diff options
Diffstat (limited to 'old/68118-0.txt')
| -rw-r--r-- | old/68118-0.txt | 8217 |
1 files changed, 0 insertions, 8217 deletions
diff --git a/old/68118-0.txt b/old/68118-0.txt deleted file mode 100644 index b341dc8..0000000 --- a/old/68118-0.txt +++ /dev/null @@ -1,8217 +0,0 @@ -The Project Gutenberg eBook of Correlated courses in woodwork and -mechanical drawing, by Ira. S. Griffith, A.B. - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: Correlated courses in woodwork and mechanical drawing - -Author: Ira. S. Griffith, A.B. - -Release Date: May 18, 2022 [eBook #68118] - -Language: English - -Produced by: Charlene Taylor, Harry Lamé and the Online Distributed - Proofreading Team at https://www.pgdp.net (This file was - produced from images generously made available by The - Internet Archive/American Libraries.) - -*** START OF THE PROJECT GUTENBERG EBOOK CORRELATED COURSES IN -WOODWORK AND MECHANICAL DRAWING *** - - - - Transcriber’s Notes - - Texts printed in italics and boldface have been transcribed between - _underscores_ and =equal signs respectively. Small capitals have been - replaced with ALL CAPITALS. The caret ^ indicates a superscript - character. - - - - -[Illustration] - - - - - CORRELATED COURSES - IN - WOODWORK - AND - MECHANICAL DRAWING - - By IRA S. GRIFFITH, A. B. - - Assistant Professor of Manual Arts, Bradley Polytechnic Institute, - Peoria, Illinois. - - Author of “Essentials of Woodworking,” “Woodwork for Amateur - Craftsmen,” “Projects for Beginning Woodwork and - Mechanical Drawing,” and “Advanced - Projects in Woodwork.” - - [Illustration] - - THE MANUAL ARTS PRESS - PEORIA, ILLINOIS - - - COPYRIGHT - IRA S. GRIFFITH - 1912 - - - - -PREFACE. - - -The author wishes to state that the basis of the following courses rests -more upon the art or practice of teaching manual training than upon the -theory. It is the result of carefully prepared plans executed under -public school conditions by the author himself, covering a period of -some nine years of experimentation. Wherever plans, or theory, were -found producing results which common sense indicated plainly were not -for the pupils’ highest good, practical expediency supplanted theory. - -If manual training practice in the two upper grammar grades has merited -criticism it has been because school men have not taken its subject -matter seriously enough. - -It is too much to hope that results can be achieved that are truly -educative, when a shop, however well equipped, is turned over to a -teacher but slightly experienced in, and appreciative of, the “finer -points” of the subject matter to be dealt with. Loose and unorganized -efforts in any line of work cannot become educative, it matters not what -fine spun theories may be offered as proof to the contrary. Indeed, much -positive injury may be done. - -If the present demand for vocational training teaches manual training -anything, it is that the subject matter of manual training must receive -more serious attention. The aims of manual training and vocational -training, in one sense, are not so very different; both seek, or should, -to assist the boy to become a “thinking doer.” The distinction is mainly -a matter of “direction” and of allotment of time, with possibly a slight -difference in the placing of the emphasis on one or the other of the -words “thinking doer.” - -We do not mean to imply that manual training and vocational training are -the same, but we do mean to say that the educative value of any shop -training, whether given from the point of view of general culture or of -special preparation for life’s work, is evidenced in the attitude which -pupils are allowed to assume toward their work. Incorrect and slovenly -habits of thinking and doing have no more place in manual training than -in vocational training. Organization of subject matter is as essential -in manual training as in any other line of endeavor. - -Among other things, it is the author’s hope that the book may offer some -suggestions that will help to bring about a better understanding of the -relation of the high school and grade school manual training. The -arrangement and division of the subject matter and the grouping of the -problems represent one method of attack. - -The employment of skilled instructors in both grade and high school and -the making of the work of the upper grammar grades serious mechanically -rather than merely “expressional” will wait in many communities upon the -initiative of the school authorities. - -Normal school students will find the outline representative of a manual -training practice that is being carried on in some schools that are -reputed to be progressive. - -Finally, it is expected that the book will prove helpful to young -instructors in their first year of teaching, assisting them over many of -the petty details which spell success or failure in varying degree, -which otherwise would not be foreseen. - - IRA S. GRIFFITH - -Oak Park, Ill., June, 1912. - - For the convenience of the teachers, the drawings used in “Projects - for Beginning Woodwork and Mechanical Drawing” and “Advance Projects - in Woodwork” are printed in this book. The notes and working - directions, however, are not included. The inking of the drawings and - the making of the perspectives in both of these books is the work of - Mr. George Gordon Kellar. - - - - -CONTENTS - - - PART I--ORGANIZATION 5 - - CHAPTER I--FOREWORD--AIMS 7 - - CHAPTER II--CLASSIFICATION AND ARRANGEMENT OF TOOL OPERATIONS, for - Grades 7, 8, 9, 10; Discussion 12 - - CHAPTER III--CLASSIFICATION AND ARRANGEMENT OF ELEMENTS OF - MECHANICAL DRAWING, for Grades 7, 8, 9; Discussion 22 - - CHAPTER IV--SHOP ORGANIZATION--Location of Shops; Division and - Allotment of Time; Informational and Related Matter Pertaining to - Woodwork and Mechanical Drawing; Structural and Decorative - Design; Shop Excursions; Stock Bills; Estimating Cost of - Material; Standardizing Materials and Tools; Records, Forms of - Reports, Grading Work; Shop Conduct; The Lesson; Maintenance 29 - - CHAPTER V--EQUIPMENT--Size of Classes; Lockers; Bench and Tool - Equipment for Grade Center; Individual Tools; Equipment for - Mechanical Drawing, Grade Center; High School Joinery Shop; High - School Bench and Tool Equipment 73 - - - PART II--LESSON OUTLINES 89 - - CHAPTER VI--LESSON OUTLINES FOR GRADE VII 91 - - CHAPTER VII--LESSON OUTLINES FOR GRADE VIII 110 - - CHAPTER VIII--LESSON OUTLINES FOR GRADE IX 130 - - - PART III--WORKING DRAWINGS 133 - - CHAPTER IX--DRAWINGS OF PROJECTS, for use in Grades VII and VIII. - Group I--Squaring up stock surfaced on two sides to thickness. - Group II--Squaring up stock surfaced on two sides, continued. - Group III--Squaring up Rough Stock. Group IV--Working Curves. - Group V--Duplicate Parts. Group VI--Design. Group VII--Groove - Joints--Applications. Group VIII--Cross-lap Joints--Applications 135 - - CHAPTER X--DRAWINGS OF PROJECTS, for use in High Schools. Group - IX--Mortise-and-tenon Joints, Miter Joint, Glue Joint, Modeling - Exercise--Applications. Group X--Dovetail Joints, Rabbeted and - Grooved Joints--Applications 187 - - - - -PART I. - -ORGANIZATION. - - -CHAPTER I. - -FOREWORD--AIMS - - -=Foreword.= It is assumed that woodworking and mechanical drawing have -subject matter and that it is desirable to have an orderly arrangement. -Such an assumption may seem unwarranted to some--to those who labor in -private institutions where the instruction is individual or nearly so. -It is believed, however, that to teachers of these subjects in the -public schools, where for economic reasons, classes of considerable -numbers must be cared for, the necessity for a careful selection and -arrangement of subject matter is very evident. - -It has taken some years for the manual training movement to recover from -the extremes into which the late psychology and child study movement had -led it. The exaltation of the “individual” and the reign of the -“self-expressionist,” it would seem, is about over. Not that this latter -movement was an evil--far from it. Its influence was needed and came -none too soon. Like other great movements, however, it led some teachers -to extremes, causing them to overlook the good in the old with the -result that the new alone has proven no more desirable than the old -alone. The pendulum of opinion is returning and in not a few important -places, is already swinging to the other extreme. It is for manual -training teachers to try to determine by an exchange of ideas where the -sanest position lies. - -In this discussion, we should ever keep in mind that the American public -school system is maintained mainly to prepare boys and girls for good -and useful citizenship; that this is a democracy in which neither -individual nor class is to be exalted unduly and that our system of -education must result neither in the chaos of anarchy nor in the dull -formalism of a despotism. To the writer it appears that manual training -as practiced before the psychologist took possession was quite typical -of the countries from which its influence came, Russia and -Sweden-formalism. Under the influence of the most radical of the -psychologists, manual training became synonymous with educational -anarchy. - -The best American citizenship cannot be developed by means of either the -new alone or the old alone. There must be due attention paid to the -development of the individual but that same individual must learn that -he is but one of many and that he must do some things because they make -it possible for all to enjoy equal rights and privileges. With this -thought in mind, irrespective of any consideration of economic -advantages, orderly arrangement of subject matter and class instruction, -made necessary in large schools, must be looked upon as helpful rather -than harmful in the preparation of the individual for citizenship. - -Superintendent L. D. Harvey has said: - - Members of society may be roughly classed into four groups: those who - think without doing; those who do without thinking; those who neither - think nor do; and those who think and do because of their thinking. - This fourth class comprise the productive, constructive, organizing - element of society. It is the function of the public schools to - produce members of this fourth class. It must be evident to all that - for the production of a thinking and doing individual the two forms of - activity should be carried on side by side; the doing growing out of - the thinking, and the thinking made clear and definite thru the doing. - -In this statement the writer sees the proper relation of those two -essential elements that make manual training valuable as a school -subject--the thought element and the element of skill. Manual training -suffered by having the one--skill--unduly emphasized when our European -importations were made. Recently, it has suffered by having the -other--the thought side--unduly magnified. Both of these elements are -important. - -In the author’s experience the practical application of a system that -would make the most of each of these elements has been a source of no -little disappointment. Effort in one direction seemed always to result -in a sacrifice in the other. That is, when the thought side was -emphasized there was a falling off in the accuracy of the results. When -skill was magnified it was attained only with a sacrifice of the thought -element. With many misgivings the conclusion was reached that the -introduction of original thinking on the part of the pupil must mean -somewhat of a sacrifice on the skill side. Concerning this phase of the -subject Professor Richards writes: - - In order to develop in the highest degree independence of thought and - power of initiative the pupil must be given opportunities for - determining ends and working out means. Only in this way is the - natural cycle of mental activities--thinking, feeling and doing--fully - realized and made effective. The practical realization of this - principle means, of course, a distinct problem of instruction. The - problem is essentially one of proportion and balance between freedom - of expression on the one side and skill and mastery of process on the - other. Extreme emphasis on the one leads inevitably to a class of - crude and ill-considered products while attention restricted to the - other results in mere drill and formalism. - -Further, in “THE MANUAL TRAINING TEACHER,” Charles L. Binns, an -Englishman just returned from a trip thru the United States, writes of -manual training in the grades as follows: - - The lack of exactness is the main defect of American manual training. - But there are many compensations to be balanced against this, and - these arise chiefly, in my opinion, from the fact that the teacher is - allowed more liberty to follow his own judgment in teaching the - subject than is the case here. He has more scope for exercising his - initiative, with the result that he retains the freshness of interest - and enthusiasm for his work that our own stereotyped and restricted - schemes do much to quell. There is a fine spirit of free activity, - eager interest, and industry permeating most of the manual training - classrooms. Even the inferior work is done with a happy glow of - achievement that half excuses it. * * * To emphasize unduly the aim of - rigid mechanical accuracy generally means a sacrifice of the thought - side of the work. Those qualities which lead eventually to the - realization of the pupil’s highest powers--such qualities as - intelligent self direction; an alert resourceful attitude of mind; and - power to plan means to an end--are too valuable to lose for such an - aim. * * * At the same time a system of handwork that ignores a - reasonable standard of accuracy does not count for much. In the course - of my visits I found more than once not only an almost entire - disregard for exactness in the work of the boys, but also an almost - entire neglect on the teacher’s part to strive for it. Something may - be said for a method which grants the pupils liberty to express - themselves freely in their work, if the results are critically - examined and the errors pointed out, but to accept and pass - complacently work manifestly inferior is quite inexcusable. There is - an element of haste about some of the work which may account for some - of this. - -More recently Dr. Georg Kerschensteiner the eminent German authority of -Munich while on a tour of the United States is quoted by the “MANUAL -TRAINING MAGAZINE” as criticising our manual training strongly, saying: - - He could not see why children are encouraged to make big pieces of - furniture before they can square up a piece of wood properly or make a - single joint of the type that must be multiplied many times in the - piece of furniture, if it is properly constructed. From this statement - it must not be concluded that his pedagogy is of the dried out kind. - On the contrary he stated with marked emphasis that the first - requisite in training for skill is to cultivate joy in work. “It is in - that way that we appeal to the heart,” and “it is only when the - feelings are brought into action that we can most truly educate.” - -We may conclude from this brief statement of the situation that it is -desirable to organize and have courses in our manual training and -mechanical drawing and that whatever system is adopted it must make -allowance for emphasis upon both the thought element and upon skill. - - -=What System Shall We Use.= It is pretty generally conceded that manual -training as exemplified by the Russian system of joint making and the -Swedish system of model making fails to lead forth the powers of the -child to the fullest extent. The educational theory, now generally -accepted, that interest is the indispensable basis of every method of -education is sufficient to condemn the Russian system so far as its -application in non-technical schools is concerned, while Swedish Sloyd, -unmodified, is weak in that it fails to take into account the reflective -phase of interest, namely, the power of self-initiative. Extreme -“educational manual training’s” greatest weakness lies in its undue -emphasis upon the thought element resulting in too great sacrifice of -that other equally important element, skill or accuracy. The manual -training movement is to be congratulated in that all signs now seem to -point to its speedy delivery from the hands of these latter extremists. -Is it too much to hope that out of our past experiences with the joint -making Russian system with its admitted disciplinary value, the Swedish -model making with its effort to utilize the energy of the worker toward -useful products, and the self expression of the pedagogical movement -with its attendant elements of interest and initiative there may come a -manual training practice that shall be marked by a combination of the -best of these elements with a consequent elimination of the weaknesses -of each? - -The outline of study suggested in the Illinois State Course of Study, -credit for which is due mainly to Professor Charles A. Bennett, the -chairman of the committee on manual training in woodwork, has proven a -source of very great help to the writer in his efforts to properly -present the subject matter of woodwork to his pupils. The introduction -to this course is well worth repeating and is in substance as follows: - - Any course in woodworking worthy of a place in the eighth and ninth - grades of public school work should meet the following requirements: - - 1. It should arouse and hold the interest of the pupils. - - 2. Correct methods of handling tools should be taught so that good - technique may be acquired by the pupils. - - 3. Tool work should be accompanied by a study of materials and tools - used in their relations to industry. Special attention should be - given to the study of trees--their growth, classification, - characteristics and use. - - 4. Drawing should be studied in its relation to the work done. - - 5. The principles of construction in wood should be taught thru - observation, illustration and experience. - - 6. At least a few problems should be given which involve invention or - design or both, thereby stimulating individual initiative on the part - of the pupils. - - The course is arranged in groups, each group representing a type of - work. These groups are given in the order of procedure. The teacher is - expected to provide problems of the greatest value educationally. This - means that the things to be made should be worth making and that the - process of making them should be interesting to the student. - - From this it follows that the things to be made must come to the pupil - in an order which gives reasonable consideration to the difficulties - to be encountered in making them. - -Our outline will aim to present the work so as to meet the conditions -specified above. It has been thoroly tested over a period of years in -public school work. It follows the group plan. The advantages of the -group system are distinct. It permits class instruction and therefore -minimizes the amount of demonstrating and talking that the instructor -must do by preventing needless repetition. By grouping a number of -projects having similar tool operations it permits a boy to satisfy his -individual needs without interfering with the orderly presentation of -the subject matter. It provides work for the fast worker of an -interesting and profitable nature until the slow worker completes the -minimum requirement. It provides for the “repeater,” who often has to -repeat, not because of poor work in manual training but because of poor -work in academic studies, by giving him choice of different models upon -which to work. In general, the group plan possesses the manifest -advantages of class instruction at the same time making allowance for -the individuality of the worker. - - -CHAPTER II. - -CLASSIFICATION AND ARRANGEMENT OF TOOL OPERATIONS FOR GRADES 7, 8, 9, -AND 10. - - -WOODWORK. GRADE VII. - -Time: 2¹⁄₂ hours per week. - -GROUP I. Squaring up Mill-planed Stock. (No definite dimensions but to -be square and as large as the stock will allow.) - -Time: 1 week. - - ---------------+----------------------+---------------+--------------- - STOCK | PROCESSES | TOOLS | PROJECTS - ---------------+----------------------+---------------+--------------- - Soft wood |Edge planing |Jack-plane | - S-2-S |Testing for uniformity|Try-square | - ³⁄₄″ × 6″ × 12″|of width |(Block-plane?) |Cutting-board - |End planing | | - ---------------+----------------------+---------------+--------------- - -GROUP II. Squaring up Mill-planed Stock. (Definite dimensions.) - -Time: 3 weeks. - - ---------------+----------------------+---------------+--------------- - |Surface smoothing |(Smooth plane?)| - Soft wood |Gaging |Marking-gage | - S-2-S |Measuring |Rule |Counting-board - ³⁄₄″ × 4¹⁄₄″ × |Lining |Knife | - 10¹⁄₂″ |Back-sawing (parallel |Back-saw |Hat-rack - ³⁄₄″ × 2³⁄₄″ × |to line) |Brace and bits |Key-rack - 18¹⁄₂″ |Boring |Pencil-gage | - |Chamfering | | - ---------------+----------------------+---------------+--------------- - -GROUP III. Squaring up Rough Stock. - -Time: 4 weeks. - - ---------------+----------------------+---------------+--------------- - |Surface leveling, etc.|Straight-edge |Ring-toss - Soft wood |Crosscut-sawing |Winding sticks |Spool-holder - Rough |Rip-sawing |Crosscut-saw |Game-board - 1″ × 8″ × 8″ |Sandpapering |Rip-saw |Laundry- - | | |register - ---------------+----------------------+---------------+--------------- - -GROUP IV. Working Curves. - -Time: 3 weeks. - - ---------------+----------------------+---------------+--------------- - | | |Sleeve-board - Soft wood |Getting out stock |Steel square |Bread-board - S-2-S |Curve sawing |Turning-saw |Cake-board - ³⁄₄″ |First use of chisel? |Chisel? |Scouring-board - |Spokeshaving |Spokeshave |Coat-hanger - ---------------+----------------------+---------------+--------------- - -GROUP V. Fastening with Nails and Screws. Duplicate Parts. - -Time: 6 weeks. - - ---------------+----------------------+---------------+--------------- - | | |Nail-box - Soft wood |Duplicate parts |Hammer |Polishing-box - S-2-S |Nailing |Nailset |Knife-box - ³⁄₈″, ¹⁄₂″, |Setting nails |Screwdriver |Bird-box - ³⁄₄″ |Fastening with screws | |Broom-holder - | | |Bench-hook - ---------------+----------------------+---------------+--------------- - -GROUP VI. Appreciation in Design. Structural, Decorative. - -Time: Remainder of school year. - - ---------------+----------------------+---------------+--------------- - | | |Table-mats - | | |Thermometer- - Soft wood | Structural design | |back - S-2-S | Decorative design | Stains |Calendar-back - ³⁄₈″, ¹⁄₂″ | Outlining | Brushes |Letter-holder - | Staining | Wax |Bill-file - | Waxing | |Handkerchief- - | | |box - | | |Glove-box - ---------------+----------------------+---------------+--------------- - - -GRADE VIII. - -Time: 2¹⁄₂ hours per week. - -GROUP VII. Groove Joints. Woodfinishing. - -Time: 12 weeks. - - ---------------+----------------------+---------------+--------------- - STOCK | PROCESSES | TOOLS | PROJECTS - ---------------+----------------------+---------------+--------------- - Exercise piece |Exercise-- |Chisel |Exercise piece - Soft wood |Chiseling grooves |Mallet |Book-rack - close grained |Sawing to fit | |Necktie-rack - 3¹⁄₄″ × 10¹⁄₂″ | Fitting parts | |Magazine-rack - Any thickness |Applications-- | |Foot-stool - to reduce to | | |Wall-rack - ³⁄₄″. | | |Wall-shelf - Application-- | | |Desk-shelves - Chestnut, S-2-S| | |Square taboret - ³⁄₈″, ³⁄₄″, 1″.| | |Stool - ---------------+----------------------+---------------+--------------- - -GROUP VIII. Cross-lap Joint. - -Time: 12 weeks. - - ---------------+----------------------+---------------+--------------- - Exercise piece |Exercise--Cross-lap |Glue |Exercise piece - --Soft wood, |joint |Hand clamps |Book-trough - close grained |Applications | |Cluster drop- - 1³⁄₄″ × 10¹⁄₂″ | | |light - Any thickness | | |Desk-light - to reduce to | | |Calendar-mount - ³⁄₄″. | | |Hall-rack - Application-- | | |Picture-frame - Chestnut, S-2-S| | |Octagonal - ³⁄₈″, ³⁄₄″, 1″.| | |taboret - | | |Plate-rack - | | |Pedestal - ---------------+----------------------+---------------+--------------- - - -HIGH SCHOOL. - -GROUP IX. Joinery. Board and Framed Structures. (Accompanied by -Mechanical Drawing ³⁄₄ hour per day.) - -(Time: 1¹⁄₂ hours per day.) (18 weeks.) - - ---------------+----------------------+---------------+--------------- - STOCK | PROCESSES | TOOLS | PROJECTS - ---------------+----------------------+---------------+--------------- - | | |India stool - | | |Umbrella-stand - | | |Taborets - Close |Exercises-- |Jointer |Arm-chair, - grained |Mortise-and- |Smooth-plane |(simplified) - wood |tenon, keyed, |and full tool |Side-chair, - Rough or |blind |set. |(simplified) - Mill-planed |Miter |Individual edge|Leg-rest - |Modeling |tools, irons |Magazine-stand - ¹⁄₄ sawed |Glue joint |and chisels, if|Small tables - White oak |Applications-- |possible |Book-trough - S-2-S | |Band-saw |Piano-bench - | |Jig-saw |Foot-stools - | | |Telephone-stand - | | |and seat, etc. - | | |etc. - ---------------+----------------------+---------------+--------------- - -(Benchwork in Metal 18 weeks.) (Accompanied by Freehand Drawing and -Design ³⁄₄ hour per week.) - -GROUP X. Cabinet-Making. Paneled Structures. (Optional and on a par with -other advanced courses in shopwork.) (36 weeks.) - - ---------------+----------------------+---------------+--------------- - | | |Music-cabinet - | | |Chafing-dish - | |Combination |stand - |Exercises-- |plane |Desks, Tables - |Drawer |Band-saw |Book-cases - |construction |Circular saw |Chests, Screens - |Door construction |Jointer, |Clocks - Various woods | |machine |Shaving-stand - |Hinging |Planer, machine|Beds, Settee - |Locking |Mortise machine|Porch-swing - |Applications-- |Shaper |Mission chairs - | |Jig-saw |Medicine-case - | | |Dressers, etc. - | | |etc. - ---------------+----------------------+---------------+--------------- - -Note--Freshmen boys will be divided into two divisions. The first will -take Joinery the first semester, and second division will take -Metalwork. The second semester these divisions will exchange shops. - - -=Discussion of Woodwork Course.= Column one describes the condition of -the stock when given the pupil. Column two names the new principles -involved in the construction of the articles. - -In Group I. stock mill-planed upon two surfaces to the thickness wanted -is given the pupil and he is required to square it up. No definite -dimensions are demanded but the class is given to understand that the -best workman is he who can square up his piece with the fewest shavings -removed. The gage is not used on this piece. The uniformity of width is -determined by the sliding try-square test. The broad surfaces are not -worked by the pupil at all in making this piece. In the first place, the -use to which the piece is to be put demands no fine surface treatment. -In the second place, experience shows that it is advisable to make this -first piece as simple as possible and pupils, at least grammar school -pupils, learn to handle the plane better on edge planing than on surface -planing. - -An examination of the headings of the groups suggested for seventh -grade, and the directions given in connection with the problems will -show that each of these groups introduces a new method of squaring up -stock. For illustration, Group I is typical, as to the surface -treatment, of the method used by carpenters and others in preparing -outside finishing material such as cornice and window and door casings, -corner boards, etc. Here mill-marks are not considered objectionable so -that neither broad surface is worked. Group II is typical, as to the -surface treatment, of the method of preparing interior wood trim. One -surface is planed smooth, and straight as to its width, but no effort is -made to take out the wind, nor is the back surface treated at all. -Again, certain kinds of shelving and box construction require that both -broad surfaces be smoothed of their machine or mill-marks but do not -require either surface to be true, depending upon the manner of -fastening the parts together to take out any unevenness. Group V -typifies this method of treatment. Of course, if the stock is badly -curled or cupped no attempt is made to use it for the thickness for -which it was originally intended, tho it is possible to “nail out” -pretty badly warped boards on certain kinds of carpentry work. In -furniture making this is hardly ever possible or advisable. A sleeve -pressing board does not require a face edge or square ends, etc., Group -IV. Group III typifies the standard treatment of which these others are -modifications. - -In the third column tools necessary for performing the process are -named. In elementary woodwork the block-plane and smooth-plane may be -omitted, the jack-plane doing the work just as well. - -In the Lesson Outlines, section numbers of a text on woodworking to -which the student is referred are given. The text to which the numbers -refer is “_Essentials of Woodworking_.” The necessity for a text to -accompany but not to take the place of the demonstration is well -appreciated by most teachers of manual training. With a text in the -hands of each pupil a lesson may be assigned and the pupil required to -familiarize himself with the text and the illustrations relating to the -subject matter. The use of a text removes most effectually the necessity -for a constant repetition of oral instruction. With a text there is -never any excuse for the pupil bothering the instructor with the -otherwise semi-valid excuse of “I forgot” or “I was absent when the -demonstration was given,” etc., etc. - -In Groups VIII and IX will be found exercise pieces. One of the -advantages claimed for the group system is that it permits class -instruction at stated intervals, thus reducing individual instruction to -a minimum. For illustration, a class beginning Group II would continue -to work upon the problems of that group until all but the few -acknowledged failures had completed the work required in that group. -After this the class is to be instructed in the new things of Group III. -This plan to continue thruout the whole course. - -The work of the groups will of necessity overlap each other. For, as -soon as a pupil finishes one problem in a group, he begins another -problem in the same group, unless he is the slowest in the class. When -the class is ready to begin a new group we are confronted with the -question of whether to give the instruction belonging to the new group -and allow the boys to proceed with the unfinished work of the old group, -or to start them on problems of the new group. To proceed with the old -is objectionable in that the worker forgets his new instruction before -he has opportunity to apply it. To start new work before finishing the -old is bad in that the pupil will have lost interest in the old when -asked to complete it after finishing the new work. Not to complete the -old at all would be a practice too vicious to be tolerated for a moment. - -In the seventh grade this overlapping is not a serious problem, for the -objects being small and quickly finished allow all to finish the old -group before the instruction of the new has faded. In the eighth grade -and high school, however, where the objects are larger, this objection -is a serious one. - -As stated before, the aim of the group arrangement is to permit class -instruction at the beginning of each group. To make this effective the -practice and application must follow within a reasonably short time. -Here the “exercise” offers aid. - -If ever an exercise piece has a legitimate use, it has it here. The -great objection to exercise pieces lies in their inability to create a -vital interest on the part of the pupil. The writer has made it a -practice to talk over the applications of each exercise and to state -briefly the need for the exercise before beginning it. First, that the -class because of numbers must be instructed all at the same time; -second, that the joints, unlike the simple one-piece objects previously -made cannot be remedied or patched up by reducing the size, as in the -bread board, when lack of knowledge or skill causes errors; third, that -postponing the practice any length of time would be unwise. As the time -required for making the exercises, as arranged in the course outlined -above, is short there has never been a lack of interest either in the -exercise or in the unfinished objects of the old group to which some -must return after completing the exercise. - -High school boys begin to take on a different attitude toward exercises -and technique. Their increased knowledge and skill permit applications -requiring considerable time for completing. For this reason all the -exercises are grouped in the fore part of their year. - -To the writer it seems unnecessary to apologize for this use of -exercises. He has felt free to utilize parts of any system which seemed -to serve his purpose. He does feel, however, that a long continued -series of exercises in elementary woodworking without application would -be fatal. American school methods have been criticised by Europeans as -being superficial and lacking in thoroness. It may be that in our -eagerness to develop the individual we have made ourselves subjects for -such criticism to a certain extent. We need not fear the introduction of -this small amount of drill and formalism, especially when there is no -loss of interest or incentive. It is impossible to teach a pupil a thing -that is entirely new to him unless he has in his possession a fund of -“known” thru which the unknown may be made known. For this reason -drawings and sketches are plentifully provided. - -Experience has shown that better results are obtained, both in the -development of ability to think and ability to do, if the ability to -“do” is given a maximum of attention at the beginning of the course, -opportunities for original thinking being introduced gradually as the -pupils’ knowledge, appreciation, and skill increase. In the beginning -groups the sizes or dimensions are fixed, no variation being permitted -except as poor work necessitates. Requiring all to make the same pieces -in the beginning groups permits comparison of results and the -establishing of standards of accuracy as well as making it possible to -give definite instruction with the minimum of talking. - -Another reason for emphasizing technique and processes at the beginning -is that interest is so easily directed. A beginner is interested in -anything. In fact, a few exercises--not more than two or three--might be -introduced at the very beginning without in any way violating the -principle relating to interest previously mentioned. The writer does not -make use of exercises in this way but can understand some of the -advantages secured by so doing. - -Having taught the pupil to respect a “working line,” which experience -shows takes the greater part of the seventh year, it will be time to -begin to encourage original thinking on the part of the pupil. This, -because of the pupil’s ignorance of the subject matter, will come -slowly, if satisfactorily. Modifications of the dimensions of the -projects should be the first step. While originality is to be encouraged -in every way it should never be forced at the expense of appreciation. -Appreciation must be developed first. Better a chair of good design and -proportion made after another’s design with appreciation than an -absurdity made after one’s own design and its weaknesses not seen. The -greatest value of design in public school education is expressed well by -Professor Sargent when he says, “For one who will produce a design, a -thousand must know how to select it.” - -Pupils possessed of exceptional originality and ability will find ample -opportunity for expression in the group system without hindrance upon -the part of the slower neighbors and without requiring all the -instructor’s time at a sacrifice of the time which the slower pupils -have a right to. The slow pupil has a right to an equal share of the -instructor’s time, and this is not always easy to give when the -brilliant pupil is to be given individual and advanced instruction as -the systems other than the group system necessitate. - -In general, it will be found advisable to hold seventh grade pupils -quite rigidly to the execution of the projects offered. In the eighth -grade pupils should be encouraged to modify existing projects, while in -high school they should be encouraged to “work up” original ideas. By -this time they should have acquired a fair fund of information and some -judgment and appreciation. - -A glance at the outline on woodworking will show that the projects in -eighth grade and in high school are most all of such a nature as to -demand considerable repetition of processes. For illustration, in the -making of the taboret there are eight dado joints. We have heard so much -of the non-educational value of repeated processes that one may be -inclined to question the arrangement of a course which introduces but -two joints in the course of a year’s work, as is done in the eighth -grade of this outline. In view of the fact that very many courses -introduce the glue joint, mortise-and-tenon, etc., in the eighth grade -it may be well for the writer to state his point of view. It is this: -The highest educational value comes not from many joints put to the -pupil in such rapid succession that he has not time for the acquirement -of a fair degree of proficiency, but rather from the mastery of a few by -repetition so planned as to maintain a keen interest in each joint made. -As a recent writer has said, “There is need for more investigation on -the point that repeated processes are non-educational. Doing certain -things until the process becomes automatic sometimes leads one to take -the first step toward a higher freedom.” This, in view of the present -demands of industrial education, is the excuse for offering a few joints -well made rather than many joints with the consequent mechanical -indigestion that usually follows. As soon as the process has become -fairly automatic, or when the joint has been fairly well mastered, then -are we ready to proceed to new fields. In the seventh grade outline the -introduction of new processes is more frequent. This is due to the fact -that the operations are simple and of such a nature, planing for -example, that future work necessitates their frequent repetition. - -The accurate use of the chisel is kept until the eighth grade, as is -also accurate sawing to a knife line with the back-saw. It has taken us -a long time to come to a realization that, while the chisel and saw are -simple tools, their proper handling is not simple. A general survey of -the groups for grade seven will show that each is concerned with one of -the various type processes used in squaring up stock, both mill-planed -and rough. In eighth grade the groups are concerned with the accurate -use of the chisel and back-saw in chiseling, or paring, and sawing to -fit. - -In Group IX, which is the first year high school work, the pupil may be -expected to give most of his attention to the principles of simple -joinery of board and framed structures with the necessary joints. A full -set of individual edged tools should give the instructor excuse for -demanding a much higher degree of technique than is to be found in the -grades. The pupils will not be perfected in the use of the chisel, saw, -and other tools but they should have acquired enough skill to enable -them to proceed with the work of the mortise and tenon. - -Exercise pieces in mortise-and-tenons, miter, modeling and glue joint -belong here. It is possible to arrange the work so that the modeling and -glue joint exercise pieces may be considered under Application. The -modeling exercise may well be a hammer handle, the metal part of which -is to be worked in the metal class the other half of the first year. The -glue joint may well be made upon wood of sufficient size that it may be -used later, such as the taboret top. The mortise-and-tenon and miter, -however, will be most profitable as exercises pure and simple. A -moment’s thought will indicate the reason for making the distinction. - -Many courses give modeling in the grades. Modeling to be of value -requires judgment and experience. This a grade pupil has not. The first -year high school is sufficiently early for this kind of work. To place -it earlier is to give the pupil a wrong impression of the requirements -of good modeling, and his later work, in pattern-making for example, -suffers accordingly. - -Two machines should be made use of in the first year high school work, -the band-saw and scroll or jig-saw. Both, when properly safeguarded, are -well suited to give the pupil his first acquaintance with machinery. -There is little educational value in further excessive ripping by hand -at this stage of the course. - -The cabinet-making course is not to be considered as manual training -_per se_. It is best to make it optional and more purely a trade course, -tho the work may still be individual in its nature. An exercise in -making a small door and one in the making of a drawer will introduce the -student to the use of most of the machinery specified. These exercises -should be detailed so as to involve stock of the same size for each boy. -In this way the machines may be set and all the parts of similar kind -run thru. Classes of considerable size may be taught with the use of the -minimum of machinery. Each boy should, of course, be taught the setting -of the various machines. - -After these two exercises, with hinging and locking, the pupils may be -allowed to work out pieces of their own choosing involving these -elements, preparing their own stock, setting their machines, etc. In -this way the “shop” practice, quantity or piece work, is obtained in the -making of the exercises while the application later allows for the -individuality of the pupil. - - -CHAPTER III. - -CLASSIFICATION AND ARRANGEMENT OF ELEMENTS OF MECHANICAL DRAWING FOR -GRADES 7, 8, AND 9. - - -MECHANICAL DRAWING - - -GRADE VII. - - Time: 2¹⁄₂ hours per week for 12 weeks. - -LESSON I. - - Principles Applications - - Straight lines (Use of Introductory Sheet - instruments) - Angles - Lettering - -LESSON II. - - Order of Procedure Woodwork Group I. - Relation of Views - Blocking out - Simple Dimensioning - Scale - -LESSON III. - - Foreshortening Woodwork Group II. - -LESSON IV. - - Geometric Construction-- Geometric Construction Sheet - Circles, Hexagon, Octagon - Ellipse - -LESSON V. - - Hidden edges Woodwork Group III. - -LESSON VI. - - Center lines Woodwork Group IV. - Tangents - Points of tangency - Cross-sections - -LESSON VII. - - Working Drawings Woodwork Group V. - Representing screws and nails - Broken views - -LESSON VIII. - - Working Drawings (continued) Woodwork Group V. - Representing screws and nails - Broken views - -LESSON IX. - - Stock Bills Woodwork Group V. - -LESSON X. - - Figuring costs Woodwork Groups I-V. - -LESSON XI. - - Appreciation in Design Woodwork Group VI. - Structural, Decorative - -LESSON XII. - - Templet or patterns Woodwork Group VI. - - -GRADE VIII. - - (Time: 2¹⁄₂ hours per week for 12 weeks.) - -LESSON I. - - Principles reviewed Projects or Problems - - Straight lines Bennett’s “_Problems in Mechanical - Drawing_” - (Freehand sketches followed by - mechanical drawings.) Group I. - -LESSON II. - - Circles “_Problems in Mechanical Drawing_” - Group II. - -LESSON III. - - Tangents “_Problems in Mechanical Drawing_” - Group III. - -LESSON IV. - - Planes of projection “_Problems in Mechanical Drawing_” - Group IV. - -LESSON V. - - Review “_Problems in Mechanical Drawing_” - Test problems - -LESSON VI. - - Working Drawings Woodwork Group VII. - -LESSON VII. - - Working Drawings Woodwork Group VIII. - -LESSON VIII. - - Working Drawings Woodwork Groups VII and VIII. - -LESSON IX. - - Stock Bills Woodwork Groups VII and VIII. - -LESSON X. - - Figuring costs Woodwork Groups VII and VIII. - -LESSON XI. - - Design--Structural, Decorative Woodwork Groups VII or VIII. (one - piece) - -LESSON XII. - - Templet or patterns, Working Based on Lesson XI above. - drawing, stock bill and cost. - - -HIGH SCHOOL - - (Time: ³⁄₄ hour per day for 18 weeks. Freehand Drawing and Design, ³⁄₄ - hour per day, 18 weeks.) - -LESSON I. - -(3³⁄₄ hours.) - - Lettering “_Problems in Mechanical Drawing_” - Group IX. - -LESSON II. - - Working drawings India stool, etc. See Woodwork - Group IX. - -LESSON III. - - Working drawings continued As above. - -LESSON IV. - - Stock bills As above. - Material costs figured - -LESSON V. - - Inking “_Problems in Mechanical Drawing_” - Straight lines Group I. - -LESSON VI. - - Inking, continued, “_Problems in Mechanical Drawing_” - Circles Group II. - -LESSON VII. - - Inking, continued, “_Problems in Mechanical Drawing_” - Tangents Group III. - -LESSON VIII. - - Inking, continued, “_Problems in Mechanical Drawing_” - Views Group IV. - -LESSONS IX AND X. - - Revolution of solids “_Problems in Mechanical Drawing_” - Group V. - -LESSONS XI AND XII. - - Development of prisms and “_Problems in Mechanical Drawing_” - pyramids Group VI. - -LESSONS XIII AND XIV. - - Development of cylinders and cones “_Problems in Mechanical Drawing_” - Group VII. - -LESSONS XV AND XVI. - - Intersections “_Problems in Mechanical Drawing_” - Group VIII. - -LESSONS XVII AND XVIII. - - Isometric “_Problems in Mechanical Drawing_” - Group XI. - - -=Discussion of Drawing Course.= The course in mechanical drawing, like -that in woodworking, is arranged in groups according to the principles -to be developed. The arguments for the group system in woodworking apply -equally to the group system in mechanical drawing. - -There has been an aim to correlate the woodworking and mechanical -drawing just as far as the logical presentation of each would allow. -From the concrete and near by to the more general has been the guiding -principle in laying out the course in mechanical drawing as well as in -woodwork. For this reason the seventh grade problems in woodwork have -been utilized to introduce the elementary principles in mechanical -drawing. Even as the pupils of our primary schools learn to read without -being conscious of the “dry bones” of language and spelling back of it, -so, in the teaching of mechanical drawing, the aim is to arouse in the -beginner an interest in the ability to draw and to read drawings, as an -accomplishment, and to inspire him to work, because he sees that there -is something he needs, wants, and must have. - -Little or no effort is made in seventh grade drawing to develop -originality. Almost all effort is spent in developing a drawing -technique and a good style. Most all of the pupils’ drawings are made -with plates before them. These they copy, using a different scale, -however. To encourage the pupils to establish a high standard these -drawings have been inked by a draftsman selected because of his -excellence in this line of work. - -The drawing of the grammar schools in most places is best taught by the -instructor in woodwork. Extreme care should be taken to see that the -pupils are given the correct method of attack in making a drawing. They -should be made to follow this instruction just as conscientiously as -they are required to attempt correct execution in woodwork. In drawing, -as in woodwork, slovenly habits come handier to some pupils, and, if -allowed to become fixed, they will cause sorrow to the pupil and -misunderstanding later on. In the very first drawing, for example, and -all others, insist on having lightly penciled blocking out lines of -indefinite length--lines that are just visible, that is all. Do not -allow the pupil to form the habit of drawing a heavy line between two -points previously located. It is needless to say that the pencil must be -of good lead, properly sharpened, and kept sharp. It is an excellent -plan to insist that all construction or blocking out lines be left just -as originally drawn, no eraser being used at all. If lightly made, as -they should be, they will be inconspicuous in the finished drawing. They -will be proof positive that the method of procedure has been the correct -one, will save the pupil’s time, and give him a lightness of touch that -will come in to excellent advantage later on. After the drawing has been -laid out in light lines and inspected by the teacher, the lines that -represent outlines of the object can be gone over a second time and made -to stand out. - -By the close of the seventh grade a boy ought to be able to read and to -construct simple working drawings of three views properly related. He -will have had all of the simple conventions and should know them by name -with their meanings. While inking is not given a place in either seventh -or eighth grade, the drawings should show a good finish in penciling and -there should be no habits formed that will have to be overcome later. - -In eighth grade mechanical drawing, the first four groups review the -principles introduced in the seventh grade. They are in the form of -problems to be solved, however, and thus necessitate thought on the part -of the pupil. - -In the solving of these problems a carefully made freehand, dimensioned -working drawing is first required. This, when correct, is followed with -a mechanical drawing, full size and without dimensions. It will be noted -that no attempt has been made heretofore to have the pupils make -freehand working drawings or sketches. It has been the author’s -experience that better results are obtained by introducing the freehand -drawings after the pupil has been taught and has had experience in the -exactness of the mechanical drawing. - -The working drawings of this grade introduce no new principles but give -opportunity for practice in more difficult combinations of elements. -They provide opportunity for acquiring greater facility in handling the -instruments which results in drawings that are to be used in the shops. -While the drawings are copied from plates, as in the seventh grade, the -pupil is permitted to modify the designs within certain limitations, -with one problem in original design, structural and decorative. - -In high school drawing more time is allowed and the drawing becomes more -of a subject in itself, requiring more and deeper thought on the part of -the pupil. The high school drawing course is complete in itself. The -first four groups are given mainly as problems in inking but they -furnish a review of that part of the eighth grade drawing incidentally. -They also furnish a familiar starting point for the high school work and -make of the high school course a complete whole. High school drawing is -best given by a specialist. - -As in the eighth grade, these problems are to be solved and drawn -freehand with dimensions. Afterward they are drawn mechanically and -inked. The inking of problems is specified in only the first four groups -in the outline for drawing. The amount of inking to be done thereafter -will best be determined by the instructor. Too much inking has a -tendency to result in careless penciling. It is for the instructor to -determine when his class is doing its best in both penciling and inking. -The problems of these latter groups are well calculated to necessitate -thought and study and the instructor will do well to make much of this -part of the subject. - -The making of high school working drawings is placed early in the course -that they may be ready to use in the shop by the time the exercises in -joint work preparatory to their application, are completed. These -working drawings are to be original as far as possible. Plates of -suitable projects are to be provided to give the necessary starting -points. - - -CHAPTER IV. - -SHOP ORGANIZATION - - -=1. Location of Shops.= Shops for high school pupils will be located in -or near the high school building. A special effort should be made to -have both wood shop and drawing room placed in suitable environment. -Where manual training has been introduced into high schools with -buildings planned for academic work only, it has been the custom to -place manual training in the basement and drawing in the attic, these -being the only places available for subjects that had yet to prove their -worth. Even today, when it is a well established fact that handwork as a -part of our educational course has not only proven its worth but is -prophesied a greater place in our educational scheme in the form of -industrial training, some school authorities not only place shops in -basements of old buildings but plan new buildings with basement shops. -This is an economy with nothing to justify it but tradition. - -In many cities the custom of building basements high out of the ground -serves to mitigate some of the evils, by giving a fair degree of light -and ventilation. Any basement, however, that is formed with a cement -floor directly on the ground will be damp in the spring and fall when -the heating apparatus ceases to force warm air thru the rooms. The -result upon tools, upon wood, and upon the health of those who must -spend their time in such surroundings is not a matter of speculation. - -Any subject to be taught to the best advantage must not only be a -subject that will win the respect of the pupils but it must be given -surroundings that will not tend to degrade it in the eyes of the -immature student. Excellent work has been done in basement rooms and -excellent discipline maintained under very adverse conditions but it has -been in spite of these conditions and not because they do not influence -the student unfavorably. In spite of the instructor’s best efforts to -create a feeling of respect toward the basement shopwork similar to that -entertained toward the academic work, pupils in going from the -comfortably furnished rooms above, in which the decorator’s art has -helped to make everything agreeable to the eye, unconsciously assume an -attitude in their first conduct and deportment that places the shop -instructor at a disadvantage. - -[Illustration: FIG. 1. - -ARRANGEMENT OF HIGH SCHOOL SHOP WITH REFERENCE TO MAIN BUILDING. - -GROUND FLOOR PLAN OF POLYTECHNIC HIGH SCHOOL - -LOS ANGELES CAL. FRANKLIN P. BURNHAM ARCH’T - -From the June, 1908 MANUAL TRAINING MAGAZINE] - -The chief objection, aside from cost, to placing shops above ground is -the noise. This objection has been met, and can easily be met by any -competent architect. The accompanying floor plans are indicative. Fig. -1. - -In some high schools, the shops are entirely separated from the main or -academic classrooms. This is unsatisfactory, as any one familiar with -high school organization knows. The frequent change of classes after -short periods makes the going from one building to another a matter of -serious moment, especially in our northern winter climate. - -Shopwork has won its place fairly in our school courses and it is -encouraging to note an increasing tendency on the part of progressive -communities to place shop and drafting-room in environment calculated to -create a feeling of respect, to give dignity equal to that of other -school subjects, and to provide favorable conditions for the best -working of materials. - -In the grammar schools the problem is but slightly different. In a city -of any size, shopwork will need to be given in centers. The alternative -of a shop in each school with an instructor going from shop to shop on -different days of the week is hardly practicable. The equipment of a -shop is a matter of too great cost to have it lying idle part of the -school time. There is added disadvantage in that a peripatetic shop -instructor cannot “keep up” his several shops with divided interest as -well as he can keep up one in which he works constantly. - -The best plan is to have a center or shop located favorably for several -neighboring schools and install an instructor in this center. The pupils -are to be sent to him from a sufficient number of schools to occupy his -entire time at this shop. - -Here again the basement makes its appeal to school authorities first, -the basement of some one of the grammar schools being utilized for a -shop center. Since almost all of the pupils come from other schools, -there is no excuse, other than economy, in placing grammar school manual -training shops in basements of schools already established. If the high -school shopwork suffers a disadvantage by being placed in basement -rooms, grammar school shopwork suffers more, and with less excuse. - -Since domestic science cannot well be taught in basements, and is -objectionable on main floors because of noise and odors, and since there -is no reason for having the laboratories directly connected with any -grammar school building, the best plan is to erect a special building to -house both manual training and domestic science. The cost need not be -great and the building may be erected upon grounds of some one of the -grammar schools. Evanston, Illinois, public schools offer a good -illustration. Figs. 2 and 3. - -[Illustration: FIG. 2. EXTERIOR GRAMMAR SCHOOL BUILDING FOR MANUAL -TRAINING AND DOMESTIC SCIENCE, EVANSTON, ILLINOIS.] - -[Illustration: FIG. 3. FLOOR PLANS OF BUILDING, EVANSTON, ILLINOIS.] - -The proper placing of centers in a community will depend upon the number -of pupils to be cared for, the distance they must travel to get to the -center, and the site available. - - -=2. Division or Allotment of Time.= Two divisions of time are common in -grammar school shopwork, the one-fourth and the one-half day period once -a week. In some cities manual training is given in sixth, seventh and -eighth grades of the grammar schools. In others it is given in seventh -and eighth grades only. In the former case, to the best of the author’s -information, the period never exceeds one-fourth day each week. In the -latter it very frequently occupies one-half day a week. The outline for -drawing and manual training as given in this book presupposes the -one-half day period. In favor of this period of time are the following: -The pupils go and come to manual training on time out of school hours. -This is a very decided gain and permits the placing of centers so as to -accommodate schools of widely differing locations. Second, more and -better work is accomplished in a one-half day period of one year than in -a one-fourth day period for two years. In the one-fourth day period the -pupil hardly gets his tools set and adjusted when the bell signals him -to begin to “clean up,” resulting in much unprofitable effort. Our -college administrators, who are responsible for originating the short -and infrequent period spread over a long period of months or years, have -long since found that better work and more of it is obtained where the -study is given a more intensive view, the total number of hours for the -course remaining the same but being condensed into less calendar time. - -The chief objection offered against the one-half day period is that the -pupil becomes tired, exhausted, and therefore disinterested and -troublesome before the close of the period. Where the full two hours and -a half are devoted entirely to shopwork, especially if the shopwork is -of such a nature as to make little appeal to the interest of the pupil, -this argument is valid. If, however, each period has its recitation on -assigned study and its demonstration on the new work to be presented -there remains but two hours of work requiring the student to be on his -feet and, if the interest is what it should be, very few boys will -complain of fatigue. The writer makes it a custom to give, in the place -of the conventional recess, a short five minute rest period. Boys are -permitted to talk and move about the shop but he has found that as many -boys prefer to continue their woodwork as prefer to rest. - -If the one-fourth day period is to be used, it will be necessary to give -recitations and demonstrations on alternate days, and will necessitate -introducing the work lower than the seventh grade. It is hardly -profitable to begin serious, systematic work lower than the seventh -grade, and when it is begun in seventh grade it is hardly possible to -make it serious with a time allotment of less than one-half day each -week. - -There is not the same need for recess in shopwork as in academic work. A -five minute rest period is sufficient to permit pupils to make known to -each other their wishes or information. In this way it is possible to -dismiss the pupils ten minutes earlier than they otherwise would be, -thus allowing the morning class extra time for reaching home. - -In the high school the time allotment is generally permitted to be -governed by the periods arranged for the academic subjects. The common -arrangement is to give two consecutive periods equal to two of the -recitation periods of the academic subjects for shopwork and another for -drawing each day thruout the week. If the periods are one hour each, -which is unusual in high schools tho common in colleges, but one period -is given to the shop. - -Where manual training has been given serious consideration in the -seventh and eighth grades of the grammar schools under competent -instructors it ought to be possible to cover the necessary benchwork in -wood in the first half of the freshman year of the high school. This -will leave the second half for turning or for benchwork in metal, -preferably the latter. - -To mechanical drawing the first half of the freshman year of one period -each day should be devoted, followed in the second half by freehand -drawing, perspective and design. - -The mechanical drawing of the grammar schools, it will be noted in the -lesson outlines, takes the first twelve weeks or lessons of each year. -Mechanical drawing in grammar schools is usually presented in one of -three ways. First, by having the pupil make his drawing then immediately -make the object drawn in wood, carrying on woodwork and drawing side by -side thruout the year. Second, by having the pupil make the object in -wood first, followed by the drawing. Third, by taking the first ten or -twelve weeks of the year for making up all the drawings of that year, -following this with a continuous application in wood. - -After experimenting thru a number of years the writer finds the third -practice possesses many marked advantages. Among other things that make -it more satisfactory are the following: It permits concentration of the -pupil’s attention upon one thing at a time. Where woodwork and drawing -are carried on side by side or even where they alternate the pupil’s -attention and interest are divided. So much more interesting do the -pupils find the woodwork with its freer activity that the drawing -suffers immeasurably, it being almost impossible to get anything like -the proper attitude toward the technique of drawing when the young pupil -is allowed to see the immediate application in wood all around him. The -instructor’s struggles for neatness and accuracy in the drawings are no -match for the barbarous haste of the beginner in his desire to get thru -with the drawing and get at the woodwork. It is impossible to get -concentration on drawing in a woodshop with tools all about and the -knowledge on the part of the pupil that only the drawing separates him -from the tools. - -The ideal way would be to have a separate drawing-room and equipment as -in high school. This, however, is impracticable in most grammar schools. -The woodworking teacher being the drawing teacher makes it impossible to -utilize both shop and separate drawing-room to advantage. The fitting up -and heating of rooms that are to be used only part of the school time -makes a separate drawing-room an unwarranted expense in grade schools. A -satisfactory substitute is to utilize the woodshop benches for drawing -benches but to remove all tools, having it distinctly understood that -ten or twelve weeks are for drawing, and that, no matter how many -drawings are produced by a pupil, he will begin no woodwork until the -time allotted to drawing is up. It becomes possible to secure the right -attitude toward the drawing. By this concentration of attention both -drawing and woodwork are the gainers. - -Second, it enables the shop instructor to tell what supplies are going -to be needed for the woodwork and to get them delivered in time without -returning from his summer’s vacation several weeks before school begins. -In the twelve weeks of drawing the woodworking tools and equipment can -be looked over and put in order in plenty of time without breaking into -the summer months that belong to the instructor. Where the woodwork -begins at the beginning of school in September the instructor must -either take the fore part of his vacation at the close of school to put -his tools in shape or, if he has them simply cleaned and vaselined by -the pupils and stores them for the summer, he must come back several -weeks before school. This is true whether he does his own sharpening or -has it done, and the advantage in having woodwork begin some weeks later -than school is very manifest. - -Third, this latter arrangement gives the pupil an intelligent preview of -the whole year’s work in wood thru the drawings he makes in the first -ten or twelve weeks. - -Mechanical drawing, even in the grades, has a right to a clean, quiet, -well lighted room without unnecessary distractions either to the eye or -ear. This, with a definite understanding on the pupil’s part that -drawing technique is the major and the utility of the drawing the minor -consideration, should put the pupil in the right attitude toward his -drawing work and make it possible to secure the best drawings he is -capable of producing. No one, not even a finished draftsman, could -produce good drawings surrounded by the noise and dust of neighboring -woodworkers. Under the alternating system there are always slow pupils -who, if they finish their drawings before they make the application, -must do it while the others are working in wood. Add to the noise and -dust this pupil’s feeling that he too ought to be at his woodwork and -the limit of unfavorable conditions for producing a drawing are reached. -Making the year’s drawings the first twelve weeks of the year enables -one to avoid these unfavorable conditions. - -Fourth, this arrangement makes possible a graduated transition from the -quietness and restrictedness of the academic class room to the noise and -greater freedom of the woodshop. - -When beginning pupils come to the grammar school manual training shop -for the first time at the beginning of school in September, it is with -an overplus of energy and noise. To reduce these sufficiently to permit -of getting anything like satisfactory results in shopwork, the -instructor is placed at once squarely before a large problem in -discipline. This problem is very greatly simplified by introducing the -pupil to ten or twelve weeks or lessons in mechanical drawing before -beginning the woodwork. - -Conditions surrounding a pupil in mechanical drawing classes are very -similar to those he finds in his regular academic classes and he can -readily be brought to understand that quietness, and orderliness with -seriousness of purpose are as necessary a part of his manual training as -of his academic work. After this attitude has been fixed in the pupil’s -mind in connection with his manual training thru the mechanical drawing -when the transition to woodwork is made, where more freedom must be -allowed, the pupil will be better able to distinguish between legitimate -noise and noise that is entirely unnecessary, and between freedom and -license. - - -=3. Informational and Related Matter Pertaining to Woodwork and -Mechanical Drawing.= Closely related to any subject is a vast fund of -informational matter. If the student is to have an intelligent -understanding of the subject matter, he must be given opportunity to -become acquainted with at least the most important of this related -information. - -In the seventh grade the necessary study of tools and processes occupies -the pupil’s time fully. In the eighth grade opportunity offers itself -for introducing such subjects as wood structure, tree growth, lumbering, -and milling. In high school, the pupil should be made familiar with the -most common woods, their classification, characteristics, and uses. - -High school pupils should be assigned outside readings on forestry. They -should secure and classify specimens of the more common woods and should -be able to recognize the tree by leaf, fruit, bark, wood and tree form. -See Figs. 4, 5, and 6. - -In the grammar grades, mounted specimens should be prepared illustrative -of tree structure, shrinkage, defects, etc. As in the high school, -pupils should be encouraged to seek and prepare specimens illustrative -of the subjects under consideration. - -It is now possible to rent or purchase very excellent lantern slides on -forestry, lumbering, milling, etc. Add the use of these to that of the -mounted specimens if at all possible. - -The detailed lesson outlines indicate definitely where these subjects -are to be given attention in the course. The pages of the text are also -indicated. The high school library should be provided with the very -excellent bulletins of the United States Department of Agriculture, -Division of Forestry, most of which are for free distribution. - - -=4. Woodfinishing.= The subject of woodfinishing is treated in a manner -quite similar to that of woodworking. No pieces of woodwork that should -have a finish are ever sent from the shop until they have been treated -to a finish calculated to make them fit for immediate placing in their -future surroundings. - -While the general outline of the course in woodwork makes no mention of -woodfinishing, the lesson outline indicates the gradual introduction of -the subject, beginning with the simplest finishes first and terminating -in high school in the rubbed copal varnishes. - -[Illustration: FIG. 4. CHART ILLUSTRATING WOOD STRUCTURE. - -By T. B. Kidner, October, 1908 MANUAL TRAINING MAGAZINE] - -In woodfinishing, as in woodworking, the aim has been to have the pupil -treat the subject in a serious and workmanlike manner. In seventh grade -little woodfinishing is done. The woodworking processes need the -centering of the pupil’s attention, in the first place. Second, the -simple pieces which the beginner is able to make require no finish as a -rule. In one group stain and wax is used. This is the group in which -decorative design is emphasized. In the eighth grade the woodfinishing -problem becomes important. Almost all of the pieces require a finish. - -[Illustration: FIG. 5. CHART ILLUSTRATING TIMBER DEFECTS. - -By T. B. Kidner, October, 1908 MANUAL TRAINING MAGAZINE] - -[Illustration: FIG. 6. CHART ILLUSTRATING PROPERTIES OF TREES. - -By T. B. Kidner, October, 1908 MANUAL TRAINING MAGAZINE] - -The greatest obstacle to proper woodfinishing lies in the desire of the -pupil to take his piece home as soon as the woodwork is completed. -Unless a definite understanding is had with the class beforehand, proper -woodfinishing is difficult to obtain. Most boys are subject to reason, -so that it is not at all necessary to have woodfinishing slighted or to -resort to makeshifts. The writer makes it a practice to take plenty of -time when the subject of woodfinishing comes up for its first -discussion to explain in detail the commercial methods of finishing fine -furniture, a piano for illustration, counting the different operations -and coatings it will receive and the labor and time expended upon the -finish. A comparison is then made between a finely rubbed finish and the -cheap, sticky, unrubbed finishes of cheap furniture. - -Having established in the minds of the pupils the fact that -woodfinishing is an art second to none and that it requires time to do -it well, there is not that impatience that breeds sullen looks when the -woodfinishing is to be begun after the woodwork has been completed. The -pupil will take the woodfinishing as a matter of course and goes about -it in a cheerful and manly spirit. - -In grammar schools, woodfinishing has been made as simple as is -consistent with good work. Coming as the boys do but once a week and -each finishing application requiring over night for drying or hardening, -the total time is quite long even with the simple finish of filler, -shellac, and wax. If the pupil wishes a very dark finish, a stain which -requires one or more periods must precede his filler. - -In high school, pupils come every day thus permitting the application of -rubbed varnish finishes, either shellac or copal, without unnecessary -loss of time. Here special finishing rooms are necessary. - - -=5. Structural and Decorative Design.= Among other requirements for a -course in woodwork and drawing as stated in the foreword is this: “At -least a few problems should be given which involve invention or design -or both, thereby stimulating individual initiative on the part of the -pupils.” The present outlines in woodwork and drawing have been planned -with this in mind. In the seventh grade the pupil is given little -opportunity to exercise his initiative in either woodwork or drawing. -The reason for this, as has been previously stated, is a firm belief -that initiative in any subject to be of value must be based upon a fair -knowledge of the subject matter dealt with, its limitations and its -possibilities. In other words, that appreciation must precede invention -or initiative. - -With the limited time allowed manual training, at most one-half day each -week in the general educational scheme, a seventh grade beginner has -about all he can well manage in becoming familiar with his subject -matter, with learning to handle his tools and work his material. - -But one group in the seventh grade will admit of decorative design. -These problems, Group VI, have purposely been made simple as to -woodwork that the pupil may give most of his attention to the design. In -eighth grade, modifications of outline and dimensions of any project are -permitted where a fair degree of merit is shown. Modifications of joints -or fastenings are not to be made, however, unless a pupil wishes to -transfer a project from some other group into the group in which the -class is working. - -In high school the pupil is expected to “work up” in his drawing class -projects original in so far as his ability will permit, subject to -limitations mentioned hereafter. - -Eighth grade boys are expected to make at least one application of -decorative design to the pieces of woodwork made. The projects made by -the high school boys are, as a rule, not so well calculated to take -decorative design. Their efforts at decorative design will come later in -connection with the metalwork of the first year. - -In high school the design is to be taught by special drawing teachers -who have informed themselves of the limitations of the shop methods when -it comes to applying these designs. It is for the shop instructor to -specify the kind of joint or joints that are to be used and the -material, also the limitations as to decoration. Present methods of -organization in high schools hardly permit of the teaching of shopwork -and design and by the same instructor, which is the ideal way providing, -of course, that the instructor is expert in both. This is a combination -difficult to find. It is gratifying, however, to know that some schools -are insisting that their shop men become informed in design as well as -shopwork. - -While these drawings are being worked up in the drafting room the -pupil’s shop periods are given over to the making of the exercise joints -and mastering the principles involved in their making. By the time these -exercises are completed, the working drawing will be completed ready for -use in the shop. - -The proper correlation of design and shopwork is not a problem beyond -solution, because of the direct relation of the two departments, -providing there is a strong administrative head able to secure proper -_esprit de corps_. In the grammar schools, however, the problem becomes -less satisfactory of solution by correlation. - -The first objection lies in the fact that the regular grade teacher has -both boys and girls to teach and the problems must therefore be the same -for the whole room. The second objection lies in the fact that the -problem in design has to pass thru too many hands before it reaches the -boy. If design is to be taught to the best advantage, it must have the -interest of the teacher and she must have an intelligent understanding -not only of the subject of design but of the particular problem that is -to be presented. The difficulties in the way are not insurmountable -where the drawing supervisor herself presents the problem to the pupils. -Even here, however, one frequently finds the drawing supervisor so much -more interested in the freehand drawing that her dislike for the design -makes her unfitted for such correlation work. - -When, however, as is the case in cities, the drawing supervisor must -reach the pupils thru the regular teacher, correlation becomes in most -every instance a farce. The teaching of design is another imposition on -an already overburdened grade teacher. Very seldom does she understand -the problem and it becomes a distasteful subject to be got over in the -easiest way possible. Department teaching in the upper grammar grades -would do much to aid in the correlation of drawing and shop. Until this -is made possible, we can hope for little in the way of results from -grammar school correlation, unless it be in a small system where the -supervisor teaches the children directly. - -The whole subject of design as it relates to woodworking is a constant -source of discussion among manual training shop men. Many good teachers -insist that design has no place at all in a course in woodworking. -Others admit that it ought to have a place but feel that the results -obtained do not justify the time spent upon it. Still others approach -the whole field of woodworking from the side of design, tool processes -and organized woodworking subject matter being mere incidents to the -problem in design. - -Like every extreme position each of these points of view has good in it, -but there is sufficient error accompanying each to impair the validity -of the conclusions and to make the resulting applications unhappy as -related to ordinary public school conditions. - -The whole subject of design as it relates to the manual training shop is -one that has demanded thought on the part of the author. It is one of -those places where teaching theory failed to bring efficiency either in -the results obtained in design or in the reaction upon the boy. He has -been forced to the opinion, from his own experience and from his -observation of the efforts of others to teach design to grammar school -pupils, that the cause for dissatisfaction and discouragement is due to -our insistence upon one and only one method of presentation--the -inductive or synthetic. - -In judging results we must consider the results obtained from every -member of a class and the good each boy has got out of his experience. -This efficiency test most effectively excludes the exhibition of a few -“accidentals” as evidence that our method is the correct one. There is -no reason why design should seek justification on any ground other than -that offered by other subjects. - -Inductive or synthetic teaching of design has its place; so also has the -deductive or analytic. Happily those educators who insist on the use of -one method or the other only are becoming few. In other subjects we are -finding that the teaching results which demand the respect and approval -of educators of safe and sane judgment are obtained by the use of both -methods interchangeably. There is no formal notice when one is to be -used or the other--whichever method fits the occasion is used without -apology. This is right; to do otherwise is to sacrifice the boy or girl -for the sake of the method. We are all agreed that the child is the more -important consideration. In fact, some psychologists tell us that -induction and deduction are one and the same process, the difference -being merely a matter of emphasis. It is this difference in placing the -emphasis that we seek to discuss. - -Our methods in the high school have made much of the inductive. This is -right. Pupils of high school and college age are ready for this method, -tho our high school pupils often would profit by having a little less of -this with more of the deductive. - -However, when it comes to grammar school teaching, the maximum of use -has to be made of the deductive or analytic method. This is acknowledged -in the academic subjects. Woodworking when taught so as to meet the -efficiency test that is applied to academic teaching also makes use of -this method mostly. Our design, however, has always been taught by the -inductive or synthetic method, no one seeming to have the temerity to -make use of any other. As a result we find the views of design in the -grammar school as stated above. Those who advocate it urge the -“accidentals” as sufficient justification. Those who reject it base -their argument on the fact that results based on a few accidentals will -not satisfy the same efficiency test that is applied to other subjects. - -Experience has shown, at least to the author’s satisfaction, that the -deductive or analytic method when given maximum emphasis with beginners -in design is all that is needed to bring the results up to a standard -equal to that of other subjects. It is the rational method of presenting -any subject to beginners. - -The terms deductive and inductive have such wide application that it may -be well to specify more particularly just what we mean. A concrete -illustration will suffice to show the distinction we seek to make -between what we choose to designate the deductive or analytic and the -inductive or synthetic methods. - -Suppose we wish to have a class, with little or no information about the -subject, design a booklet to meet certain specified conditions. Three -distinct stages of progress manifest themselves in what we shall call -the complete method. First, the pupils must be given information bearing -upon the problem. Second, they must be given experience in handling -problems of that type. Third, they will utilize this information and -experience in designing the booklet to meet given conditions. - -The first step will be the taking of a type form and analyzing it. -Either the instructor will demonstrate or, better, each pupil may be -given a booklet of type form and required to take it apart and put it -together again. Any way to give the pupil the information in a form that -will cause it “to stick.” In woodwork, it would be done by means of the -traditional shop demonstration--a wise practice, since psychology -teaches us that sight percepts are among the strongest. - -Second, the pupils must acquire experience. Let them make a booklet -according to definite specifications provided them by the instructor. - -The process thus far is mainly deductive or analytic. So far there has -been no invention or design, but the pupils are now prepared for it. -Using the information and experience now available, let them design a -booklet to meet certain conditions. This latter part we would call the -inductive or synthetic process. - -We should have two aims in our teaching of design: (1) Appreciation, (2) -Development of the creative faculty. Since all must be able to -appreciate good line and good form when they get out into life while -only a few will ever become designers in a creative sense, it is -essential, as it is also rational, that attention should be paid first -to appreciation. Past efforts show how hopeless is the problem when we -strive to give to the pupils appreciation of and feeling for line and -form by demanding original forms in the very beginning. The beginner’s -efforts at creation are abortive and the appreciation that he derives is -nil. By our insistence on this method we have given to our pupils the -idea that design means making something out of nothing. He is not far -wrong if we demand of him original designs before we have given him -anything tangible upon which to work. We say tangible as distinguished -from academic principles or rules of design. If nothing tangible is -given the pupil he must get it outside of his school experience. This -explains the superabundance of “wienerwurst” forms, bouquets tied with -ribbons, circles, etc., etc. - -It is possible to create unknown out of what is seemingly unknown. When -we stop to analyze the process, however, we find that we have made use -of information, appreciation, and feeling that are known. Sometimes we -make ourselves believe that our pupils are creating unknown out of -unknown without these requisites. Analysis will show that our continued -suggestions to him, drawn from our own fund of known are the causes, and -not the pupil’s faculty. This method of teaching is the kind we have -been used to in design. It works pretty well with small classes and -individual instruction. Try it on large classes of beginners and it is -not possible to bring results that stand for class efficiency. - -And why should this particular method be insisted upon exclusively with -beginners? Why should not design, like mechanical drawing and woodwork -and other subjects be developed upon a substructure consisting of -information and appreciation secured by allowing or even insisting that -the boy handle good design until he becomes saturated with a feeling for -good line and good form? Of course, if any pupil comes to a beginning -class with this information and feeling, due allowance should and can -readily be made. It is highly probable that there would be less -inclination on the part of our pupils to insist that designers are born -not made were more use made of the deductive method. When the boys no -longer see their efforts result in crudities and are enabled to acquire -the necessary feeling and information as their work proceeds, then you -find a happy and interested class that as a whole takes design as a -matter of course and not as something intended only for the few. - -Whatever the method of teaching design in the regular classroom, lack of -time demands the most direct treatment of shop design. A grammar school -boy is not inclined to listen very patiently to anything that smacks of -the academic. (1) Give the boy something definite with which to work and -(2) keep him working, or “playing,” as one has fittingly designated it, -until he has made a conscientious effort to “make it a part of himself,” -that is, until he succeeds in changing the form until it no longer -resembles the original but still possesses the pleasing appearance of -the original. - -If he succeeds in doing this, he is well on the way to creative effort. -Not all boys are of equal ability in other lines of endeavor, neither -are they in this. By this method of attack, however, even the -stupidest--usually stupid only in the matter of design--is not without -compensation for his effort. He has learned somewhat of the principles -that govern good design by hearing them explained and seeing them -illustrated in a piece of good design. He will have developed some -feeling for line and form thru having played with good line and form. He -can at the very least fit the form given him to an outline made by -himself after suggestions of good line placed upon the board. To this -extent, at least, you have benefited him, whereas, by the usual method -he--and there are many like him--would have simply sat idle in -discouragement--if he were not more mischievously occupied. - -If our old art schools were to be criticised because they made too much -use of the imitative method when they strove to give to their students -information and appreciation and feeling for form and line thru copying -historic ornament, it would seem, from results obtained, both tangible -and in the effect upon the pupils, that our modern schools are open to -criticism when they seek to force originality upon immature minds before -they have given these minds any information or feeling. - -Of course grammar school boys are not interested in historic ornament, -at least not in America. This is the weakness of the imitative method -and helped to bring in the movement which now seems to have swung to the -opposite extreme--it lacks vitality for young pupils. Instead of giving -the boy historic fragments, give him a form that is vitally interesting -to him because he sees its immediate application in the thing that is to -be made in wood. Let him play with this form combining imitation and -modification and creation just as far as he is able. - -Make the problem concrete, stating the principles you have to state in a -language the boy can understand. There will not be time to bring out -every principle that might be involved in design. There must be time to -bring out those involved in the particular problem under discussion. -Balance and symmetry, for illustration, are pretty well understood by -the boy in the simple form in which he will have occasion to use them. - -Take as an illustration the bookrack, Fig. 7. To present such a problem -we would place upon the blackboard the blank forms as shown, also the -decorative form as shown. - -The lesson immediately divides itself into two parts for consideration: -(1) The Construction, (2) The Decoration. Under the subject of -Construction our normal school notes would suggest the following points -to be brought up: Use, Construction, Decoration; Requirements of -Utility; Limitations of Materials and Processes; Proportions of Parts -and Details; Harmony of Parts and Details; Points of Force; Construction -as Decoration. (According to Payne.) Under Decoration: Supporting -Outline; Center of Interest; Symmetry; Repetition; Radiation; Rhythm; -Contrast; Proportion in Curves; Proportion in Spaces; Unity; Subordinate -Centers of Interest; Balance. - -[Illustration: FIG. 7. TEACHING DESIGN IN THE PROBLEM OF THE BOOK-RACK.] - - CONSTRUCTION - - DECORATION - - OUTLINES - - MOTIVE GIVEN - - ADAPTATION - - APPLICATION--BY A PUPIL - -Taking these in their natural order, but without making much ado about -the “framework,” the shop man who has made some study of the principles -involved can call the boys’ attention to the most important points: - -(1) The construction. Since the shopwork is to be carried on by class -instruction and not individually, it will be necessary to limit the -joint or joints used to those specified for the Group in which the -project is to be worked out. Joints of previous Groups may be used also. -The book rack will be made in Group VII. Some form of the groove joint -is to be used, none other. - -Here we call attention to the difference between the designer and the -shop man in their handling of the problem. The discussion of -construction gives the designer an opportunity to display the -possibilities of his subject. He enumerates all the joints that may be -used with propriety in making such a piece as the bookrack, and the -pupils are encouraged to make use of as many varieties as possible. He -is totally oblivious of the fact that, while this is good teaching in -design, it is making the applications impossible except with individual -instruction--a method of instruction that may be used in small school -systems but not in cities. - -(2) The manner of placing the members and the use to which the rack is -to be put will together determine the proportions of the members. - -(3) For decoration, we might depend entirely upon the good form of the -outline and the stain and grain of the wood. With this particular piece, -however, we shall make use of a decorative form which will be outlined -or incised and colored with a dye. - -(4) Since the design is to be made in wood and wood splits easily along -the grain, we must be careful in making an outline not to get sharp -points. Also, in making a decorative design we must avoid thin parts -that will bring incised lines close together. Also, we must take into -account in planning the members the facts of shrinkage or swelling and -the strength of the wood. The grain on the vertical members must extend -vertically and that of the horizontal member must extend from vertical -member to vertical member. This to be illustrated by referring to some -similar construction. - -(5) In striving for pleasing outlines, or decorative forms either, -strive to avoid a sameness made by using many lines or forms of the same -size. “Large, medium and small” is a key that unlocks many a puzzle as -to what causes unpleasant feelings in both outline and decoration. Long -sweeping curves with short snappy ones, rather than a series made with a -compass. Make a special point of the fact, which almost every boy -overlooks, that the simple forms of outline are invariably the more -pleasing. To the beginner design means making something unlike anything -that was ever seen on the earth below or heaven above--hence the -freakish, fussy forms that are usually offered. Try telling the class -you are going to place an excellent form on the board then draw a well -proportioned oblong and watch the expressions on their faces. Yet a well -proportioned oblong with appropriate decorative form is one of the most -pleasing of forms. There will be no need to urge them to make “unique” -forms. Their inexperience and their zeal will produce a sufficient -number. Rather urge, or insist that they postpone search for “unique” -form until they have more information. - -Illustrate with blackboard sketches as you go along each of these -points. Keep the boys “playing” with outline forms until you have -assured yourself they have done their best. With them, pick out three of -the best and place these in permanent form for keeping--put them on -another sheet of paper. Next, start them on the decoration. The -development of a decorative form will come much harder than the outline. -Here again the beginner will want to exhibit “unique” forms--unique only -in that they are founded upon his ignorance. Unless the boy is not a -beginner, it will be necessary in about twenty-four out of every -twenty-five cases to insist that he start with the form you have placed -upon the board for his use. If you were dealing with a few pupils, you -might take his “original” form and step by step get him to work it into -a good form. With large classes this is not possible, nor is it -necessary. Simply insist that he place the form given him in his outline -and in so doing he will acquire enough feeling for line and form to -enable him to proceed of his own accord. - -(6) Have the boy put on a supporting outline, that is, tell him to draw -a line around his outline and parallel to it. Show the class on the -blackboard how this is to be done. - -(7) Put in the main mass and break it up explaining as you do so that -you are seeking to get large, medium and small forms-proportion of -parts. Call attention to the efforts made to keep the lines in harmony. - -(8) Call attention to the center of interest you have created. It is -unfortunate that lack of time forbids the boy’s placing colors on these -designs. Very frequently a touch of color is used to create a center of -interest, the form for this in black and white not giving the proper -significance at all. A design which in outline seems to be fussy because -of too many parts will, by a proper selection and placing of colors, be -made most pleasing. On the other hand, a design in outline that seems -agreeable may, when in color, not be agreeable because the colors make -certain parts stand out too prominently. A study of the color plate in -_Projects in Beginning Woodwork and Mechanical Drawing_ will make this -clear. - -(9) If the form proposed happens to illustrate repetition, radiation, -symmetry, or if some boy develops a form that does, take time to say a -word about them. While you will not have time to “teach design” in the -few lessons, a word here and there may serve to awaken further interest -on the part of some boy. - -After all is said, we recognize that the time is short, that not much -can be done. On the other hand, what little can be done is worth doing -and doing well; its possible significance can not be overestimated. - - -=6. Shop Excursions.= In the grammar schools, and more especially in the -high schools, plans should be made for several excursions to near by -shops in which the pupils may get an insight into the workings of -related industries. The saw-mill, lumber yards, planing mills, furniture -factories, architectural or drafting-rooms and, in fact, anything -relating to the industrial employment of men and machinery may be -visited. - -That the trip may be one of profit the instructor should see to it that -the pupils are prepared for the trip by previous talks on what is to be -seen and by after talks on the meaning of what they saw. - -In every case it will be necessary, or at least advisable, to have a -time arranged with the superintendent of the factory to be visited. -Pupils should be given to understand that they are being privileged and -must act the part of gentlemen, refraining from asking needless -questions of the workmen or handling the equipment. In many factories no -talking to the men at all is desired. The questions of young pupils are -often impertinent and embarassing without their intending them so to be. -The better plan is, as has just been suggested, to have the pupils -prepared by preliminary talks then take them thru the shop with eyes and -ears only open, clinching the lessons of observation afterward. - -Pupils should keep together in solid lines and, should any accident -occur, the instructor should see that any loss to the factory owner or -workmen is “made good.” Usually the class will voluntarily make -recompense. It is safer and less likely to cause embarassment if it is -understood beforehand that all members of the class who go will be -expected to help repay the instructor for any money so expended. - -One might think the company well able to stand such loss. It is, but it -is not always the company’s loss. Even if it were, their courtesy ought -not to be abused. We have in mind a mold for an intricate piece of -casting representing a day’s labor for two men ruined by a student’s -accidentally brushing against it with his overcoat. As the men were on -“piece work” it meant no loss to the company, except delay in getting -out the finished article. It did mean a loss to the two men, who could -ill afford it. The instructor quietly settled for the damage or loss and -the pupils reimbursed him upon reaching school. This probably prevented -the factory from excluding succeeding classes as undesirables. In -woodworking shops there is little chance for such accidents. -Nevertheless workmen there do not wish their tools or work handled. Each -class should bear constantly in mind, while on the shop excursions, that -it is making succeeding classes welcome or unwelcome in that shop. - - -=7. Stock Bills.= Every piece of woodwork made by a pupil consisting of -more than one member should have in addition to the working drawing a -carefully made stock bill. The reason is two-fold: It not only prevents -the pupil’s cutting out stock wrongly thru misreading the drawing, but -it saves time for the pupil. It is a practice that he will have to -master later in life if he follows any of the mechanical trades and is -just as essential a part of his shopwork as is the drawing or woodwork. -Where the drawings are made by referring to plates, experience has shown -that many a boy will be able to make a good drawing without fully -interpreting its meaning. The making of the stock bill will show him his -weakness, also it will show the instructor. No boy can make out his -stock bill without being able to read his drawing. After the drawing has -been made and then its stock bill, the boy will have become so -conversant with the plans of the thing he is to make that few mistakes -are made in working the wood, that is, mistakes due to ignorance of the -drawing. - - STOCK BILL (Form) - - NAME________________________ ARTICLE_____________________ - - GRADE_______________________ KIND OF WOOD________________ - -----------------------------+----------------------------- - FINISHED SIZES | CUTTING SIZES - ------+---------+-----+------+------+---------+-----+------ - Pieces|Thickness|Width|Length|Pieces|Thickness|Width|Length - ------+---------+-----+------+------+---------+-----+------ - 1 | ³⁄₈ | 3 | 5¹⁄₂| 1 | ³⁄₈ | 1³⁄₄| 6 - 1 | ¹⁄₂ | 1¹⁄₂| 4¹⁄₂| 1 | ¹⁄₂ | 1³⁄₄| 5 - 2 | ¹⁄₂ | 1¹⁄₂| 9 | 2 | ¹⁄₂ | 3¹⁄₄| 9¹⁄₂ - 1 | ¹⁄₂ | 5¹⁄₂| 12 | 1 | ¹⁄₂ | 5³⁄₄| 12¹⁄₂ - ------+---------+-----+------+------+---------+-----+------ - -INSTRUCTIONS - - All articles in seventh grade will be made of White Pine or Yellow - Poplar; those in eighth grade of Chestnut. - - Stock bills are not needed for articles composed of one piece of - material only. - - Finished sizes are the sizes to which the pieces are to be planed. - Your drawing will tell you these sizes. - - Pieces of irregular shape are to be figured at their widest and - longest dimensions. - - Cutting sizes are obtained from the finished sizes by adding ¹⁄₄″ to - the width and ¹⁄₂″ to the length. Cutting sizes are the sizes to which - you work in sawing out the stock preparatory to planing it. - - All stock will be mill-planed on two surfaces to the correct thickness - except that for the ring toss, spool holder, game-board, and laundry - register. Thickness of mill-planed stock will be the same whether for - finished sizes or cutting sizes. On rough stock, or stock that has not - been mill-planed, if the finished size is ³⁄₄″ thick the cutting size - will be 1″ thick. - - Sometimes it is possible to save material by combining two irregular - pieces. The finished stock sizes will indicate the number of pieces - while the cutting size will indicate the size of the single piece from - which they are to be cut. - - Remember that length always means “along the grain of the wood,” and - that a piece may be wider than long. Under the word “Pieces” put the - number of pieces that are of the same size. - -In the elementary schools the form of stock bill used should be as -simple and explicit as is possible. The appended form is one that has -proven satisfactory. That it may be in convenient form for student use, -it has been included with “_Projects in Beginning Woodwork and -Mechanical Drawing_,” as also is the Form for Price List and Estimate of -Cost. - - -=8. Estimating Cost of Material.= The accompanying form indicates -clearly what is expected of the boys in figuring their cost of material. -Since these costs are figured before the articles are made in wood, no -account is taken of material wasted. With a carefully planned course of -projects and an instructor who knows the possibilities of requiring a -boy to reduce the size of his piece when one member has been reduced -under size there is very little use for extra stock. As a rule what -stock is so returned can be used for other smaller parts. If a boy is -unnecessarily wasteful, he should be required to figure extra stock. -This is to be done only in justice to the other boys, not as a check to -the wasteful boy. Such boys, as a rule rather glory in their -wastefulness. The best check for such a boy is to require him to use his -original stock, reducing the sizes of all affected pieces as may be -necessary. - -As this is, in all probability, the first problem in which the boys deal -with approximate rather than mathematically exact results, the -instructor should not become discouraged with their first attempts. No -better opportunity exists for introducing the boys to problems such as -will confront them after they leave school. The instructor will do well -to check the boys’ results by means of his own previously figured -results after the boys are all thru their figuring. There is a -difference between figuring for an answer previously given and figuring -as they must after leaving school. - -In order for the boy to figure his bills he must have a Price List. A -form for a price list such as is needed for the materials that are to be -used in “_Projects in Beginning Woodwork and Mechanical Drawing_” is -appended. The prices given are neither retail nor wholesale but about -midway between what the boy would have to pay for his stock bought in -the limited quantity he needs and the cost to the school in quantity -lots. Only the best of lumber is used. Money might be saved by buying -short lengths but none is saved by buying “cull” stock with the -expectation of cutting out the defects. The prices are for Chicago, -1911-1912, and are inserted for comparison only. On lumber, 15 to 25 per -cent has been added for waste in cutting up. Since all of the stock used -in the grades is in board form, wood finish is figured only for the two -broad surfaces. The price will be found sufficient to cover the material -used on edges. The price will also cover such waste as ordinarily comes -thru the inexperienced handling on the part of the boys--they will not -“spread out” the materials to as good advantage as will a mechanic, of -course. - - (Form, reverse side of a Stock Bill) - -ESTIMATE OF COST OF MATERIAL - - ----+-----------------------------------------------+------ - 2 |square feet of ³⁄₄ inch stock @ 7c | $ .14 - ³⁄₁₀|square ft. of ³⁄₈ inch stock @ 5c | .02 - 4 |1 inch, No. 10, flat head, bright screws @ ¹⁄₄c| .01 - 5 |square feet of finish @ 1c | .05 - | +------ - | | $ .22 - ----+-----------------------------------------------+------ - -INSTRUCTIONS - - Base your lumber estimate on the Cutting Sizes. All prices of lumber - in your Price List are per square foot, therefore your stock should be - figured by surface measure, only width, length, and number of pieces - being considered. - - Fractions of an inch and fractions of a cent are not considered, - except in the price per foot, and in the number of feet as noted in - the next paragraph. If the fraction is ¹⁄₂ or over, use the next - higher whole number; thus, 2¹⁄₂ or 2³⁄₄ becomes 3. If the fraction is - less than ¹⁄₂, drop it; thus, 2¹⁄₄ becomes 2. - - In figuring, find the number of square inches in all pieces that are - the same in price per foot. Reduce this to square feet by dividing by - 144. Reduce it decimally and do not carry the result beyond tenths - place. Dispose of any fractional figures beyond tenths as directed - above. Always write your decimal as a fractional form in the - bill--otherwise a decimal point might be overlooked and the result be - greatly changed. In the form above note that .3 is written ³⁄₁₀. - - In figuring finish, both surfaces of the stock are to be covered so - that the easiest way to find the number of square feet of finish is - simply to double the number of square feet of lumber. Edges are not - considered. Only Groups VI, VII, and VIII have finish applied. - -PRICE LIST 1911-1912. - - LUMBER-- - Chestnut, 1st grade, clear, kiln-dried: - S-2-S to ³⁄₈″, per square foot 5¹⁄₂c - S-2-S to ³⁄₄″, per square foot 7¹⁄₂c - S-2-S to 1″, per square foot 9¹⁄₂c - Yellow Poplar or White Pine, clear, kiln-dried: - S-2-S to ³⁄₈″, per square foot 5c - S-2-S to ¹⁄₂″, per square foot 6c - S-2-S to ³⁄₄″, per square foot 7c - Rough, 1″, per square foot 6¹⁄₂c - HARDWARE-- - Screws: - 1″ No. 10, flat head, bright, each ¹⁄₄c - 1¹⁄₄″ No. 10, flat head, bright, each ¹⁄₄c - 1¹⁄₂″ No. 10, flat head, bright, each ¹⁄₄c - 2¹⁄₂″ No. 10, flat head, bright, each ¹⁄₂c - 3″ No. 10, flat head, bright, each ¹⁄₂c - ⁵⁄₈″ No. 10, round head, blued, each ¹⁄₄c - 1¹⁄₂″ No. 10, round head, blued, each ¹⁄₄c - Nails: - 6d, common wire (used with, and price included in - Mission nail) - 1¹⁄₄″ No. 17 wire brads (used in Groups V and VI - with ³⁄₈″ stock) - enough nails for nailing one box 1c - 1¹⁄₂″ No. 16 wire finishing nails (used in Groups - VII and VIII) - enough nails for nailing one project 2c - No. 1617 and 1618 Mission nails, each 1c - MISCELLANEOUS-- - No. 81, ³⁄₄″ brass shoulder hooks for key rack, each 1c - No. 81, 1″ brass shoulder hooks for plate rack, each 1c - 2¹⁄₂″ black Japanned wire coat hooks, each 1c - Wire hook for coat hanger, each 1c - No. 1214¹⁄₂ brass screw-eye and No. 1614 hook (calendar - mount) per pair, 1c - Fixtures for electric lights and hooks for hall mirror - are to be purchased by the individual--prices and - tastes vary so greatly. - Wood Finish: - Stain, filler, shellac, wax or filler, shellac, wax or - stain and wax, per square foot of surface 1c - - -=9. Lumber and Material Bill for High School.= In the grammar schools -the lumber is figured by surface measure per square foot and the form of -bill is made as simple as is possible. A high school boy should be able -to handle a problem somewhat more in keeping with commercial practice. -In addition to the material cost he should keep account of the time -expended in making his piece of woodwork so that he may figure the labor -cost as well. The small size of the stock used does not admit of the -full commercial practice. This, however, ought to be explained to the -class at this time. The following form is for High School use: - -PRICE LIST, 19---- 19---- - - LUMBER--Quality, 1st, clear, and kiln-dried. - ----------------------+----------------------------------------------- - KIND OF WOOD | Per 1000 feet when surfaced on two sides - ----------------------+-------+-------+-------+-------+-------+------- - Thickness in the Rough| ⁵⁄₈″ | ³⁄₄″ | 1″ | 1¹⁄₄″ | 1¹⁄₂″ | 2″ - ----------------------+-------+-------+-------+-------+-------+------- - | | | | | | - Yellow Poplar | | | | | | - ----------------------+-------+-------+-------+-------+-------+------- - | | | | | | - White Pine | | | | | | - ----------------------+-------+-------+-------+-------+-------+------- - | | | | | | - ¹⁄₄ Sawed White Oak | | | | | | - ----------------------+-------+-------+-------+-------+-------+------- - | | | | | | - Mahogany | | | | | | - ----------------------+-------+-------+-------+-------+-------+------- - | | | | | | - ¹⁄₄ Sawed Red Sycamore| | | | | | - ----------------------+-------+-------+-------+-------+-------+------- - | | | | | | - Black Walnut | | | | | | - ----------------------+-------+-------+-------+-------+-------+------- - | | | | | | - Plain Sawed Red Oak | | | | | | - ----------------------+-------+-------+-------+-------+-------+------- - - HARDWARE-- - - For prices on hardware consult Hardware Catalog provided for you. - - Figure retail price, that is, figure screws at price per dozen, not - price per gross. - - WOODFINISH-- - - Per square foot of surface covered. - - LABOR-- - - Per hour. - - (Form for high school use) - - BILL OF MATERIAL - - NAME__________________________ DATE BEGUN____________________________ - CLASS_________________________ DATE FINISHED_________________________ - ARTICLE_______________________ EXTRA HOURS___________________________ - - ======+==================+=============================+ - Pieces| Size | Description | - ------+------------------+-----------------------------+ - 2 |¹⁄₂ × 3¹⁄₄ × 12¹⁄₂|Walnut Slats S-2-S to ³⁄₈ in.| - 1 |1 × 8¹⁄₄ × 14¹⁄₂ | “ Stretcher “ ⁷⁄₈ in. }| - 6 |1 × 3¹⁄₄ × 12¹⁄₂ | “ Rails “ “ }| - 1 |1 × 14¹⁄₄ × 14¹⁄₂ | “ Top “ “ }| - 4 |1¹⁄₂×1¹⁄₂ × 24¹⁄₂ | “ Posts “ 1¹⁄₄ in. | - | | | - 8 |2 inch No. 10 |Flat Head Brt. Screws | - 4 |1¹⁄₂ inch No. 10 | “ “ “ “ | - | | | - |13 sq. feet |Wood Finish | - | | | - | | MATERIAL COST| - |30 hrs. | Labor | - | | | - - - ======+==================+=======+======+==================== - Pieces| Size |Price | Feet | Cost - ------+------------------+-------+------+----+-----+----+---- - 2 |¹⁄₂ × 3¹⁄₄ × 12¹⁄₂| .10 | ⁵⁄₁₀ | |.05 | | - 1 |1 × 8¹⁄₄ × 14¹⁄₂ | | | | | | - 6 |1 × 3¹⁄₄ × 12¹⁄₂ | .10 |03⁹⁄₁₀| |.39 | | - 1 |1 × 14¹⁄₄ × 14¹⁄₂ | | | | | | - 4 |1¹⁄₂×1¹⁄₂ × 24¹⁄₂ | .11 | 02 | |.22 | |.66 - | | | | | | | - 8 |2 inch No. 10 | .00¹⁄₂| | |.04 | | - 4 |1¹⁄₂ inch No. 10 | .00¹⁄₄| | |.01 | |.05 - | | | | | | | - |13 sq. feet | .01 | | | | |.13 - | | | +----+-----+----+---- - | | | | | | |.84 - |30 hrs. | .15 | | | | 4 |.50 - | | | +----+-----+----+---- - =TOTAL COST $5.34= - -INSTRUCTIONS - - Under “pieces” put the number of parts that are alike. - - Under “size” put the various dimensions of pieces. In finding the - sizes of the various pieces of lumber, examine the working drawings - for finished dimensions, making due additions for tenons, then add - ¹⁄₄″ to the width and ¹⁄₂″ to the length to allow for cutting out and - squaring up. Tho you are to make use of stock mill-planed to - thickness, you are to specify the thicknesses from which this - mill-planed stock is got. Allow ¹⁄₈″ for mill-planing. - - Remember that length always means along the grain. - - Fractions of an inch in width and length are not considered. Neither - are fractions of a cent in the final results. If the fraction is ¹⁄₂ - or over, take the next higher whole number. If it is less than ¹⁄₂, - drop it. Fractions of an inch in thicknesses that are over 1″ and - fractions of a cent in the price per foot are to be figured as they - are. - - Lumber is measured by the superficial foot which is 1″ × 12″ × 12″. - Boards that are less than 1″ thick are sold by surface measure. In - other words, boards less than 1″ thick are figured for quantity as 1″ - thick. - - Standard sawed thicknesses are 1″, 1¹⁄₄″, 1¹⁄₂″, 2″, 2¹⁄₂″, 3″, 3¹⁄₂″, - 4″. Thicknesses less than 1″ necessitate re-sawing these sizes. In - some communities the price per square foot for re-sawed stock varies - for each difference of ¹⁄₄″ in thickness. - - In figuring, multiply the length by the width by the thickness, by the - number of pieces. If any piece is less than 1″ thick figure it as 1″. - Combine all results that are the same in price per foot. Reduce to - square feet by dividing by 144. Reduce decimally and do not carry the - result beyond tenths place. Dispose of any fractional part beyond - tenths as directed above. Write your result in fractional form that - the decimal point may not be overlooked and be the cause of trouble. - - The price list gives the price of lumber per 1,000 feet. The price per - foot is readily obtainable. - - In figuring finish for these cabinet pieces, double the number of feet - of stock as given by the stock bill to get the number of feet of - finish. This is only an approximate method but is sufficiently - accurate for such pieces as are to be made in first year high school, - as specified in “Advanced Projects in Woodwork,” Group IX. - - -=10. Standardizing Materials and Tools.= Standardization in the manual -training shop is just as desirable and as profitable as in commercial -shops. Not infrequently young teachers begin their work with the idea -that the greater variety of tools and materials they can introduce into -their course the richer is its content. To a certain extent this is true -but experience will soon prove that there is a limit beyond which it is -not profitable to go. In grammar schools, with classes of twenty, it is -inadvisable to have more than one plane on a bench--or even in the -general tool equipment, if the courses outlined herewith are followed. -By planning the joint work carefully beforehand, or requiring the pupils -to plan their joints according to certain standards as to size, no more -than two chisels need be placed at the disposal of each boy and none in -the general equipment. The same may be said of bits, etc. Make use of -certain screw sizes, as few as can be used to advantage, and equip in -auger bits accordingly. This practice not only is less expensive but it -enables the instructor to keep the equipment well in hand both as to -sharpening and accounting. - -Except with individual oversight, in small classes, it is not advisable -to plan projects for grammar schools in which holes smaller than ³⁄₁₆″ -diameter are to be bored. The expense of maintaining or replacing bits -of smaller size that get broken is unwarranted. - -Of course, it is not to be inferred from the foregoing that any -necessary tool is to be omitted, or that any tool is to be made to do a -work that will cause it to be injured thereby. - -There is educational value in the way of imparting information in -providing pupils with a different kind of wood for each project. This -used to be specified in some of the very best courses some years ago. -Today the tendency is not only to standardize the kinds of wood but to -standardize the thickness. The economic problems arising from the -handling of many kinds and sizes of lumber more than offset the -informational value that pertains to the practice. A study of samples of -wood that are placed within easy reach of the pupils will compensate -somewhat for the loss occasioned by standardizing the kinds of stock. -After all, the presentation of three or four type woods is about all -that can be expected, as the work is now presented. - -Wood finishes can be standardized in a manner similar to that of lumber -and hardware. There is undoubtedly educational value in a boy’s making -his own stains. Under ordinary school conditions, however, it is not -possible to have him do so. Nor is it advisable for the instructor -himself to mix his own finishing materials. Even the most expert -woodfinishers find it taxing their ability to mix a fresh lot of stain -that will exactly match that of a previous lot. There is nearly always -some boy, or boys, with pieces but partly covered when the stain in any -given lot is exhausted. The best way, everything considered, is to make -use of some standard color of finish in stain and filler. When a given -quantity is exhausted it is an easy matter to order more of the same -color with the assurance that the color of the new lot will match that -of the old. It is not possible to teach everything in the short time -allowed and there are excellent reasons for omitting these. - -The price list and the list of equipment given herein show to what -extent the author has standardized his material and tools. - - -=11. Records, Forms of Reports, Grading Work.= The following forms have -proven satisfactory. - - (Form for front cover) - - CLASS BOOK - - MANUAL TRAINING CENTER___________________ - - INSTRUCTOR_____________________ - - (Form for pages) - - School____________ Grade_______________ Teacher______________ - - ========++==========+=====+======+==========++=================== - NAMES ||Attendance|Grade|Acct. |Deportment|| - ========++==========+=====+======+==========++=================== - || September || October, Etc. - --------++----------+-----+------+----------++------------------- - 1 || | | | || - --------++----------+-----+------+----------++------------------- - 2 || | | | || - --------++----------+-----+------+----------++------------------- - 3 || | | | || - --------++----------+-----+------+----------++------------------- - || | | | || - Etc. || | | | || - || | | | || - -The foregoing form is for use in grammar school centers. One book for -each center will suffice. On the cover, the instructor will fill in the -name of the school at which the center is located, also his own name. - -There should be placed after “school” on the inner page the name of the -school from which any class of boys come. Their grade and the name of -their academic teacher is to be filled in. - -In marking attendance in the class book, use a short straight line for -absence. If a boy is marked absent and later comes in, a straight -horizontal line thru the vertical line made to indicate absence will -indicate tardiness. By arranging these marks in the square in some -definite order the particular time of absence or tardiness can be told. -For example, if a class comes to manual training once a week, a mark in -the upper left hand corner may indicate absence or tardiness the first -week of that month; if in the upper right hand corner, for the second -week, etc. - -In the column marked “Grade” will be recorded the teacher’s estimate of -the boy’s work. In some schools boys are required to pay for material -used. The column marked “Acct.” is to be used in keeping record of money -paid by the pupil. - -The column marked for deportment is not to be filled unless a boy -insists in calling the instructor’s attention to himself because of his -misconduct. On such occasions a check is recorded after his name at the -time reproof is given. - -These books will be taken up by the supervisor of manual training at the -close of the year and will be kept by him. - -Boys who enter or leave at times other than the beginning or close of -the regular school period should have the fact and date indicated in -connection with their names. - -Where money is collected from students, the supervisor should insist -that the instructor keep a separate purse for this purpose in addition -to keeping a record in his class book. The class book record will be of -service in checking the purse account and in aiding in settling any -dispute between instructor and boy and in giving the supervisor a check -in case any parent asks for information. It is not an unusual thing, -however, for the instructor to find his purse account in excess of his -book account. This is due to the fact that he has forgotten in the -stress of other shop duties to make a record. In such a case the purse -account, not the book account is to be turned in. Since the instructor -is not a purchasing agent there will never be occasion for his book -account to exceed his cash account. - -The directions given for the grammar school class book apply equally to -this high school form, except that the week is the unit instead of the -month. If a class comes five days in the week, a mark in each of the -four corners of the square for Attendance and one in the center will -indicate that the boy was absent or tardy five times that week. Always -placing the marks in definite places for definite days will indicate -what day of the week a boy was absent or tardy. - - (Form for High School) - (Outer cover) - - CLASS BOOK - - SCHOOL_________________________ - SHOP_________________________ - INSTRUCTOR_________________________ - - (Form for pages) - - Class_________________________ Section_________________________ - - =============++==========+=====+=====+==========++==================== - NAMES ||Attendance|Grade|Acct.|Deportment|| - =============++==========+=====+=====+==========++==================== - || First Week || Second Week, Etc. - -------------++----------+-----+-----+----------++-------------------- - 1 || | | | || - -------------++----------+-----+-----+----------++-------------------- - 2 || | | | || - -------------++----------+-----+-----+----------++-------------------- - 3 || | | | || - -------------++----------+-----+-----+----------++-------------------- - Etc. || | | | || - || | | | || - - -At the end of each month there will need to be sent to the regular grade -teacher information suggested in the following form. This form, when the -teacher takes off the data contained thereon, is to be returned to the -manual training center. The information contained upon this form is to -be used by the regular teacher in making up her monthly report for the -boys whose names are recorded. Deportment and attendance will be -combined with similar marks in the regular work while the manual -training grade will be recorded in the space so indicated on the regular -monthly report. - -As for the form of the monthly report for the high school, most high -schools have their marking systems so arranged that the different -instructors can transfer their markings directly from the class book to -the card. If a form is desired, the grammar school monthly report will -answer as well for the high school by changing the words “School” and -“Grade” to “Shop” and “Section.” - -MONTHLY MANUAL TRAINING REPORT - - SCHOOL_____________ GRADE_____________ TEACHER_____________ - - =========++=====+======+=====+==========++=================== - NAMES ||Times| Times|Grade|Deportment|| - ||Tardy|Absent| | || - =========++=====+======+=====+==========++=================== - || September || October, Etc. - ---------++-----+------+-----+----------++------------------- - 1 || | | | || - ---------++-----+------+-----+----------++------------------- - 2 || | | | || - ---------++-----+------+-----+----------++------------------- - 3 || | | | || - ---------++-----+------+-----+----------++------------------- - 4 || | | | || - ---------++-----+------+-----+----------++------------------- - 5 || | | | || - ---------++-----+------+-----+----------++------------------- - 6 || | | | || - ---------++-----+------+-----+----------++------------------- - 7 || | | | || - ---------++-----+------+-----+----------++------------------- - 8 || | | | || - ---------++-----+------+-----+----------++------------------- - Etc. || | | | || - || | | | || - -To the Teacher--Deportment is satisfactory unless checked. A boy with -two or more checks needs a word of caution and advice. - -Excuses for absence or tardiness are to be given the regular teacher -except where a boy is absent from manual training but is in attendance -at the regular school the same day. In such a case the excuse is to be -given the shop instructor. - -In addition to this the teacher will appoint a monitor who will -telephone to her the class attendance at the beginning of each manual -training period. Unwarranted absentees are to be attended to by her. - -This record is to be returned at the very earliest opportunity to the -manual training shop. Otherwise, it may be the cause of delay in your -getting your class report from manual training the following month. - -In grading work the tendency today is not to try to make fine -distinctions such as 83 per cent, etc. “Excellent” for work that is -equal to that of a mechanic, “Good” for work that is above average, -“Passed” for average work and “Poor” for work that is not acceptable -will be sufficiently exact. If the system of marking is by numbers, mark -by tens, as 90, 80, 70, and 60, seventy being “Passed.” - - -=12. Shop Conduct.= In conduct, a boy at the manual training center -should be governed by the same rules that obtain in the regular school, -with slight exception. - -It is sometimes argued that shopwork provides an opportunity for free -and natural or unrestricted action on the part of the pupils. This they -argue is a distinct advantage of manual training over the restraint of -the academic classroom and results in greater development educationally. -Theoretically this seems reasonable. Practically, it soon becomes -evident that young pupils, such as our manual training boys, are lacking -sadly in judgment in the power to discriminate between liberty and -license in shop conduct. Allow them the privilege of talking to one -another about necessary matters without asking permission of the -instructor and you must be a strong teacher to prevent abuse of the -privilege. To allow unrestricted conversation, however, is decidedly -bad. Even with grown men and women working in shops, only restricted -conversation is allowed. The reason is evident. If with men and women of -supposed judgment there must be insistence on order and system, how much -more so with immature boys. - -Have definite signals and insist upon their being heeded promptly. The -three bells used in the regular school work serve well to open the -school. One, the opening of the doors; two, the call to order; three, -the tardy bell. - -Some instructors do not allow the pupils to enter the shop--do not open -the shop--until the second bell rings. Other instructors allow the boys -to enter the shop at the first bell and begin work as soon as they like. -The first method is used mainly in large cities where large classes have -to be cared for and where the boys are morally inacute. The second is -preferable in some ways. It allows the pupil to make the most of his -time. It has the disadvantage in that it requires the instructor’s -immediate supervision after the first bell, or else allows the pupil to -commit errors because of no supervision. As a rule it is the boy who -most needs the extra time who does not make use of the privilege. - -Of course, where pupils are not admitted to the shop before the second -bell, provision must be made for taking care of them inside the building -in inclement weather. - -To fully appreciate the merits of either practice it should be explained -that each boy is to be held responsible for the tools at his bench and -the class as a whole for all other tools. Each boy is expected to look -over his tools upon coming into the shop that he may report any tool -that is missing or damaged. Should he fail to make a report until late -in the period, or not at all he should be made to feel the -responsibility. Broken or lost tools should be paid for as the case -merits. - -At the close of the period, all tools are to be in their places ready -for the instructor’s inspection. It should be explained to the pupils -that this inspection is not to relieve them of responsibility but merely -to assist them in avoiding an oversight. - -Unnecessary damage to the bench is to be reported and the responsibility -fixed as is that concerning tools. - -At the ring of the tardy bell every boy should be in his place with his -material, ready for work. Since the recitation generally follows the -tardy bell, that should be the signal for quietness and attention such -as is demanded in the regular schoolroom. The instructor will have -marked his attendance by the time the pupils have got in order and the -recitation may begin at once. - -Insist upon continued attention during the recitation and demonstration. -The author has made it a point to call upon any boy showing signs of -inattention to recite. No boy likes to be considered a dullard and -usually he will confess to inattention after which the proper note can -be made of it. - -Where the full half-day is given to shopwork, a five minute rest period -is advisable. This allows the boys to relax and to make known to one -another their ideas. Where possible, they should be allowed to move -about and converse freely. Under no circumstances, however, should there -be allowed scuffling or loud talk, either at rest or before the tardy -bell. Aside from the damage that might be done themselves and the -equipment, there should be instilled a feeling of respect for the shop -environment. - -The instructor should aim to have on each bench as many of the tools as -will be in great demand. The general tools will be kept in a wall case. -Permission should be given to boys to go after any such tool whenever he -needs it without asking for it. Likewise it is advisable to allow boys -standing permission to go to the drinking fountain, if it be in the same -room, or to the wash basin or the finishing tables. It should be -understood that there is to be no congregating at these places. -Permission to leave the room should be required. - -At the close of the period a tap of the bell will be the signal for the -boys to put away their tools and work, get their wraps, brush off the -shavings from the bench top and from under the bench into the aisle. -When all are ready and the tools have been inspected, the teacher’s -signal to rise, and then to pass may be given. Have the rows instructed -to pass out in a definite order. - -A few schools require the boys of the last class of the day to clean up -the entire shop. In many communities this is not advisable for there is -some justice in their complaints that they are not janitors. There will -be no objection by boys in any community, however, to brushing out from -under and around their own benches. This practice makes the janitor’s -work comparatively light and does not offend the boy’s sense of justice -or fitness. They do not object to the cleaning of the room so much as to -the idea of doing what another is paid for doing. - -The discussion of ways and means of maintaining discipline is not -appropriate in a book of such brevity as this. Sufficient to say that a -manual training teacher to do his best work should be a teacher well -trained in methods of teaching and the psychological bases back of them. -He should at least understand the art if not the science of good -teaching. - -Where an instructor is engaged in teaching his entire time it is not -just that he should be required to attend to formal disciplining of -pupils. In most schools, therefore, an instructor, like the regular -grade teacher, conducts his shop as best he knows how. When a boy -insists in being unruly in spite of all the instructor can do, then that -boy should be sent to the principal of the building in which he belongs -for further treatment. The shop instructor will be expected to make use -of the many little devices for maintaining order that are required of -other teachers. Otherwise he will find himself wanting to send boys to -the principals more frequently than he should. His maintenance of order -will be a much easier task than is that of the regular teacher. - -While these restrictions may occasionally work a hardship, they -effectually prevent such injustices as the boy who is inattentive during -the demonstration bothering the boy who was attentive, when it comes to -doing the work. Our American boy is not in much danger of being injured -by our school requirements of order and discipline. In fact, he would be -benefited by a little more strictness than is now the custom, both at -school and at home. - -The high school shop bells will of necessity be those for other classes -with the exception of the double period. There will be no necessity for -a rest period, of course. - - -=13. The Lesson.= An examination of the Lesson Outlines of Part II will -make clear the component parts of the lesson. These parts are: -Recitation, Preparation for Demonstration, Demonstration, Work. - -In making an analysis of the lesson, let us begin with “Preparation for -Demonstration.” The recitation really belongs to the preceding lesson, -and will be discussed last. The preparation for demonstration consists -in having a pupil read aloud sections of a text which bear directly upon -the demonstration which is to follow. The purpose of this is primarily -to assist in preparing the minds of the pupils for the demonstration. Of -course this preparation could be made orally by the instructor. In -centers where the classes repeat the work day after day for the full -week, the instructor finds himself enthusiastic in giving the beginning -classes their lessons but, in spite of good intentions, slighting the -lessons of the classes that come the latter part of the week. The -reading from the text insures every class equal attention. Of course, -the instructor will enliven the text by the addition of information from -his own experience. There are other uses for the text, such as a -reference book in case the worker finds as he works that he has -forgotten some point. Also it enables the instructor to formulate -definite questions on the work with some assurance that the student can -answer them the week following. The preparation must not be too -elaborate. This is a common fault of beginners in teaching. It is a -means, not an end. - -Some instructors object to reading before the demonstration on the -ground that it detracts from the demonstration. When one thinks only of -the exercise of observation this seems reasonable. It must be -remembered, however, that young pupils are not skilled in making -observations as are grown people. It is wise therefore to give them some -aid in making their observations by giving them preliminary hints. In -fact, those instructors who object to the preliminary reading frequently -do precisely the same thing, that is prepare the boys for the -demonstration, when they talk during the demonstration--they usually -explain each step just before taking it. With the preliminary reading of -the text very little talking need interrupt the demonstration, which may -proceed rather rapidly. - -Here one sees the necessity for a well organized course. Each lesson -must have its subject matter connected with previous knowledge of the -class. - -A successful demonstration demands an equipment such that each boy may -see what is being done by the instructor. The closest of attention -should be demanded. The matter to be demonstrated should be unfolded -step by step. It is not necessary that all the steps be given. Any steps -that have been given in a previous demonstration may be presupposed. -Little time should be lost between the demonstration and its -application. - -The remainder of the lesson, the recitation, is to be given at the -beginning of the next period or session. If shopwork has been lacking in -one thing more than another it has been in the failure of the instructor -to “clinch” his instruction. “The best test that a person has understood -a thing is, that he can reproduce it in his own way in his own words.” - -The woodshop instructor has a right and, in justice to the boys and his -work, should insist that they stand squarely upon both feet and express -the information asked for in good, plain, correct English. A boy who -says he “knows but cannot tell it” only half knows. Unless he learns the -lesson well enough to express it well, that lesson will soon fade so -that when the instructor attempts to build upon that knowledge later, as -he must, there will be trouble for both teacher and boy. - -In written tests insist upon a definite form and neat papers. For -example, on one line have the date and name, one to the left side of the -paper and the other to the right. In the middle of the paper on the line -just below this, have the name of the subject. Insist upon marginal -spaces at either side of the paper. Do not have the questions copied -upon the boys’ papers, but insist that their answers shall be in the -form of complete statements, a subject and predicate--so complete that -the instructor need not refer to the question to mark the answers. - -At all times use good English, never rough language if you expect the -boys to respect you and the surroundings. Quietly correct their -grammatical errors. These things cost little in effort and assist in -overcoming the slovenly tendencies so characteristic of boys at this -age. - -In the Lesson Outlines will be found questioning hints under Recitation. -Some fifteen or twenty years ago our text books in geography, grammar, -history, etc., had suggestive questions after each lesson. These -questions were very helpful but like many another good thing they were -abused. Weak teachers found it easier to conduct a recitation by putting -these questions to the students in routine order, instead of using them -merely as hints to enable them to present to the pupils all the matter -of the lesson. To conduct a recitation by asking routine questions like -conducting a recitation with a text open before the teacher when pupils -are required to recite without the text, is not the sign of the highest -type of teaching and is bound to result in more or less formalism and -lack of vital interest. - -Of recent years, texts have gone to the other extreme and not a few -educators are wishing texts would give some hint as to the points of -importance in the lesson. This the present book aims to do in the hints -by questions under Recitation. These questions are purposely put in an -incomplete form so that the instructor must needs formulate them before -putting them to the pupil. They are intended, as are any public -speaker’s notes, merely to enable him to carry on the discussion or -recitation in a systematic and logical manner, missing none of the -important facts to be brought out. - -The whole time taken in any one lesson for recitation, preparation for -demonstration and demonstration should not exceed, ordinarily, -twenty-five or thirty minutes. - -It is a skilled teacher who can present a lesson to the best advantage. -The best possible presentation is a subject that manual training men can -investigate with profit. Asking questions and getting answers and giving -demonstrations may mean much or may mean little in the way of developing -the boys--nor can you tell always by the material results obtained--it -all depends upon how these things are done. - - -=14. Maintenance.= By maintenance we refer to the cost of keeping a -center running after it has once been fully equipped, exclusive of -teachers’ salaries. This will be found to have several variable factors -entering. A careless instructor can very quickly run the cost of -maintenance to a point almost prohibitive. The loss of tools by theft, -waste of lumber in getting out stock, etc., the careless planning of the -work so that articles are made, requiring much lumber and little work, -quickly makes inroads upon the appropriation for manual training -purposes. - -An allowance of ten per cent. for depreciation in equipment should be -sufficient under all ordinary conditions. An allowance of one dollar per -pupil per year should be ample where all material used is provided free. -In fact, observation covering a period of several years shows that boys -coming one-half day a week for the school year of ten months and making -models similar to those in “_Projects in Beginning Woodwork and -Mechanical Drawing_” cost the Board approximately seventy-six cents per -pupil for maintenance. This center had very close supervision, however, -and waste and breakage was reduced to a minimum. - -The most prolific source of monetary outlay is caused by planning -projects--it makes no difference whether they are small or large, a boy -uses just as much lumber in a given amount of time,--that require little -effort in their construction. For illustration, a boy may make a taboret -with four solid sides and with butt joints where he should be making a -taboret with grooved joints. The former construction has its place, but -should not monopolize the whole scheme as it is so often allowed to do. -A course properly planned will show that the cost of eighth grade work, -such as taborets, etc., is no greater than that of the seventh grade -which is composed of much smaller but more numerous projects. - -Again, it is a mistake to plan many small projects consisting of small -parts in the hope of effecting economy. The awkwardness of the average -grammar school boy will make it necessary to discard much of such stock. -Where the parts are of some size, it is possible in most every instance -to give him a new but smaller set of dimensions and require him to -continue to work on the piece originally given. - -A scrap box for holding small pieces that remain after cutting out stock -from the board, closely supervised so that the boys shall look over the -pieces it contains before cutting a full board, is another source of -economy. There should be comparatively little “kindling” for the -janitor, if due care is taken by the instructor. Above all things, it -should be understood and enforced that no boy is to discard a piece once -he has worked upon it without the instructor’s permission. This he -seldom needs to give for he can usually show the boy how to make further -use of the piece in question by reducing its size. - -While most schools provide the materials free, some do not, but require -the pupils to pay the actual cost of the material used should they care -to take the article home. There is something to be said in favor of each -practice. The latter is not unjust as it provides the necessary -training. It tends to make class distinction, however, in communities -where pupils are not able to purchase their pieces. On the other hand, -it discourages the taking of things that are not really wanted and -permits a most economical administration--provided the supervisor uses -judgment in the selection of his projects. It tends to make him -resourceful in providing projects of interest, which is an advantage -provided the projects selected are in harmony with the general plans of -the course, which is supposed to provide for the orderly introduction of -processes. - -High school pupils, according to the course outlined herein, will have -about the same amount of time in the half-year allotted to benchwork in -wood as do the grammar school boys in the full school year. The cost of -maintenance will therefore be approximately the same for the half year -as is that of the grades for the year. - -In purchasing supplies it is possible, where the courses are organized -and the materials standardized as indicated herein, to save by ordering -in quantity lots. The lumber can be purchased by the 1,000 feet of the -various thicknesses wanted. Likewise the hardware can be got in quantity -lots, with the assurance that next year’s work will call for any stock -that may not be used the present year. - -Short lengths in lumber are just as good as long for manual training -purposes and are cheaper. - -Whatever is to be purchased by open quotations should be definitely -specified so that one and only one quality can be delivered. - -The printed catalogs of the various dealers with their retail prices are -helpful, tho these prices are always “shaded” when quantity quotations -are asked. - - -CHAPTER V. - -EQUIPMENT. - - -=15. Equipment.= In the following discussion, effort is made to suggest -type forms of equipment rather than to offer a complete treatise. The -equipment offered may be added to or reduced as the exigencies warrant. -While it is complete enough to do the work planned in the outline of the -course in woodworking as given herein, and lists everything necessary to -do the work in a most approved manner, it does not go to the extreme of -listing every tool that might be used in a cabinet shop. It lists every -tool that must be used for the work outlined. - -While it lists an equipment for grammar school and another for high -school, the grammar school equipment with slight additions can be made -to serve the purpose of high school work just as well in communities -where the same equipment must serve for both. - -THE GRADE SHOP. The best arrangement of benches and other equipment, so -far as completeness and convenience is concerned is that shown in Fig. -8. This is a floor plan of a grade school center. Montclair, N. J. An -extended teaching experience does not indicate any way in which this -arrangement could be improved. - -We quote from a description of this shop which appeared in the April, -1911, MANUAL TRAINING MAGAZINE. - - The shop shown in the accompanying illustration is one of six in the - town of Montclair, N. J., and what is said of equipment holds true of - the others. It is unique in that it is housed in a structure - especially built for the purpose. This shop measures 29 by 54 feet, - and, having windows on all sides, allows the arrangement of equipment - with but little reference to space or light. The equipment consists of - twenty-four single benches with the usual tools, and a few essentials - for simple metalwork. The benches are partially equipped with - rapid-acting vises, the old wooden ones being replaced as they wear - out. - - The demonstration theater was designed for a class of twenty, but - larger classes have made twenty-five seats necessary. The - demonstration bench has both woodworking and machinist’s vises. It is - used also by students for such metalwork as comes in connection with - the shop projects. This bench is provided with drawers for tools and - compartments for sheet metals, etc. - - The lumber rack was made by bolting five pieces of 4 × 4-inch chestnut - to the side wall, and inserting six 21-inch lengths of 1³⁄₄-inch gas - pipe in each upright. Such a rack is convenient, serviceable and - inexpensive. - -[Illustration: FIG. 8 - -BELLEVUE AVE. SHOP--MONTCLAIR, NEW JERSEY] - - T TEACHER’S ROOM - D DEMONSTRATION THEATRE - L LUMBER RACK - S SINK - F FINISHING BENCH - G GLUE BENCH - 1 CASE FOR UNFINISHED WORK - 2 EXHIBITION CASE - 3 TEACHER’S DESK - 4 SUPPLY CASES - 5 OPEN SHELVES - 6 GENERAL TOOL CASE - 7 DEMONSTRATION BENCH - 8 GRINDSTONE - - The glue and finishing tables, not shown in the pictures, have zinc - tops, and are provided with drawers and compartments for keeping the - materials used. They provide the means for doing with cleanliness and - order what sometimes is a rather troublesome part of shopwork. - -[Illustration: FIG. 9. INTERIOR OF GRAMMAR SCHOOL SHOP, MONTCLAIR, NEW -JERSEY.] - -[Illustration: FIG. 10. LOCKERS FOR STORAGE OF UNFINISHED WORK, GRAMMAR -SCHOOL SHOP, MONTCLAIR, NEW JERSEY.] - - The permanent exhibit case measures 20 inches by 5 feet 6 inches by 12 - feet. It has adjustable shelves, glass doors, and is provided with the - same style of lock as are the general tool case, supply cases and - demonstration bench. - - The cabinets for pupils’ unfinished work have been planned to meet the - problem of providing a satisfactory place in which a pupil can keep - his work from lesson to lesson. The first requirement of the shop - seemed a standard size locker; secondly, it must be adjustable to - provide for various sizes of projects; and lastly, local conditions - demanded a system which could be moved without difficulty. The idea - has developed into what is the most satisfactory system with which the - writer (Albert F. Siepert) has had experience, either as student or - teacher. A sectional case was designed which meets equally the needs - of all classes in the art and handwork department, whether they be - bookbinding, woodwork or sewing. Each section measures 20 in. by 24 - in. by 36 in. The open case in the illustration shows the maximum - number of compartments, eight pupils to the section, each pupil having - a space 8¹⁄₄ in. by 10⁵⁄₈ in. by 18¹⁄₂ in. for his work. By removing - four or six of the upright partitions, the space may be given to four - or even to two pupils. Thus any piece of work up to 11 in. by 18¹⁄₂ - in. by 34 in. can be kept out of the way and under lock and key. - Alternate sections are assigned to a class to avoid congestion and - confusion. - - The cost of the building several years ago was $3,500. Local - carpenters built the demonstration theater, lumber rack, cabinets, - etc. The demonstration bench cost $27; the stain and glue tables - approximately $4.50 per running foot; and the cabinets for unfinished - work $12 per section. - - -=16. Size of Classes.= It should be noted that the building was planned -originally for twenty benches and that it now contains twenty-four. -Twenty benches ought to be the maximum number so far as the giving of -proper instruction is concerned. When more are given the instructor the -conditions for the most efficient work are not good. This problem of -accommodating twenty-four boys will have to be met, and may as well be -planned for just so long as school directors insist upon crowding fifty -pupils in the regular classroom when the teacher ought to have but -thirty-five or forty to do her best work. Then, too, it frequently -happens that a room contains more boys than girls. Some of these boys -might be sent to another and adjoining center. It is best to plan to -care for twenty-four boys, however, where the regular room enrolment -runs above average. In this case the dimensions of the building as given -in the preceding text should be changed. Enlarge the width of the -building by six feet. This will permit the placing of the extra -demonstration seats upon the platform and also allow sufficient floor -space near the lumber rack for cutting out stock, and about the -finishing table, etc. - -In placing benches, plan to have the light enter over the back and the -left end of the bench. That is, when standing at his bench, the light -should strike the pupil in the front and left. - -An amphitheater is very desirable both in the high school and the grade -school shop. In large classes it is a necessity. With small classes it -is possible to make use of desk stools arranged about a bench. Many -manual training centers, in fact, most manual training centers, do not -have the amphitheater. This is no argument against its desirability. It -simply means that the boys get but an imperfect understanding of the -demonstration and that their work must suffer accordingly. - - -=17. Lockers.= The locker problem is one that has been a source of -trouble. The arrangement described in connection with the description of -the Montclair shop is by far the best solution of this problem that has -come to the author’s attention. The extreme length of pieces that can be -accommodated is 34″. A few pieces will be longer than this. These can be -accommodated outside the locker or the locker sections may be planned -large, say 40″ in the clear. - -The grindstone is best suited for pupils’ use in sharpening edge tools. -Where a small motor is used for power, it is very desirable to have a -small dry emery grinder for the use of the instructor. Ten dollars will -cover its cost and it will pay for itself quickly. It can be placed near -the grindstone. - -Unless the centers have frequent delivery of lumber supplies, or if -there is no central cutting-up station, it may be found advisable to add -to the building described a small room for the storage of quantity -lumber with, possibly, a power saw in it. - - -=18. Bench and Tool Equipment for Grade Center.= The individual bench is -to be preferred to the two- and four-pupil bench. Aside from the fact -that the double benches are not conducive to good order and system, it -is next to impossible to get such benches to remain rigid without going -to an initial expense that would be sufficient to purchase the -individual bench. Unless they are rigid, it is an injustice to ask a boy -to return accurate work. The effect that violent work at one side of a -double bench will have upon fine or accurate laying out by some boy on -the other side of that bench is not difficult to imagine. The only -argument in favor of a double bench is economy of space. If space must -be economized, it is better to place the individual benches back to back -with just enough space between them to keep them from touching and thus -shaking each other. - -The rapid-acting vise is desirable, if it is a good one. Some -rapid-acting vises now on the market are not as desirable as the old -fashioned continuous metal screw vise. A vise is in almost constant use -and should be most carefully investigated before being specified. - -INDIVIDUAL EQUIPMENT. - - Bench, open frame without drawer, glued up top 23 in. by 52 - in. tool rack, rapid-acting vise, approximate cost $ 10.00 - Jack-plane, Stanley or Bailey No. 5, each 2.09 - Wooden mallet, Stanley No. 1 .13 - Rule, Stanley No. 34 .17 - Hammer, Maydole bell-faced claw, 13 oz. .50 - Wing Dividers, P. S. W., 6″ .23 - Chisels, socket firmer, Buck Bros., ³⁄₈″ and ³⁄₄″ both .83 - Marking-gage, Stanley No. 62 .12 - Try-square, Stanley No. 20, 6″ .21 - Saw, Bishop Handy Saw, 12″, No. 9 .75 - Swedish Sloyd Knife No. 7 .40 - Bench Brush, No. 2A, Orr & Lockett .30 - Bench-Hook .25 - Chisel-Board .00 - ----- - Total $ 5.89 - -GENERAL TOOLS FOR 24 PUPILS. - - 6 Nailsets, cup pointed, assorted sizes, @ 10c. $ .60 - 6 Try-squares, Stanley No. 20, 12″, @ 36c. 2.16 - 3 Turning-Saws and Frames, 18″, @ $1.00 3.00 - 6 Spokeshaves, Bradshaw and Field or Stanley No. 84, 2¹⁄₂″, - nut adjusted @ 59c. 3.54 - 3 Gouges, 1″, No. 8, outside bevel, Buck Bros., @ 43c. 1.29 - 2 Ratchet Braces, Barber No. 33, 8″ sweep, @ $1.45 2.90 - 2 Plain Braces, Barber No. 13, 8″ sweep, @ $1.08 2.16 - 3 Crosscut-saws, Bishop No. 89, 22″, 10 pt., @ $1.55 4.65 - 3 Rip-saws, Bishop No. 89, 24″, 8 pt., @ $1.65 4.95 - 2 Planes, Jointer 22″, Bailey No. 7 or Stanley, @ $3.03 6.06 - 2 Rose head Countersinks, Buck Bros., @ 23c. .46 - 2 Screwdriver bits, Buck Bros., @ 17c. .34 - 4 Screwdrivers, 4″ blade, fluted handle, @ 25c. 1.00 - 2 Auger-bits, 1¹⁄₄″, R. J., @ 80c. 1.60 - 4 Auger-bits, 1″, R. J., @ 60c. 2.40 - 2 Auger-bits, ³⁄₄″, R. J., @ 50c. 1.00 - 4 Auger-bits, ¹⁄₂″, R. J., @ 35c. 1.40 - 4 Dowel-bits, ³⁄₈″, R. J., @ 27c. 1.08 - 4 Dowel-bits, ¹⁄₄″, R. J., @ 27c. 1.08 - 4 Dowel-bits, ³⁄₁₆″, Morse, @ 12c. .48 - 1 T-bevel, Stanley No. 18, 8″, @ 44c. .44 - 1 Monkey Wrench, Coes, 8″, @ 50c. .50 - 1 Pair Combination Pliers, 6″, @ 40c. .40 - 2 Combination India Oilstones, 6″ × 2″ × 1″, in iron boxes, - @ $1.00 2.20 - 1 Oil-can, ¹⁄₄ pt., @ 18c. .18 - 6 Handscrews, No. 812, @ 40c. 2.40 - 2 Steel Bar Carpenter Clamps, 2¹⁄₂ ft., @ $1.69 3.38 - 1 Set Steel Figures, ³⁄₁₆″, @ $1.88 1.88 - 1 Shellac Can, 1-qt. .78 - 1 Kerosene Glue Heater, 2-pts. 1.50 - 1 Steel Framing-Square 1.00 - 200 Individual plane-irons, @ 25c. 50.00 - 6 Coping-saws with Blades, @ 25c. 1.50 - 2 Brad-awls, @ 15c. .30 - 2 Scribe-awls, @ 15c. .30 - ------- - List price $108.83 - -SUMMARY. - - 24 Benches, @ $10.00 $240.00 - 1 Demonstration Bench 27.00 - 25 Sets of Tools, @ $5.89 147.25 - General Tools 108.83 - ------- - List price $523.08 - ------- - Less 10% $470.68 - -This estimate does not include lockers, shelving, machinery, etc. The -cost of lockers, shelving, etc., can be roughly estimated by noting the -price per foot as given in the description of the Montclair shop. A -grindstone with motor power can be purchased for $30.00 for stone and -$60.00 for motor. - -Where the instructor must do much grinding, a No. 101 Cortland Corundum -Wheel Co. Grinder, cost with tool rest and two grinding wheels complete -ready to belt $10.00, will be found an extremely satisfactory -investment. - -Where power is not obtainable a Pyko Peerless Dry Emery Grinder, cost -$6.00 with tool rest attachment, will give excellent service. It cuts -much more rapidly than a grindstone and is therefore not so tiring on -the one who turns it. - -In justice to other makers of tools it must be explained that the -mentioning of the firm names is due to the fact that indefinite -specifications are worthless. There are other tools as good as those -named, some of which are preferred by some manual training men to those -mentioned. Those mentioned are first class in every respect and will -serve to give the dealer an idea of the class of goods you want. It will -be for the purchaser to see that he gets equal quality. By all means, -avoid the poor grade tool whatever its price. Were it not for limited -space the author would like to list other makers of first class tools. -If one is not conversant with the different brands let him consult some -of his mechanic friends. - -The prices given are list price for 1911-12, Chicago. A discount of at -least 10 per cent. will be allowed for quantity purchase. - - -=19. Individual Tools.= The individual plane-iron is not absolutely -necessary. It is very desirable since the plane is in constant use. To -make use of the same irons class after class is unjust to the good -worker. He will spend a good part of the period getting his iron in -condition only to find when he comes again the next week that it all has -to be done over again. It puts a premium on slovenliness. True, the same -argument holds for the chisels, and it would be well if individual -chisels could be provided. The chisel is not used nearly so much as the -plane-iron and can, therefore, be used in common much better than the -plane-iron. - -No machinery for cutting up stock, is included in the estimate. In most -cities the high school machinery can be used for this purpose. According -to the course outlined, there will be little stock cutting by machinery -required. What little there is might well be done as “busy work” by the -more rapid workers thruout the year. Such stock could be stored away -until needed. - - -=20. Equipment for Mechanical Drawing, Grade Center.= Since the teacher -of woodworking must also be the teacher of mechanical drawing in the -grade center, no special room for drawing is advisable. With the first -twelve weeks devoted to drawing, the woodworking benches can be used as -drawing tables, the woodworking tools not being placed until all the -drawing work is completed. When the shop is properly cleaned during the -summer vacation there is no reason for its not being kept as clean as -any special drawing room during the drawing period of twelve weeks. The -benches should be scraped clean and shellaced. - -A blackboard is needed for both drawing and woodwork and may as well be -placed in the woodworking shop. - -For the most efficient presentation of drawing there will need to be -plenty of blueprints or plates from which the student may work. These -must be so well executed, as to technique, that the pupil will have -before him only the best as models. No one would think of placing before -the writing class other than the best models of style and execution in -penmanship, yet it is not infrequent to find mechanical drawing students -copying from blueprints that are far below standard as to excellence. - -In presenting the problems, models will be found of very great help to -the student in his efforts to interpret the conditions. Too much -dependence should not be placed upon models in the work of older pupils. - -INDIVIDUAL EQUIPMENT. - - Drawing-boards, 16″ × 22″, basswood, each $ .70 - T-squares, 22″, plain blade, fixed head, each .20 - 45° Triangle, 8″ each .16 - 30°-60° Triangle, 10″, each .15 - Desk Stool, 24″, rubber tipped, each 1.25 - ------ - Total $ 2.46 - ------ - Total for 25 sets, less 10% $55.45 - -There will be needed in addition to the above a knife, scale, compass, -and sandpaper block. The knife and rule used in the woodwork will serve -equally well in the drawing. The sandpaper blocks or pencil sharpening -blocks can be made in the shop. - -In connection with these blocks, it will be found expedient to have them -so fastened to the bench that pupils cannot get them on top of the bench -in sandpapering a point on the pencil. This can be done by fastening the -block to the bench with a screw in such a way that it can be revolved -from under the top of the bench when wanted. Otherwise beginners will -have the bench top and then drawings covered with the fine lead of the -pencil. - -In getting equipment avoid “baby” sets. A taboret drawing, to be well -made, must be on a scale of ¹⁄₄″. This, with marginal lines will mean a -paper of 12″ by 18″. - -PERSONAL EQUIPMENT. - - Excelsior or Eagle Pencil Compass. - Pencil, Dixon Manual Training, 2H. - Eraser, Ruby Pencil. - Envelope for holding drawings. - Thumbtacks, two. - -The personal equipment to be uniform should be purchased by the school -and sold to the pupils. - -While this personal equipment may be kept in the woodworking lockers, -some instructors prefer to have a special case of drawers to hold the -drawing envelopes, and blocks of wood with suitable holes for holding -the pencils, erasers, and tacks, monitors being appointed to look after -them. - -The paper used need not be as expensive as that of the high school where -problems are to be inked. A manilla paper such as is used in the regular -or freehand drawing classes will answer admirably and can then be -provided by the school. Such paper is usually purchased in sizes 12″ by -18″ and 9″ by 12″. The former is the desired size for the eighth grade -work and the latter for the seventh grade. A 6″ by 9″ size will be found -suitable for stock bills, where printed blanks are not to be provided. - -In the matter of paper, it is possible to practice economy without -detracting from the drawing. All that are not wanted at the close of the -year should be kept and the reverse sides made use of where experimental -penciling is required. - -Drawing equipment will be stored when woodwork is begun. - - -=21. High School Joinery Shop.= The general plan of the wood shop for -the high school will depend so greatly upon its relation to other shops -in which wood is worked that the most that can be hoped by discussing it -is that the plan offered may offer a starting point from which to work. -In some communities the one shop will be all that is needed both for -cabinet work, first year joinery, and pattern-making with, possibly, -wood-turning. In other communities the number of students taking the -work may warrant separate shops with full machine equipment for each. In -still others it may be advisable to have adjoining shops but still -necessary to make use of the same machinery. Some schools plan to have -all the classes in one big room, sometimes having as many as seventy -boys with three instructors. If this latter plan is followed, tho it is -not advised, there should certainly be provided an adjoining -demonstration room where the instructors may talk to the boys without -the competing noises of other classes. - -Fig. 11 is a suggestive sketch. It provides for lockers similar in -make-up to those discussed in connection with the grammar school. - -[Illustration: FIG. 11. SUGGESTED FLOOR PLAN FOR HIGH SCHOOL SHOP.] - - 1. GLUE TABLE - 2. GRINDSTONE - 3. BAND SAW - 4. JIG SAW - 5. LOCKERS FOR UNFINISHED WORK - 6. WALL RACKS - 7. FINISHING TABLES - 8. TEACHER’S DESK - 9. TOOL AND SUPPLY CASES - 10. EXHIBIT CASE - 11. LUMBER RACKS - 12. CUT-OFF SAW AND TABLE - 13. CIRCULAR SAW - 14. PLANER - 15. JOINTER - 16. INDIVIDUAL LOCKERS - 17. GRINDER - -General tools are to be kept in a tool room which may be placed in -charge of a student assistant. Each boy is then to be provided with -metal checks. When a tool is asked for the assistant will hang the -student’s check in the place of the tool taken out. Upon the return of -the tool the check will be returned. - -First year students may be safely taught to use the band-saw and -jig-saw, with proper safe guards about the former. Other machines are -best kept in a separate room. - -Since high school pupils ought to be taught how to apply more difficult -finishes, such as rubbed varnish, than those taught in the grammar -schools, a special room will be necessary in order to avoid the shop -dust. This room should be made fire proof, if possible, and should have -racks about the walls upon which to place work being finished. - - -=22. High School Bench and Tool Equipment.= The benches for the use of -high school pupils are best when of the cabinet type having drawers -below in which each student may keep his individual edged tools. Such a -bench with drawers enough to accommodate all the boys that will be able -to make use of the bench during the day, with a hinged or revolving -board upon which may be fastened the general tools that belong to that -bench will cost approximately thirty dollars. This includes a first -class rapid-acting vise. The individual bench in the high school is as -desirable as it is in the grades. - -Where a high standard of technique is to be demanded of the pupils, the -following tools should be added to those specified for the grammar -school bench equipment: - -INDIVIDUAL TOOLS. - - Smooth-Plane, 1³⁄₄″ cutter, 8″ long, Stanley $1.66 - Jointer-Plane, 2³⁄₈″ cutter, 22″ long, Stanley 3.03 - Screwdriver, 6″, Stanley .35 - T-Bevel, 6″, Stanley .40 - Combination India Oilstone, 1″ × 2″ × 6″ 1.10 - Oil-Can .18 - Crosscut-saw, 20″, 10 pt., Bishop No. 89 1.40 - Rip-saw, 22″, 8 pt., Bishop No. 89 1.55 - Spokeshave, 2¹⁄₂″ blade, Bradshaw and Field .57 - - In place of the Bishop Handy Saw specified in the grammar school list, - substitute Bishop No. 8 Backsaw, 10″, cost 94c. - - Provide for each drawer, that is, provide each boy with the following: - - Chisel, 1″, bevel edged, firmer socket, Buck Bros. $ .57 - Chisel, ¹⁄₄″, bevel edged, firmer socket, Buck Bros. .41 - Chisel, ³⁄₈″, socket mortise, Buck Bros. .40 - Plane-iron for Jointer .29 - Plane-iron for Jack-plane .25 - Plane-iron for Smooth-plane .23 - Spokeshave-iron .15 - Sloyd knife, 2⁵⁄₈″ .40 - -This list presupposes that the mortising of the first year will be done -by chisel alone, no boring. If mortises are to be bored first, it will -be advisable to equip each bench with a Barber’s 8″ ball bearing brace, -cost $1.45. - -In addition to the general tools specified for the grammar school, make -the following changes and additions: - -GENERAL TOOLS. - - Omit the rip- and crosscut-saws. - Omit the plain braces in case the bench is so equipped. - Omit handscrews and clamps, and glue heater. - Add 1 doz. Handscrews, No. 812, cost each 40c. - Add 2 doz. Carpenters’ Clamps, wood bar, 2-ft., @ 85c. - Add 1 doz. Carpenters’ Clamps, wood bar, 4-ft., @ 95c. - Add 1 Set Steel Letters, ³⁄₁₆″, @ $1.88. - Add 1 Steam Glue Heater, O. & L. No. 9, @ $9.50. - Add 2 Draw-Knives, 8″, L. & I. J. White, @ 65c. - Add ¹⁄₂ doz. Steel Cabinet Scrapers, @ 10c. - Add 1 Set Auger-Bits in box, R. J. @ $4.00. - -MACHINERY. - -For the highest type of work the following machines should be placed at -the disposal of the first year high school classes: - - Grindstone. - Scroll or Jig-saw. - Band-Saw. - -These machines should have proper safety devices and should be placed -where they will be under the immediate observation of the instructor. -Machines for woodworking vary so greatly in price and desirability that -it is not thought wise to specify any particular make. Only the -experienced man will be called upon to equip with machinery and such an -one will have the information necessary to make the purchase. - -For the second year, or optional cabinet work, there should be placed at -the disposal of the students, and they should be taught their use, the -following machines in addition to those specified for the first year -work: - - Circular-Saw. - Machine Jointer. - Planer. - Boring Machine and Mortiser. - Trimmer. - -It is possible so to arrange these machines that the circular-saw and -planer may be used in getting out stock for other classes. The floor -plan given contemplates such use. - - -EQUIPMENT FOR HIGH SCHOOL MECHANICAL DRAWING. - -A special room should be provided for the teaching of high school -mechanical drawing. - -A north light is best and the tables should be so placed that the light -may come upon the board from in front and the left. If artificial light -must be used, employ the inverted system. - -[Illustration: FIG. 12. TABLE FOR MECHANICAL DRAWING.] - -Tables have much to commend them over the pedestal. They are easily -swept around and keep a room looking orderly. Fig. 12 shows a type of -table that is commendable. On the left are drawers for keeping the -students’ instruments. On the right is a drawer for keeping general -equipment that is used by the boys in common. Below this drawer is the -cabinet for holding the drawing-boards. These boards are so locked that -only the board belonging to the boy with the key can be released. Such a -table with a top 24″ by 48″ and 41″ high will cost $30, list price. -Estimate for individual equipment will be as follows: - -TABLE EQUIPMENT. - - 1 Table $30.00 - 1 Stool 3.50 - 5 Boards, of size to fit cabinet, @ $1.50 7.50 - 5 Sets Instruments, German Silver, @ $5.00 25.00 - 1 Scale, @ 38c .38 - 1 T-square, 24″, celluloid lined 1.50 - 1 45° Triangle, 8″, celluloid .48 - 1 30°-60° Triangle, 10″, celluloid .48 - 1 French Curve, .20 - 1 Bottle Ink .25 - ------ - Total $69.29 - -PERSONAL EQUIPMENT. - - Sheets Paper. - Heavy Manilla Envelope for holding drawings. - Thumbtacks. - Eraser. - Pencil, hard, 4H. - Pencil, soft, H. - -GENERAL EQUIPMENT. - - 1 Roll Blueprint Paper, (not to be purchased until ready to be used). - 1 Blueprinting Frame, 18″ by 24″. - 1 Roll Tracing Cloth. - Blackboard Triangles, Straight-edge, Compass. - -There will also need to be cases in which to file the envelopes in which -the students keep their completed drawings. If much blueprinting is to -be done, there should be a suitable room with sink and running water. -Where models are used, there should be a case for storing them when not -in use. - -Practice varies greatly as to the amount of material provided by the -school. Some schools require the pupils to furnish their own -instruments, as well as paper and other supplies. The advisability of -requiring much or little will have to be determined by the social -conditions of the community it is intended to serve. - - - - -PART II. - -LESSON OUTLINES. - - -CHAPTER VI. - -LESSON OUTLINES FOR GRADE VII. - - -GRADE VII. - -(MECHANICAL DRAWING) - - -=Lesson 1.= - - -INTRODUCTORY TALK-- - - The purpose of manual training. - - Explanation of signal bells--beginning, five minute rest, closing. - - Regulations concerning drinking fount, lavatory, toilet. - - Responsibility for tools; care of bench top. - - Shop deportment. To and from shop. - - Ownership of finished work. - - -PREPARATION FOR DEMONSTRATION; ASSIGNMENT FOR LESSON 2-- - - _Essentials of Woodworking_, Appendix III, Sections 1 and 4. - - -DEMONSTRATION-- - - The essential points in making Introductory Drawing. - - Instruments, lines, angles, lettering. - - Sharpening pencil--sandpaper. - - -WORK-- - - All pupils begin Introductory Drawing. - - NOTE:--Copies of drawings from which pupils are to work should be in - the hands of the pupils while demonstration is being given. - - -GRADE VII. - -(MECHANICAL DRAWING) - - -=Lesson 2.= - - -RECITATION-- - - Working vs. perspective drawings? - - Drawing instruments (T-square, etc.) How held? - - Kind of lines (vertical, oblique, etc.) How drawn? - - Angle defined. How measured? Does extending the sides change the - value? - - The angles of the triangles? How avoid inaccuracies at the vertex in - drawing? - - How many degrees in a circle? In the sum of the angles about a point? - - How would you draw an angle of 75 degrees? - - The order of procedure in putting on border and cutting lines? - - Why have a cutting line? - - Letters and figures, how proportioned? (Test pupils at black board.) - - After the proportions are once learned, how lay out for lettering? - - -PREPARATION FOR DEMONSTRATION; ASSIGNMENT FOR LESSON 3-- - - _Essentials_, Appendix III, Sections 2 (relating to scale), 3, and 6. - - -DEMONSTRATION-- - - The essential points in making Drawing for Woodwork Group I. - (Cutting-board.) - - Order of procedure; scale; blocking out; placing and spacing views; - simple dimensioning. - - -WORK-- - - Complete Introductory Drawing. - - Make drawing for Woodwork Group I. - - Rapid workers measure, draw, and dimension three views from a - rectangular block. (Blocks used in the study of woods.) - - -GRADE VII. - -(MECHANICAL DRAWING) - - -=Lesson 3.= - - -RECITATION-- - - Scale? Figures on the drawing vs. size of the drawing. - - Projection and relation of views--The four principles developed. - - Order of procedure--Determining the size and spacing; blocking out - vertically; horizontally; dimensioning; lettering; inking; if not to - be inked? - - -PREPARATION FOR DEMONSTRATION; ASSIGNMENT FOR LESSON 4-- - - _Essentials_, Appendix III, Section 2. (That part relating to lines, - etc.) - - -DEMONSTRATION-- - - The essential points in making Drawing for Woodwork Group II. - - (Counting-board, key-rack, hat-rack.) - - Foreshortening. - - -WORK-- - - Complete drawing for Woodwork Group I. - - Make drawing for Woodwork Group II. Counting-board. - - Rapid workers make another drawing in Group II. - - -GRADE VII. - -(MECHANICAL DRAWING) - - -=Lesson 4.= - - -RECITATION-- - - The conventions--Seven kinds of lines--how made and their meanings? - - What part of a mechanical drawing is made freehand? - - A broken view? Why used? - - Section drawing? Cross-hatching? - - -PREPARATION FOR DEMONSTRATION; ASSIGNMENT FOR LESSON 5-- - - _Essentials_, Appendix III, Section 5. - - -DEMONSTRATION-- - - The essential points in making Geometric Sheet. - - Circles. - - -WORK-- - - Make the geometric drawing first. - - Complete unfinished drawings for Woodwork Group II. - - Rapid workers make other drawings for this latter group. - - -GRADE VII. - -(MECHANICAL DRAWING) - - -=Lesson 5.= - - -RECITATION-- - - The hexagon? How made? - - The six point star? - - The octagon? - - The ellipse? - - -ASSIGNMENT FOR LESSON 6-- - - Review _Essentials_, Sections 1, 2, 3, 4, 5, 6 in Appendix III. - - -DEMONSTRATION-- - - The essential points in making drawings for Woodwork Group III. (Ring - toss, game-board, laundry-register, spool-holder.) - - Hidden edges. - - -WORK-- - - Complete drawings for Woodwork Group II. - - Make drawings for Woodwork Group III. - - Rapid workers make other drawings in Group III. - - -GRADE VII. - -(MECHANICAL DRAWING) - - -=Lesson 6.= - - -RECITATION-- - - Perspective vs. working drawing? - - Instruments, their uses? - - Scale drawing? - - Seven kinds of lines? Their meanings? - - The freehand part of a mechanical drawing? - - Broken view? - - Cross-section? Cross-hatching? - - Four principles of projection? - - Spacings of letters and figures? - - Hexagon? Octagon? Six point star? Ellipse? - - Order of procedure in making mechanical drawing? - - -ASSIGNMENT FOR LESSON 7-- - - _Essentials_, Introduction, and Section 25. - - -DEMONSTRATION-- - - The essential points in making drawings for Woodwork Group IV. - (Sleeve-board, bread-board, cake-board, scouring-board, coat-hanger.) - - Center and section lines, cross-sections, tangents, points of - tangency, dimensioning circles. - - -WORK-- - - Complete drawings for Woodwork Group III. - - Make drawings for Woodwork Group IV. - - Rapid workers make other drawings in Group IV. - - -GRADE VII. - -(MECHANICAL DRAWING) - - -=Lesson 7.= - - -RECITATION-- - - Sharp, clean tools, why? - - Care of bench top? - - Care of tools not in immediate use? - - Some of the more important results in manual training? - - Take a rectangular block and name the terms used, length, etc. - - Grain? “Against the grain?” - - Face side, face edge? Other names? How and where marked? Why? - - -PREPARATION FOR DEMONSTRATION; ASSIGNMENT FOR LESSON 8-- - - _Essentials_, Sections 52, 53. - - -DEMONSTRATION-- - - The essential points in grinding plane-iron. - - The essential points in making drawings for Woodwork Group V. - (Polish-box, knife-box, bird-box, nail-box, broom-holder, bench-hook.) - - -WORK-- - - Complete drawings for Woodwork Group IV. - - Make drawings for Woodwork Group V. - - -GRADE VII. - -(MECHANICAL DRAWING) - - -=Lesson 8.= - - -RECITATION-- - - Grinding tools? Why? - - How is chisel held? Angle depends upon what? How much? - - Why move tool across the stone? - - The effect of frequent change of angle? - - Why turn the stone toward the tool? - - Why use water on the stone? - - -PREPARATION FOR DEMONSTRATION; ASSIGNMENT FOR LESSON 9-- - - _Essentials_, Sections 54, 55. - - -DEMONSTRATION-- - - The essential points in whetting plane-iron or chisel. - - -WORK-- - - Complete drawings for Woodwork Group V. - - Make other drawings for Woodwork Group V. - - -GRADE VII. - -(MECHANICAL DRAWING) - - -=Lesson 9.= - - -RECITATION-- - - Two kinds of oilstones? Advantages of manufactured stones? - - Advantages and disadvantages of coarse and fine stones? - - Why use oil on stones? - - How avoid wearing a stone uneven? How level an uneven stone? - - Explain fully how to sharpen a chisel? - - How tell when tool is at the correct angle? - - The movement, and caution? - - Explain fully cause and removal of wire edge? - - How get a still keener edge? - - Whetting a gouge? Use of slipstone? - - -PREPARATION FOR DEMONSTRATION; ASSIGNMENT FOR LESSON 10-- - - _Essentials_, Sections 56, 57. - - -DEMONSTRATION-- - - Testing chisel or plane-iron for sharpness. - - The essential points in making out stock bills. - - -WORK-- - - Complete unfinished drawings for Woodwork Group V. - - Make out stock bills for drawings made of Woodwork Group V. - - Rapid workers make out bills for other groups. - - -GRADE VII. - -(MECHANICAL DRAWING) - - -=Lesson 10.= - - -RECITATION-- - - How is a plane-iron sharpened? Why round the corners? How shape the - iron for general use? - - Explain fully how to tell whether a tool is sharp or not? - - Caution in making the test? - - -PREPARATION FOR DEMONSTRATION; ASSIGNMENT FOR LESSON 11-- - - _Essentials_, Sections 20, 21, 22, 23. - - -DEMONSTRATION-- - - The essential points in figuring stock bills. - - -WORK-- - - Complete making out of stock bills for Woodwork Group V. - - Figure stock bills for Group V. - - Rapid workers figure other bills. - - -GRADE VII. - -(MECHANICAL DRAWING) - - -=Lesson 11.= - - -RECITATION-- - - Jack-plane; its length, shape of cutting edge, use? How remove the - hollows? Shape of blade for manual training use? - - Smooth-plane; length, use, shape of blade? Setting of the cap iron for - fine work? - - Jointer; its use? Advantage over short plane for this purpose? - - Fore-plane; use, shape of iron? - - Block-plane; its length, use? How do its adjustments differ from those - of the ordinary plane? - - Is the block-plane always necessary for planing ends? When not? - - -PREPARATION FOR DEMONSTRATION; ASSIGNMENT FOR LESSON 12-- _Essentials_, -Sections 1, 2. - - -DEMONSTRATION-- - - The essential points in using try-square and marking faces. - - The essential points in modifying outline and designing decoration for - some one of the following: Letter-holder, thermometer-back, - calendar-back, bill-file, handkerchief-box, glove-box or any other - simple piece involving no new processes. - - -WORK-- - - Instructor assign one of the above projects and pupils modify the - outline and decorate. Each pupil make at least three sketches - carefully and submit to instructor. - - Rapid workers will finish any past work that is unfinished. - - -GRADE VII. - -(MECHANICAL DRAWING) - - -=Lesson 12.= - - -RECITATION-- - - The unit of measure in woodwork? - - Rules and their markings? - - How placed on the material? Consecutive measurements? - - Finding the middle of a piece without computation? - - Dividing a piece into any number of equal parts? - - Try-square? Name the parts. Rough usage? - - Three uses? Illustrate. - - Sliding or scraping with try-square? - - -PREPARATION FOR DEMONSTRATION; ASSIGNMENT FOR LESSON 13-- - - _Essentials_, Sections 18, 19. - - -DEMONSTRATION-- - - The essential points in putting plane parts together, adjusting. - - -WORK-- - - Finish any unfinished work of last lesson. - - Make full size pattern of designed part of last lesson and fill in - decorative design. - - Finish any unfinished stock bills. - - -GRADE VII. - -(WOODWORKING GROUP I.) - - -=Lesson 13.= - - -RECITATION-- - - Planes? Four kinds? Material of which made? - - Name and point to the 16 parts of the iron plane. - - Plane-iron and cap-iron fastened together how? - - Purpose of cap-iron? - - Fastening the irons in the throat of the plane? - - Adjustment of irons? - - -PREPARATION FOR DEMONSTRATION; ASSIGNMENT FOR LESSON 14-- - - _Essentials_, Sections 26, 28, 31. - - -DEMONSTRATION-- - - The essential points in squaring up mill-planed stock. - - No definite dimensions but to be square and as large as stock given - will make. - - Face marks; edge planing; end planing; tests. - - -WORK-- - - Set and adjust planes. - - Square up Cutting-Board stock, Woodwork Group I. - - -GRADE VII. - -(WOODWORKING GROUP II.) - - -=Lesson 14.= - - -RECITATION-- - - Planing? - - Selection of faces? Planing against grain? Kind of shavings? When - planes are not in use? - - Position at bench? - - Starting stroke? Finishing? Feathering shaving? Backward stroke? - - Edge planing? - - Preliminary sighting with eye? - - Plane to be used? Effect of not keeping full length on edge? - - How to remove a high arris? - - Tests for an edge? - - End planing? - - Explain fully. - - Tests? - - -PREPARATION FOR DEMONSTRATION; ASSIGNMENT FOR LESSON 15-- - - _Essentials_, Sections 5, 14, 29, 32. - - -DEMONSTRATION-- - - The essential points in squaring up mill-planed stock to definite - dimensions. Gaging, measuring length, etc. - - -WORK-- - - Finish cutting-board. - - Begin Group II. Counting-board. - - NOTE:--Chamfering comes after laying out and boring and will be - demonstrated later. - - -GRADE VII. - -(WOODWORKING GROUP II.) - - -=Lesson 15.= - - -RECITATION-- - - Marking-gage? Four parts named? Its use? - - The spur? How sharpened? How far project? - - Setting the gage? Illustrate. - - Position of hand in gaging wide and narrow boards? Kind of lines? - - Back-saw? Name the parts. - - Explain the position of the hands and the motions in sawing. - - Location of the kerf with reference to the line? - - Finishing second edge? Tests? - - Finishing second end. where definite length is to be obtained? - (Measuring, lining, etc.) - - -PREPARATION FOR DEMONSTRATION; ASSIGNMENT FOR LESSON 16-- - - _Essentials_, Sections 36, 38, 43, 44, 45. - - -DEMONSTRATION-- - - The essential points in laying out counting-board and finishing it. - Dividing the piece into four equal parts, gaging, measuring, lining. - The size of bits, inserting bits, sighting, thru boring. Numbering the - holes. Chamfering. - - Shaping the pegs. - - -WORK-- - - Continue the counting-board, laying out, boring, chamfering, - numbering, making pegs. - - Rapid workers begin hat-rack or key-rack. - - -GRADE VII. - -(WOODWORKING GROUP II.) - - -=Lesson 16.= - - -RECITATION-- - - Brace or bitstock? Name the parts. - - Ratchet brace? Special uses? - - Inserting a bit? - - Auger-bit? Six parts and their uses? - - Bit sets? Sizes and number? - - How tell the size of a bit? - - How tell when a bit is boring properly? - - Thru boring? - - How lay out a chamfer? - - How work a chamfer? - - -PREPARATION FOR DEMONSTRATION; ASSIGNMENT FOR LESSON 17-- - - _Essentials_, Sections 37, 39, 42. - - -DEMONSTRATION-- - - The essential points in laying out and working hat-rack and key-rack. - Locating and attaching hooks, etc. - - -WORK-- - - Finish unfinished work and then begin either coat and hat-rack or - key-rack. - - -GRADE VII. - -(WOODWORKING GROUP III.) - - -=Lesson 17.= - - -RECITATION-- - - Center-bit? - - Drill-bit? Used for what? Caution? Why and how make a seat? - - Gimlet-bit? Its use? - - Brad-awl? Used for what and how? - - The advantages of patent spiral screwdrivers and automatic drills? - - -PREPARATION FOR DEMONSTRATION; ASSIGNMENT FOR LESSON 18-- - - _Essentials_, Sections 27, 30, 34. Memorize 34. - - -DEMONSTRATION-- - - The essential points in squaring up rough stock. - - Surface leveling, winding-sticks, their use, gaging to thickness, etc. - - -WORK-- - - Complete unfinished counting-boards. - - Begin either ring-toss or game-board. - - -GRADE VII. - -(WOODWORKING GROUP III.) - - -=Lesson 18.= - - -RECITATION-- - - Planing first broad surface level or true? What is a true surface? - Which side is to be selected? - - Three preliminary tests with eye and try-square? - - Caution when a definite thickness is to be obtained? - - The manner of testing a surface for trueness with straight-edge only? - - The manner of testing a surface for trueness with winding-sticks and - straightedge? Of what advantage are the sticks? - - Explain fully how you would proceed to level a surface which has two - corners diagonally opposite high with reference to the center and the - other two low with reference to the center. - - Finishing the second side? What indicates the proper stopping place in - planing the second side? What is the test? Why no other tests as in - first surface? - - State the six steps taken in squaring up rough stock. - - What ones of these are modified in planing mill-planed stock? Why? - - -PREPARATION FOR DEMONSTRATION; ASSIGNMENT FOR LESSON 19-- - - _Essentials_, Sections 11, 12, 13. - - -DEMONSTRATION-- - - The essential points in ripping and crosscut-sawing at the bench, - explaining the reasons for the two kinds of saws. - - -WORK-- - - Continue the work of Group III. - - -GRADE VII. - -(WOODWORKING GROUP III.) - - -=Lesson 19.= - - -RECITATION-- - - Name two kinds of saws and five parts to each. - - Meaning of the number on the blade at the heel? - - Set? Why, and how? Amount for dry and wet lumber? - - Rake or pitch? What is meant and upon what does the amount depend? - - Sawing? Holding saw, index finger? Angle of cutting edge? Starting - stroke? Position of thumb of left hand? Kind of strokes and pressure? - - Guiding the saw? How? Caution? Sawing in vise, how get angle? - - How and why oil sides of saw? - - Crosscut-saw? Cutting edges of teeth where and why? Pitch? - - Rip-saw? Shape of teeth? Why? - - How tell a rip-saw from a crosscut-saw? - - -PREPARATION FOR DEMONSTRATION; ASSIGNMENT FOR LESSON 20-- - - _Essentials_, Sections 40, 45, 64. - - -DEMONSTRATION-- - - The essential points in laying out ring-toss and marble-board, boring - to depth, countersinking, making or cutting dowel to length and - shaping top end, sandpapering with block, use eraser for pencil work. - Put waste sandpaper in the box for future use in wood-finishing, grade - 8. Never sand without permission. Glueing and fitting dowel. - - -WORK-- - - Continue ring-toss and game-board. - - -GRADE VII. - -(WOODWORKING GROUP III.) - - -=Lesson 20.= - - -RECITATION-- - - Countersink-bit? Its use? - - Boring to depth? Fully. Where many holes of the same depth are to be - bored? - - Sandpapering? When and when not? - - Purpose of sandpaper block? How place the paper on it? - - When are arrises sanded and why? - - Curved surface sanding? - - Numbers on the back of a sheet of sandpaper? - - Sanding joints? Why not? - - What is to be done with worn sandpaper? - - -PREPARATION FOR DEMONSTRATION; ASSIGNMENT FOR LESSON 21-- - - _Essentials_, Sections 3, 9, 10. - - -DEMONSTRATION-- - - The essential points in cutting out stock. - - -WORK-- - - Continue Group III. - - Beginning at this point, pupils are to cut out their own stock from - boards S-2-S. - - -GRADE VII. - -(WOODWORKING GROUP IV.) - - -=Lesson 21.= - - -RECITATION-- - - Framing-square? Two parts named? Its uses? What tables on blade and - tongue? - - Name five parts to the dividers. - - Three uses for dividers? - - Explain fully how you would set dividers? To a radius of 2″. - - How are the points sharpened and why lean the top forward in marking? - - Where are pencil lines better than knife lines? Why? How are they best - removed? - - Laying out rough stock if the edge of the board is fairly straight? - - If not straight, how? - - -PREPARATION FOR DEMONSTRATION; ASSIGNMENT FOR LESSON 22-- - - _Essentials_, Sections 6, 15, 59, 60. - - -DEMONSTRATION-- - - The essential points in laying out and working sleeve-board and - bread-board. Stock is S-2-S. Caution about smoothing broad surfaces - only, not leveling, thickness being more important here than true - plane surface. - - -WORK-- - - Complete any unfinished work, then begin Group IV. - - -GRADE VII. - -(WOODWORKING GROUP IV.) - - -=Lesson 22.= - - -RECITATION-- - - Pencil-gage? How made? When and where used? - - Illustrate another way of pencil-gaging. - - Turning-saw? Its use? Name three parts. - - Why two handles? Caution about setting them? - - Illustrate manner of holding the saw. Caution about holding the blade - with reference to the surface of the wood. - - How cut enclosed curves with this saw? - - Why not saw accurately to the line? How remove the waste? - - Spokeshave? Five parts? - - For what and how used? Kind of shavings? - - How adjusted? - - Explain how to lay out for a curved edge? How to work it? - - Sandpapering curved edges? - - -ASSIGNMENT FOR LESSON 23-- - - _Essentials_, Sections 16, 17, 24. (Informational). - - -DEMONSTRATION-- - - The essential points in laying out and working the scouring board and - coat-hanger. - - -WORK-- - - Continue Group IV. - - -GRADE VII. - -(WOODWORKING GROUP IV.) - - -=Lesson 23.= - - -RECITATION-- - - Compass-saw? Especial use? Caution? - - Saw-filing? Four steps? Reasons for each? The parts of the saw-set? - - The old wooden planes? Why have they been displaced? - - How are they adjusted? How are the wedges withdrawn in jack-plane and - smooth-plane? - - -ASSIGNMENT FOR LESSON 24. (Informational)-- - - _Essential_, Sections, 4, 7, 8. - - -DEMONSTRATION-- - - None. - - -WORK-- - - Continue Group IV. - - -GRADE VII. - -(WOODWORKING GROUP V.) - - -=Lesson 24.= - - -RECITATION-- - - Bevel? Name the three parts. - - To what angles can it be set? - - How set to 45 degrees? Three ways. - - How set to 30 and 60 degrees? - - Slitting-gage? Mortise-gage? - - -PREPARATION FOR DEMONSTRATION; ASSIGNMENT FOR LESSON 25-- - - _Essentials_, Sections 62, 65, 66. - - -DEMONSTRATION-- - - Explain the manner of working duplicate parts. Gaging like widths, - Marking off like lengths, Testing different parts in relation to one - another. - - -WORK-- - - Begin Group V after completing Group IV. - - -GRADE VII. - -(WOODWORKING GROUP V.) - - -=Lesson 25.= - - -RECITATION-- - - How proceed where there are two or more like parts? - - The aim in handling the different tools in duplicate work? - - Illustrate. - - Hammers? Two kinds? Advantages and disadvantages? Three parts? - - How hold the hammer? Illustrate. - - Nails? How made originally? Forged and cut? - - How are wire nails made? - - Two classes, three kinds of nails? Differences? - - History and meaning of 10-penny, etc.? - - How else are nails sold? - - -PREPARATION FOR DEMONSTRATION; ASSIGNMENT FOR LESSON 26-- - - _Essentials_, Sections 67, 68, 69. - - -DEMONSTRATION-- - - Nailing position, and withdrawing nails; setting nails. - - -WORK-- - - Group V. - - -GRADE VII. - -(WOODWORKING GROUP V.) - - -=Lesson 26.= - - -RECITATION-- - - What caution is necessary in starting cut nails? - - Explain position in nailing and give reasons? - - Why not set nails with the hammer in cabinet work? How use the - nailset? Illustrate the position. - - Withdrawing nails? - - -PREPARATION FOR DEMONSTRATION; ASSIGNMENT FOR LESSON 27-- - - _Essentials_, Sections 41, 70, 71, 72. - - -DEMONSTRATION-- - - Explain boring for screws, countersinking, use of screwdriver-bit. - - -WORK-- - - Group V. - - -GRADE VII. - -(WOODWORKING GROUP V.) - - -=Lesson 27.= - - -RECITATION-- - - Screwdriver-bit? Its advantage over screwdriver? How is it kept from - jumping out of groove in screw head? - - What about the old style screwdriver? - - Screws? How made and sold? - - Size is designated how? - - The difference between gage for wire for screws and nails? - - Two kinds of screws? Blued screws are how colored? - - How are the parts prepared for fastening in hard wood? In soft wood? - - -ASSIGNMENT FOR LESSON 28-- - - _Essentials_, Review Chapter I. - - -DEMONSTRATION-- - - Order of procedure in assembling the various boxes. Placing the bottom - and truing the frame. - - -WORK-- - - Group V. - - -GRADE VII. - -(WOODWORKING GROUP V.) - - -=Lesson 28.= - - -RECITATION-- - - Instructor will place six questions on the blackboard, selected from - Chapter I _Essentials of Woodworking_. Pupils answer five in writing. - - -ASSIGNMENT FOR LESSON 29-- - - _Essentials_, Review Chapter II. - - -DEMONSTRATION-- - - None. - - -WORK-- - - Group V. - - -GRADE VII. - -(WOODWORKING GROUP V.) - - -=Lesson 29.= - - -RECITATION-- - - Instructor will place six questions on the board, selected from - Chapter II, _Essentials of Woodworking_. Pupils will answer five in - writing. - - -ASSIGNMENT FOR LESSON 30-- - - _Essentials_, Review Chapter III. - - -DEMONSTRATION-- - - None. - - -WORK-- - - Group V. - - -GRADE VII. - -(WOODWORKING GROUP VI.) - - -=Lesson 30.= - - -RECITATION-- - - Instructor will place six questions on the board, selected from - Chapter III, _Essentials of Woodworking_. Pupils will answer five in - writing. - - -ASSIGNMENT FOR LESSON 31-- - - _Essentials_, Section 152. - - -DEMONSTRATION-- - - The essential points in laying out and working woodwork for the design - problem of Group VI. - - -WORK-- - - Complete Group V, then begin VI. - - -GRADE VII. - -(WOODWORKING GROUP VI.) - - -=Lesson 31.= - - -RECITATION-- - - Name three kinds of stain. - - Advantages and disadvantages of water stain? - - Advantages and disadvantages of oil stain? - - Advantages and disadvantages of spirit stain? - - How apply water stain? How thin it? - - How apply oil stain? How thin it? - - How apply spirit stain? How thin it? - - Fumed oak? - - -PREPARATION FOR DEMONSTRATION; ASSIGNMENT FOR LESSON 32-- - - _Essentials_, Section 153. - - -DEMONSTRATION-- - - 1. Applying design. 2. Outlining. 3. Applying color. 4. Waxing. - - -WORK-- - - Continue Group VI. - - -GRADE VII. - -(WOODWORKING GROUP VI.) - - -=Lesson 32.= - - -RECITATION-- - - Is waxing an old or a new finish? How made formerly? - - Advantages and disadvantages of a wax finish? - - Caution about applying a rapid hardening wax? - - Five steps in producing a wax finish? - - -ASSIGNMENT FOR LESSON 33-- - - _Essentials_, Review Chapter IV. (Those parts that have been - previously studied.) - - -DEMONSTRATION-- - - None. - - -WORK-- - - Group VI. - - -GRADE VII. - -(WOODWORKING GROUP VI.) - - -=Lesson 33.= - - -RECITATION-- - - Instructor will give oral test from Chapter IV, _Essentials of - Woodworking_. - - -ASSIGNMENT FOR LESSON 34-- - - _Essentials_, Review Chapter V. (Parts that have been previously - studied.) - - -DEMONSTRATION-- - - None. - - -WORK-- - - Group VI. - - -GRADE VII. - -(WOODWORKING GROUP VI.) - - -=Lesson 34.= - - -RECITATION-- - - Instructor will give oral test from Chapter V, _Essentials of - Woodworking_. - - -ASSIGNMENT FOR LESSON 35-- - - _Essentials_, Review Chapters VI, VII. (Parts that have been - previously studied.) - - -DEMONSTRATION-- - - None. - - -WORK-- - - Group VI. - - -GRADE VII. - -(WOODWORKING GROUP VI.) - - -=Lesson 35.= - - -REVIEW-- - - Instructor will give oral test from Chapters VI, VII (parts only that - have been previously studied in regular work), _Essentials of - Woodworking_. - - -ASSIGNMENT FOR LESSON 36-- - - This closes the text work for the year. - - -DEMONSTRATION-- - - None. - - -WORK-- - - Those finishing projects will assist slower pupils or do necessary - work about the shop. All pupils are to be kept busy at some work until - the last day they come. The last day each class will polish tools. - - Lessons 36 and 37. For finishing up woodwork. Boys helping one - another. Cleaning bench tops. - - Lesson 38. For cleaning tools. Each class assigned certain tools to - clean. Final class applies vaseline. - - -CHAPTER VII. - -LESSON OUTLINES FOR GRADE VIII. - - -GRADE VIII. - -(MECHANICAL DRAWING) - - -=Lesson 1.= - - -INTRODUCTORY TALK-- - - The plan of the year’s work. - - (Mechanical Drawing 12 weeks--Group 1, Straight Lines; 2, Circles; 3, - Tangents; 4, Planes of Projections; 5, Review; 6, First choice Dado - Group of Woodwork--Working Drawing; 7, First choice Cross-lap Group of - Woodwork--Working Drawing; 8, Second choice Cross-lap or Dado Group of - Woodwork--Working Drawing; 9, Completion of any unfinished drawings - and Making stock bills; 10, Figuring stock bills; 11, Structural - Design; 12, Decorative Design. (Woodwork the rest of the year--Two - Groups, exercises and applications using drawings just made.) (Along - with this, information concerning lumbering, etc.) - - -PREPARATION FOR DEMONSTRATION; ASSIGNMENT FOR LESSON 2-- - - _Essentials of Woodworking_, Appendix III, Sections 3, 4, and 6. - - -DEMONSTRATION-- - - The essential points in making Drawings I. (Group I, _Problems in - Mechanical Drawing_.) - - (Copies of the different problems of Group I--One each--should be in - the hands of the pupils that they may refer to them as the - demonstration is being given.) - - Border and cutting lines, spacing the views, blocking-out, dimensions, - letters, final lines. Projection and relation of views. Visible and - invisible edges. - - -WORK-- - - Each pupil solve his problem, freehand carefully on scratch paper - first, putting on dimensions. Then carefully to full scale with border - and cutting lines but no lettering or dimensions, only sheet number - and pupil’s name. - - Rapid workers exchange problems and solve as time allows. - - -GRADE VIII. - -(MECHANICAL DRAWING) - - -=Lesson 2.= - - -RECITATION-- - - The names and relative positions of the three views most used in - mechanical drawing? - - Send a pupil to the blackboard to make three views of a rectangular - block having chamfered edges on one side. - - Develop the four principles of projection and relation of views. - - Letters and figures, how proportioned? Test pupils at the blackboard. - - How does a freehand working drawing differ from a mechanical drawing? - - Give fully the order of procedure in making a mechanical drawing. - - How do you go about determining the placing and spacing of your - drawing? - - -PREPARATION FOR DEMONSTRATION; ASSIGNMENT FOR LESSON 3-- - - _Essentials_, Appendix III, Sections 2 and 5. - - -DEMONSTRATION-- - - The essential points in making Drawing II. (Group II, _Problems in - Mechanical Drawing_.) - - Center-lines; circles; cross-sections and cross-hatching; dimensioning - circles. - - -WORK-- - - Solution of problems in Group II. - - Complete any unfinished problems in I. - - Rapids workers exchange problems in Group II and solve as time allows. - - -GRADE VIII. - -(MECHANICAL DRAWING) - - -=Lesson 3.= - - -RECITATION-- - - The conventions--Scale drawings, why? Figures on the drawing vs. the - size of the object? - - Seven kinds of lines--their meanings and how made? - - When figures cannot be placed between the arrows, what? - - What part of a mechanical drawing is to be made freehand? - - A broken view? Why used? - - Section drawing? Cross-hatching? - - Hexagon, octagon, ellipse; how made? - - -ASSIGNMENT FOR LESSON 4-- - - Essentials, Review Sections 34 and 36. - - -DEMONSTRATION-- - - The essential points in making Drawing III. (Group III, _Problems in - Mechanical Drawing_.) - - Tangents--Locating centers of arcs and points of tangency. - - -WORK-- - - Solution of problems in Group III. - - Complete any unfinished problems in previous groups. - - Rapid workers exchange problems in Group III. - - -GRADE VIII. - -(MECHANICAL DRAWING) - - -=Lesson 4.= - - -RECITATION-- - - The steps in squaring rough stock to dimensions? - - The steps when the stock is mill-planed on two surfaces? - - A true surface? Selection of first surface? When several parts are to - be fitted? - - Preliminary tests before beginning to plane? - - Planing--Many or few shavings? Roughened grain? Planes used? - - Protecting the cutting edge? - - Position of the body? Long or short strokes? Starting and stopping the - stroke? Feathering the shaving? - - Testing broad surfaces with a straightedge? - - Testing narrow surfaces with winding-sticks? - - Explain precisely how to proceed in removing wind. - - -ASSIGNMENT FOR LESSON 5-- - - _Essentials_, Review Sections 27, 28, 29, 30, 31, 32. - - -DEMONSTRATION-- - - The essential points in making Drawing IV. (Group IV, _Problems in - Mechanical Drawing_.) - - Planes of projection. Number and prove the solutions. - - -WORK-- - - Solution of problems in Group IV. - - Complete any unfinished problems in previous groups. - - Rapid workers exchange problems in Group IV. - - -GRADE VIII. - -(MECHANICAL DRAWING) - - -=Lesson 5.= - - -RECITATION-- - - Face side, face edge? Why? How marked? - - Planing first edge? Choice? Two preliminary tests? - - How place plane to remove high arris? Planes used? Tests? - - Finishing second edge? What determines amount to be removed? - - Tests? - - Finishing second side? Gaging? Testing? - - Planing first end? Tests? Caution about length? - - Finishing second end? What limits amount to be planed? Tests? - - -ASSIGNMENT FOR LESSON 6-- - - _Essentials_, Sections 46, 47. - - -DEMONSTRATION-- - - Numbering and lettering the points in the two views of the test - problems preparatory to their solution. - - -WORK-- - - Complete unfinished “Problems.” - - Solve test Problems. - - Rapid workers may begin drawings for Woodwork Group VII. - - -GRADE VIII. - -(Mechanical Drawing) - - -=Lesson 6.= - - -RECITATION-- - - Two classes of chisels? Their uses? - - Four parts to each class? - - Three parts to a mallet? The rule in selecting a pounding tool? - - The size of a chisel indicated how? - - Caution about holding chisel? - - Explain fully the cutting action of a chisel. How it wedges, how this - is overcome? - - Explain fully horizontal paring. - - -ASSIGNMENT FOR LESSON 7-- - - _Essentials_, Sections 48, 49, 50, 51. - - The essential points in making the working drawings for Woodwork Group - VII. - - -WORK-- - - Make a drawing from Woodwork Group VII. - - Rapid workers make drawing of second choice Woodwork Group VII. - - -GRADE VIII. - -(MECHANICAL DRAWING) - - -=Lesson 7.= - - -RECITATION-- - - Vertical paring? How? Position of hands? Amount to be cut at each - stroke? Position of worker relative to the line to be cut? - - Oblique and curved line paring? Direction of the cut with reference to - the grain? - - Paring chamfers? Paring along the grain? Across the grain? - - Firmer gouge? Bevel inside or outside? How is its size determined? - - Position of the hands in roughing out? In finishing stroke? How - produce shearing cut? - - -ASSIGNMENT FOR LESSON 8-- - - _Essentials_, Review Sections 52, 53, 54, 55, 56, 57. - - -DEMONSTRATION-- - - The essential points in making working drawings for Woodwork Group - VIII. - - -WORK-- - - Complete unfinished drawings of Group VII. - - Make a drawing from Woodwork Group VIII. - - Rapid workers make another selection from Group VIII. - - -GRADE VIII. - -(MECHANICAL DRAWING) - - -=Lesson 8.= - - -RECITATION-- - - Why grind tools? - - How much angle? How determined? - - Why move the tool across the stone? - - The effect of frequent change of angle? - - In which directions should the stone turn with reference to the tool? - Why? - - Why use water on a stone? - - Two kinds of oilstone? - - Advantages of coarse and of fine? - - Advantages of manufactured stones? - - Why use oil on stones? - - How avoid wearing stone uneven? How level an uneven stone? - - Explain fully steps in whetting plane-iron or chisel. - - Holding tool? Angle in whetting as compared to angle in grinding? How - get tool at correct angle? The movement? Wire edge? How removed? If a - still keener edge is desired? - - How is a gouge whetted? - - Explain fully how to tell when a tool is sharp. - - -PREPARATION FOR DEMONSTRATION; ASSIGNMENT FOR LESSON 9-- - - _Essentials_, Read Sections 62, 63. - - -DEMONSTRATION-- - - Sharpening scraper. - - -WORK-- - - Complete any unfinished drawings. - - Make other selections in either Groups VII or VIII. - - -GRADE VIII. - -(MECHANICAL DRAWING) - - -=Lesson 9.= - - -RECITATION-- - - Order of procedure in laying out duplicate parts? - - Advantages of this method over that of laying out each part singly? - Illustrate? - - Why use a scraper? Common mistake of beginners about mill-planed - stock? - - Position of the hands in scraping? - - The steps in sharpening a scraper? - - -ASSIGNMENT FOR LESSON 10-- - - _Essentials_, Sections 76, 77. - - -DEMONSTRATION-- - - The essential points in making stock bills. - - -WORK-- - - Finish any unfinished drawings and make out stock bills for working - drawings made. - - -GRADE VIII. - -(MECHANICAL DRAWING) - - -=Lesson 10.= - - -RECITATION-- - - Joinery? What is meant by the term? - - Illustrate how direction of grain affects the planning of the relation - of the parts. - - Why join faces together rather than other surfaces? - - What about consecutive measurements? Gaging, lining, etc.? - - What is meant by superposition? - - In fitting parts together how tell where the different parts belong? - - What is visualizing? How may one make it easier to visualize? - - Knife vs. pencil in laying out? - - Sawing joints in hard wood? In soft wood? - - -ASSIGNMENT FOR LESSON 11-- - - _Essentials_, Review Sections 14, 64. - - -DEMONSTRATION-- - - The essential points in figuring costs from stock bills made in last - lesson. - - -WORK-- - - Finish any unfinished stock bills and figure costs. - - -GRADE VIII. - -(MECHANICAL DRAWING) - - -=Lesson 11.= - - -RECITATION-- - - Back-saw? Purpose? Crosscut-saw or rip-saw? Set? - - Explain fully how to hold, start, cut, stop cutting across the grain. - - Explain fully when cutting along the grain. (Cutting tenons.) - - Accurate sawing to a line? Explain? - - How saw when paring is to be done? - - Sandpapering, when? Why? - - Sandpaper block? Its purpose? Size as compared to paper? - - Sanding arrises? When? How? - - Sanding curved surfaces? - - Sanding parts that go to make up joints? Why not? - - Numbers on the back of sandpaper sheet? - - -ASSIGNMENT FOR LESSON 12-- - - _Essentials_, Sections 58, 61. - - -DEMONSTRATION-- - - The essential points in structural and decorative design of some - project involving groove or cross-lap joint or both, elected by the - class, (book-rack, etc.) or assigned by instructor. - - -WORK-- - - Each boy make at least three modifications in outline and decoration - of project elected by class, or assigned by instructor. - - Rapid workers will finish any unfinished work. - - -GRADE VIII. - -(MECHANICAL DRAWING) - - -=Lesson 12.= - - -RECITATION-- - - Explain fully the manner of laying out and working a cylinder. - - How does a carpenter lay out a cylinder with the steel square? - - What is meant by modeling in woodwork? - - State the steps in laying out and working a hammer-handle. - - -ASSIGNMENT FOR LESSON 13-- - - _Essentials_, Review Sections 71, 72. - - -DEMONSTRATION-- - - None. - - -WORK-- - - Finish any unfinished work. - - Rapid workers make a full sized pattern of designed part and fill in - decorative design. - - Make a dimensioned working drawing of the project designed last - lesson. - - Make out stock bill for the same and figure estimate of cost on the - reverse side. - - -GRADE VIII. - -(WOODWORKING GROUP VII.) - - -=Lesson 13.= - - -RECITATION-- - - Screws--How made and sold? - - How is the size designated? - - How are blued screws made? What are the two kinds of screws? - - How are the wood parts prepared for wood-screws? In soft wood? In hard - wood? - - -PREPARATION FOR DEMONSTRATION; ASSIGNMENT FOR LESSON 14-- - - _Essentials_, Read Sections 78, 79. - - -DEMONSTRATION-- - - The essential points in making Dado Exercise. - - -WORK-- - - All pupils square up exercise piece and begin making the joints. - - NOTE:--No definite size is required for exercise piece but it must be - square and true. - - -GRADE VIII. - -(WOODWORKING GROUP VII.) - - -=Lesson 14.= - - -RECITATION-- - - Dado? What is this joint used for? Grooves? - - Develop fully the steps taken in making the dado. - - Develop fully the steps taken in making the stub tenon and mortise. - - -ASSIGNMENT FOR LESSON 15-- - - _Essentials_, Sections 73, 74, 75. - - -DEMONSTRATION-- - - Talk on getting out stock. Look over small pieces first. - - Use narrowest boards that will do; 12″ boards are scarce; keep them - for taboret tops, never use them for legs. - - Use try-square and straight-edge and saw to the lines carefully - ripping first then crosscutting to the ripped part only. Leave on the - board all but just what you need. Use your stock bill. If others are - waiting for stock, saw only one piece and work on that while they are - getting a piece. Watch your thicknesses. Never discard a piece that - has been partly worked, without permission. Bevels or chamfers are - made after joints. Mill-marks must come off before parts to joints are - fitted; why? - - -WORK-- - - Finish the exercise pieces, leave them on instructor’s desk to be - graded and begin on Group VII--first choice. - - Instructor will want to see the pieces after the various steps. - - -GRADE VIII. - -(WOODWORKING GROUP VII.) - - -=Lesson 15.= - - -RECITATION-- - - Glue? Of what and how made? - - Glue-pots? Describe. Why two pots? - - How prepare glue for use? Why soak it? - - How apply the glue? Thick or thin? Why warm the wood? - - Cold glues? Advantages and disadvantages? Why do they thicken and how - thinned? In cold weather? - - Clamps? Why used? Two kinds? - - Names of four parts to hand clamp? How adjust? - - How could a good substitute be made for cabinet clamp? - - Why glue size end grain? What is glue size? - - Rubbed glue joint is how made? - - -ASSIGNMENT FOR LESSON 16-- - - _Essentials_, Sections 147, 148. - - -DEMONSTRATION-- - - None. - - -WORK-- - - Continue with Group VII Woodwork. - - -GRADE VIII. - -(WOODWORKING GROUP VII.) - - -=Lesson 16.= - - -RECITATION-- - - Two reasons for putting finish on wood? - - Six kinds of materials used? - - Brushes? Of what made? - - Dusters? The edges of tracing brushes? - - Cleaning shellac brushes? Varnish brushes? - - Care of brushes from day to day? - - The best alcohol or shellac cans? Cans for delicate woods? - - Cleaning wire? - - -PREPARATION FOR DEMONSTRATION; ASSIGNMENT FOR LESSON 17-- - - _Essentials_, Section 149. - - -DEMONSTRATION-- - - The essential points in using brush. Section 149. - - (That no point may be omitted have one boy with open book enumerate - the steps, Section 149.) - - -WORK-- - - Continue Group VII, Woodwork. - - -GRADE VIII. - -(WOODWORKING GROUP VII.) - - -=Lesson 17.= - - -RECITATION-- - - State the seven steps in using a brush. - - Feathering strokes? What? How taken? - - Edges or surfaces first? Working out over edges? - - Picking up surplus liquid? - - What is the order in working finish on internal corner, panels, - stiles, rails? - - Horizontal or vertical position preferred? - - Tracing? What? - - -PREPARATION FOR DEMONSTRATION; ASSIGNMENT FOR LESSON 18-- - - _Essentials_, Sections 150, 151. - - -DEMONSTRATION-- - - The essential points in applying filler. - - -WORK-- - - Continue Group VII, Woodwork. - - -GRADE VIII. - -(WOODWORKING GROUP VII.) - - -=Lesson 18.= - - -RECITATION-- - - Fillers? Two kinds and their uses? - - Are fillers absolutely necessary? Explain. - - Liquid filler? How applied and where used mostly? - - Why is shellac used on close grained woods in fine cabinet work for - first coat instead of filler or varnish? - - Paste filler? Of what made? The cause of contrasts in the grain of - filled wood? - - Four steps in filling a coarse grained surface? - - How long ought filler to stand before applying other coatings? - - Caution about excelsior and rags used in filling? - - -ASSIGNMENT FOR LESSON 19-- - - _Essentials_, Review Sections 152, 153. - - -DEMONSTRATION-- - - None. - - -WORK-- - - Continue Group VII, Woodwork applying finish as needed. - - -GRADE VIII. - -(WOODWORKING GROUP VII.) - - -=Lesson 19.= - - -RECITATION-- - - Three kinds of stains? - - Advantages and disadvantages of water stain? - - Advantages and disadvantages of oil stain? - - Advantages and disadvantages of spirit stain? - - How is water stain applied? How thinned? - - How is oil stain applied? How thinned? - - How is spirit stain applied? How thinned? - - Fumed oak? What is it and how obtained? - - Is waxing an old or new finish? How made by our ancestors? - - Advantages and disadvantages of wax finishes? - - State five steps in applying a waxed finish. - - -PREPARATION FOR DEMONSTRATION; ASSIGNMENT FOR LESSON 20-- - - _Essentials_, Sections 154, 155, 156. - - -DEMONSTRATION-- - - The essential points in shellacing preparatory to waxing. - - The order in producing a waxed finish with and without shellac; with - and without water stain. - - -WORK-- - - Continue Group VII. - - -GRADE VIII. - -(WOODWORKING GROUP VII.) - - -=Lesson 20.= - - -RECITATION-- - - The two kinds of varnish? - - Why do varnishes vary in price? - - What are rubbing varnishes? - - Necessary conditions for good varnishing? Why these conditions? - - Shellac? Where found? What is it? How prepared? - - Two kinds of shellac? - - White shellac, how made and where used especially? - - Orange shellac, advantages and disadvantages? - - Caution about applying shellac? - - Why is shellac sometimes used before varnish and wax? - - Describe method of producing egg-shell gloss shellac finish. - - -ASSIGNMENT FOR LESSON 21-- - - Essentials, Section 113. Instructor explain the mounted specimens of - wood illustrating tree structure. - - -DEMONSTRATION-- - - None. - - -WORK-- - - Continue Group VII. - - -GRADE VIII. - -(WOODWORKING GROUP VII.) - - -=Lesson 21.= - - -RECITATION-- - - Tree structure? A tree is cut in three directions for study, what are - they? How does each section lie? - - If a young sprout should be cut across what three layers of tissue? - - If tissue is magnified how would it appear to be composed? - - If the end of a log is examined how will it have changed from that of - the sprout? - - Name six divisions of tissue of the log beginning at the center. - - What makes the rings and why are some light and some dark? - - Is a year’s growth composed of the dark or the light rings or both? - Why are the centers of the rings sometimes out of the log’s center? - - General divisions of tissue are Pith, Wood, Bark. - - How is heart-wood formed? Its purpose? - - How is sap-wood formed? Its purpose? - - Where does the actual growing take place? - - What layers of tissue are on either side of the cambium? - - What is the inner side of the bark called? - - What is cortex? - - Medullary rays? Of what composed? Purpose? - - What makes grain in sawed lumber? - - Knots? - - -ASSIGNMENT FOR LESSON 22-- - - _Essentials_, Section 114. - - -DEMONSTRATION-- - - None. - - -WORK-- - - Continue Group VII. - - -GRADE VIII. - -(WOODWORKING GROUP VII.) - - -=Lesson 22.= - - -RECITATION-- - - What is the life blood of a tree called? - - Beginning with the tree in early spring, explain the movement or lack - of movement of the sap. - - The effect upon the tree of the sap’s movement in the spring? - - What part do the leaves perform in the digestive process? - - Chlorophyll? Assimilation? - - The sap circulation from mid-summer to the end of summer? - - Effect upon the leaves? - - What becomes of the descending sap? - - Does the upward movement of the sap and the downward movement of the - changed sap take place at the same time? - - Do the leaves drop because the sap descends or does the sap descend - because the leaves drop off? - - -ASSIGNMENT FOR LESSON 23-- - - _Essentials_, Sections 115, 116, 117. Instructor explain mounted - specimens illustrating shrinkage. - - -DEMONSTRATION-- - - None. - - -WORK-- - - Continue Group VII. - - Pupils, finishing projects in Group VII now, may get out stock and - begin squaring it up for Group VIII. - - -GRADE VIII. - -(WOODWORKING GROUP VII.) - - -=Lesson 23.= - - -RECITATION-- - - Respiration is another name for breathing. How does it apply to - plants? - - Animals breath in oxygen and breath out carbonic acid gas. - - How about plants? - - Carbonic acid gas is poisonous. Is it harmful to have plants in the - house? Explain. - - How do trees breathe? - - Transpiration? What is it and where and why does it take place? - - What per cent. of living cell is water? Where is the water contained? - - Which has more water sap-wood or heart-wood? - - Which is stronger green or seasoned wood? - - Shrinkage? What makes a plank cut from a tree shrink? - - Could a plank shrink without having water in the interior of the - cells? - - Explain why a plank shrinks across the grain but not along as the eye - can see. - - Two reasons a log shrinks more along the rings than along the radii. - - The effect of this greater shrinkage along the rings? - - Which shrinks more, sap-wood or heart-wood? Effect on a plain sawed - board? (On a quarter-sawed board?) - - Which shrinks more soft or hard wood? - - -ASSIGNMENT FOR LESSON 24-- - - _Essentials_, Sections 118, 119, 120. Instructor explain mounted - specimens illustrating grain formations--straight, curled, bird’s eye. - - -DEMONSTRATION-- - - None. - - -WORK-- - - Continue Group VII. - - Pupils, finishing projects in Group VII now, may get out stock and - begin squaring it up for Group VIII. - - -GRADE VIII. - -(WOODWORKING GROUP VIII.) - - -=Lesson 24.= - - -RECITATION-- - - What is the weight or specific gravity of wood? Oak or pine? - - Why does wood float then? - - Upon what two things does the weight of any given piece of wood - depend? Does it ever vary? Why? - - Why are some kinds of wood heavier than others similarly seasoned? - - Is a heavy piece stronger than a light piece of the same size? - - What is meant by strength, elasticity, hardness, toughness, - cleavability? - - What is meant by straight grain? Cross-grained? Twisted? - - Causes? - - What makes bird’s eyes in some woods? - - -PREPARATION FOR DEMONSTRATION; ASSIGNMENT FOR LESSON 25-- - - _Essentials_, Sections 80, 81, 82. - - -DEMONSTRATION-- - - Recall steps in squaring up rough stock, use of winding sticks and - other tests. - - The essential points in laying out and working cross-lap joint by - first method. - - -WORK-- - - All pupils lay aside present work and square up stock for, and make, - cross-lap exercise piece. - - When joint is completed finish any unfinished work of Group VII, then - begin Group VIII. - - -GRADE VIII. - -(WOODWORKING GROUP VIII.) - - -=Lesson 25.= - - -RECITATION-- - - Cross-lap joint? Why plane stock for the two parts in one piece? - - What about the face marks in case this is done? Why? - - The difference in the two methods given? - - State the ten steps in making the joint by the first method. - - In the second method how are the grooves and their widths determined? - - What about the location of the grooves with reference to the faces? - - What about the faces in gaging for depth of groove? Why? - - -ASSIGNMENT FOR LESSON 26-- - - _Essentials_, Sections 121, 122 to the bottom of page 130. - - -DEMONSTRATION-- - - None. - - -WORK-- - - Finish exercise piece and continue as in lesson 24. - - -GRADE VIII. - -(WOODWORKING GROUP VIII.) - - -=Lesson 26.= - - -RECITATION-- - - Lumbering? Two kinds and their differences? - - The camp; selecting trees; felling; trimming; cutting to length? - - Skidding? - - Transportation of logs to mill? - - By cars, splash dam, rafts, river driving. - - Milling? Location; log-booms; soaking logs in mill-pond? - - Three kinds of saws? Advantages and disadvantages of each? - - Timbers, planks, and boards? - - -ASSIGNMENT FOR LESSON 27-- - - _Essentials_, Sections 122 continued, 123, 124. - - -DEMONSTRATION-- - - None. - - -WORK-- - - Continue Group VIII. - - -GRADE VIII. - -(WOODWORKING GROUP VIII.) - - -=Lesson 27.= - - -RECITATION-- - - Lumbering? At the mill? The log-slide, inspection, measuring, kicking - logs out of slip on log-deck. - - Sawing process in detail? 1. Log placed on carriage and dogged and - slab with a few boards taken off. 2. A half turn and slab and few - boards taken. 3. A quarter turn and nearly all sawed up. 4. Half turn - and all sawed up. - - The live rolls? Edgers? Trimmers or jump saws? Butting saws? - - Slasher? It is used on slabs. What becomes of slabs? - - Quarter-sawing? Why and how? - - Why do quarter-sawed boards not warp like plain sawed? - - Uses for waste wood? Burners? - - -ASSIGNMENT FOR LESSON 28-- - - _Essentials_, Sections 125, 126, 127. - - -DEMONSTRATION-- - - None. - - -WORK-- - - Continue Group VIII. - - -GRADE VIII. - -(WOODWORKING GROUP VIII.) - - -=Lesson 28.= - - -RECITATION-- - - How is sawed lumber transported? - - Two methods of seasoning? Why and how stick lumber? - - Air seasoning? Time required? Depends upon what? - - Kiln drying? Why? Temperature of kiln? - - How do soft and hard woods differ as to methods of seasoning? Time - required for each? - - Checks in hard wood? Why? How prevented? - - Case hardening? Why? How prevented? - - Clear lumber? Dressed lumber? Abbreviation for dressed lumber? - - How is lumber computed and sold? Shingles, lath, and moldings? - - How would you specify lumber in an order? - - -ASSIGNMENT FOR LESSON 29-- - - _Essentials_, Review Appendix III, Sections 2, 3, 4, 5, 6, and - Sections 26, 27, 28, 29, 30, 31, 32, 34. - - -DEMONSTRATION-- - - None. - - -WORK-- - - Group VIII. - - -GRADE VIII. - -(WOODWORKING GROUP VIII.) - - -=Lesson 29.= - - -REVIEW-- - - Instructor will place six questions on the blackboard, selected from - Assignment for this Lesson. - - Pupils will write the answers to five of these, making complete - statements in each case so that the instructor will know what is being - discussed without referring to the question list. Instructor will - insist upon full sentences--subject and predicate--that the pupil may - not form bad habits in his English. Have uniform headings. Insist on - neatness. - - -ASSIGNMENT FOR LESSON 30-- - - _Essentials_, Review Sections 46, 47, 48, 49, 50, 51, 52, 53, 54, 55, - 56, 57, 62, 63. - - -DEMONSTRATION-- - - None. - - -WORK-- - - Group VIII. - - -GRADE VIII. - -(WOODWORKING GROUP VIII.) - - -=Lesson 30.= - - -REVIEW-- - - Instructor will place six questions on the blackboard, selected from - Assignment for this Lesson. - - -ASSIGNMENT FOR LESSON 31-- - - _Essentials_, Review Sections 76, 77, 14, 64, 58, 61, 71, 72. - - -DEMONSTRATION-- - - None. - - -WORK-- - - Group VIII. - - -GRADE VIII. - -(WOODWORKING GROUP VIII.) - - -=Lesson 31.= - - -REVIEW-- - - Instructor will place six questions on the blackboard, selected from - Assignment for this Lesson. - - -ASSIGNMENT FOR LESSON 32-- - - _Essentials_, Review Sections 78, 79, 73, 74, 75, 147, 148, 149. - - -DEMONSTRATION-- - - None. - - -WORK-- - - Group VIII. - - -GRADE VIII. - -(WOODWORKING GROUP VIII.) - - -=Lesson 32.= - - -REVIEW-- - - Instructor will give each pupil one question, for oral answer, - selected from Assignment for this Lesson. - - -ASSIGNMENT FOR LESSON 33-- - - _Essentials_, Review Sections 150, 151, 152, 153, 154, 155, 156, 113. - - -DEMONSTRATION-- - - None. - - -WORK-- - - Group VIII. - - -GRADE VIII. - -(WOODWORKING GROUP VIII.) - - -=Lesson 33.= - - -REVIEW-- - - Instructor will give each pupil one question for oral answer, selected - from Assignment for this Lesson. - - -ASSIGNMENT FOR LESSON 34-- - - _Essentials_, Review Sections 113, 114, 115, 116, 117, 118, 119, 120, - 80, 81, 82. - - -DEMONSTRATION-- - - None. - - -WORK-- - - Group VIII. - - -GRADE VIII. - -(WOODWORKING GROUP VIII.) - - -=Lesson 34.= - - -REVIEW-- - - Oral test from Assignment for this Lesson. - - -ASSIGNMENT FOR LESSON 35-- - - _Essentials_, Review Sections 121, 122, 123, 124, 125, 126, 127. - - -DEMONSTRATION-- - - None. - - -WORK-- - - Group VIII. - - -GRADE VIII. - -(WOODWORKING GROUP VIII.) - - -=Lesson 35.= - - -REVIEW-- - - Oral test from Assignment for this Lesson. - - -ASSIGNMENT FOR LESSON 36-- - - This closes the text work for the year. - - -DEMONSTRATION-- - - None. - - -WORK-- - - Those finishing projects will assist slower pupils or do any necessary - work about the shop such as making bench-hooks, scraping bench tops, - etc. All pupils are to be kept busy at some work until the last day. - The last week, each class will polish tools. - - -CHAPTER VIII. - -LESSON OUTLINES FOR GRADE IX. - - -From the detailed outlines of the grammar school the high school -instructor will be enabled to detail his lessons to suit his time -allotment and periods of work. - - -GROUP IX. - - -FIRST WEEK: - - Review “Squaring up of Stock.” Rough and mill-planed. _Essentials of - Woodworking_, Chapter III. - - Square up stock for joint exercises. - - Demonstrate mortise and tenon, keyed. _Essentials_, Sections 87, 88, - 89, 90, 91. - - Pupils make mortise and tenon, keyed. - - Recitation on same. - - -SECOND WEEK: - - Square up stock for exercise in mortise and tenon, blind, and miter - joint. - - Demonstrate mortise and tenon, blind. _Essentials_, Sections 92, 93, - 94, 95, 96, 97, 98. - - Pupils make mortise and tenon, blind, and miter joint. - - Recitation. - - -THIRD WEEK: - - Prepare stock for modeling exercise. - - Demonstrate modeling--hammer-handle. _Essentials_, Section 61. - - Pupils make hammer-handle. - - Recitation. - - -FOURTH WEEK: - - Saw stock for glue joint. (Consult working drawings.) - - Demonstration of glue joint. _Essentials_, Sections 83, 84, 85, 86. - - Pupils make glue joints. - - Recitation. - - -FIFTH WEEK: - - Review getting out stock in quantity. - - Demonstrate use of Band-saw. - - Pupils get out stock for projects. - - Recitation. - - -SIXTH WEEK: - - Review “Laying out and Working Duplicate Parts.” _Essentials_, - Sections 62, 77. - - Demonstrate Laying out and Working Duplicate Parts. - - Pupils proceed as their work allows. - - Recitation. - - -SEVENTH WEEK: - - Demonstrate use of Jig-saw. - - Pupils use Jig-saw as their work necessitates. - - Recitation. - - -EIGHTH WEEK: - - Demonstrate clamping framed structures. - - Pupils clamp as their work allows. - - Recitation. - - -NINTH WEEK: - - Preparation for “Finishing.” _Essentials_, Review Sections 147, 148, - 149, 150, 151. - - Demonstrate Preparation of surfaces for finish. - - Recitation. - - -TENTH WEEK: - - Demonstration of application first coats. _Essentials_, Sections 154, - 155, 156, 157, 158. - - Pupils apply finish as work allows. - - Recitation. - - -ELEVENTH WEEK: - - Demonstrate other finishing coats. _Essentials_, Section 159. - - Pupils proceed as work allows. - - Recitation. - - -TWELFTH WEEK: - - Demonstrate patching. _Essentials_, Section 160. - - Recitation. - - -THIRTEENTH WEEK: - - Study of Woods. _Essentials_, Sections 128, 129. - - Recitation. - - -FOURTEENTH WEEK: - - Study of Woods. _Essentials_, Sections 130, 131, 132. - - Recitation. - - -FIFTEENTH WEEK: - - Study of Woods. _Essentials_, Sections 133, 134, 135, 136. - - Recitation. - - -SIXTEENTH WEEK: - - Study of Woods. _Essentials_, Sections 137, 138, 139, 140, 141. - - Recitation. - - -SEVENTEENTH WEEK: - - Study of Woods. _Essentials_, Sections 142, 143, 144, 145, 146. - - Recitation. - - -EIGHTEENTH WEEK: - - Finish up. - - - - -PART III. - -WORKING DRAWINGS. - - -PROJECTS FOR BEGINNING WOODWORK AND MECHANICAL DRAWING. - - -LIST OF PLATES. - -GROUP I. - - 1. Cutting board. - -GROUP II. - - 2. Counting board. - 3. Coat and Hat rack. - 4. Key-rack. - -GROUP III. - - 5. Ringtoss. - 6. Spool holder. - 7. Game board. - 8. Laundry register. - -GROUP IV. - - 9. Sleeve board. - 10. Bread board. - 11. Cake board. - 12. Scouring board. - 13. Coat hanger. - -GROUP V. - - 14. Nail box. - 15. Knife polishing box. - 16. Knife and fork box. - 17. Bird house. - 18. Broom holder. - 19. Bench-hook. - -GROUP VI. - - 20. Teapot blocks. - 21. Thermometer back. - 22. Calendar mount. - 23. Card holder. - 24. Bill file. - 25. Handkerchief box. - 26. Glove box. - -GROUP VII. - - 27. Groove joint. - 28. Book-rack. - 29. Necktie rack. - 30. Magazine rack. - 31. Footstool. - 32. Paper or magazine wall rack. - 33. Wall shelf. - 34. Table or desk shelves. - 35. Taboret. - 36. Stool. - -GROUP VIII. - - 37. Cross-lap joint. - 38. Book trough. - 39. Electric cluster. - 40. Electric table or desk light. - 41. Calendar mount or memo board. - 42. Hall rack or mirror frame. - 43. Picture-frame. - 44. Taboret. - 45. China wall rack. - 46. Pedestal. - -SUPPLEMENTARY. - - 47. Suggestive treatments for stool. - 48. Suggestive treatments for necktie rack. - 49. Suggestive treatments for book-rack. - 50. Introductory sheet, Drawing. - 51. Geometric sheet, Drawing. - -[Illustration: GROUP I. - -PLATE 1.] - - CUTTING BOARD - -[Illustration: GROUP II. - -PLATE 2.] - - COUNTING BOARD - - THRU BORE ³⁄₈″ HOLES AT + - - FROM ³⁄₈″ DOWEL STOCK SAW 3 PIECES EACH 1¹⁄₄″ LONG - - POINT THE ENDS ¹⁄₁₆″ EACH - -[Illustration: GROUP II. - -PLATE 3.] - - COAT AND HAT RACK - - ³⁄₁₆″ HOLES FOR SCREWS AT × - - 2¹⁄₂″ WIRE COAT HOOKS AT + - -[Illustration: GROUP II. - -PLATE 4.] - - KEY RACK - - ³⁄₁₆″ HOLES FOR SCREWS AT × - - ³⁄₄″ BRASS CUP HOOKS AT + - -[Illustration: GROUP III. - -PLATE 5.] - - RING TOSS - -[Illustration: GROUP III. - -PLATE 6.] - - GAME BOARD - - FROM ³⁄₈″ DOWEL STOCK MAKE 32 PEGS - - POINT ENDS ¹⁄₁₆″ EACH - - SOLITAIRE--PLACE ALL PEGS IN THE BOARD--JUMP PEGS ONE OVER ANOTHER - ALONG STRAIGHT LINES, HORIZONTALLY, VERTICALLY OR DIAGONALLY--PLAN THE - PLAYS SO THAT THE FINAL PEG TO BE REMOVED WILL LAND JUMPER IN CENTRAL - HOLE. - -[Illustration: GROUP III. - -PLATE 7.] - - SPOOL HOLDER - - POINT TOP OF EACH DOWEL ¹⁄₁₆ - -[Illustration: GROUP III. - -PLATE 8.] - - LAUNDRY REGISTER - - AT EACH + BORE A ³⁄₁₆″ HOLE ¹⁄₆″ DEEP - - FROM ³⁄₁₆″ DOWEL STOCK SAW 10 PEGS 1″ LONG POINT THE ENDS ¹⁄₁₆″ - - SHIRTS - COLLARS - CUFFS - U-SHIRTS - DRAWERS - HANDK’FS - SOCKS - UNION-S’T - PAJAMAS - EXTRAE166 - -[Illustration: GROUP IV. - -PLATE 9.] - - SLEEVE BOARD - - SECTION AT A-B - -[Illustration: GROUP IV. - -PLATE 10.] - - BREAD BOARD - - SECTION AT A-B - -[Illustration: GROUP IV. - -PLATE 11.] - - CAKE BOARD OR CROCK COVER - - SECTION AT A-B - -[Illustration: GROUP IV. - -PLATE 12.] - - SCOURING BOARD - - CROSS SECTION AT C-D - - TO LOCATE F¹ AND F² - 1. LOCATE POINT “D”. - 2. TAKE “R” = “O-B” AND - DRAW. F¹E + EF² = AB - -[Illustration: GROUP IV. - -PLATE 13.] - - COAT HANGER - - SECTION AT A-B - - SWEEP ARCS = 16⁷⁄₈″ AND 27¹⁄₈″ - -[Illustration: GROUP V. - -PLATE 14.] - - NAIL BOX - -[Illustration: GROUP V. - -PLATE 15.] - - KNIFE POLISHING BOX - -[Illustration: GROUP V. - -PLATE 16.] - - KNIFE AND FORK BOX - -[Illustration: GROUP V. - -PLATE 17.] - - BIRD HOUSE - -[Illustration: GROUP V. - -PLATE 18.] - - BROOM HOLDER - -[Illustration: GROUP V. - -PLATE 19.] - - BENCH HOOK - - RIGHT AND LEFT HAND - -[Illustration: GROUP VI. - -PLATE 20.] - - TEAPOT BLOCKS (BLANK MODEL--TO BE MODIFIED) - - SUGGESTIONS - - STOCK-³⁄₄″ THICK - -[Illustration: GROUP VI. - -PLATE 21.] - - THERMOMETER BACK (BLANK MODEL--TO BE MODIFIED) - -[Illustration: GROUP VI. - -PLATE 22.] - - CALENDAR MOUNT (BLANK MODEL--TO BE MODIFIED) - - DESIGNED BY GORDON KELLAR - -[Illustration: GROUP VI. - -PLATE 23.] - - CARD HOLDER (BLANK MODEL--TO BE MODIFIED) - - SUGGESTIONS - -[Illustration: GROUP VI. - -PLATE 24.] - - BILL FILE (BLANK MODEL--TO BE MODIFIED) - - 30^d WIRE BOX NAIL - - GLUE - -[Illustration: GROUP VI. - -PLATE 25.] - - HANDKERCHIEF BOX (BLANK MODEL--TO BE MODIFIED) - - MODIFIED EDGES - - TOP-BOTTOM TOP-BOTTOM TOP - -[Illustration: GROUP VI. - -PLATE 26.] - - GLOVE BOX (BLANK MODEL--TO BE MODIFIED) - - MODIFIED EDGES - - TOP-BOTTOM - - TOP-BOTTOM - - TOP - - TOP-BOTTOM - -[Illustration: GROUP VII. - -PLATE 27.] - - GROOVE JOINT (PREPARATORY TO GROUP VII) - - GAGE SETTING - - GAGE SETTING - - SAW HERE - - DADO JOINT - - GAGE SETTING - -[Illustration: GROUP VII. - -PLATE 28.] - - BOOK RACK - - ENDS HOUSED INTO BASE ¹⁄₄″ - - TO SCREW - -[Illustration: GROUP VII. - -PLATE 29.] - - NECKTIE RACK - -[Illustration: GROUP VII. - -PLATE 30.] - - MAGAZINE RACK - - ENDS HOUSED IN BASE - -[Illustration: GROUP VII. - -PLATE 31.] - - FOOT STOOL - -[Illustration: GROUP VII. - -PLATE 32.] - - PAPER OR MAGAZINE WALL RACK - - DETAIL OF SHELF - -[Illustration: GROUP VII. - -PLATE 33.] - - WALL SHELF - -[Illustration: GROUP VII. - -PLATE 34.] - - TABLE OR DESK SHELVES - -[Illustration: GROUP VII. - -PLATE 35.] - - TABORET - -[Illustration: GROUP VII. - -PLATE 36.] - - STOOL - -[Illustration: GROUP VIII. - -PLATE 37.] - - CROSS-LAP JOINT (PREPARATORY TO GROUP VIII) - - GAGE SETTING - - SAW KERF - - GAGE SETTING - -[Illustration: GROUP VIII. - -PLATE 38.] - - BOOK TROUGH - -[Illustration: GROUP VIII. - -PLATE 39.] - - WOODWORK FOR ELECTRIC CLUSTER - - CEILING BLOCK - -[Illustration: GROUP VIII. - -PLATE 40.] - - ELECTRIC TABLE OR DESK LIGHT - -[Illustration: GROUP VIII. - -PLATE 41.] - - CALENDAR MOUNT OR MEMO BOARD - -[Illustration: GROUP VIII. - -PLATE 42.] - - HALL RACK OR MIRROR FRAME - - 10 × 18 MIRROR OR POSTER PICTURE - - ¹⁄₄ STOCK FOR BACKING - - HOOKS AT × FOR HALL RACK - -[Illustration: GROUP VIII. - -PLATE 43.] - - PICTURE FRAME - - PERRY PICTURES # 756 AND 757 SUGGESTED - -[Illustration: GROUP VIII. - -PLATE 44.] - - TABORET - -[Illustration: GROUP VIII. - -PLATE 45.] - - CHINA WALL RACK - -[Illustration: GROUP VIII. - -PLATE 46.] - - PEDESTAL - -[Illustration: SUPPLEMENTARY. - -PLATE 47.] - - SUGGESTIVE TREATMENTS FOR STOOL - -[Illustration: SUPPLEMENTARY. - -PLATE 48.] - - SUGGESTIVE TREATMENTS FOR NECKTIE RACK - - HOUSED JOINT - - DADO JOINT - -[Illustration: SUPPLEMENTARY. - -PLATE 49.] - - SUGGESTIVE TREATMENTS FOR BOOK RACK - - HOUSED JOINT - - DESIGN BY CLEVELAND ELEMENTARY IND. SCHOOL. - - DADO - - DADO - -[Illustration: INTRODUCTORY SHEET, DRAWING. - -PLATE 50.] - - ABCDEFGHIJKLMN - - OPQRSTUVWXYZ - - 123456789 - - 90° 30° 60° 45° - - ABC - - 0123 - - ABC - - 0123 - -[Illustration: GEOMETRIC SHEET, DRAWING. - -PLATE 51.] - - HEXAGON - - SIX-POINT STAR - - OCTAGON - - ELLIPSE - - -ADVANCED PROJECTS IN WOODWORK. - -LIST OF PLATES. - -GROUP IX. - - 1. Exercises--Keyed tenon; Blind Mortise-and-tenon. - 2. Exercises--Miter joint; Glue joint. - 3. Exercises--Modeling, Hammer handles. - 4. Necktie Rack. - 5. Foot Stool. - 6. Book Rack. - 7. Upholstered Stool. - 8. Leg Rest. - 9. Cricket. - 10. Wall Shelves. - 11. Stool (square). - 12. Taboret (octagonal top) - 13. Taboret (round top). - 14. Small Table. - 15. Taboret (oblong top). - 16. Piano Bench. - 17. Piano Bench. - 18. Book Stand. - 19. Umbrella Stand. - 20. Umbrella Stand. - 21. Jardiniere Stand. - 22. Magazine Stand. - 23. Roman Seat. - 24. Light Stand. - 25. Stool (square). - 26. Book Trough. - 27. Screen. - 28. Tea Table. - 29. Hall Rack. - 30. Wall China Rack. - 31. Side Chair. - 32. Arm Chair. - 33. Morris Chair. - 34. Electric Reading Lamp. - 35. Pedestal. - 36. Occasional Rocker. - 37. Mission Chair. - 38. Drop Leaf Table. - -GROUP X. - - 39. Exercises--Mortise-and-tenon; Rabbeted, Grooved. - 40. Exercises--Thru Multiple Dovetail; Half blind Dovetail. - 41. Waste Paper Box. - 42. Wall Cabinet. - 43. Telephone Table. - 44. Sewing Cabinet. - 45. Writing Table. - 46. Chafing Dish Stand. - 47. Cabinet. - 48. Library Table. - 49. Writing Desk. - 50. Dressing Table. - 51. Linen Chest. - -[Illustration: GROUP IX. - -PLATE 1.] - - _EXERCISE (PREPARATORY TO GROUP IX)_ - - _KEYED TENON_ - - _BLIND MORTISE AND TENON_ - -[Illustration: GROUP IX. - -PLATE 2.] - - _EXERCISE (PREPARATORY TO GROUP IX)_ - - _GLUE JOINT-DOWELING_ - - _MITER JOINT_ - -[Illustration: GROUP IX. - -PLATE 3.] - - _EXERCISE PREPARATORY TO GROUP IX (CHOOSE ONE)_ - - _HANDLE FOR BALL PEEN HAMMER_ - - _HANDLE FOR CLAW HAMMER_ - -[Illustration: GROUP IX. - -PLATE 4.] - - _NECKTIE RACK_ - -[Illustration: GROUP IX. - -PLATE 5.] - - _FOOT STOOL_ - -[Illustration: GROUP IX. - -PLATE 6.] - - _BOOK RACK_ - -[Illustration: GROUP IX. - -PLATE 7.] - - _UPHOLSTERED STOOL_ - -[Illustration: GROUP IX. - -PLATE 8.] - - _LEG REST_ - -[Illustration: GROUP IX. - -PLATE 9.] - - _CRICKET_ - -[Illustration: GROUP IX. - -PLATE 10.] - - _WALL SHELVES_ - -[Illustration: GROUP IX. - -PLATE 11.] - - _STOOL_ - -[Illustration: GROUP IX. - -PLATE 12.] - - _TABORET_ - -[Illustration: GROUP IX. - -PLATE 13.] - - _TABORET_ - -[Illustration: GROUP IX. - -PLATE 14.] - - _SMALL TABLE_ - -[Illustration: GROUP IX. - -PLATE 15.] - - _TABORET_ - -[Illustration: GROUP IX. - -PLATE 16.] - - _PIANO BENCH_ - -[Illustration: GROUP IX. - -PLATE 17.] - - _PIANO BENCH_ - - _DETAIL OF JOINT AT A-B ENLARGED_ - -[Illustration: GROUP IX. - -PLATE 18.] - - _BOOK STAND_ - - _END OF LOWER SHELF_ - - _END OF MIDDLE SHELVES_ - - _DETAIL OF JOINT AT A-B_ - -[Illustration: GROUP IX. - -PLATE 19.] - - _UMBRELLA STAND_ - -[Illustration: GROUP IX. - -PLATE 20.] - - _UMBRELLA STAND_ - - _COPPER DRIP PAN_ - -[Illustration: GROUP IX. - -PLATE 21.] - - _JARDINIERE STAND_ - -[Illustration: GROUP IX. - -PLATE 22.] - - _MAGAZINE STAND_ - -[Illustration: GROUP IX. - -PLATE 23.] - - _ROMAN SEAT_ - -[Illustration: PLATE 24.] - - _LIGHT STAND_ - -[Illustration: GROUP IX. - -PLATE 25.] - - _STOOL_ - - _DETAIL OF CORNER_ - -[Illustration: GROUP IX. - -PLATE 26.] - - _BOOK TROUGH_ - - _DETAIL OF TROUGH BACK_ - -[Illustration: GROUP IX. - -PLATE 27.] - - _SCREEN_ - - _MIRROR_ - -[Illustration: GROUP IX. - -PLATE 28.] - - _TEA TABLE_ - -[Illustration: GROUP IX. - -PLATE 29.] - - _HALL RACK_ - -[Illustration: GROUP IX. - -PLATE 30.] - - _WALL CHINA RACK_ - - _DETAIL OF A-B_ - -[Illustration: GROUP IX. - -PLATE 31.] - - _SIDE CHAIR_ - -[Illustration: GROUP IX. - -PLATE 32.] - - _ARM CHAIR_ - -[Illustration: GROUP IX. - -PLATE 33.] - - _MORRIS CHAIR_ - -[Illustration: GROUP IX. - -PLATE 34.] - - _ELECTRIC READING LAMP_ - - _SECTION AT A-B_ - -[Illustration: GROUP IX. - -PLATE 35.] - - _PEDESTAL_ - - _EGG AND DART_ - - _SECTION AT A-B_ - -[Illustration: GROUP IX. - -PLATE 36.] - - _OCCASIONAL ROCKER_ - -[Illustration: GROUP IX. - -PLATE 37.] - - _MISSION CHAIR_ - -[Illustration: GROUP IX. - -PLATE 38.] - - _DROP LEAF TABLE_ - - _DETAIL OF JOINT AT A-B_ - -[Illustration: GROUP X. - -PLATE 39.] - - _EXERCISE--PREPARATORY TO GROUP X_ - - _MORTISE and TENON-RABBETED_ - - _HAUNCHED MORTISE AND TENON-GROOVED_ - - _SAW KERF_ - - _SAW KERF_ - -[Illustration: GROUP X. - -PLATE 40.] - - _EXERCISE--PREPARATORY TO GROUP X_ - - _THRU MULTIPLE DOVETAIL_ - - _HALF-BLIND DOVETAIL_ - -[Illustration: GROUP X. - -PLATE 41.] - - _WASTE PAPER BOX_ - -[Illustration: GROUP X. - -PLATE 42.] - - _WALL CABINET_ - - _DETAIL OF SHELF AT A-B_ - -[Illustration: GROUP X. - -PLATE 43.] - - _TELEPHONE TABLE_ - -[Illustration: GROUP X. - -PLATE 44.] - - _SEWING CABINET_ - -[Illustration: GROUP X. - -PLATE 45.] - - _WRITING TABLE_ - -[Illustration: GROUP X. - -PLATE 46.] - - _CHAFING DISH STAND_ - -[Illustration: GROUP X. - -PLATE 47.] - - _CABINET_ - -[Illustration: GROUP X. - -PLATE 48.] - - _LIBRARY TABLE_ - -[Illustration: GROUP X. - -PLATE 49.] - - _WRITING DESK_ - - _COMMERCIAL DESIGN_ - -[Illustration: GROUP X. - -PLATE 50.] - - _DRESSING TABLE_ - -[Illustration: GROUP X. - -PLATE 51.] - - _LINEN CHEST_ - - _SECTION AT A-B_ - - - - - Transcriber’s Notes - - - Depending on the hard- and software used and their settings, not all - elements may display as intended. Some forms, tables and illustrations - may not display properly in a narrow window or on a narrow screen. - - Except as mentioned under Changes made below, the language used in the - source document has been retained, including unusual, archaic and - inconsistent spelling, hyphenation, capitalisation, etc. Errors, - discrepancies and ambiguities in (cost) calculations have not been - corrected unless mentioned below. - - Page 78-79, price calculations: The source document gives .00 for the - price of the chisel-board. - - Page 110, (Mechanical Drawing 12 weeks ...: there is no closing - bracket in the source document. - - Page 211, Plate 24: the Group number is not included in the caption. - - - Changes made: - - Illustrations, forms, tables etc. have been moved out of text - paragraphs. - - Some obvious minor punctuation and typographical errors have been - corrected silently. × and x in multiplications and dimensions have - been standardised to ×. In several forms and tables some of the ditto - marks (“) have been replaced with the dittoed text. Some wide forms - and tables have been split. - - Part III: project names, project part names and construction - instructions from the drawings have been transcribed for the sake of - clarity and legibility; measurements and descriptions of minor - constructive elements such as screws and nails have only been - transcribed when needed. The most important text elements from the - illustrations in the text chapters have been transcribed as well. - - Page 38, caption with Fig. 4: October 1808 changed to October, 1908 - - Page 128-129, Heading Woodworking Group VIII considered to be part of - heading Grade VIII as on previous pages. - - Page 155: STOCK-³⁄₄′ THICK changed to STOCK-³⁄₄″ THICK - -*** END OF THE PROJECT GUTENBERG EBOOK CORRELATED COURSES IN WOODWORK -AND MECHANICAL DRAWING *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for an eBook, except by following -the terms of the trademark license, including paying royalties for use -of the Project Gutenberg trademark. If you do not charge anything for -copies of this eBook, complying with the trademark license is very -easy. You may use this eBook for nearly any purpose such as creation -of derivative works, reports, performances and research. Project -Gutenberg eBooks may be modified and printed and given away--you may -do practically ANYTHING in the United States with eBooks not protected -by U.S. copyright law. Redistribution is subject to the trademark -license, especially commercial redistribution. - -START: FULL LICENSE - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full -Project Gutenberg-tm License available with this file or online at -www.gutenberg.org/license. - -Section 1. General Terms of Use and Redistributing Project -Gutenberg-tm electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg-tm electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg-tm electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the -person or entity to whom you paid the fee as set forth in paragraph -1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg-tm -electronic works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the -Foundation" or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg-tm electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg-tm mission of promoting -free access to electronic works by freely sharing Project Gutenberg-tm -works in compliance with the terms of this agreement for keeping the -Project Gutenberg-tm name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg-tm License when -you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg-tm work. The Foundation makes no -representations concerning the copyright status of any work in any -country other than the United States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg-tm License must appear -prominently whenever any copy of a Project Gutenberg-tm work (any work -on which the phrase "Project Gutenberg" appears, or with which the -phrase "Project Gutenberg" is associated) is accessed, displayed, -performed, viewed, copied or distributed: - - This eBook is for the use of anyone anywhere in the United States and - most other parts of the world at no cost and with almost no - restrictions whatsoever. You may copy it, give it away or re-use it - under the terms of the Project Gutenberg License included with this - eBook or online at www.gutenberg.org. If you are not located in the - United States, you will have to check the laws of the country where - you are located before using this eBook. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase "Project -Gutenberg" associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg-tm -trademark as set forth in paragraphs 1.E.8 or 1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg-tm License for all works -posted with the permission of the copyright holder found at the -beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg-tm work in a format -other than "Plain Vanilla ASCII" or other format used in the official -version posted on the official Project Gutenberg-tm website -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original "Plain -Vanilla ASCII" or other form. Any alternate format must include the -full Project Gutenberg-tm License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works -provided that: - -* You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg-tm trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, "Information about donations to the Project Gutenberg - Literary Archive Foundation." - -* You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg-tm - works. - -* You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - -* You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg-tm electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from the Project Gutenberg Literary Archive Foundation, the manager of -the Project Gutenberg-tm trademark. Contact the Foundation as set -forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm -electronic works, and the medium on which they may be stored, may -contain "Defects," such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg-tm -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg-tm work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg-tm work, and (c) any -Defect you cause. - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at -www.gutenberg.org - -Section 3. Information about the Project Gutenberg Literary -Archive Foundation - -The Project Gutenberg Literary Archive Foundation is a non-profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state's laws. - -The Foundation's business office is located at 809 North 1500 West, -Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up -to date contact information can be found at the Foundation's website -and official page at www.gutenberg.org/contact - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without -widespread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine-readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular -state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate - -Section 5. General Information About Project Gutenberg-tm electronic works - -Professor Michael S. Hart was the originator of the Project -Gutenberg-tm concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg-tm eBooks with only a loose network of -volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. - -Most people start at our website which has the main PG search -facility: www.gutenberg.org - -This website includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. |