL WORK. SPECIAL-DAY EXERCISES. 51 Figure 128 is intended for a greeting-card, but may also be used for the decoration of a folder or booklet. The cover is not shown in Figure 129, but it may be left plain and colored, or it can be decorated. If yellow is used, a light wash could be applied, and as soon as the card is dry make the edges a darker yellow with an irregular line dividing the two yellows like the valentine in Figure 97. The message or greet- ing is written on the inside of the cover, or on part marked "A" in Figure 129. As was suggested in the beginning of this part of the chapter, which treats the Easter season, many of the projects used for preceding holidays may be converted into simple Easter cards, folios and booklets. 7. HANGING, GIFT AND MAY BASKETS. The first of these, shown completed in Figure 132, may be used in various ways. It is especially desirable as a May or hanging basket. Drawing paper may be lised and colored if colored baskets are wanted and no colored paper is to be had. Cut an oblong of the desired size three times the size of Figure 130, which makes a good-sized basket. Draw the necessary lines on the paper for folding and cutting, and proceed with cutting and folding. The lines like BC are drawn in pencil and cut half-way, as shown in the drawing, by the solid lines. Interlace the triangles at the sides of the basket, and it is ready for the handle. The handle is shown in Figure 131, and, after cutting half-way across near each end, it is attached to the basket, interlacing at the small cuts labeled "A." 52 ELEMENTARY INDUSTRIAL WORK. This basket may be made larger or smaller than has been suggested. It affords a simple construction, involving no paste or sewing of any kind. The basket shown in Figure 134 is similarly constructed. Drawing paper, some paper that will take color, is needed. w< / / / / 4! / / / / / / / V V V \ I3Z flop 130 Draw a line across the center of the sheet. The line is indicated by A in Figure 133. Next find the center at the end of the paper indicated by C and make dots. Then measure down from the corners distances equal to half the distance across the end. SPECIAL-DAY EXERCISES. 53 These dots are indicated by B and D. Draw lines BC and BD, and angle BCD will be a right angle. Then draw the lines at the ends of the line A, making the angles like DEF right angles. The circles for the center of the flowers are next drawn, making them as large as possible in order that they will be strong when interlaced. Cut on the fiq 13 3 Fiql3S 54 ELEMENTARY INDUSTRIAL WORK. solid lines of the triangles, and also cut out the spaces between the petals. Color the petals yellow and the centers brown. Interlace the sides of the basket and the ends of Figure 1 35 with the sides of the basket. £L \ r tP Fi^lob F13/37 The baskets in Figures 1 36 and 1 37 are similar in construction. The one in Figure 137 is made up of nine squares and has a handle in addition. Draw diagonals on the corner squares, and draw in a half of a butterfly in each half of the square as has been done in the figure. The dotted lines are folded and cut on the sides of the corner squares so that they will interlace in order to put the basket together. SPECIAL-DAY EXERCISES. 55 The ends of the handle interlace, forming a handle with a butterfly at the top. Also the interlacing makes a butterfly at each corner of the basket. The butter- flies may be colored in water-colors or crayon. A good effect may be obtained by dotting the wings with black after coloring. The basket in Figure 136 is the same, except that the square in the center determining the size of the basket is much larger than the ones at the corners. 56 ELEMENTARY INDUSTRIAL WORK. IV. MISCELLANEOUS PAPER SLOYD. Special occasions always arise that demand cer- tain projects in paper and cardboard that are not mentioned in the other chapters of this book, and usually we have some children who can carry out their projects more quickly than can their classmates. This affords material for extra problems. Paste is usually purchased in large quantities, but sometimes it becomes necessary for us to make our own supply. A good paste is made by taking one cup of flour and one teaspoonful of dissolved alum. Mix the flour with a little cold water, being sure to get out all of the lumps. Add four cups of hot water and boil for three minutes, stirring con- stantly. Add a little essence of peppermint when done. This gives a flavor and prevents souring quickly. Figure 138 shows a 6" square folded on the line AB, drawn §" from the top. Dots are made on this and on the folded edge at intervals of J", and lines drawn connecting the dots that are opposite each other. Cut on the lines, taking care that you stop just as you get to the line AB. To make a lantern of this, unfold and paste the sides together, overlapping each other J". A dark strip of paper J B wide pasted around the top, and one around the bottom, improve the appearance. Paste a narrow strip of paper to one end for hanging (the same as the strip used for a handle in Figure 146). MISCELLANEOUS PAPER SLOYD. 57 Figure 139 is a sled. To find the width of the paper, add to the width of the sled twice its height. After the paper is cut to size draw a pencil line in the center, represented by the light solid line. Set the compass on this line in- drawing the semi-circum- ferences. The drawing shows the remainder of the construction in such a way that it is not necessary to describe it farther. frg'JQ ^ <^ Rq /39 > \ /' ( RgJ4J Figure 140 (the canoe) is of a suitable size if made from a piece of paper 3"x5". Construct by folding in the center lengthwise. Then draw pencil lines, represented by light solid lines in the figure, in the center of each half. Using these lines as centers, draw the four circles necessary. Draw heavy lines from circle to circle, then cut on all of the heavy 58 ELEMENTARY INDUSTRIAL WORK. solid lines. Fold on the dotted line in center and sew ends together as shown in Figure 141. Raffia or cord may be used in sewing. Streak the sides of the canoe with crayon so as to make it resemble birch-bark. Figure 1 42 is an Easter basket. Cut a square of the desired size, using the actual measurements in Figure 142 as a unit, and enlarge as many times as you choose. For all of the dimensions enlarge in a like manner. Draw lines across the centers each way. With the point of crossing as a center, draw the large circle. Then taking the four points where the large cuts circle the diameters as centers, draw the four small circles that are drawn in heavy solid lines, meaning that they are to be cut out. Be sure that the radius of the small circle is just the distance from the center to the edge of the piece of paper. Next, with the eight points where the small circles cut the large one as centers, draw circles using the same radius. Cut out the four small circles first drawn, the parts of each of the small circles shown in heavy solid lines, and the parts of the large circle joining the small circles. Draw the square, represented by the dotted lines in the figure. Tie the basket at the corners, add a handle by pasting on the inside, and the basket is complete. Figure 143 shows a tray constructed from a square. Cut on the solid lines, fold on the dotted lines, punch holes, tie at the corners, and the tray is finished. A simple design may be painted on the sides if desired. Figure 146 is a sketch of the finished pail constructed from Figures 144-145. The circular piece is cut first, and then, estimating the circumference from MISCELLANEOUS PAPER SLOYD. 59 this, we plan Figure 144. The distance from the line A to the dotted line is the circumference. The dis- tance from the dotted line to the other edge is £", which is allowed for lapping in pasting. The small oblongs at the lower side are bent on the dotted lines before pasting. After pasting the sides paste one of the circular pieces inside the pail and one on the bot- tom outside. These were the circles, one of which is represented in Figure 145. Paste a strip on the inside for the handle. ^ )£k '"XJ LT f Fiq 14-3 60 ELEMENTARY INDUSTRIAL WORK. This problem may be varied, and executed as a tub, or as a watering-can by the addition of a spout. Figure 147 gives the construction for a hexagonal tray from a circular piece of paper or cardboard. Fig 149 F\q\5Z Fig 150 Fiq li"l MISCELLANEO US PAPER SLO YD. 61 Fold on the dotted lines, cut on the solid ones, and then paste the flaps to the inside of the sides, which completes the tray. Figure 148 is the construction for a wall pocket, which should be enlarged at least six times in order that it may be of service. After cutting the paper, draw the lines for both cutting and folding before you attempt either. Paste the flaps on the inside of the pocket. Figure 149 may be used for either a cornucopia or scissors case. For a cornucopia make it much larger; 6" square is a good size. Points A and B are the centers of the sides. Fold on the dotted lines, and paste where they overlap. Punch a hole for hanging at C. The scissors case is made in the same way, except that the hole at C is omitted, and a line drawn from A to B, on which the corner is folded. Figure 1 50 is merely the construction for the box. It is given, because, frequently, there is a demand for seed boxes in connection with the work in school- gardening, etc. A handle may be added, converting it into a basket. Figure 151 is a simple picture frame. Fold on the dotted line and cut on the solid ones. The central oblong in the upper half will fall out, and the picture is mounted back of it. Fold up the lower oblong and paste the flaps. If it is not to be hung up, use the device in Figure 25 to make it stand up. Figure 152 is a pencil tray constructed just like a box. Use a piece of material 3 J" wide and 10" long, making the sides f " high. 62 ELEMENTARY INDUSTRIAL WORK. ...L % ::::_::::::cn F,q U4- FlQ IS* '5 MISCELLANEOUS PAPER SLOYD. 63 Figure 153 is a working drawing for a triangular box with cover. It may be used for a gift, candy or trinket box. Dimensions are given with the construction, so no further explanation is necessary. This is a good model for the boy who always gets thru with his work in advance of his classmates. Figure 154 gives the construction for a letter rack. Use a piece of material 6"xl3". The lines on each side are §" apart. The distance from the lower edge to the dotted line is 4 J", and from there to the next dotted line £", which is the same as the space between the lines on the sides. Figures 155 and 156 give the parts for a whisk- broom holder. A good-size holder is made by cutting material twice the size of the figures. Figure 156 is cut and folded, and then pasted on Figure 155 with the flap on the back. The upper edge comes at AB, which causes the lower edge to fall on CD. AB and CD are pencil and not cut lines. Figure 159 is a sketch of a completed Dutch windmill. Figure 157 is cut, folded and pasted as indicated. The windows are to be turned back slightly, so as to assume an open position. One of them may be cut lower down and made slightly larger, so as to serve the purpose of a door. Figure 1 57 has a light solid line showing how it was drawn. Use the heavy solid line for cutting. Attach by means of a pin. Figure 160 is a pocketbook to be constructed from leatherette lined with construction paper. The parts at the ends of the oblong A are folded in and then 64 ELEMENTARY INDUSTRIAL WORK. pasted to the oblong to the right, when A is folded over. Repeat the operation on oblong B. A good finished size is 2§"x3|". Figure 161 is a cardcase and constructed in a manner similar to Figure 160. A good size for this case is 3"x4£". Figure 162 is a billbook and pocketbook com- bined. A slit is cut in the outside, into which the end of the flap is put. Many other constructions from paper and card- board could be given, but, with those given in this and preceding chapters, one is afforded sufficient material for a working basis, and should be able to work out any problem on this order that is applicable to schoolroom use. MISCELLANEOUS PAPER SLOYD. 65 Election time suggests horns, band-wagons, pen- nants, arches, grand-stands, etc. :---■!---• a I : * MM F^/6| fig J 62 Vacation suggests canoes, sailboats, tents, trolleys, railway cars, parks, etc. Hiawatha suggests bows, arrows, quiver, tent, cradle, beads, belts, moccasins, etc. Transportation suggests carts, wagons, railway cars, ferryboats, freighters, etc. 66 ELEMENTARY INDUSTRIAL WORK. V. CORD AND STRING WORK. A boy is always made happy when he becomes the proud possessor of a piece of cord or string. He puts it to many and various uses. There is some fascination about it which causes it to remain very dear to him. If the children have been happy to own cord and bits of string which they used in making various things without guidance or instruction, how much happier they are when these become part of their schoolwork. They should be taught the value of making things correctly and to see the advantage of knots properly tied over the ones that will not hold. The eye is trained along with the hand. It also teaches spacing and measurement. The children will also be interested in knowing that knots were used as a safeguard against intruders before locks and padlocks were invented. The ancients have used them as a language thru which to send messages, and Japan at the present time is said to have a code of etiquette practiced thru knots, thus conveying messages of congratulation and sympathy. The cheapness of the material is also favorable to its introduction. The children can bring cord and twine from their various homes if necessary. These may be used as they are brought, or, better, dye them, thus giving variety and doing away with the CORD AND STRING WORK. 67 dingy, dirty appearance that has resulted from the uses to which the cords previously have been put. Of the commercial materials Macrame cord is probably the most desirable, since it can be had in so many shades and colors. Seine cord is more economi- cal, since it comes in the white and can be dyed readily. If doubtful about the size in ordering, have samples sent of the different sizes, and order from the samples. Cords numbered from 1 2 to 16 are of the correct size, with No. 4 used for binding. Some device for holding the end of the cord while the children are knotting or chain-stitching is necessary. A good one is made by fastening brass cup-hooks on the walls, and then the cords may be hooked over these while working. 1. WATCHCHAINS. These problems are intended to teach knotting; and the chain-stitch, which is very similar to crocheting, except that the fingers are used instead of a hook, wjll be taken up first. The over-hand knot is very simple, and is illus- trated in Figure 163. Begin by making a circle with the cord and drawing the end thru. If a long string is being knotted, it is best to double the cord so as to find the center, and knot toward each end. This makes a shorter end to pass thru the loop, saving time and being less cumbersome. The knotted cord will resemble Figure 164. An over-hand knot using two cords is knotted in the same manner as Figure 163, where only one cord is used. Two colors are represented in the knotting 68 ELEMENTARY INDUSTRIAL WORK. executed in Figure 165. If only one color is used, a loop can be left at one end, affording ready means of attaching the chain to a watch or something else on which it is to be used. fiq/87 82 ELEMENTARY INDUSTRIAL WORK. The small pieces are to be used for the pockets. Cut one side of each of these as shown at A in Figure 1 88. Next sew the decoration on the cover. Then place the small pieces for pockets in position on the large piece as shown in the same figure, and pin so as to keep them in place while sewing. An over-casting stitch (Figure 186) may be used for sewing around the sides. 7. A BAG FOR BOOKS. The piece of material for this is cut large enough to allow for seams at the ends and a hem on both sides at the top (Figure 189). Turn the parts for the hem, and secure in such a way that the threads will not show on the outside. The running-stitch (Figure 184) may be used. Then fold in the center lengthwise, with the inside out. Sew the ends together firmly using the back-stitch shown in Figure 185. Turning bag, add the decorations, and it is ready for handles. These may be made of strips of burlap folded with the sides overlapping each other. Sew them to the bag on the inside. Another method of sewing the ends is to leave the bag right side out, and use the over-casting or blanket-stitch. Handles may be braided of raffia and sewed on in the same manner as the burlap handles. 8. A PINCUSHION. A pincushion may be made in two ways: Cut two squares of material, decorate one, and blanket-stitch on three sides, stitching the two parts BURLAP WORK. 83 for the cushion together. The small bag, filled with wadding or some other filling, is now placed inside, and stitching on the fourth edge completes the pillow. Both sides can be cut in one piece. The decora- tion is next sewed on, and the piece accurately folded with the decoration to the inside. Two of the open sides are sewed, using the neces- sary stitching. The cover is then turned with the decoration to the outside, the pillow inserted, and the fourth side sewed in a manner to make it resemble the sewing on the other two sides. 9. SOFA PILLOWS. It is not necessary to go into detail as to the making of the pillow itself. .Excelsior makes a fairly-good filling. Tree moss is excellent and also inexpensive. The decoration differs from that of the other articles in this chapter. A cross-stitch pattern is not appropriate for a sofa pillow, since it would not en- dure the use to which a sofa pillow is put. So, in designing the decoration, something is to be planned which can be executed in color with a cord couched around the outer edges of the spots which make up the pattern. After the plan for the pattern has been designed cut a piece of paper just one-quarter the size of the pillow-top. On this draw one-quarter of the pattern and cut on the lines that have been drawn. This gives us a kind of stencil. Placing it on the pillow-top and in one corner, draw lines with a lead pencil that will show where the dye is to be used. After dyeing 84 ELEMENTARY INDUSTRIAL WORK. the couching is next in order. Referring to Figure 190 you will readily see that these spots are so large that something is needed to bind them. A heavy cord is couched around the edges of the color. The couching is represented in Figure 191. WEAVING. 85 VII. WEAVING. Both weaving and basketry are very primitive arts. Comparatively speaking, it has been only a few years /since weaving has been modernized. Steam and electricity are now used to aid in the process, and the old primitive looms have been replaced by modern ones. The most primitive loom consisted of two sticks between which the warp threads were strung, and then the woof passed over and under by means of the fingers. One of these sticks was fastened to a branch, or something that permitted the other stick to hang down without quite touching the ground. Some tribes are said to have secured the warp to a loom constructed by driving four sticks into the ground and then excavating so that the weaver could sit with feet and limbs under the threads while weaving. The first addition to the primitive loom was that of the shuttle, being nothing more than a stick to which the woof was fastened and passed across the warp threads. Next we find a loom made of four sticks tied together at the corners. This kept the warp drawn tight and made the weaving easier. Then came the heddle, which helps to raise and lower the warp thread in crossing, and also keeps the warp from drawing together, causing the rug to be narrower in the center than it is on the ends. 86 ELEMENTARY INDUSTRIAL WORK. The terms "warp" and "woof" used in the pre- ceding paragraphs must be understood in order to learn how to weave. The warp threads are the threads that run lengthwise in the rug or fabrics. The woof is that which is woven back and forth crossing the warp threads. .' ( Slowly, and at long intervals, improvements have been made, until we have to-day the wonder- ful Jacquard loom, which carries few marks of the primitive ones just described. To-day, large hand looms are still in use in some of the foreign countries, and in many of the schools this lost art is being revived. We also find a great deal of this in the settlement work in many of the larger cities. No school need be without the small hand-loom work, since this can be carried on without cost in the way of equipment. This chapter affords far more material than will be needed by the teacher who is trying to teach the history of the textile or weaving industry, and it will give a better conception of it than volumes of printed material could possibly give. In addition to discipline and technique, this art gives practical training in color and design. Loom-weaving is preceded by paper-mat weav- ing, both single and double. And from this it is a perfectly natural step to the loom-weaving. WEAVING. 87 nam 1. SINGLE-MAT WEAVING. We shall use 8" squares of paper for this. Bogus is the most desirable, being cheaper and also well adapted to the use of water-color and crayon. With very young children some other paper which is colored may be used for weavers. Bogus paper may be colored very readily by dipping in Easy dye. Two squares are needed for each mat, one of which is col- ored. Fold one of these in the center, which will give an oblong 4"x8". With a ruler measure down 1 " from each corner, placing dots at A and B. The corners referred to are the ones on the edge that does not have the fold. Connect these dots with the line AB in Figure 192. On the line AB and on the folded edge meas- F.« 193 F.ql9* 88 ELEMENTARY INDUSTRIAL WORK. ure 1" from each end, and again make dots. This leaves a space of 6" between the dots. Divide this 6" line by means of dots into J" spaces. Connect the corresponding dots in the two lines by means of pencil lines. Now take the scissors and cut on these lines, being careful to stop cutting just as you get to the line AB. Unfolding we have Figure 193, which is the square with incisions 6" long and a margin of 1 " all the way around. The line AB in Figure 1 92 does not show, since that side has been turned, so that it becomes the under side of the mat. The dotted line shows where the mat has been folded. Cut the second square into strips J" wide, to be used as weavers. One of these is shown in Figure 194. Twelve will be needed for this mat. For the first mat, when using this text without an instructor, use Figure 207 for your model or work- ing drawing. Place the mat before you, and begin at the upper left-hand corner, and bring the end of the weaver thru up the first slit, passing it across and down thru the next, and so on until we have woven across to the other side of the mat. The second is started according to the pattern, beginning each time on the bottom side. Continue in this way until twelve are woven in. All of the ends being on the bottom side, they may now be pasted, thus keep- ing them in place, and the mat is finished. After this is thoroly understood it may be taken up with the class, having them work out their design before cutting and weaving. Figures 195, 196 and 197 show the mats executed in 1" squares. WEAVING. 89 KS K F n > <9J- 90 ELEMENTARY INDUSTRIAL WORK. 207 ■ ■«■■■ ■ ■ ■■■■ ■ ■ m 2J& WEAVING. 91 To make the mats mentioned in the preceding paragraph, or, to be specific, as in Figure 195, start it in the same way as Figure 192, and place dots 1" apart instead of J". This is desirable for kinder- garten work or at the beginning of mat-weaving with dull and backward children. Much could be said about the patterns in Figures 195-218, inclusive. They are copies of mats that have been executed by children who had had no previous training in design, and have been inserted to en- courage the teacher who is not very confident of success in this line. The patterns afford a large source of suggestions for designing straight-line pat- terns. Some of them make good patterns for lin- oleums if used just as they are, Figure 214 being one that will repeat well. 2. A WOVEN BOX. Just a little in advance of the mats is the weaving of baskets, boxes, trays, etc. For a box 3" square and 1 " high, cut a 6" square of paper and four colored strips J" wide and 13" long. Fold the square into sixteen squares. Have the children do this folding in concert. Especially in the beginning is this essential. If each one of them is permitted to fold his square individ- ually, many of them will fail in their first attempt. Let them first place the squares before them on the desk, and fold from the bottom up, creasing in the center. Next unfold, and again fold the lower half with the edge coming to the center, and then creasing. Unfold and turn the paper around, repeating this operation on the other half of the square. This 92 ELEMENTARY INDUSTRIAL WORK. leaves the paper folded in four oblongs. Unfold and turn half-way around, repeat the preceding folds, and the sixteen squares will be formed. In order to proceed with the box, cut out a square at each corner, which leaves Figure 219. The dotted lines show where the paper has been folded. Make dots J" apart on each side of the square in the center, which is made up of smaller squares. This large square will form the bottom of the bas- ket. Draw lines from each dot to the outer edge of the basket, keeping them parallel by holding the ruler in line with the dots on opposite sides of the square. After lines have been drawn on the four sides, cut to the large square forming the bottom. Begin weav- ing, and weave the four strips on one side, then turn up at the corner and weave across the next side in the same way. Continue in this manner until you have woven the fourth side, and then fasten by pushing the weavers in on the side first woven. The top is finished off by bending the spokes that are on the outside of the box over the last weaver, and pushing them down on the inside under the weaver preceding the one used in the last time around. The other spokes are cut off even with the top. A little paste may be used on the ones pushed down, making the basket more permanent. Fig£l9 WEAVING. 93 Trays are made in the same manner. Baskets are made by the use of an oblong piece of paper and the addition of a handle. Square baskets may also be made. 3. RIGHT AND LEFT WEAVING. This is desirable for all children, since it culti- vates ambidexterity (using both hands with equal skill and ease); and, as we advance in the handicrafts, we shall realize more and more how often it is con- venient for the left hand to take the lead at given intervals. Only a few problems will be given. Bookmarks afford quite a range of sub- ject-matter. For a small and simple book- mark take two strips of bogus paper j" wide and 4 J" long, and two colored strips 8" long. Fold each strip in the center lengthwise and crease. Referring to Figure 220, take No. 1 in the left hand with the open end projecting up, and place around it colored strip No. 2 with the open end to the left and about 1 " above the closed end of No. 1 . Open No. 3 and place it around No. 2. Then opening No. 4, placing it around No. 3, the open end may be slipped between No. 1, thus making ready to draw all to- gether firmly. A little paste is added between the strips where they cross, the ends of the bogus paper 94 ELEMENTARY INDUSTRIAL WORK. are cut off close to the colored strips, the ends cut as shown in Figure 221 , and the bookmark is ready for use. Figures 222 and 223 show a more elaborate book- mark, using two colored strips 12" long, and four bogus strips 8" long. The process is so similar to Figures 220 and 221 that no further explanation is necessary. Mats similar to Figure 224 may be woven like the bookmarks, except that more strips are used and all of the ends cut off. Figure 224 necessitates eight colored strips f" wide and 15" long, and six bogus strips of the same width and 1 8" long. Wall pockets demand a more difficult construc- tion, and afford good training. A good size may be had by cutting a piece of colored paper 2" wide and 6" long, and a piece of bogus of the same size. Fold each of these in the center, and crease (Figure 225). Measure down 1" on each side from the open end, making dots at A and B. Connect with pencil line, and mark off on this spaces §" wide, as well as on the closed end. Using the central dot as a center, draw the semi-circumference as indicated. Next cut on the line made with the compass, and on the lines connecting the dots on the closed end, and the line AB. Now weave together, which gives the pocket in Figure 226. Pincushions and pillows may be constructed from ribbon, making use of the weaving in the foregoing exercises. Make a frame of the desired size by nailing four sticks together at the corners. Take one color of the ribbon and fasten to the loom, passing it back and WEAVING. 95 forth, and 'fastening it at the ends by means of thumb- tacks, pins or brads. Next take the other color of the ribbon, and weave back and forth on this, forming what resembles the mats that have been woven. Before removing from the frame it will be necessary to stitch on the four edges to keep it from coming apart. This gives the top half of the pillow. The other half may be woven in the same manner, or a piece of fabric used instead. 4. HAND-LOOM WEAVING. With a good understanding of paper-mat weaving, the loom-work which follows will be understood quite readily. Cardboard looms, those made of cigar boxes, and pillow looms, will be treated. The terms "warp" and "woof" already defined at the beginning of this chapter will be used frequently. Materials used are chenille, carpet rags, jute, jute twine, filo strands, raffia and others. Raffia and jute twine are those that are in most common use. Jute is a vegetable fibre, being produced from the bark of a tall shrub which grows to the height of eight to fifteen feet. For our use we may call the plant "jute" (conchorus olitorius). This fibre produced in the bark is known as "bast fibre." It grows wild in India, and where cultivated it requires no work save thinning out where it has been too thickly seeded. It is also cultivated by the Chinese and Malays. Jute can be grown along the Line of the Gulf States from Texas to South Carolina, but not in competition with India jute, which is only 1 \ to 2 \ cents per pound. 96 ELEMENTARY INDUSTRIAL WORK. The fibre of jute is one of our most useful textiles, tho quite inferior. Its lustre and cheapness, and the fact that it takes dye readily, cause it to be used for purposes of adulteration, tho it is not difficult to detect such frauds. It enters into all classes of tex- tiles as well as burlap, bags, ropes and all kinds of cordage. Where cheapness is an essential, it is most desirable. Raffia will be described in the chapter on raffia. The other materials here mentioned are so common as to need no special comment. A rug on a cardboard loom is an easy stepping- stone from the mat-weaving. The mats have given some definite idea of decoration, so that the designing of this rug will be simple. In the way of decoration we shall use only two bands or stripes. The proper width and spacing of the bands are essential. In designing the pattern begin by cutting a piece of plain paper just the size of the finished rug, the width of which should be divisible by J", and draw the bands on this in lead pencil (Figure 227). After the design is made we are ready for the loom. Cut a piece of heavy strawboard, or, better, a piece of mounting-board 1" longer and f" wider than the rug is to be woven. Measure down J B from each end, make dots, and draw the lines AB and CD in Figure 228. On these lines place dots f n apart, and cut out niches as shown at the end that has line AB. The other end shows the loom before niches have been cut. The loom is now ready for warping (sometimes called "threading"). Use brown carpet warp, and, be- WEAVING. 97 uwYVTfrrn Fig 2 27 Fig2Zft ginning at one side of the loom, fasten the end of the warp by making a knot and slipping it in the first niche. Pass it along to the niche on the opposite end, and then passing it under the loom, indicated by the dotted line at the lower left-hand corner of Figure 228, come up in the second niche. Continue in this manner until the loom is threaded, and then fasten the ends. Choose two colors for woof that will work up well together. Begin by taking enough of the body color of the rug to weave up to the band. This, as has been explained in the woof, is woven over and under the warp threads until you have woven across the loom (Figure 229). Then draw thru all but 1 J" of the woof which is left on the side from which 98 ELEMENTARY INDUSTRIAL WORK. you started. Take the end and weave it above the woof thread just woven across (the space between the woof thread and the opposite end of the loom), going over the warp thread that it first went under, and vice versa. Let the end remain under the warp threads which will be the bottom side of the rug. Continue by returning with the woof, weaving over one and under the next, etc., until you have woven as far as this color is to go, which can be determined by slipping your pattern under the warp threads. The end of the thread is fastened in the same way as it was fastened in the beginning. Now, when you start with another color, begin on the side opposite from the one on which you stopped. This is done in order that both sides of the rug will be even. As you weave back and forth keep the woof pushed up tightly. A stick used for this purpose is called a "batten." An ordinary ruler makes a good batten. While weaving do not draw the woof too tight, or the warp threads will pull in, causing the rug to be narrower in the center than it is on the ends. After enough of this second color has been woven, begin at the other end, and repeat what you have done at the first end; then the remaining space is woven in with the color first used. Another way of weaving is to begin at one end and continue across without stopping and changing to the other end. After you began weaving you probably learned that the fingers did not make a good shuttle (the shuttle is that on which the woof is wound and used to pass it back and forth, over and under the warp threads). It is hoped that you devised some form WEAVING. 99 of a shuttle. It may have been a piece of cardboard, with a hole cut in one end for holding the woof and then used as a needle. This is probably the simplest shuttle that can be devised. A weaving-needle, a stick notched at one end to which the woof is tied, or a piece of wire, may also be used. When giving this problem to the children let them discover for themselves that they need some kind of a shuttle, and then have them devise one, thus developing initiative. W\Aaaa]\AJ F* 3 229 F^Z3\ Fig 232 The^rug is finished by taking it from the loom, fastening the ends of the warp thread, and slipping the woof towards the ends, filling the loops out evenly that 100 ELEMENTARY INDUSTRIAL WORK. had been hooked around the projections at the end of the loom. The finished rug is shown in Figure 230. The fringes may be made by cutting pieces of jute twine about 1" long (Figure 231), and tying in the center with a light piece of cord; then doubling and wrapping just below where it was tied (Figure 232). Cut the ends off evenly and fray out. The fringe is now ready to be attached to the loops of the warp. Another rug is given to illustrate the working of a^pattern on a hand loom. \ } The designing of the pattern comes first. Cut a piece of blank paper the size of the rug, and rule lines y$ apart, both lengthwise and crosswise. This will give a piece of cross-ruled paper made up of ^" squares. j The single weaving will be a great aid here in the design. Keep the children at the execution of simple centers in the beginning, and always use large TVTYTl Fig* 233 234LAAA/ rVTVTTT LAATLAJU WEAVING. 101 spots in preference to a group of smaller ones, as they are difficult to execute and do not look well, as a rule, even when properly executed. After the form and size of the center have been decided upon (Figure 233), have the pattern made in color, using the same two colors for each pattern, but interchanging them so as to see which arrangement of color is best. The center is woven as shown in Figure 234. Place the pattern under the warp in order that the center is properly located. Then the other part of the rug done in another color is woven. A weaving- needle or a large raffia needle is necessary, after the center has been woven, to use in passing the warp back and forth. As can be seen from Figure 234, after the center is woven you should start at the end and weave until it is filled up to the color, then fill out to the other end, and, lastly, fill in on both sides of the center. It is sometimes desirable to fasten a knitting- needle or a piece of stiff wire along with each outside warp thread to keep the sides from drawing in while weaving. After the rug is woven the needles are readily pulled out and do not injure the rug. A box loom is somewhat in advance of one that has been constructed of cardboard. This will also involve the heddle shown in Figure 237, which is a device for raising and lowering the warp threads, making it possible to save much time in weaving. The shuttle already referred to is shown in Figure 238. The woof is wound around the shuttle, and then it is passed back and forth in weaving. The shuttle may also be used as a batten. 102 ELEMENTARY INDUSTRIAL WORK. n n TT ■ r * J l—» U_ l^i i^. ].|. . . - . *37 NorE-.- Fig2Z7 mail foe used as a pattern in f.« zss: Fiqs2.35 £36 Design the pattern carefully so as to get good proportion, and do not have it too large to be woven on the box from which you are going to construct your loom. Remove the lid from the cigar box and cut away a part of the sides, as shown in Figure 236. Drive brads on either end at intervals of f". Having done this, we are ready for stringing the loom. Carpet warp is used as before. Fasten this to the first brad (A) in Figure 235, and pass thru the long opening in the heddle. It is then carried on around the first two brads on the other end of the box, and back thru the heddle, passing thru the small circular open- ing and on to the end of the box from which we started. It is then carried around the second and third brads, passed thru the heddle and continued in this order until the loom is warped. In the side view of the loom, A in Figure 236 shows the heddle at rest, and ready for weaving. Begin weaving by raising the heddle as indicated at B. Both the heddle and the warp thread are shown WEAVING. 103 by clotted lines in the position that they will assume. The warp threads passing thru the circular opening are the ones that are raised while the other warp threads remain at rest, the long slits or openings making it possible. Having the heddle raised, and understanding the position of the warp threads, the shuttle is passed between the two sets of threads thru the opening B'. Lowering the heddle to the position C crosses the threads, and the shuttle is passed back thru the opening C This is continued, and we find the same result in a far shorter length of time than was the result with the cardboard loom. Raffia rugs or mats may be woven on either the cardboard or box loom. The raffia can be used with carpet warp or strands of it split, which make very serviceable warp. The woof should be kept flat in weaving; that is, the. strands of raffia spread out. This permits of very pleasing effects if natural and colored raffia are combined. Fringes are added in the same way as the one in Figures 231 and 232. Hammocks are woven in nearly the same manner as the rugs. The hammock is to bag when finished, so a loom with circular ends is needed. But, in designing it, it is not necessary to make the ends curve, provided we are going to use the compass for laying out the ends of our loom. If no compass is to be used, which is never preferable, cut an oblong the size of the ham- mock. Fold both lengthwise and crosswise. Draw a curve to represent one-half of an end, beginning at the open end and at the side that has the open 104 ELEMENTARY INDUSTRIAL WORK. corners. Cutting on this line gives the proper shape to the loom. ig239 FiqZA-0 After the design for the hammock has been made (this may have bands of color similar to that of the rugs), trace the form of the loom on a piece of card- board and cut out the loom. A line is drawn length- wise on the center of the loom, and the center of this line located. The hammock rings are now to be put in place. The heavy harness rings are not well adapted to this work; therefore, do not use them unless you cannot get the embroidery rings. f " or 1 is a good size. Prick two holes in this line drawn lengthwise on the loom, one f" above the center and the other f" below the center. Sew thru one of these and back thru the other. Then, slipping a ring over each end of this thread, tie the ends together, and the rings will be kept in place. (See Figure 239.) WEAVING. 105 For warp we may again use carpet warp or any other suitable material at hand. Begin warping by securing an end to one of these rings, and then pass it over the niche to the outside on the left, going the length of the loom on the other side and coming back in the same niche on the opposite end, and pass- ing thru the second ring. Continue by passing from the second ring back to the end nearest it, and so on until the loom is warped. The end is now secured and we are ready for weaving. Begin weaving in the woof, but this time we are going to have a fringe on either side. As you pass across the first time leave about 1 " of the woof that is not drawn thru. Then, as you weave back, leave the same on the second side. This is not an end, but a loop, and will be cut later. Continue until you have filled this side that does not have the rings. If left in this way the hammock would not last long, so thread a needle with carpet warp and blanket- stitch the woof (Fig. 180) to the warp on the ends and sides, securing it in such a manner that it will not pull out. After sewing, the projecting ends of the woof are all cut off evenly, and may be frayed out easily by splitting with a pin. Use this same needle threaded with carpet warp to weave back and forth a few times close up to the rings, so that they will remain in position after the hammock has been taken from, the loom. Pillow looms and the making of porch pillows are treated in the latter part of the chapter on raffia. A Bag made entirely of carpet warp will not be found out of place here. The design precedes the 106 ELEMENTARY INDUSTRIAL WORK. making of the loom, but is not represented by a figure. It should not be larger than 2"x3" when finished, and several colors may be combined. The warp may be white or colored, and the woof of several colors worked by alternating or using bands to make the decoration. ) t I — u a Fig £4-1 FigZ"4-£ Cut a piece of cardboard 1" longer than, but the same width as, the bag. Rule a line J fl from the end, and stick pins half-way thru at intervals of 3-16" on this line. The first and last pin should be but 3-32" from the end of the line, since we are going to weave around this loom, and that will make all of the spaces between the warp threads equal. Warp the loom by securing the end to one of the pins, pass it down around the end and up over the part of the same pin which projects thru on the back side of the loom. Take it on over the second pin on this back side, and continue in this manner until the loom has been warped. Figure 241 shows the loom warped and the woof started. It is woven around the loom, and, when you WEAVING. 107 have woven to the loops at the top of the loom, put in two drawstrings, one to pull toward the right and the other toward the left. (In weaving you discovered that an odd number of warp threads were necessary.) A tassel (Figure 232) may be attached to the end of each of the drawstrings if it is so desired. The drawstrings may be put in a few rounds before the bag is finished, which makes the bag more attractive. Circular weaving demands a circular loom (Figure 242), which is warped ready for use. Cut a cardboard circle J" larger than the size of the desired rug, which allows for the making of niches J 1 deep on the circumference of the cardboard. Cut a hole in the center J" in diameter. Warp the loom by passing the thread thru this opening in the center and up on the outside, and continue until there is a warp thread in each of the niches. The loom has warp on both sides, but is to be woven on one side only. Begin weaving at the center, and weave around, weaving over and under as before. This demands an odd number of warp threads, the same as the bag. When the mat has been woven to the outside the end is secured. Cut the warp threads on the back side of the loom, half-way between the center and the circumference. The outside ends are now tied to prevent the woof from slipping, and form a fringe. The ones in the center are sewed or worked into the underside of the jug. Mufflers make an attractive problem in weaving and merit a better material than jute. They may be woven with or without stripes at either end. 108 ELEMENTARY INDUSTRIAL WORK. Use a loom 1 9" in length. Cardboard is not strong enough for this, tho it can be used if necessary. It is usually possible to get a board of this length and of a suitable width. Dry-goods boxes provide excellent material. Drive nails at the ends on which to string the warp. In weaving draw the woof tighter in the central section, thus making it narrower, so that it will fit better at the neck. RAFFIA WORK. 109 VIII. RAFFIA WORK. Raffia is the fibre of a palm, or, rather, the outer covering of the palm, and is imported from Madagas- car. It comes from the African palm, and is harvested before the leaves are fully developed. This fibre is gathered and cured by the natives, both men and women. It is made into large hanks or braids, and these in turn are made into bales weigh- ing 225 pounds. The bales are then exported. Raffia was first imported and used as ties by nurserymen. It has proven to be a most excellent thing for handwork. The natural raffia is quite artistic. If a variety is desired, it can be dyed. Some authors say it takes dye readily, but such is not the case, as it resists the dye more than any other material that we use; but, if the following hints are observed, anyone can dye raffia successfully. The chapter on design gives suggestions for vegetable dyes. Of the aniline dyes, Easy Dye is perhaps of the most satisfactory. To prepare the raffia for dyeing, unbraid the hanks and wrap them in wet cloths or newspapers, and leave overnight. If dyeing must be done at once, soak the hanks in water for an hour or two. The dye is dissolved in boiling water. Then place the raffia in this bath and let it boil for ten minutes. If several hanks are to be dyed in the same bath, a little more of the dye must be added for each bath, or the raffia will be of a lighter color. 110 ELEMENTARY INDUSTRIAL WORK. Raffia has been used to supplement the work in the chapters on burlap-weaving, and basketry could not be elaborated on at all without it. Here it will be treated not as a means to an end, but as the end in itself so far as material for the handwork is con- cerned. 1. WRAPPED-WORK. In wrapped- work it is necessary to have some- thing to use as the framework around which the raffia is wrapped. This is called the foundation. It usually consists of heavy strawboard or cardboard. The raffia must be kept well spread out while wrap- ping, so as to get the benefit of the full width of the stand. A napkin ring is the simplest of these (Figure 244). Decide on the length and diameter of the ring. Then, finding the circumference, cut a foundation as wide as the ring is long, and whose length is this circumference plus J" for lapping. Execute by lapping the foundation J" and sewing to make secure (Figure 243). Begin wrapping, using the wide end of a strand of raffia. Cover this end and continue wrapping, being sure that no parts of the foundation show until another strand is needed. A new strand is started without knotting by simply wrapping over the end. Secure the last end by pushing it under the raffia on the inside of the ring. A circular frame is made by having the material for the foundation cut in squares. This affords an opportunity of teaching the term "diagonal." Have the children draw diagonals so as to locate the center. RAFFIA WORK. 111 Fi^4-4*. For a compass cut a narrow strip of cardboard (Figure 246). Near one end (at A) push a pin thru the card- board. Then from this point measure a distance equal to the length of the radius for the inside circle or opening in the frame, and make a dot. Push a pencil thru this opening, and, with the pin at the point where the diagonals cross, draw the circle. Locating the dot for the radius of the outside circle, draw it in the same manner. Figure 245 shows the finished frame. This cir- cular piece of cardboard with the circular opening is now wrapped in the same manner as the napkin ring. A small loop is attached for hanging. 112 ELEMENTARY INDUSTRIAL WORK. It is not well to give this exercise without first designing the frame so as to accommodate some picture. This does not mean that photographs are necessary or prints must be bought. Pictures cut from magazines will meet the requirements. After the frame has been completed paste the picture on the back of the frame, then cut a piece of paper slightly smaller than the frame itself, and paste it over the picture. In designing the frame the width of the frame should be considered in proportion to the area surrounding the picture. Figures 247 and 248 illustrate how the circular frame may be varied. In Figure 248 is shown how natural and colored raffia may be combined; also, the blanket-stitch, illustrated in Figure 180, is used on the edge for decoration. In Figure 247 a braided RAFFIA WORK. 113 strand of raffia is sewed around the edge of the frame and lopped at the top. These frames may be made in ovals as well as circles. Figure 249 shows the method of wrapping a square frame. The miters are pierced and sewed thru in wrap- ping as indicated in the figure. Raffia needles are necessary for passing the raffia thru these piercings. Calendar mounts are made like Figure 250. An oblong foundation is used and diagonals drawn. The full length of the diagonals may be pierced lengthwise so that the miter runs from the corner to a line passing lengthwise thru the center of the frame. Or it may be executed similarly to that of the picture frame in Figure 249, and the calendar pad mounted on this. The latter plan is shown executed in Figure 250. The diagonals are drawn as before, but a smaller oblong is drawn on the card inside of the large one, and holes pierced on the four miters. It is then wrapped, sewing thru the piercings as indicated. Thermometer mounts are made like the calendar mounts. A piece of bristol board (other stiff paper may be used) is used to mount the thermometer on, and then the bristol board is secured to the raffia mount (Figure 251). The match-holder and scratch (Figure 252) re- quires a little more time, but is readily constructed. The mount or back is made the same as in Figures 250 and 251. A piece shaped like Figure 253 is cut for the holder. Diagonals show that it is covered the same as tho it had been intended for a mount. It is fastened in place by sewing edges A and B to the back. A piece of cardboard is then cut, which fills 114 ELEMENTARY INDUSTRIAL WORK. the opening, and sewed in place to form the bottom. It may be covered with raffia if desired. A piece of sandpaper is then glued on below the box to form the scratcher. mmmwm gggji sg luaa liSiii F,cjZ56 Circular boxes are made like Figure 256. Cut two circular pieces of foundation material the same diameter as that of the box. In the center cut a small circular opening. In wrapping pass the raffia thru this and to the outside, and on around and thru the central opening again, etc. (Figure 254). The oblong piece shown in Figure 255 is for the body or sides of the box. It is overlapped and sewed and wrapped like a napkin ring (Figure 243). One of the circles is sewed to one end of this cylinder, forming the bottom. The cover is then hinged by sewing with raffia in one place only. RAFFIA WORK. 115 This may be varied by making the top and bottom larger than the diameter of the box itself, thus pro- jecting over the sides all of the way around. Making the opening in the center larger, gives us a hair-receiver. Decoration in cross-stitch may be added; also mass decoration by sewing with colored raffia can be executed. Square and oblong boxes can be constructed by making the parts in the same manner as the mounts for Figures 250-252, and then sewing them together to form the boxes. 2. BRAIDED WORK. In making a braid always start with the large ends of the strands of raffia. Several strands of raffia are used for each strand of the braid. Just as soon as the braid becomes thin, add more raffia, inserting a few strands at a time. Do not mind the ragged appearance that these projecting ends present when starting additional strands, since they may be cut off close to the braid after the braid is finished. In sewing the braids together use a fine strand of raffia that has been provided by splitting a larger strand. Mats. — It is not necessary to braid more than several feet before beginning to make the mat (Figure 257). The braid is laid on edge and sewed. Be sure to get it round in the beginning, so that the mat will not be flat on one side when finished. When you have sewed to where you left off braiding, more 116 ELEMENTARY INDUSTRIAL WORK. raffia is added to the braid. After the mat is of the desired size a border is sewed on as indicated in the figure with the raffia placed flat and not on edge. Fig 2, 6 1 FtcjZ6Q If an elliptical mat is desired, the beginning should be straight for, say, an inch, then doubled and continued in the same manner as a circular mat. Another form is shown in Figure 258. The braid is placed flat and the edges sewed together. The border is made in the last time around the mat and is a part of it. RAFFIA WORK. 117 Bags are illustrated by Figure 259. Two cir- cular mats are made and sewed together, leaving an opening at the top. Braids for carrying or hanging are added last. Trays and baskets are started like the mat in Figure 258. After the bottom is large enough turn the braid to conform to the form of the sides, and continue sewing. A drawing should be made and followed as in Figure 301 under basketry. A tray is shown in Figure 260. These make attractive trays and serviceable baskets if not made too large. Small jewel-cases can be made by lining the basket and making a cover for it, which is hinged by sewing in one place with some raffia. Hats. — Doll-hats afford a great deal of pleasure and develop initiative. A representative one is shown in Figure 261. The beginning is the same as that of a basket if a flat top is desired. Then the sides of the crown are the same as the sides on a basket. The brim is started after the crown has been woven tall enough, and the hat is readily completed. If the top is to be other than flat, it is easily accomplished by drawing the braid quite tight in sewing, which will cause the top to bulge upward. Rugs and mats are treated in the chapter on weaving. 3. KNOTTED WORK. Shopping-bags knotted from raffia are very attract- ive. The first bag is made using the over-hand knot. 118 ELEMENTARY INDUSTRIAL WORK. To begin the bag use a cord or strand of raffia, knotted at the ends, around which to hang all of the strands of raffia. Each strand then gives two ends. For this we use eighteen strands of natural raffia. Begin knotting by making an over-hand knot just below the foundation on which these eighteen strands have been hung. Figure 263 shows how the over- hand knot is made, tho nearly everyone is familiar with it. The second time around take one strand from each knot. Figure 262 illustrates this. Con- tinue and alternate. The longer the space left be- tween the knots the larger the meshes become, and consequently a wider bag is the result. The bottom is made by knotting the ends of opposite sides to- gether and cutting evenly and fraying out. Two braids are then made to be inserted around the top and used as drawstrings. After inserting them with two ends on each side, tie the ends to- gether and add a tassel. (See Figure 232.) Bags are sometimes made with only one drawstring, but these do not carry well, and look as tho they were heavily loaded on one side. Another bag quite similar to the preceding one, except that it involves a more difficult knot, will now be considered. Use eighteen natural and eighteen colored strands of raffia. A stirrup is used as in the preceding bags. The strands of raffia are placed two in a group — one natural and one colored — where we had only one strand in the other bag. This gives four ends. One natural and one colored end are held together, and the other two tied around it. This knot is now executed by working first as shown in RAFFIA WORK. 119 Figure 264 A, and then Figure 264 B, lastly drawing the ends quite tight. Fig263 fig 2 6 4-B Proceed by knotting once around in this manner. The second time around use two of the four strands with two of the strands from the adjoining knot, and continue until the bag is of the desired depth. The bottom is closed by knotting together the strands of the opposite sides. The bag may be lined with suitable material, something that will harmonize with the color of the raffia in the bag. 120 ELEMENTARY INDUSTRIAL WORK. 4. PORCH PILLOWS. Porch pillows may be made of raffia, long grasses or straw. Tig Z6S Fiq a66 Piq267 RAFFIA WORK. 121 The making of the loom and a pillow of raffia will be discussed here. The construction of the loom is the first con- sideration. The one in Figure 265 is one of the possible constructions, and is quite satisfactory. Take two pieces of wood f"x2"x21J", two pieces f"x2"x23", four pieces |"x2"x5", and two pieces f"xl"x24|" long. The figure shows how it is put together. Nail the 23" pieces to the 21 §■ pieces, making a square frame. Next cut a notch at one corner of each of the 5" pieces, f"xl", into which the f"xl" pieces are to be nailed. Nail the 5" pieces after notching to the square frame on the sides that have the 23" pieces. The two re- maining pieces are now nailed in the notches, and the loom is complete, the last two pieces being the ones to which the warp is secured. A needle (Figure 266) made from a piece of wood ^"xl"x24" is also needed. Cut an eye in one end by boring two holes J" in diameter and f " apart. Cut a tangent on each side, joining the two holes and forming the eye. Both colored and natural raffia, or natural alone, may be used in weaving the pillow. In the pillow shown started in Figure 267 twenty-six warp threads are strung, and an equal number of woof threads are to be used. By warp and woof threads here are meant bunches of raffia made up of from eight to twelve strands, depending upon the size of the raffia. To string the loom, begin by taking the large end of the strand and tie. Take it across to the other bar and tie the small end. The second one is first tied with the large end beside the place where the small 122 ELEMENTARY INDUSTRIAL WORK. end of the first one was tied, and in that way the large and small ends alternate. After the three natural ones come three colored, then fourteen natural, three colored, and, lastly, three natural ones. After the warp is strung, thread a raffia needle and blanket- stitch across each end, so as to secure them and keep them in place. Begin weaving in the woof by threading the needle with a bunch of raffia equal in size to that of the warp. After the woof is woven in, stitch across the ends the same as on the warp. This will make the top of the pillow. Weave one of just the same size from the natural raffia for the back. Sew three edges together and fill with excelsior, moss or other suitable filling, and then sew the fourth side. The ends are then cut evenly, and the pillow is complete. SIMPLE BOOKBINDING. 123 IX. SIMPLE BOOKBINDING. As is suggested by the little of this chapter, we shall not go very deeply into the art-craft of book- binding. Without equipment other than a punch and scissors we cannot go thru even the simple processes involved from the "forwarding" to the "finishing" of a simple book, but must be content with the making of desk-pads, folios, loose-leaf covers, covers with simple hinge fastenings, etc. Let the simple be- ginning that we make in this craft be practical. Nature- study, language and other subjects will demand books that can readily be constructed by the children. Become familiar with the way of the practical crafts- man by examining pieces of finished work, being careful to notice the detail; and, any time you are in doubt about something not given in this chapter, proceed by returning to your bound book. When doing the more complicated work it is often desirable to take a book to pieces in order to understand the construction thoroly. Desk-pads are taken up first, since they readily pave the way to the making of simple portfolios. The pupil should be familiarized with the end papers and the fly-leaves at the front and back of the book. His attention should also be called to the arrangement of the pages with reference to spacing, margin, etc. Books having covers of good design 124 ELEMENTARY INDUSTRIAL WORK. should be shown and note made of the fact that the lettering is rarely in an oblique line, but nearly always carried straight across the cover. 1. DESK-PADS. The materials needed are a piece of strawboard, a piece of cover-paper slightly larger than twice that of the strawboard, some book-cloth, paste and a blotter. 1 1 i L A X. — ' 7 The first step in the process is the making of a working drawing (Figure 267) and designing the decora- tion for the corners. Figure 267 is the finished pad and makes a good proportion. A good size for a small pad is 9"x12".1 SIMPLE BOOKBINDING. 125 After the drawing has been made, cut the piece of strawboard just the size of the pad. This is called the "foundation." \ \ X. \ NX \ > \ \ X / X ' X / / • X / X / X / X ' // / X N \ \ x ^ \ s X \ \x X N X s X \ X / // X / // X / X / X / X / f / / \ \ \ X \ \ \ X \ X \ X N \ \ , X .> X / // x / X / X / // o / \ s^ \ X \ \ \ \\ \ \ X \ \ \ r^zio FlqZIZ F«q273 One of the corners should now be drawn full size. These are to be made of book-cloth or some paper that is quite strong and will not tear easily, since most of the wear and tear comes on the corners. Figure 270 shows the method of cutting the four corners advantageously from one strip of material. Cut a pattern for the decoration, and trace it on each of the four corners before pasting them. The corners should then have paste applied to the flaps, and, placing the corners with the part that has the decora- tion on it on the side that has already been covered, pasted. The top side is shown in Figure 271. The corner must not be drawn down too tightly or the SIMPLE BOOKBINDING. 127 blotter cannot be inserted under it. Figure 272 shows the back or under side of the pad after the addition of the corner. The next step is the cutting of a cover for the back of the pad. Cut a piece of cover paper |" shorter and narrower than the pad itself. This is pasted by applying paste around the edge only. After placing it in position, the back of the pad will look like Figure 273, the space being left, since the back cover is made smaller, making a neater piece of work. A blotter is inserted to complete the pad. It should be cut f" shorter and f" narrower than the pad itself. 2. PORTFOLIOS. Portfolios may be made as started in Figure 274, the corners being pasted down tight on the bottom side or omitted entirely. The two pieces of foundation board placed on the cover paper are to be joined by means of a hinge. Figure 275 shows the outside covers pasted to the foundation board. A strip of book-cloth or very strong paper is cut to form the hinge. It must be twice the length of the finished book. Paste on the outside first, and then bring the ends over to the inside, so that they will meet in the center. The hinge in Figure 275 has been pasted on the back, and one end on the inside coming to the center. The tapes are added (Figure 275) by taking a sharp knife and cutting thru both foundation board and cover. Push the end of the tape thru from the 128 ELEMENTARY INDUSTRIAL WORK. outside to the inside of the folio, and paste the short end to the foundation. After the addition of the inside cover the tapes are firm and will not slip or pull out. Paste the other end of the hinge and add the inside covers, and we have Figure 276. This completes the portfolio. The outside of the folio is shown in Figure 277. V/M/WMk WM7fflk Fm274- mmaautam &m \Hm FiqZ76 Fig277 SIMPLE BOOKBINDING. 3. A SIMPLE BOOKLET. 129 Booklets are always in demand and can be made in various forms and sizes. Both the cover and the sheet, making two leaves, are represented in Figure 278 with holes pierced for tying together. The solid oblong with a dotted line across the center is the cover. The dotted oblong shows the position that the leaves will assume. The cover when closed, with the leaves inside, is represented in Figure 279. The dotted and solid lines at the hinge show a good method of securing the leaves to (the cover. Three holes are pierced as shown in Figure 278. With a needle pass the thread thru the upper hole from the outside. Then pass down on the inside and out thru the bottom hole. Then pass both ends in at the 130 ELEMENTARY INDUSTRIAL WORK. central hole and tie around the cord, cutting the ends off close to the knot. A simple execution for the cover design is done in outline and in black. Consult the chapter on design for additional suggestions in designing the covers. 4. ANOTHER BOOK. Figure 280 shows the two foundation boards placed on one large piece of book-cloth which forms \ F.q 280 FiaZQl SIMPLE BOOKBINDING. 131 both outside covers and hinge. It is pasted to the foundation in the same manner as in the previous exercises. The inside covers may be made of one piece; but, as a rule, the leaves are pasted in first, and then the inside cover, thus covering each side of the leaves where they are hinged. Method of working up leaves may be obtained from Section 6 of this chapter. A cover design that may be given to a class having in it the possibility of a number of different solutions is found in Figure 281. It may be done in solid or outline. 5. LOOSE-LEAF BOOKS. Loose-leaf books are desirable both as notebooks and books for mounting pictures, also for schoolwork. They are easily constructed, and additional pages may be added at will. FiyZQZ Fie 283 F,q£84- Fiq 28 J" 132 ELEMENTARY INDUSTRIAL WORK. Two foundation pieces (Figure 282) are needed for each cover — a narrow one for piercing and hinging, and the wider one for the cover proper. Book-cloth is best for the outside cover, but paper may be used if necessary. The foundation pieces are in position on the cover in Figure 283. Notice that the left-hand end projects farther than does the right-hand end. This is done so that it will fold far enough over on the inside in order to paste to the large foundation piece, Figure 284 making a stronger hinge than if it were folded like the other edges, and the inside-cover paper forming the hinge on this side. Paste in the inside cover, and, making another piece like the one just completed, the holes may be punched, eyelets inserted and the cover design transferred. Figure 285 shows the cover design and the holes punched. The dotted lines represent the space form- ing the hinge. Be sure there is a space, and do not have the foundation pieces touching each other. At least yb" should be left. If no eyelet punch is to be had, punch the holes and, placing the eyelets in them, clinch by means of a round-head screw. Take a round-head screw §1 long and gauge No. 7 or 8, and file the point blunt so that it can be struck with the hammer. Place the cover with the eyelet so that the eyelet will rest on a solid block of wood or a piece of iron, and, placing the head of the screw on the eyelet, strike the screw which clinches the eyelet. Then finish up smoothly by striking the eyelet lightly with the hammer. SIMPLE BOOKBINDING. 133 6. ART-BOOKS. Several plans for the contents of the art-books are possible. A certain number of pictures may be chosen to be studied in each grade; say one for each month. Then some of the important statements concerning the pictures could be written on the same or following pages. This demands a book to which leaves can be added when needed. The loose-leaf covers also meet this requirement. The Perry pictures are recommended, since they are so inexpensive. | ; Even tho no appropriation is available for pur- chasing pictures, the teacher will find it worth while purchasing them the first month. After that the children will gladly provide one cent each per month in order to get a new picture if the first one has been made interesting. Fig286 Ficj287 The covers for the art-books are made the same as the preceding covers, except that the inside covers arejnot added until the following has been inserted. 134 ELEMENTARY INDUSTRIAL WORK. To make these stubs to which the pages are to be pasted, book-cloth or some strong cloth of llight weight is needed. Cut a piece like Figure 286. The space between the dotted lines is for sewing in the folded strips that have been prepared by cutting strips 1" wide and of the same length as Figure 286, and folded in the center. Take as many strips as you wish leaves in the book, and sew in place between the dotted lines. After sewing they will look like Figure 287. A sheet of construction paper is then pasted between each of the folded strips forming the leaves (Figure 288), and they are ready to be inserted in the covers. Paste the strips on either side of the leaves to the foundation pieces in the covers. Next cut a piece of cover paper twice the size of the inside cover. Paste one for the cover and the other becomes the flyleaf of the book. BASKETRY. 135 X. BASKETRY. Basketry is a very desirable form of industrial work. It is of such a nature that it offers considerable resistance to the worker, thus developing a great deal of dexterity where any large amount of basketry is done. Children in grades lower than the third or fourth should be given only the simplest kinds of basketry. Often it is not advisable to begin even that early. Materials used are reed, both round and flat, raffia, and such natural materials as willows, corn husks, grasses, pine needles, straw, etc. Reed is split from the inner portion of rattan and dressed to cylindrical form in various sizes, numbering from 1 up. Those most adaptable for work in basketry are Nos. 1 to 6. Flat reed is obtained in the same manner. Raffia has been described in the chapter on raffia. Natural materials must be gathered by the person who is to use them. Experience, tho a costly teacher, is the one that must be relied upon most in gathering them. In gathering the corn husks use only the inner and softer ones. Pine needles may be used either green or dry. Of the straws, the ones with the long spaces between the nodes (joints) are best for braiding. Some grasses are gathered at one season and some at another. Cutting at the wrong time causes them to become brittle with age. The 136 ELEMENTARY INDUSTRIAL WORK. proper time for cutting willows is given under the heading "Willow Baskets." Tools. — Only a few simple tools are necessary. One can get along admirably with a sharp knife and a ruler. If some tool is needed to make an opening for the ends of spokes, one can be made by shaving a stick of hard wood to a long point. Heavy shears are useful when cutting up large quantities of material for class use. Pliers can also be used at times, but are not absolutely necessary. If no utensil is at hand for soaking raffia, get a lard-can, which is just the size and depth needed, and can be bought cheaply. 1. REED MATS. As an introduction to the successful making of reed baskets, the making of reed mats is a most de- sirable one. In fact, the mastery of this insures success in the making of baskets;, but, without this, the result will not be satisfactory, since we must have a good start before we can consider the subject of form. Materials needed for the first mat are: Four spokes of No. 3 reed 1 2" long, one spoke of No. 3 reed 7" long, and two weavers of No. 2 reed. The reed should be placed in cold water and permitted to soak for at least an hour before using. If hot water is used, only half the length of time is necessary. Proceed by arranging the 12" spokes in pairs and crossing them in the center. Place the BASKETRY. 137 short spoke between any two of the long ones, and hold all in place with the left hand. Now take one of the weavers and begin weaving by placing the end of it parallel and against one of the spokes, with the end slightly to the right of where the spokes cross. Pass it on around the spokes that it crosses, and as it comes up cross the other set of spokes and down again, passing below the spokes you first went around. A in Figure 289 is the weaver, and the other reeds repre- sented are the spokes. F.q.289 F/q.230 Now, as you come up and over the next set, you have made one circuit. Follow the same path once or twice around, and then, beginning with the spokes at the end of the circuit, separate the spokes, and con- tinue by passing the weaver over one, under one, etc., dividing the spokes evenly as soon as possible. A in Figure 290 is the same as A in Figure 289. Great care should be exercised in pressing the weaver down, between each spoke, close to the previous row of weav- ing. This alone is not sufficient, it should also be held in position with the forefinger of the left hand 138 ELEMENTARY INDUSTRIAL WORK. while passing to each succeeding spoke. The impor- tance of this is never fully realized until the student begins work on his mat or basket. This applies to all reed work. In starting a new weaver place the end on the end of the old weaver behind a spoke, and continue in the same path that the old weaver would have taken. Later, when the project is completed, the ends will be cut evenly, leaving no obstruction. Your judgement will of course tell you that this splicing must take place on the inside. (The outside of the mat or bas- ket is the side next to the worker.) When the mat is about 4" in diameter, the end of the weaver is passed under the last row of weaving and behind the next spoke, or it may be bound off by passing the weaver under the last row of weaving, under the next spoke, over the next, and under the last row of weaving again. Continue in this manner once around the mat. The mat is now ready for the border. The simplest open border (Figure 291) is made by cutting the spokes to an even length and shaving them to a point, soaking the mat and then bending spoke No. 1 , and pushing it down beside spoke No. 2, and continuing in this way until all of the spokes are pushed down. Figure 292 might have been used on this mat. Referring to the figure you will see the similarity between this and the other border. The spokes should be pushed down to a depth of at least 1" into the mat. Figure 293 shows the first step in the detail of the heavy border which may be used on mats, and is spe- cially desirable for baskets whose tops are exposed to hard usage. BASKETRY. 139 To execute the border started in Figure 293 arrange the spokes just as they are shown, then pro- ceed by taking the end of the first spoke which is al- ready bent around the second, carry it forward in front of the third and fourth, back of the fifth, and push it down on the right-hand side of this, the fifth spoke, and bend, and then push down the fourth spoke. This makes two bent spokes between the fifth and sixth, a short one and a long one (Figure 294). Continue in this way and you will find that you will also have two between all succeeding spokes. The long one, of course, is to be used again, and the short one remains where it is, and is cut off after the border is completed. A second reed mat is executed, since, frequently, there is a demand for basketry low down in the grades 140 ELEMENTARY INDUSTRIAL WORK. where the children are too young to work in accord- ance with the preceding reed mat. Splitting the spokes and threading them for the base, and then beginning to weave with raffia, is an easier and less technical beginning, but does not give as serviceable a basket. We shall also use more spokes in this mat, and it will be seen that the result is a closer border, which is stronger and more durable. Materials used are six spokes of No. 3 reed 12" long; one spoke of No. 3 reed 7" long, one weaver of No. 1 reed, and one or two strands of raffia. Cut one end of three of the long spokes and of the short one to a short flat point. Next take a knife and make a slit in the center of the other three. (See Figure 295.) Next take the three pointed spokes and slip them thru this opening until half projects on either side. After one has been slipped thru, it is an easy matter to slip in the other two, one on either side. The short one can then be slipped in between two of the longer ones, leaving the blunt end to project but slightly beyond the ones that are slitted, as shown in Figure 296. Begin weaving by taking the large end of a strand of raffia (raffia should never be soaked in water to make it pliable in order to manipulate more easily), and start just as we did with the reed weaver in Figure 289. In this case we begin weaving over and under after the first time around. If you have followed instructions you are now weaving from left to right, pulling the weaver down close to the center and hold- ing it each time with the left forefinger to prevent Flq?94- / F "3 2<>6 FiaZ^l slipping. Do not Qverdo this part, however, by having your weaver so tight that the bottom will not remain flat. The spokes must be evenly separated by the time three or four rows have been woven in order that the spokes come out straight from the center, otherwise the work will not be symmetrical. After one or two of the strands of raffia have been used, insert a weaver of No. 1 reed behind a spoke, 142 ELEMENTARY INDUSTRIAL WORK.' and continue the weaving, keeping the raffia with the reed weaver until you come to the end of the raffia (Figure 297). The end of the reed weaver must be held, to prevent its slipping, until one row has been woven, when it will bind and remain in place without holding. A full-length weaver will make this mat large enough. When the mat is finished, the weaver is fastened in the same manner as the one in the preceding mat. If this is the second mat that has been made, it is well to use the heavy border in order to have more than one with which you are familiar. 2. HOW TO UTILIZE MATS. It is sometimes necessary to make several mats in order to acquire enough technique to proceed with the baskets. So, in order to stimulate the child to repeat the problem, the second one that he makes should not be simply a mat, but rather one in disguise. Pincushion. — The making of a small mat with rather a large border affords excellent material for a pincushion. (Figure 298.) Cut a circular piece of cardboard, about 2" in diam- eter. Place some wadding or other filling on this, and fasten to the cardboard by taking a few stitches. Cover with a circle of suitable material of double the diameter of the cardboard circle. To cover, gather the edge rather coarsely with thread, place on this the cardboard with padding turned downward, and draw up tightly, and secure the ends of the thread. Then sew the pincushion on the center of the mat. BASKETRY. 143 Figure 298 is intended to be used flat on the table, but could be made more attractive to smaller children by weaving a ribbon around the open border decorating with two or three bows. Then suspend the cushion by means of two ribbons with a bow at the top. Fi..jL^.^ttaa 32%. 3Zl 3Z + BASKETRY. 159 7. BASKETS OF NATURAL MATERIAL. Pine-needles make excellent pintrays and small baskets. Small baskets with covers may be made to be used as jewel-cases. Rye, wheat and oat straw, as well as the different grasses and rushes that are available, may be used, not merely for the small baskets, but for larger work. Corn-husks can be used the same as the founda- tion work, but are used to better advantage if braided and then sewed together. n Figure 325 shows the start of a pine-needle, straw or grass basket, using a thread or strand of raffia for binding. Figure 326 is another section of the same basket. In working, the grass should be held in the left hand, with the first finger free to keep the thread from 160 ELEMENTARY INDUSTRIAL WORK. slipping back and causing the work to become loose and flimsy (Figure 327). Stitch thru the coil each time, and under the stitch in the last coil. Place the thread at the proper angle each time before drawing tight, so that the spirals will be regular. It is not advisable to have them very close together, however. If necessary, new ones may be added by starting one in the center of each space. The foregoing applies to an open basket ; /. e., one where the inside is the right side. A closed basket is one in which the sides incline toward the center at the top. When the bottom is of the desired size, turn the basket the opposite way, which also reverses the angle of the stitch and makes the opposite of the basket the right side. Figure 328 is a pine-needle basket in which the inside is the right side. This is called an "open basket," since the sides at the top flare away from the center instead of toward it. What has been said here about baskets of natural material does not conflict with using them for coiled baskets with soft foundation, for in that case the foun- dation is wrapped and covered, but it is exposed in these baskets. 8. FLAT REED BASKETS. Flat reed may be used for either square or oblong trays. For an oblong tray, 3"x5", take eleven strips of reed £" wide and 5 J" long. Shave both ends of each strip to a thin point, beginning back f " from the end. Cover each one of these strips with raffia, leaving BASKETRY. 161 uncovered J" at each end. Then sew to this the remaining ten strips, using the knot stitch (Figure 317). This will form the bottom of the tray shown started in Figure 330. Fiy 330 After the bottom is finished, cut two strips of reed exactly the length of the width of the bottom.pNow moisten the J" projections at either end until pliable, then bend until they form a right angle with the bot- tom, and fasten the strips on the inside of the tray by sewing with a very fine strand of split raffia as shown in Figure 330. For the sides cut three strips of reed £" longer than the distance around the basket, so as to permit splicing. Soak these in order that they may not break while bending at the corners, or in sewing while splicing. To splice shave both ends, so that, when placed together, they will be of the same thick- 162 ELEMENTARY INDUSTRIAL WORK. ness as that of the reed, and sew together by taking a few stitches with a finely-split strand of raffia. Take one of these, and, holding it in position, sew to the bottom, using the same stitch. Pass on the outside of the strips turned up at the ends, and sew over both, completely covering the ends of the eleven strips used in the bottom. Add the other two, being careful that the spliced places are not directly over each other, and the tray is complete. Baskets may be made in the same way by cutting each succeeding strip for the sides a trifle longer, causing the basket to flare at the top. Figure 329 is a tray slightly larger than the one just described, and has a double reed at the top. DESIGN. 163 XI. DESIGN. "The Greek worship or seeking was essentially of Rightness and Strength founded on Forethought. The principal character of Greek thought is not Beauty, but Design." — Ruskin. The subject of design and color for manual train- ing is such an inexhaustible one that we can deal with it only in a general way, but too much stress cannot be laid upon the art side of the handicraft work as it is taught in most of our schools. While teaching the child to use his hands in re- sponse to his creative mind, we should not forget that it is just as easy to instill correct ideas of form, design and color as to allow a careless disregard of the things that mean beauty. If the teacher has no idea of the great underlying principles of art, how can he expect to succeed in giving proper instruction in manual training? Art and manual training should almost be synonymous terms. The teacher meets his first problem in the selection of material. For paper-work he must think not only of the use that is to be made of it, but of the colors that harmonize and are in contrast in dark and light of the same or different colors, as dark and light green, dark and light gray, or tan and brown, blue and orange, etc. When the child makes his selections, give hints enough to prevent discordant notes, and he will be 164 ELEMENTARY INDUSTRIAL WORK. acquiring good taste in an unconscious way. In buy- ing cord, consider the color also, and when raffia is purchased it is better to get it natural, and then dye it, than to purchase the ugly colors that one so often gets. Easy dyes are very satisfactory to use; and, by knowing a little about mixing colors, fine results may be obtained. For instance, the dark red is crude; but, by mixing green with it, one gets a soft old-rose color; and a little orange mixed with the blue gives a beautiful soft tone. Burlap, which can be obtained from sacks or the wrapping of furniture, can be dyed in the bath follow- ing the raffia, as it absorbs all of the color that is left. Teachers in the country who have no appropria- tion allowed for materials can use from nature's gen- erous supply. If one needs yellow dye, let him use golden rod (the whole plant) or onion skins; sumach berries give a pink dye, and, when boiled with the leaves, plant and berries, tan is obtained; pokeberries and grapes give purple; hickory, walnut bark and shucks give brown; and the logwood gives black. If anyone needs red, buy a little cochineal, and indigo for blue. Get green by mixing the blues and yellows. If in the fall the wideawake teacher collects ma- terials and dries them two or three weeks in a dark room, he is ready for work, and needs only a little practice, good-will and the help of the larger pupils. He can have a full supply of cat- tails, flags, rushes, marsh-grass, seaweed, corn-husks, willows, oak-twigs, ash-splints, wild wistaria, palm-leaves, pine-needles, bamboo, and worlds of other things, to be used in basket- weaving, hat-making (from palmetto), etc. DESIGN. 165 The wise teacher can go to nature again for his ideas for applied design, but that is by far the most difficult phase of manual training, because the average teacher does not know the subject himself, and per- mits the pupils to make designs too hard or realistic and seldom suitable for the article to be decorated. Let one remember that it is much better to have no design at all than to have a bad one, and, altho a child loves to decorate, he should be properly directed or made to avoid it. Right here let us say that the teacher must have abundant material to show the pupils as each new subject is introduced, not to be used as copies, but to be offered as suggestions for original work or for variations. Every child should have his problem stated clearly, examples shown, and certain restrictions put upon him before he is allowed to begin. If one has no way of obtaining inspiration thru contact with the work of the great artists or get- ting illustrations from an art library, let him own sets of good art-books that deal with design and are full of excellent examples. In designing any object you must consider the following: Purpose of the object to be made. What form is best suited to its usefulness. What material is used to the best advantage. Is decoration necessary? If so, what kind? In the teaching of design it is best to begin with the simplest problems of line arrangement, as are used on the ends of rugs (Figures 331 and 332), in- cised designs on pottery (Figure 333), border designs for baskets and for lamp-shades (Figure 357), etc. It can be carried into the more complicated problems, as the 166 ELEMENTARY INDUSTRIAL WORK. interlaced patterns — the belt (Figure 344) and the book-cover (Figure 362), both suitable for leather- work, and the needle-book (Figure 346). Fkjs 35 1 332 3 33 334 3SS 336 DESIGN. 167 m After a few designs have been put on the black- board let the child work out some on paper; then select his best, which he must perfect before he thin ks of working it out in his basketry or whatever he is ma king. 168 ELEMENTARY INDUSTRIAL WORK. Spotting or massing is a step beyond line com- position, and it brings in a very important principle, that of balancing dark and light in tones of gray, or color. It is illustrated in the drawings under weaving. The designs for tooled-leather bags (Nos. 341 and 342), cardcase (No. 343), interlace (No. 345) coin-purse (No. 347) for a little child, the stenciling (Figures 358, 359 and 360), as well as the borders (Figures 337-340), that were designed by pupils, etc. If one wants plant and animal forms for design, let him use them in a decorative or abstract way, and not in a purely naturalistic manner, for, while morning glories are lovely on the vine, they are not suitable for decorative purposes when drawn and colored just as they grow. We have had pupils make a drawing of a cat, and, by making it into a straight-line unit, a good border was made. (Figure 340 was made by a third-grade child.) The borders above it were de- rived from insects, the lamp-shade (No. 356) was taken from the violet, the block-prints, corners and rosettes (Figures 348-355) were taken from insects and flowers, the bags have berries as motifs, and the needle- book has the water-lily. The use of the square paper is often good, because it keeps the pupil away from dan- gerous curves, and if he applies himself properly he gets results that surprise everyone. Especially is this true in the planning of block-prints for printing that will now be discussed more fully. DESIGN. 169 fiq634l I 4S£ 343 344 34-£ 3 45 ^Jfa <$wy LL EQ3 jJ 346 347 170 ELEMENTARY INDUSTRIAL WORK. 357 DESIGN. 171 1. BLOCK-PRINTING. Block-printing is a very old art, used principally by the peoples of India, Japan and other countries, and within the last few years very extensively by Amer- icans. The process is a very simple one, and helps very much in the study of design and color harmony. Have the child plan his design on paper, using flowers, ani- mals, landscapes, insects or geometric spots as motifs (Figures 348-350). Corners (Figures 351-353) and the rosette (Figure 354) can be used on the block. Let him put the design on thin paper, and with impression paper transfer it to a cork, spool, or on a well-planed block of wood (preferably pear or cherry, as the grain is finer, altho bass and other wood will do). With a sharp knife cut on the lines of the design, and gouge out the background. The block is now ready for use. In the lower grades the printing is done on paper with printer's ink. An easier way is to put pads of cheesecloth on a slate over which the ink has been poured. The block is pressed into this inked pad and then printed on the paper, care being taken to make light pencil marks where the block ends, so as to register for the next one. Water-color is often used after glue or mucilage has been added to prevent its running. Neverthe- less, we prefer the dye, not only because it is the best on paper, but because it also can be satisfactorily used for bags, pillows, book-covers and articles that do not need washing, and after a hot iron is passed over the finished product it holds the color well. However, if one is to block-print curtains or table-covers that are to be washed, oil-paints diluted with turpentine or gasoline are best. 172 ELEMENTARY INDUSTRIAL WORK. Wallpaper borders for the walls, linoleum, matting, screens, etc., for the doll-house, boxes, posters, Christ- mas and Easter cards (often printed by the little children from blocks made by the older ones), are put on the paper with blocks either pressed on the ink or with color put on the blocks, using a brush. That is a good way for anyone, for, while it is proper to make a separate block for each color used, it is far easier to put the different colors on the same block so as not to risk poor registering. Block-printing as well as stenciling is not only applied to paper, but to linen, silk, burlap and all kinds of cotton goods. 2. STENCILING. This is another art taken principally from the Japanese, who have always been so proficient that it has been said that they cannot be excelled. Some of their ancient patterns are so delicate and wonderfully wrought that they resemble a spider's web, and, in fact, some have their finest lines made of the hair of the artists who produced them. Like the block-printing, it has boomed of late, and is not only used on fabrics of all kinds, but also in interior decoration. A design must be made so that the parts can be separated and the background con- nected. See that there is a center of interest and not a number of uninteresting, discordant spots. Figure 358 can be used as either a surface pattern or as a border if used in two rows. No. 359 is a border taken from the acorn and oak-leaf. Figure 360 is a surface DESIGN. 173 «Br Fiq5 356 3 59 360 174 ELEMENTARY INDUSTRIAL WORK. NOTES F/