{"1": {"fulltext": "", "height": "3453", "width": "2454", "jp2-path": "newmethodsineduc02tadd_0003.jp2"}, "2": {"fulltext": "Pass LB S^g\\nRook T2.Z", "height": "3306", "width": "2291", "jp2-path": "newmethodsineduc02tadd_0004.jp2"}, "3": {"fulltext": "", "height": "3306", "width": "2291", "jp2-path": "newmethodsineduc02tadd_0005.jp2"}, "4": {"fulltext": "Digitized by the Internet Archive\\nin 2010 with funding from\\nThe Library of Congress\\nhttp://www.archive.org/details/newmethodsineduc02tadd", "height": "3306", "width": "2291", "jp2-path": "newmethodsineduc02tadd_0006.jp2"}, "5": {"fulltext": "", "height": "3306", "width": "2291", "jp2-path": "newmethodsineduc02tadd_0007.jp2"}, "6": {"fulltext": "ID\\nh\\n6\\nrn\\nV)\\ne\\nu\\nc\\nir\\n0)\\nr,\\ntH\\na\\n-^J\\nhi)\\nOl\\n\u00e2\u0096\u00a0g\\n-a\\nP\\nn\\nn\\nV-\\nct;\\nC\\nS\\nr^\\no\\nw\\n,n\\n\u00e2\u0096\u00a0n\\nM-\\no\\nt/0\\nci\\n\u00e2\u0080\u00a23\\nO\\nr\\nO\\nh\\nU\\nT3\\nu\\nc\\nbn\\n\u00e2\u0096\u00a0u\\n3\\n-a\\nrrt\\nc\\n3\\nti\\nc\\nn\\ntS\\n13\\nb/\\n3\\nO\\nc\\n3)\\nC\\nfi\\nX\\n.1)\\nc\\n-3\\nj3\\nf^\\nc\\nD-\\no\\n5\\np\\nu\\nt_\\no\\no\\nm\\nh\\n\u00e2\u0096\u00a0S..S\\n.2", "height": "3306", "width": "2291", "jp2-path": "newmethodsineduc02tadd_0008.jp2"}, "7": {"fulltext": "I^he Natural Education Series\\nNEW METHODS\\nin EDUCATION\\nArt\\nReal Manual Training\\nNature Study\\nExplaining processes whereby hand, eye and mind are\\neducated by means that conserve\\nvitality and develop a union of thought and action\\nBy J. LIBERTY TADD\\nDirector of the Public School of Industrial Art\\nOf ma-nual trainiug in the Roman Catholic higli school\\nAnd of several night schools, all at Philadelphia. Pa\\nMember of the Art club, Sketch club and Educational club\\nAnd of the Academy of Natural Sciencea. Philadelphia\\nDirectoi- Adirondack Summer School\\nWith a Wealth of Illustration\\nORANGE JUDD COMPANY\\nSpringfield, Mass New York, N Y Chicago, 111\\nLONDON\\nSAMPSON LOW, MARSTON Sr CO, Ltd\\nI9OI", "height": "3306", "width": "2291", "jp2-path": "newmethodsineduc02tadd_0009.jp2"}, "8": {"fulltext": "Library of Conprresa\\nTwo Copies Rcceiv-ed\\nFEB 12 1901\\nCopyright entry\\nN.-.^.oa.^.^\\nSECOND COPY\\n!_\\nTHIS, THE STUDENT S EDITION\\nFirst printing January, 1901. The Origi-\\nnal Unabridged Edition De Luxe\\nhas passed through five printings, and is in\\nits eighth thousand, November, 1900.\\nBntered according to the act of\\nCongress, in the year 189S, by-\\nOrange Judd Company, in the\\noffice of the Librarian of Con-\\ngress, aloWacAangtora\\nR^giifte^ ed aVStatftfrftrs MaH,\u00c2\u00ab\\nLondon, England.", "height": "3344", "width": "2307", "jp2-path": "newmethodsineduc02tadd_0010.jp2"}, "9": {"fulltext": "PUBLISHERS PREFACE\\nTo the Students^ Edition\\nThk abridgment of Mr. Tadd s original and complete work is\\nissued in response to an imperative demand for a smaller and more\\ncompact book for use by teachers and students. It omits the author s\\npreface and Dr. Hailmann s address. But it gives entire Books One,\\nTwo, Three and Four of the complete and more expensive edition\\nde luxe.\\nOf Book Five, only the first chapter is included herein. The\\ntable of contents indicates the nature of the important chapters of\\nBook Five necessarily omitted herefrom, but which appear in full\\nin the complete work. The index to this edition includes references\\nto the omitted portions.\\nFor a book not yet two years old, Mr. Tadd s work has exerted\\na profound influence throughout the educational world, irrespective\\nof national boundaries. In the United States and Canada, its reception\\nhas been most gratifying, and these methods are being widely applied\\nin public, private and parochial schools with results that Justify the\\nencomiums of Mr. Tadd s work pronounced by the most competent\\nauthorities. His own schools and classes are thronged by enthusiastic\\npupils and teachers, while his lectures and demonstrations before the\\nvarious educational societies and art institutes of nearly all the large\\ncities of America have drawn an attendance and created an interest\\nseldom, if ever, equaled.\\nIn foreign countries, Mr. Tadd s methods have attracted wide-\\nspread attention. The leading society of teachers of art and manual\\ntraining in Germany have translated this book into the German for\\nuse throughout the empire, and it has been published at Leipsic. In\\nEngland, the book has been received with marked cordiality, and\\nMr. Tadd s lectures before the Society of Arts, London, at Kensington\\nmuseum, and before various educational and art bodies of the leading\\ncities in England, Scotland and Wales, have done much for educa-\\ntional progress. Government officials and educational authorities in\\nFrance, Switzerland, Italy, Sweden and Russia have strongly indorsed", "height": "3301", "width": "2345", "jp2-path": "newmethodsineduc02tadd_0011.jp2"}, "10": {"fulltext": "iv Preface\\nthese methods and they have been welcomed in Australasia and\\nelsewhere.\\nThe methods herein are the result of more than twenty years\\nwork, experiment and research with many thousands of pupils and\\nhundreds of teachers, at the Public Industrial Art School, Philadelphia.\\nNothing was taken for granted, and all processes had to stand the\\ntest of long experience and application to large numbers of pupils.\\nEvery known method was tested, the good retained and improved\\nwhile the bad was rejected. As the author s preface truly says:\\nWe should develop a disposition disposed to energetic action or work, in response to stim-\\nulating thought a disposition that hungers and thirsts for right action, according to environ-\\nment. Too often mere head-learning creates a vv ish or desire for good, vifitliout there being suffi-\\ncient impulse in the organism to prompt the energetic action required to achieve it. For this\\npurpose energy must be stored in the organism, and conserved by a training in action and deeds,\\nuntil the working out of thoughts in deeds grows into a habit. To consume and waste the\\nvital energy by beginning too early with abstract tasks and various forms of thought s .udies,\\nis as needless as it is common. Too often I find the inind to be enfeebled, the memory weak-\\nened, the vitality abused and consumed by studies meant to strengthen; instead of methods\\nbeing employed that would conserve and add to vitality, at the same time that the mind, the\\nmemory, the judgment and the imagination are being improved.\\nIn common with this improvement of the mental and physical being, there should be a\\ndevelcpment of the emotional being through the feelings a love of action, a training of\\nhand and eye to obey the mind and execute its orders, that fit both head and hand, heart and\\nwill, to cope with the problems of life.\\nNothing gives greater dignity to man than a complete realization of the power of being\\nable to do. No joy is greater or more lasting than that received by doing well with the com-\\nplete being, brain, eye, hands, will and judgment, all tools, God-given tools, to be trained\\nand used.\\nLargely as a result of imperfect training, or wrong methods of education in youth,\\nbeauty and high quality of product are too commonly lacking in mechanical industries and\\nin the world of literature and the fine arts. Our people excel in quantity of product, but not\\nin quality. If they are to compete with the real art that characterizes so much of t .:e fine\\nproducts of the old world or of the Orient, tlien the art idea must be made mare prominent\\nin education. Art instruction should be so correlated with other methods as to help in reform-\\ning the educational errors alluded to. When this is properly done the rising gsnerations\\nwill reach a development in the many that has heretofore been enjoyed only by the few. Our\\nyouth will come out of the early educational process sound in brain and body, strong of\\npurpose, positive in application, trained in the use of hand and eye, with o.ig nality developed\\nand judgment matured, possessing an ability and a capacity to vise it that will manifest them-\\nselves in every art and industry. And this means a building up of character and a recogni-\\ntion of man s duty to humanity, and to God, by which alone are to be fostered the best citizen-\\nship, the largest human happiness and the fullest enjoyment of the marvels of this wonderful\\nuniverse in which we live.\\nToward this high purpose the present work is a modest contribution. It suggests new\\nmethods of education, but only such as have stood the test of many years searching investiga-\\ntion and practical experience. It aims to show by actual results that art instruction, real\\nmanual training and nature study, rightly conducted and properly correlated with other\\nstudies, should begin at a tender age and continue throughout the elementary and higher\\nstages of education. This book is not merely a technical manual of drawing and design, of\\nmodeling and carving, of construction in wood and metal, or of the fine arts, but is designed\\nto demonstrate the remarkable educational power of these methods when rightly used, the\\neconomy of their universal application, and their beneficial effect in helping to qualify the\\nindividual to make the most of himself or herself. It also gives an insight into the modus\\noperandi of these m.ethods, to the end that they may be more generally practiced by parents\\nand teachers and fully comprehended by school authorities and people of affairs.", "height": "3344", "width": "2307", "jp2-path": "newmethodsineduc02tadd_0012.jp2"}, "11": {"fulltext": "TABLE OF CONTENTS\\nBOOK ONE\u00e2\u0080\u0094^irst Principles\\nChap. 1\u00c2\u00ab Introductiox.\\nEstlietic training necessary in education. The first tools.\\nThe methods advocated. Rotation of branches of work. Makes the\\nhand skillful. Influence of beauty. Moral training, its value. How\\nto get moral culture. Trade teaching only not beneficial. Discover\\ncapacity, then educate it. First experiments. Fundamental meth-\\nods. Educators, scientists, doctors and parents express hearty good\\nwill. 3-10\\nChap. 2. Development of Bext or Dispositiox.\\nCapacity for hand skill. Lack of hand skill one cause of pov-\\nerty. Iinportance of finding out the bent of the young. Skill-\\nfulness beneficial and a means of mental expansion. Real manual\\ntraining a means of finding out capacity. Necessity of an energetic\\ndisposition. Inspiration by performance of deeds. 11-15\\nCliap. 3. Importaxce of Coxtact with Things Instead of\\nTHE Symbols of Things.\\nImportance of various sense impressions. Importance of get-\\nting ideas first. Thought fabric built by variety of expression.\\nAssimilate facts not words only. Repetition and the force of habit.\\nVital union of head, hand, heart. Various sense impressions organ-\\nized into concrete ideas. Drawing a mode of thought expression.\\nBook-bred people indisposed to action. Importance of visual mem-\\nory. Too much reading divorces ideas from action. Words studied\\nat the expense of ideas. All channels for improving the mind to be\\nused. Automatic obedience of the hand. Right manual training\\nwill give a love of nature. 16-23\\nChap. 4. Distinction Between the True and False in\\nManual Training.\\nDifferent kinds of manual training. iMeihods that prevent real\\nmanual training. Stupid claims for sloyd. Utilitarian idea over-\\ndone. Sloyd selected for criticism. Sloyd not real manual training.\\nAutomatic dexterity desired. Some exercises consume energy and\\ninspiration. Proper wood-working operations. jNlanual training a\\nmode of thought expression. Ideas the basis of originality. Art in\\nhandicraft very rare. Real manual training better than apjirentice-\\nship. Mechanical training not hand training. Hand skill should\\nprecede trade training. What are drawing and manual training?\\nObjections on account of cost. Ease of application to large num-\\nbers. Cost of elaborate plants should be spent on teachers. 24-34\\n(V)", "height": "3301", "width": "2345", "jp2-path": "newmethodsineduc02tadd_0013.jp2"}, "12": {"fulltext": "Table of Contents.\\nChap. 5. Lack of Traixixg ix Dkawixg\u00e2\u0080\u0094 Its Necessity.\\nLack of real power of drawing. Lack of art training in com-\\nmon school. _ False systems formulated by publishing firms. Sew-\\ning and cooking not real manual training. Necessity of systematic\\ntraining of the senses. Drawing trains the perceptive faculties.\\nHand skill makes intelligence. Insufficiency of old method. Teach-\\ners must be able to draw. Supervisors should be able to draw.\\nMisuse of type forms. Foolish statements by so-called teachers.\\nAbsurdities of commercial systems. Ai-tificial forms, stained papers,\\netc., useless. The art part vital. Art and manual training teach-\\ners should be examined. Drill essential in the elementary stages. 3546\\nCliap. 6. RiCxHT AXD Left Hand Work, Ambidextrous Work.\\nSystematic influence. Reasons for ambidextrous work. Not\\nunreasonable mind building. Abstract work wrong. Old methods\\nof education neglect both hands. 47-51\\nChap. 7. Drawing Correlated with Other Studies.\\nCorrelate the drawing with other school work. Bad use of art\\nwork in schools. Compels love of nature. The beginning of wis-\\ndom. Knowledge of thinos of first importance in education. Good\\npictures improve taste. Futility of present methods. Drawing a\\nmode of thought expression. Meissonier. (irowth of ideas. Ideas\\nmust be locked into the mind. 52,57\\nChap. 8. Nature Studies Right Methods.\\nLooking at things not enough. Familiarity not knowledge.\\nImpressions must be repeated systematically. Let study have perma-\\nnent results. ^Ve must appreciate the beauty of nature. Permanent\\norganic impressions must be made. Effect on health of improper\\nmethods. Beauty and mystery of common things. Divine energy\\nin matter. Improved methods of study needed. Universal use of\\nnew modes of expression. 58-64\\nBOOK TWO-Mamal-Traimng Drawing\\nChap. 1. Considerations in :\\\\L\\\\xual Training Drawing.\\nThe two kinds of drawing. Paper. Pencils. 65-74\\nChap. 2. Elementary Drill Forais.\\nTo get automatic facility. The first exercise is the circle.\\nStraight lines. The double loop. Application of the loop. Reason\\nfor these movements. The spiral. Modeling and carving. 75-86\\nChap. 3. Elementary Units.\\nSimple leaf forms. The natural method. Complex leaf forms.\\nThese exercises are for discipline. Conventional forms. Units of\\ndesign based on the spiral. The crocket. On th e elements of\\ndesign. Combinations of units. Leading lines. 87-100\\nChap. 4. Combinations of Units and Styles.\\nThe anthemion. Combinations of the anthemion. Complex\\nleaf forms. Bud forms. Another beautiful series of leaves. The\\nMoorish units, 101-120\\nChap. 5. Drill Forms and Designs.\\nExercises to compel accuracy. Di-ill work. Work in design.\\nColor and brush work. Blackboard work. Designing on black-\\nboards. 121-1.38", "height": "3344", "width": "2307", "jp2-path": "newmethodsineduc02tadd_0014.jp2"}, "13": {"fulltext": "Table of Contents.\\nChap. 6. Drawing from Life Forms axd Memory Drawing-\\nPersistence required. Memory drawing. Fisli forms. Typical\\nforms. Speaking through the finger tips. Importance of simplicity.\\nA warning. Variety in forms. Fish forms in design. General\\nremarks. 139-154\\nChap. 7. Drawing from Nature and from Memory.\\nBlaclvboard work. Bird forms. Color in birds. Botanical\\nforms. 155-168\\nChap. 8. Conventional and Symbolic Forms.\\nDolphins make beautiful forms. Griffins. The bird form.\\nDrawing from objects. Symbolism, Plaster models. Architec-\\ntural models. 169-184\\nBOOK THREE-ModeUng\\nChap. 1. Introduction, Plant, etc.\\nOnly one way to know form. The plant required. A good\\nbox for the clay. 185-192\\nChap. 2. Elementary Courses in INIodeling.\\njNIanipulation of clay. The spiral. Leaf forms. Circular\\nforms. Hints to the teacher. Elementary forms. Animal forms.\\nOther animal forms. Vessel forms. 193-208\\nChap. 3. Modeling Fruit and Vegetable Forms.\\nThe apple. The pear. Hints to teachers. The bairana. Fruit\\ntile. Make a composition. Vegetable forms. The tomato. The\\nturnip. 209-220\\nChap. 4. MoDELiN(f Geometric Forms.\\nThe sphere. The cube. The cylinder. The square prism.\\nThe cone. 221-228\\nChap. 5. Modeling for Grammar Grades.\\nPay particular attention to fine curves. Build solid tile for\\nscrolls. The rosette form. Position of tools. The leaf units. The\\nINIoresque form. The scroll and crocket. Combination of scrolls\\nand leaflets. The anthemion. The curved leaf. Simple shell\\nforms. 229-246\\nChap. 6. Modeling Animal Forms.\\nSuggestions. Directions for modeling. Must d^o work to real-\\nize its educational value. 247-256\\nChap, 7. Wax Modeling.\\nCost and care of wax. Drawing and lining in design. Hough\\ntexture wood best. Modeling animal forms. 257-260\\nBOOK FOUR\u00e2\u0080\u0094 Wood Carving\\nChap. 1. Tools for Wood Carving: Design in Wood.\\nThe tools required. Age at which to learn. The wood to use.\\nDesigning the form to carve. As to graded work. 261-270\\nChap. 2. Instructions for Elementary Carving.\\nHow to carve. Carving the raised surface. Power in the hand.\\nEncourage the pupil. The value of carving. Use of finished work.\\nAs a training. Finishing the carving. 271-282", "height": "3301", "width": "2345", "jp2-path": "newmethodsineduc02tadd_0015.jp2"}, "14": {"fulltext": "viii Table of Contents.\\nChap. 3. Carving the Elementary Units of Design.\\nThe scroll. The simple leaf. The spiral -with crockets. The\\nanthemion. Rosettes. Square rosettes. Fluted forms. Conven-\\ntionalized forms for carving. 283-290\\nChap. 4. Carving on Furniture and Other Advanced Work.\\nCarving in relief on curved surfaces. Borders and moldings.\\nSuitable forms for carving. Carving in the round. 291-302\\nBOOK FIVE\u00e2\u0080\u0094 Various Applications\\nChap. 1. Construction in Woodwojjk and ^Mechanical\\nDrawing.\\nRadical featui e of this method. Machine-shop practice has its\\nplace. Large economy in equipment. Use of head work. Rotation\\nof work. Objects of instruction. Put art first. Good teacher bet-\\nter than good tools. Mechanical-drawing course includes what.\\nArchitecture. Blackboard work. The simpler exercises. Advanced\\nwork. Woodworking course and what it includes. Tools for wood-\\nworking department. IMechanical-drawing course and equipment.\\nExercises in metal work. 305-337\\nChap. 2. Correlation of Drawing with Other Studies.\\nTrouble with old drawing methods. Correlation of art meth-\\nods with language study, zoology, nature study, biology, botany,\\nelementary mineralogy, entomology, chemistry, etc. 339-357\\nChap. 3. Art and Manual Training in Special Schools.\\nNight schools, importance of occupation, plant, materials and\\nteachers required. Vacation schools. Normal and summer schools. 359-383\\nChap. 4. Other Uses for Art, Manual Training and Na-\\nture Study.\\nDecorating the school room. For backward pupils. For the\\nfeeble-minded and insane. Reformatories and truant schools. Mis-\\ncellaneous applications. Repousse and hammered work. For par-\\nents. 385-397\\nChap. 5. Suggestions for Art Students.\\nA great field for teachers. Preparing for fine art work. Fit-\\nting for the minor arts also. Charcoal drawing. Painting in water\\ncolor from casts. Life work. Summer art work. 399-417\\nMiscellaneous\\nAuthor s acknowledgments. Index. List of illustrations.\\nThe publishers word. 418-124", "height": "3344", "width": "2307", "jp2-path": "newmethodsineduc02tadd_0016.jp2"}, "15": {"fulltext": "BOOK ONE\\nFirst Principles\\nIn childhood and in the earliest period of edu-\\ncation, have more care for the health of the body\\nthan for the mind, and for the moral character than\\nfor the intellectual. Let nothing base or servile,\\nvulgar or disgraceful, meet the eye or assail the\\near of the young; for from words to actions is but\\na step. Let their earliest and first impressions of\\nall things be the best. Let them be taught fully all\\nthe essential elements of education and as much of\\nwhat is useful in a merely mechanical point of view\\n\u00e2\u0080\u00a2as will have the effect of rendering the body, the\\nsoul, and the intellectual powers capable of arriving\\nat the highest excellence of their respective natures.\\nThe merely useful, or absolutely necessary, matters\\nof education are not the only ones that deserve\\nattention, but to these should be added such as\\nexalt and expand the mind and convey a sense of\\nwhat is beautiful and noble. For to be looking\\neverywhere to the merely useful, is little fitted to\\nform an elevated character, or a liberal mind.\\nAristotle.", "height": "3301", "width": "2345", "jp2-path": "newmethodsineduc02tadd_0017.jp2"}, "16": {"fulltext": "^mmm\\nV\\no\\nH\\n-3\\na.\\ne. a^\\nt a", "height": "3344", "width": "2307", "jp2-path": "newmethodsineduc02tadd_0018.jp2"}, "17": {"fulltext": "CHAPTER I\\nIntroduction\\nN THE PROBLEM OF CHILD\\neducation, than which there is\\nscarcely any subject more widely dis-\\ncussed, there enters equally wdth\\nthe mental, the consideration of\\nthe physical and the esthetic de-\\nvelopment. I consider esthetics\\nthe science of the beautiful in nature\\nand art, especially that which treats\\nof the expression and embodiment of Esflietic\\nbeauty in art one of the important training\\nnecessary in\\nthings in education. The young, of education\\nwhatever circumstance in life, have a\\nright to the joy that comes from\\nknowing and perceiving beauty in\\nnature and in art forms. If we are to\\nplant anything in the young, or\\ngive them any capacity, it should be\\nthe power of enabling them to\\nperceiv^e in their environment the\\ngood, the true and the beautiful.\\nThis of course is to be done at the same time that w^e give\\nthe young the capacity to make a living. To teach them a trade\\n(3)\\nCLOCK\\nDesigned, drawn and carved\\nby high school boys", "height": "3301", "width": "2345", "jp2-path": "newmethodsineduc02tadd_0019.jp2"}, "18": {"fulltext": "First Principles\\nThe\\nfirst tools\\nIngsandinitialg are mostly\\nof children s work.\\nThe\\nmethods\\nadvocated\\nonly, or to fit them for business, or commerce only to make\\nsquare peg s for round holes, as we often do is a mistake. I\\nhave no sympathy with the manual training methods that make\\nthe use of tools and workshop exercises the main end. The\\npupils become simply machines, thoughtless mechanisms.*\\nThe first tools to be used and trained are the mind, the eyes and\\nthe hands, the instrumentalities of the organism. To these\\nour chief care should be given. It is of little use that the pupil\\nhas built a machine or performed a piece of work by mechanical\\nmovements, if his own organism is not complete, if his hand is\\nnot sure, his eye not true, and his mind not balanced.\\nI make a plea for this organic skill first because I have\\ntested many pupils from divers institutions, and have found\\nalmost invariably that without instruments of precision\\nrulers, compasses, gauges, calipers, etc. they are powerless.\\nIn many cases the}^ are simply plan-followers and thoughtless\\nmechanics, without the elementary facility that small children\\ncan get spontaneously in a few weeks practice of rational\\nmethods in manual training. They have been trained under\\ntraditional formulas to do certain things in certain ways, with-\\nout any endeavor to have them realize the immeasurable life\\npossibilities and potentialities planted in each person.\\nThe methods advocated herein for elementary work in edu-\\ncation consist:\\n1. In a practical development of the factors of the organ-\\nism itself, the hand, the eye and the brain by the acquisition\\nof their conscious control, to be followed by automatic control.\\n2. In the use at certain periods of powerful rectifving\\nexercises to reform or correct awkward muscular movements\\nWe teach boys to be such men as we are. We do not teach them to aspire to be all they\\ncdn. We do not give them a training as if we believed in their noble nature. We scarce educate\\ni!ieir bodies. We do not train the eye and the hand. We exercise their understandings to the\\n(ipprohension and comparison of some facts, to a skill in numbers, in words; we aim to make\\naccountants, attorneys, engineers, but not to make able, earnest, greathearted men. The great\\nobject of Education should be commensurate with the object of life. It should be a moral one,\\nto teach selftrust; to inspire the useful man with an interest in himself; with a curiosity touching\\nhis own nature, to acquaint him with the resources of his mind, and to teach him what there is in\\neU his strength, and to inflame him with a piety toward the Grand Mind in which he lives.\\n|Emerson, Lectures and Biographical Sketches, Page 134.", "height": "3354", "width": "2356", "jp2-path": "newmethodsineduc02tadd_0020.jp2"}, "19": {"fulltext": "Introduction\\nof work\\nor habits, as well as for the purpose of gaining facility, balance,\\nproportion, accuracy, magnitudes, fitness and grace.\\n3. Exercise in different mediums, as wood and clay, for\\nacquiring dexterity and skill in shaping various ideas.\\n4. Exercises for acquiring accurate and permanent\\norganic memories of environment: (a) From nature, at periods\\nwhen impressions are most vivid (nascent period), from animals,\\nflowers, insects, shells, etc. (b) from art works and ornament\\nof best periods; (r) creative designing in various materials.\\nPerhaps one of the most radical features of my method,\\napart from those of ambidexterity and memory drawing, and\\none that must be understood as being applied in all our schools, j^Qtation\\nis the rotation of the branches of work. The pupils do not take of branches\\na course of drawing alone, or of modeling alone, to be followed\\nwith another course for a certain period, but in every grade\\nfrom the lowest the children are required to work in the four\\ndepartments of drawing, designing, clay modeling and wood\\ncarving. By drawing all forms first on paper, then in soft clay,\\nand then in tough wood, all the possible physical co-ordinations\\nare acquired in the different materials. The work of making\\nform in clay reinforces the drawing; carving in wood reinforces\\nthe modeling. Designing forms in clay and wood, as well as\\non paper, compels originality and invention, or the exercise of\\nthe creative capacity at every step of the work.\\nThe method or system of rotation varies with the different\\nschools. In some the pupils change from one branch to the\\nother at each lesson; in others, at every fourth lesson; in others\\nagain, a piece of work in each branch is finished before the\\nchange is made. This method is very stimulating to the pupils,\\nand especialh^ shows for what they are best suited. The exercise\\nof the opposite capacities gives them a chance to do work in the\\nbranches in which they show most deficiency. No exception is\\nmade with any pupil all, in the elementary courses, must work\\nin the various mediums, unless constitutionally defective.\\nJust as I insist that elementary manual training for the\\nyoung must precede all special work, such as joinery, cabinet", "height": "3301", "width": "2394", "jp2-path": "newmethodsineduc02tadd_0021.jp2"}, "20": {"fulltext": "6\\nFirst Principles\\nMake the\\nhand skillful\\nInfluence of\\nbeauty\\nwork, metal work, trade processes, or dranghting, mechanical\\nand architecttn-al drawing, object drawing, etc., so T insist\\nthat the hand must, l)y this rotation, l^ecome famihar and\\nexperienced with form in these different mediums. All artists\\nand artisans at once admit the reasonableness of this. To make\\nthe hand itself skillful is necessary before it can do its best\\nwith tools.\\nBy these methods all pupils without exception develop\\ntheir capacities. Some get remarkable power and enter the\\ndiverse grades of art work at once, in various directions. All,\\nhowever, acquire sufficient skill to enter the different minor\\nindustries with credit. All, according to their degree of\\nintelligence, are prepared to do skilled work with tools and\\nhands in the different vocations open to them, after very little\\npreliminary training, because they have skilled hands, true eyes\\nand a certain amount of power of expression and originality.\\nMemory drawing and ambidextrous drawing, as described\\nin the following chapters, are made an important part of the\\ncourse. By the nature-study drawing we endeavor to make\\npermanent organic impressions of beauty that will be a joy to\\nthe pupils in their after lives, no matter how poor and sordid\\ntheir lives may be.\\nSo powerful is the influence of a knowledge of beauty and\\nthe joy tliat comes from it, that it is possible to make a\\ncontented mind, or a mind that will remain contented, if\\nnecessary, in the most toilsome drudgery. There is a certain\\namount of compensation in this. It is not necessary that the\\nso-called lower classes should have small minds, or low\\nminds. The mind can be expanded, elevated, even in the\\nlowest stages of society. This is done by art methods rightly\\ndirected and by esthetic culture, especially that which concerns\\nitself with the expression and embodiment of beauty in form,\\nwhich has so important an effect on the organism.\\nThe training of these activities has a higher outcome than\\nthe solely physical one. It ministers directly to a certain\\namount of moral training; it has distinct ethical effects.", "height": "3354", "width": "2356", "jp2-path": "newmethodsineduc02tadd_0022.jp2"}, "21": {"fulltext": "Introduction 7\\nMorality is eml^odiecl in nature. Ideas of goodness and l)adness\\nare received from things. Whenever children are taught to\\nuse their own faculties, their powers of choice and of intelligent training\\n_ and its value\\nselection must become developed, until, Ijy habit, perhaps by\\ninstinct, preference for the good and dislike for the bad\\nbecome ingrained.\\nIt is no more difficult to make children realize the immu-\\ntability of moral laws than it is to teach them the immutability\\nof physical laws. Just as a child knows the effect of gravity, or\\nthe action of fire upon the body, so it can be brought to a\\nrealization of the distinction between the true and the false, the\\nbeautiful and the ugly; the standards of these qualities are\\nabsolute. Perception of them, strengthened by the force of\\nhabit, must come through the repetition of intelligent observa-\\ntion and the union of thought with action.\\nIf we are ever to get true morality as well as intellectuality,\\nit will be by making the young recognize the rightness of s*^* true\\nmorality\\nthings. Material things, plants, flowers, crystals, animals,\\nnever cheat. All nature hums and vibrates with truth. Water,\\ntrees, sounds from metal, stones and wood, ring out truth every\\ntime. So will the children when, with loving recognition\\nattained through trained observation and action, they realize\\nthe divinity and mystery of things. Only by enjoyment and\\nlove of work can this l)e effected, and to do this teachers must\\ninculcate the higher objects of work, of struggle, of sacrifice and\\nunselfishness, showing- that only by work, earnest endeavor,\\nand unceasing effort can we reach the highest planes of physical,\\nmental and ethical culture.\\nExperience has gradually taught the author to change a\\ngreat many of his ideas and plans, until he has come, during\\nthe last few years, to fundamentals in this direction.\\nFor educational purposes, he has found that the teaching\\nof a trade is not the most beneficial thing that can be done for\\na boy or a girl. He has also learned that to take fifty boys notbenefidal\\nand make them all carpenters, or plumbers, irrespective of their\\ndifferent dispositions and tastes, is a wrong, a great wrong.", "height": "3311", "width": "2389", "jp2-path": "newmethodsineduc02tadd_0023.jp2"}, "22": {"fulltext": "First Principles\\nDiscover\\ncapacity, then\\neducate it\\nThis is one of the tendencies of our modern systems of\\neducation that can be readily seen in most cities now where the\\nindustrial and the mercantile ideas have been overdone, where\\nchildren are fitted even in the high schools and other\\ninstitutions for commercial courses, irrespective of any natural\\ncapacity they may have. A great many institutions teach\\ntypewriting, stenography, bookkeeping, penmanship, to all\\ncomers, irrespective of their capacity, and by degrees the\\nmarket has become overstocked.\\nThere are more clerks than we can care for, and fewer\\nartisans and skilled workers than are needful. In response to\\nan advertisement in almost any city requesting clerical help,\\nhundreds of applications may be received. In some cases the\\napplicants volunteer to work for the experience, or for nominal\\npay. If an advertisement is put in the paper for a skilled hand\\nworker in almost any of the trades, the reverse is true; there will\\nbe very few applicants, and wages must be paid in proportion\\nto capacity.\\nIt seems reasonable to me, and the proper thing to do,\\nthat we should fit our children to enter into pursuits to which\\nthey are specially adapted, where there is not already a crowd,\\npushing each other to the wall. It seems to me that this should\\nbe especially the object of the newer institutions of learning\\nthat are founded expressly for the purpose of helping people to\\nhelp themselves. I consider that it is wrong to produce more\\ntypewriters, stenographers, bookkeepers and penmen, when\\nthe market is already overstocked. It seems an injury to the\\nones already working. Of course I know that by struggling, a\\npercentage of these newcomers will achieve distinction, that\\nthey will gradually work their way to the top. But how about\\nthe large percentage who do not have much capacity to\\nstruggle, who do not have even sufficient energy to make the\\nrequired movements to change their environment and to start\\nanew in some other line, who remain drudges on account of this\\nlack of disposition, or this mental inertia? Certainly, we\\nshould consider them.", "height": "3354", "width": "2356", "jp2-path": "newmethodsineduc02tadd_0024.jp2"}, "23": {"fulltext": "Introduction 9\\nMy first idea in leaching, years ago, was simply to give\\nseveral kinds of drawing, drawing from objects, mechanical\\ndrawing, etc., and to teach a few trades. We taught carpenter pj^st\\nwork, designing, painting, pottery work, mosaic setting, metal experiments\\nchasing, and needle work of several kinds, at different times.\\nThe children and adults elected their branches of study. It was\\ngradually found, however, that this was not the best plan.\\nThree or four years of carpenter work, except in the limited\\noperations of the trade, did not develop the eye and the hand,\\nand proved futile in developing the mind and the judgment.\\nThe operations being mostly mechanical, and being performed\\nby instruments of precision, every time a board was cut it would\\nbe marked off, every time a piece of wood was cut it would be\\ngauged; the caliper, the T square and the ruler were con-\\nstantly used.\\nThe sentiment of Michael Angelo gradually entered my\\nmind: We must carry our instruments of precision in the eye,\\nnot in the hand. Only after striving and struggling up above\\nthe use of instruments of precision, rulers, compasses,\\nmechanical methods, do we recognize their futility in developing\\nthe mind, the judgment, the eye and the hand. The mechanical\\nmethods had to give way, one after the other, after trial in\\nvarious directions. Only by trying and testing the old methods,\\nand thus proving their fallacy, did we emerge into the light of\\nbetter ways.\\nFeeble art methods, trade training, abuse of geometric\\nforms and blocks, false, artificial and unnatural systems devised\\nfor monev-making purposes, were tried and proved wanting.\\n1 1 -1 1^ Fundamental\\nA number of trade processes were tested with similar results, methods\\nuntil we actually, by experience, came down to fundamental\\nfacts, and on these we have built up a method reasonable,\\nfeasible and without great cost, adapted to all grades, from child\\nto adult; a plan that can be applied without friction to every\\nkind of educational institution, and limited only by the capacity\\nof the individual; a method covered by natural law, working\\nwith the absolute precision of nature itself; a process that", "height": "3311", "width": "2389", "jp2-path": "newmethodsineduc02tadd_0025.jp2"}, "24": {"fulltext": "JO\\nFirst Principles\\nEducators,\\nscientists and\\ndoctors express\\nhearty good\\nwill\\nunfolds the capacities of children, as unfold the leaves and flow-\\ners; a system that teaches the pupils that they are in the plan\\nand part of life, and enables them to work out their own salva-\\ntion on the true lines of design and work as illustrated in every\\nnatural thing.\\nMany educators, scientists and doctors have expressed\\ntheir hearty good will toward the method outlined in this work,\\nanything saving wear and tear of mind and matter appealing to\\nthem directly. Much time and energy are saved to pupils\\nworking this way; their understanding of things being quick-\\nened, they have less drudgery to go through to obtain facility.\\nThe work is chiefly and above anything else to be desired\\nfor its disciplinary value as an educational method, apart from\\nits practical value, in that it cultivates judgment, proportion,\\nsymmetry and fitness. In drawing on blackboards, the\\nchildren take exercise. The work is done on so large a scale\\nthat they have to move about, no small work being allowed.\\nThe children avoid the hal)it of peering at lines, shortening their\\nfocal length. This is one great trouble in the drawing, reading\\nor writing as usually followed in schools. In many instances\\nmuch damage is done to sight. Too many children wear\\nspectacles in these days.\\nOritrinal Design", "height": "3354", "width": "2356", "jp2-path": "newmethodsineduc02tadd_0026.jp2"}, "25": {"fulltext": "CHAPTER II\\nDevelopment of\\nBent Of Disposition\\nHIS BOOK IS ALSO PRI-\\nmarily written to aid people\\nremote from art centers and edu-\\ncational opportunities. It is\\nnot so much with the idea that\\nwith the book they can learn to\\ndo the work, as it is in the w^ay of\\nsuggestion to those wdio cannot\\nbe reached by other means.\\nThe millions of such people,\\nyoung and old, may perhaps be\\nhelped by knowing that most of\\nthe ideas embodied in this book\\nhave been gained in the hard\\nschool of experience.\\nA large portion of the chil-\\ndren in the various schools and\\nin the different communities are\\nespecially endowed or have a native capacity for hand skill,\\nthe power to do skillful work in many diverse pursuits. There\\nis a much larger proportion of these than many people believe.\\nThis has been demonstrated by numbers of experiments I have capacity for\\nmade and from graded tables based thereon for a period of hand skill\\nyears. This is true of the upper classes of society as well as\\nthe lower.\\n(II)\\nEnlareinff Drawinirs", "height": "3311", "width": "2389", "jp2-path": "newmethodsineduc02tadd_0027.jp2"}, "26": {"fulltext": "J2\\nFirst Principles\\nLack of hand\\nskill one cause\\nof poverty\\nImportance of\\nfinding out the\\nbent of the\\nyoung\\nExperiments have l)een going on in a number of countries,\\nand in a variety of institutions and prisons, which have proved\\nconclusively that what have been termed the lowest and most\\ndegraded members of society owe their condition partlv to the\\nlack of this capacity and of their hand craft l^eing undeveloped. I\\nhave found in penal institutions in which I have taught or con-\\nducted classes, a fair proportion of pupils who, with development\\nand training-, would have shown extraordinary capacity. The\\nsame is also true of people who have unfortunately been bred in\\nthe lap of luxur} and who have never been taught to do any-\\nthing, or had their capacities in these directions trained. A very\\nfair proportion of the pupils in some of the best private schools\\nand colleges, where I have been able to come in contact with\\nnumbers of this class, show remarkable skill and capacity.\\nFor a series of ears I have kept tally of numbers of cases\\namong parents, care-takers and friends of children who have\\nvisited my various schools. Test questions put to them show\\nthat a very large proportion have never been able to develop\\ntheir bent or disposition, and in the course of time and expe-\\nrience they have foimd this out. One of the commonest state-\\nments in my schools is that made by parents, when they say\\ntheir primary desire in bringing the children is that they nioy\\nget the training which they themselves did not have and which\\nthey should have had when they were young. It is remarkable\\nhow man} parents acknowledge that they feel now that in\\nyouth they had a taste for certain branches which they were\\nnever able to carry out, perhaps an inclination toward mechan-\\nics or construction, or a feeling for form, and it is sorrowful to\\nhear the regret that is sometimes thus expressed.\\nIf the methods in this book are good for anything at all, it\\nwill be for the fact that we do find out by their aid the disposi-\\ntion or bent of the pupils. I am inclined to think that this\\ncapacity to find out the especial capacity of pupils by various\\ntests is one of the best parts of our work. Surely this is one of\\nthe first things to be done in education. Even if the children\\nare to be compelled to follow certain distasteful pursuits for", "height": "3354", "width": "2356", "jp2-path": "newmethodsineduc02tadd_0028.jp2"}, "27": {"fulltext": "Development of Bent or Disposition\\nJ3\\nIllustration tt\\nFreehand Manual and Memory Drawins\\nmoney, there is no reason why they should be debarred from a\\nghmpse of, or an insight into, the possibiHties and potentialities\\nthey have or might have. Mnch might be saved in the way of\\ncare and worry to the individual, and much gained in the giving\\nof a capacity to enjoy, by following out certain of the lines\\nherein contained, as a recreation or a hobby. Everyone recog-\\nnizes the value of this to-day.\\nFew parents realize the great variety of skilled pursuits\\nthat are now open in the various directions of hand work, as sinfulness\\nbeneficial and\\ncompared with a few years ago. The old idea that the only a means of\\nrespectable pursuit for one s child is a profession has been worn ^^n^al\\nexpansion\\nout for many years in this country, but it persists in more\\nplaces than would be suspected, simply through ignorance of\\nthe enormous expansion of the industrial world of to-day, with", "height": "3311", "width": "2389", "jp2-path": "newmethodsineduc02tadd_0029.jp2"}, "28": {"fulltext": "J4\\nFirst Principles\\nReal manual\\ntraining a\\nmeans of finding\\nout capacity\\nNecessity of an\\nenergetic\\ndisposition\\nits opportunities and fortunes. I am so penetrated with this idea\\nfrom my experience that I consider it wrong for any child in\\nany condition of life to be debarred from at least a portion of\\nthis fundamental work. Even in the professions, such as that\\nof clergyman, doctor or lawyer, judgment, reason and imagina-\\ntion are required. It is not fair that men and women of affairs\\nshould be debarred from the extra power and mental expansion\\nthat these capacities or opportunities give them.\\nAgain, many kinds of luisiness are so much alike, recjuiring\\nsome technical skill in diverse directions, that it is almost impos-\\nsible for those entering on a career to be able to find out in a few\\nyears whether they are especially suited or adapted to it. It is\\nvery disheartening gradually to realize in the course of time their\\nlack of fitness or capacity for the pursuit they are following. This\\nis illustrated by thousands of cases all over the world. I have in\\nmind some bitter experiences that I have suffered individually.\\nI have a vivid recollection of a dentist who should have been a\\nfarmer. I have seen many doctors and surgeons who should\\nhave been in the possession of perfect control of their hands and\\nfingers, yet who seem to be possessed of thumbs only. Every\\nyear of experience will show us such distressing cases, and few\\ncan attain to positions of responsibility and care without coming\\nin contact with many instances of this kind.\\nThe author s hope is to help that great army of persons\\nwho feel that they are not especially gifted or endowed in any-\\nthing and to make them able to expend their energies to advan-\\ntage in some practical way energies that are too often wasted\\nand puttered away in trifling work or labors that accomplish\\nnothing in ministering to their welfare. Too often many fail in\\nlife, though possessing good intentions and desire to do their\\nbest. They try one thing and then another, never becoming\\nthorough in any direction, and never becoming able to earn a\\nproper or sufficient income. Tlieir work is only half-hearted,\\nthey do not feel that it is their mission, and consequently move-\\nments\\nproduct results.\\nare made that are not energetic enough and little", "height": "3354", "width": "2356", "jp2-path": "newmethodsineduc02tadd_0030.jp2"}, "29": {"fulltext": "Development of Bent of Disposition\\nJ5\\nSatisfaction is essential to the mind and body. The organ-\\nism is fortunately so constituted that a satisfying income or a essential\\nfull purse is intimately related to a contented mind and an\\nenergetic body.\\nHow many teachers there are who, through small pay and\\nphysical and mental inertia, do injustice to their pupils. While\\nfrequently well meaning and endowed with altruistic desires,\\nthey fail to accomplish anything; nay, they even do harm and\\ninjur}^ because to be a good teacher requires essentially the\\ninspiration that the art of teaching is divine. It is a mission to\\nteach children having souls. The teacher must especially real-\\nize that each mind or soul is an immortal part of the future\\nheaven he -or she is helping to build.\\nHow differently one feels and works when the right thing inspiration by\\nand the right way have been found! How much more intense P5 ^o \u00e2\u0084\u00a2a ce\\nof deeds\\nevery thought and action become. This is one of the objects\\nof this book to show ways and means that transform the dull\\nroutine and drudgery of teaching into a pleasurable and profit-\\nable means to the welfare of manv.\\nBlackboard Drill Work in Design", "height": "3311", "width": "2389", "jp2-path": "newmethodsineduc02tadd_0031.jp2"}, "30": {"fulltext": "CHAPTER III\\n--3i. I\\nImportance of\\nvarious sense\\nimpressions\\nBench Work\\nImportance of Contact\\nwith Things instead\\nof the Symbols of\\nThings\\nIFE IS A SUCCESSION\\nof lessons that must be lived\\nto be understood. Experi-\\nence, and not memory, is the\\nmother of ideas. My desire\\nis to impress all with the im-\\nportance of developing the\\norganism through each of the\\ndifferent sense channels, in\\naddition to the verbal or word\\ncenters. The tendency with\\nthe present modes of educa-\\ntion is to overtax the memory\\nand overload the mind with\\nstudied words. Instruction by\\ntelling is a feeble mode of\\nimpressing the mind. Ac-\\ntions speak louder than\\nwords. Only in proportion to my experience can I under-\\nstand the symbols of things, that is, words. Words are empty\\nsounds unless accompanied by clear ideas or thoughts of the\\nI am indebted to Dr, Hailman for many of the ideas expressed in this chapter.\\n(16)", "height": "3354", "width": "2356", "jp2-path": "newmethodsineduc02tadd_0032.jp2"}, "31": {"fulltext": "Contact with Things J 7\\nthings signified. I can have true ideas or false ideas only in\\nproportion to my experience.\\nIdeas are symbolized by words. Words are signs for nat-\\nural facts. Every object, rightly seen, unlocks a new faculty\\nin the soul and thus becomes a new weapon in our arsenal of\\npower. It is important in the first place to secure ideas, then\\nto connect these ideas with intelligible words. The content of\\nImportance of\\na word depends upon the character of the idea symbolized. To getting ideas\\nthe child the word symbolizes no more than his own ideas. The\\nsupreme thing, then, is (i) to secure ideas, (2) to connect these\\nideas with intelligible words, (3) to combine these ideas and\\nwords with appropriate actions, (4) to secure a complete work-\\ning of this mechanism in each instance; this union of securing\\nthought and action so that it works unfailingly and in a measure\\nbecomes conduct or behavior.\\nEvery natural object bristles with facts, teems with ideas.\\nI should be bristling with facts, I should teem with ideas! The\\nobject should inspire me to become eloquent, to give expression Thought fabric\\nthrough my various channels of facts and ideas. Bv the tongue ^7L,^rUotrn\\n\u00e2\u0080\u00a2J o 01 expression\\nI should vocally give expression to ideas. I should be able to\\nwrite ideas, and should give expression to them by means of\\ndrawing, constructing, modeling, painting, etc. By this means\\nwe make thought fabric and mind structure.\\nWe consider too much the symbols of knowledge instead\\nof the sources of knowledge\u00e2\u0080\u0094 the objects, facts and processes\\nof nature in time and space. How can we expect to grasp the\\nideas represented by these objects, facts and processes unless Dissipation\\nwe embody them? We too often introduce our children to the\\nsources of information which books supply, instead of to those\\nsources which nature and experience supply. If we give them\\ninformation from books only, there are a consumption of vital-\\nity, a dissipation of energy, a diversion of the attention and a\\nprevention of the impulse which prompts to action.\\nOn the other hand, if we introduce our children to the\\nsources of knowledge, the facts, objects and processes of nature,\\nthere are a conservation of energy, a storing of vitality, an", "height": "3311", "width": "2389", "jp2-path": "newmethodsineduc02tadd_0033.jp2"}, "32": {"fulltext": "iS\\nFirst Principles\\nAssimilate facts,\\nnot words\\nonly\\nRepetition and\\nthe force of\\nhabit\\nVital union of\\nhead, hand,\\nheart\\ninspiration, and a compelling of the attention that gives a\\nstrong, active impulse to the feelings and emotions which\\nprompt to action.\\nAVe must, therefore, assimilate facts, not words. If we do\\nthis, we make onr thinking structure and mental fabric at first\\nhand. This cannot be done if we assimilate words alone; only\\npartial ideas can be formed that do not yield complete mental\\nstructure. Ideas should grow in clearness, vividness, compre-\\nhensiveness and accuracy by repetition. Expressions through\\nthe various sense channels should be related and associated in\\nthought. Only thus can we get the appropriate impulse that\\nprompts to action; only thus can we get that right action which\\nis the fruit of a good education.\\nBut not only must we get information first hand, but we\\nmust register it organically by repetition. It must become a\\npart of us, ready to be used when needed. The very essence of\\nknowledge is in possessing it and in being able to use it.\\nI want to make clear, if I can, the union which exists\\nbetween the head and the hand, also the union which exists\\nbetween the head, the hand and the heart. You cannot rightly\\ntrain the one without influencing the others. As Dr. Balliet\\nsays: All hand and eye work involves brain work, and the dis-\\ntinction between hand work and brain work is not true.\\nAll the intellectual forces in the world will not enable\\nme to know the texture of velvet or sandpaper until I touch\\nthem, then at once the knowledge is awakened in my brain\\nthrough my hand and eye. I cannot rub my brain against the\\ncloth or the paper, I do it through my hand and eye. I cannot\\nknow the shape of so simple a thing as a common coml) through\\nthe touch alone. I must see it before I can get the right con-\\nception of it, my touch not enabling me to feel the space between\\neach tooth.\\nFew persons get complete and correct ideas of the various\\nsenses as organized, how distinct and separate they are, and yet\\nhow mutually dependent and connected. I can feel with my\\ncoarse fingers through very fine skin the most delicate pulse; I", "height": "3354", "width": "2356", "jp2-path": "newmethodsineduc02tadd_0034.jp2"}, "33": {"fulltext": "Contact with Things\\n19\\nIllustration 14\\nWood Caiving Class, Public bchool of Industrial Ait\\ncan readily feel the blood bounding along, on some wrists I\\ncan even see it, yet with the tongue, that has such wonderful\\nsense of touch for many things, I cannot get the slightest sensa-\\ntion in this direction. This curious fact is mentioned by Sir\\nCharles Bell, the discoverer of the functions of the nerves. The\\nsense of touch must sometimes be helped by the sight. It is\\noften difficult to touch certain parts of one s hand with the other\\nwithout the aid of sight.\\nDrawing should be used as modes of thought expression\\nquite as often and as much as speech and writing; for while\\npupils gain accuracy of perception, they also gain facility of\\nexpression, the terms interacting. Some one has said that the\\nfoundation of right reasoning is accurate perception. How\\nseldom would pupils shirk work and how pleasant it would\\nbecome if drawing were used as a mode of expression. Drawl-\\ning and art work would perforce redeem the sordid homes of\\nmany pupils by teaching a certain aniount of beauty and\\nVarious sense\\nimpressions\\norganized into\\nconcrete ideas\\nDrawing a\\nmode of\\nthought\\ne.xpression", "height": "3311", "width": "2389", "jp2-path": "newmethodsineduc02tadd_0035.jp2"}, "34": {"fulltext": "20\\nFirst Principles\\nBook-bred\\npeople\\nindisposed\\nto action\\nImportance\\nof visual\\nmemory\\ncreating a desire for it, instead of leaving them to dissipate their\\nenergy by the reading of senseless novels and trashy papers.\\nDrawing properly taught gives a disposition to do something.\\nI do not by any means mean the kind of drawing given usually\\nto-da3% but I mean drawing as a mode of thought expression\\nthat will be used as often as speech and writing. See what the\\nproduct would be. See what the product is already in some of\\nour schools where the children produce things of use and beauty\\nfor the adornment of their homes.\\nThe inspiration to perform deeds, to make movements, is\\nso important that I cannot help calling attention to it contin-\\nually. Prof. Reuben Halleck says: A glance around us is\\nnearly certain to discover some persons of marked deficiency in\\nthe world of action. They may like to learn and to continue\\nabsorbing knowledge, but they never make any worthy use of it.\\nA visit to -the reading rooms of any library will enable us to find\\nchronic, sponge-like absorbers of whatever is wTitten. Their\\nvery faces come to have a dreamy, relaxed expression. These\\npersons generally fancy that they are going to do something\\nsoon. But the motor paralysis becomes more and more com-\\nplete. Sometimes boys are allowed to bury themselves in book\\nafter book until action becomes extremely irksome to them.\\nThey love to absorl) ideas and to direct ah tlieir motor energy\\ninto dreaming or castle-building. In the case of the majority\\nof people, motor action needs to be cultivated and to be directed\\nto a definite end. It is not enough for one to form an idea of\\nbecoming a great man. He must do things to make him-\\nself great.\\nRead also Sir Francis Galpin on Inquiries Into Human\\nFaculty and Its Development: A visual image is the most\\nperfect form of mental representation wherever the shape,\\nposition and relations of objects in space are concerned. It is\\nof importance in every handicraft and profession where design\\nis rec[uired. The Ijest workmen are those wdio visualize tlic\\nwhole of what they propose to do before they take a tool in their\\nhands. Strategists, artists of all denominations, physicians who", "height": "3354", "width": "2356", "jp2-path": "newmethodsineduc02tadd_0036.jp2"}, "35": {"fulltext": "Contact with Things\\n2i\\ncontrive new experiments, and in short all who do not follow\\nroutine, have need of it. The pleasure its use can alTord is\\nimmense. I believe that a serious study of the\\nbest method of developing and utilizing this faculty without\\nprejudice to the practice of abstract thought in symbols is one\\nof the many pressing desiderata in the yet unformed science of\\neducation. Prof. Halleck says further: The great danger\\nfrom castle-building and inveterate novel reading lies in divorc-\\ning ideas from action. The dreamer accustoms himself to\\nbecome incapable of action.\\nI am convinced that some of the present methods of educa-\\ntion devitalize society. This is a question agitated among edu-\\ncators. And it has been repeatedly suggested that mere book-\\nlearning- does not diminish crime, but that it increases crimes\\nwhich involve the exercise of penetration and scholarly train-\\ning. A writer on this subject asked recently Whether the too much\\nshort-sighted, illiterate or the crafty, educated man of evil\\ndivorces ideas\\ndesign w^as more dangerous to society. Education as at fro^n action\\npresent conducted will not develop the best potentialities in\\nman s nature, will not enable him to bring into action the best\\nthat is in him. It is unreasonable to think that a knowledge\\nof the three R s will do this. It must be something very\\nmuch more. It must be a training to obtain habits of self-\\nreliance and self-control and the golden fruit that results, a\\ntraining that will make people think and act more instead of\\nless, that will open up the immense realms of ideas so few reach.\\nUnder the old method of education, the time being chiefly\\ngiven to the study of words, printed, written and spoken,\\nthe printed and written words (symbols for ideas) are studied words studied\\nat the expense\\nat the expense of the ideas themselves. This leads to false or of ideas\\npartial ideas and weak imagination. The vision is used too\\nmuch, the pupil reading and writing at the expense of eyesight.\\nThe focal length is frequently shortened, and the too frequent\\nuse of fine finger movements required in writing cause, in\\nmany cases, nervousness and chorea. Some of the time given to\\nwriting should be given to larger movements, to hand and arm", "height": "3311", "width": "2389", "jp2-path": "newmethodsineduc02tadd_0037.jp2"}, "36": {"fulltext": "22\\nFirst Principles\\nAll channels\\nfcr improving\\nthe mind to be\\nused\\nAutomatic\\nobedience of\\nthe hand\\nmovements, finger co-ordinations coming- last. This alsc\\nimproves the writing.\\nThe too frequent use of the eye and ear in the old method?\\ncauses injury not only to the eye, but also to the verbal memory,\\n^till worse is it that, as a result of these wrong methods, facility\\nin other modes of expression and impression such as drawing,\\npainting, making, creating, etc. becomes dormant or torpid\\nthrough never having been used.\\nUnder the new methods of education, all the channels for\\nimpressing the mind of the child should 1)e used as much as pos-\\nsible. Through the vision, the touch, muscular sense, hearing\\nand speaking, impressions should be assiniilated, and through\\nthe same channels expression should be given to the ideas\\nformed by creating and designing in diverse mediums.\\nThe soundest mental fabric is built by the perceptions that\\nare the most accurate, and that call into play for their expres-\\nsion the largest groups of associated and connected motor cen-\\nters; sense movements, incoming and outgoing. Thought and\\naction are organically related, and education consists in firmly\\nconnecting them by repetition and habit. I am convinced that\\nthe so-called thought studies are valueless unless they are\\nfirmly locked in the mind by systematized impressions from\\nthings by action and that their value depends on the facility of\\nexpression which comes from accurate perception.\\nReal manual training is the basis of all elementary educa-\\ntion, because the hand is the instrument of instruments and\\nthe mind is the form of forms (Aristotle). Through the\\nunion of the brain and the hand, the products of nature have\\nbeen made useful and valuable to man, and the work of the\\nworld has been accomplished. The hand should be made spon-\\ntaneously obedient to the mind; it should start forward instantly\\nto obey the mind by the appropriate movement, as the tongue\\nusually obeys. Book study and word study, preaching and\\npraying, will not give this desired disposition to work and\\naction. It must be the result of rational training and attention\\nto its needs during the period of growth.", "height": "3354", "width": "2356", "jp2-path": "newmethodsineduc02tadd_0038.jp2"}, "37": {"fulltext": "Contact with Thing^s 23\\nI firmly believe that we need to-day trained and skillful\\nhands more than we need fluent tongues. Yet I also consider\\nthe training herein advocated the most essential for the getting\\nof true eloquence of the tongue. Right ideas and right deeds are\\nthe primary inspiration for both. To depr^^ e a child of this train-\\ning is to prevent it from ever knowing the potentialities of its\\nown nature; to prevent the child from knowing and loving Right manual\\nnature as she should be loved the fountain and source of all give a love of\\neducation, science, art and religion. To deprive the child of nature\\nthis training is to rear it in ignorance of its power to use hand\\nand eye, a power that can be mastered at an early age; and a\\npower the proper development of which aids so much toward\\npractical success in the actual work of life, while also aiding the\\nphysical, mental and spiritual welfare of the individual.\\nDr. G. Stanley Hall.", "height": "3311", "width": "2389", "jp2-path": "newmethodsineduc02tadd_0039.jp2"}, "38": {"fulltext": "CHAPTER IV\\nDistinction Between\\nthe True and False\\nin Manual Training;\\nDifferent kinds\\nof manual\\ntraining\\nHE OBJECT OF TflE NEW EDUCA-\\ntion is to get ideas in a rational way at first\\nhand, by using the activity of the child.\\nIt is difficult to decide which kinds of man-\\nual training are educational and which are\\nnot; which kind of manual training should\\nbe used and which not. Many manual\\nexercises are valueless for training and\\neducation, and yet nearly all kinds of\\nmanual training educate to a degree. It\\nis amusing to see the variety of opinions,\\neven among intelligent people, as to w hat\\nkind of manual training is best for educational purposes. The\\nmanual training that should be given is that which develops in\\nthe individual:\\n1. The art of building ideas by using most of the chan-\\nnels of /77/pression and most of the means of r.rpression.\\n2. Accurate perceptive powers.\\n3. Facility of expression, not only in writing and verbally,\\nbut in a variety of ways through the hands.\\n4. The strengthening of thought fal^ric and mind struc-\\nture, and capacity to use the same.\\n(^4)", "height": "3354", "width": "2356", "jp2-path": "newmethodsineduc02tadd_0040.jp2"}, "39": {"fulltext": "True and False Manual Training; 25\\n5. Most skill in the shortest space of time.\\n6. Fitness for the greatest numl:)er of fundamental\\noperations or pursuits.\\nThe power of expression in language, written or spoken,\\ndepends on accurate perception of things, on the power to form\\nclear, definite ideas. Some kinds of manual training duh the Methods that\\nprevent real\\npower of accurate perception and limit the power of assmiilatmg manual\\nnew impressions. Some forms of so-called manual training are training\\nso mechanical that they prevent co-ordinations that otherwise\\nwould have been made, consuming valuable time at the most\\nvital period. Under this head I include such operations as\\npaper cutting and folding, stick laying, sloyd, whittling, sawing,\\nplaning and joinery work and other merely mechanical\\nmovements.\\nNothing can be more absurd than the extravagant claims\\nmade for sloyd and several similar narrow mechanical methods.\\nFor instance:\\nThat the knife is the only tool by means of which alone\\na finished object can be correctly made That it is the most stupid claims\\nfor sloyd\\nfamiliar and the least mechanical of tools. That it necessi-\\ntates greater concentration of thought and attention than any\\nother tool.\\nYou can acquire a sensitiveness of touch and correspond-\\ning correctness of eye more effectively by the judicious use of\\nsandpaper than in any other way. The curve can only be\\ncut by hand, and hence in other courses of woodwork curved\\nforms are eschewed, except those that can be cut with a fret\\nsaw and drawn with an architect s curve. f\\nSuch statements carry their own condemnation to any\\nthinking person who really understands what true hand skill or\\nmanual training is. I have seen a sign painter so drunk that he\\ncould not stand, but had to sit, yet he was able to space out and\\nblock in letters with wonderful accuracy. I have seen a carriage\\nSloyd, Larson, Boston, 1S93.\\nt A Plea for Sloj d, by T. G. Rooper, Reprinted from Hand and Eye, 1S92.", "height": "3311", "width": "2389", "jp2-path": "newmethodsineduc02tadd_0041.jp2"}, "40": {"fulltext": "26\\nFirst Principles\\nLimited\\nskill\\nUtilitarian\\nidea\\noverdone\\npainter in the same condition striping or painting long lines\\nfree hand on wheels, with marvelous precision. No real carver\\nin wood ever uses anything but his eye, hand and chisel, no\\nmatter how elaborate the curves are. These operations are not\\nthe results of genius, they are simply the results of skill, with\\nvery few physical co-ordinations, and are such as all children\\ncan learn, without exception.\\nThe utilitarian idea has been considered too much. The\\nuseful model has been done to death, the articles made\\nbeing of the nature of bread boards, salt boxes, towel racks,\\nknife boxes, scoops, etc. Children have wonderful energy and\\ncuriosity, but a few months familiarity with these household\\nobjects dulls their desire, and the work partakes of the nature\\nof a task or drudgery. Of course children will take to any kind\\nof tools, like ducks to water, to escape from the schoolroom\\nroutine, even if it is a whittling class. But consider what they\\nmight have been doing in the way of real manual training and\\ninvention, and in the creation of beauty.\\nThe utilitarian idea is a valuable one, but it can readily be\\nused to dwarf and stultify the child s energies. We can of\\ncourse say that the child learns by doing, but a great deal\\ndepends upon the character of its deeds. No feeble amateur\\nwith knife work, no plain mechanic or carpenter with ham-\\nmer and chisel, should dare to dally with the works and mental\\nmechanism of a child. As well let an idiot repair a watch with\\na stick. The child, if left to its own impulse, will assuredly do\\nsomething and find out something.\\nAgain, though sloyd may be good for Sweden, where the\\nnights are long, the children require occupation, and the homes\\nneed the useful models (this being the original reason for sloyd,\\nas an authority admits*), this country has very different needs\\nfor its youth.\\nSloyd is selected as an example of the work that is not true\\nmanual training, or the best kind of elementary work in\\nSloyd, Larson, Boston, 1S93.", "height": "3354", "width": "2356", "jp2-path": "newmethodsineduc02tadd_0042.jp2"}, "41": {"fulltext": "o\\nQ\\no\\n3\\nor\\nCO\\no\\nO\\no\\na.\\nH\\nH", "height": "3311", "width": "2389", "jp2-path": "newmethodsineduc02tadd_0043.jp2"}, "42": {"fulltext": "28\\nFirst Principles\\nSloyd selected\\nfor\\ncriticism\\nSloyd not real\\nmanual training\\nAutomatic\\ndexterity\\ndesired\\nhianual training, because it is considered in so nian}^ quarters to\\nl)e superior. Sloyd is selected for criticism because it has been\\nso thoroughly tried, and with many advantages in several cities,\\nno expense having been spared and all possible facilities having\\nbeen offered for its easy introduction. I consider sloyd perhaps\\nthe best of all the amateur woodworking systems, though I\\ndispute the claim that there is any real drawing in it, unless\\nmechanical draughting is considered to be drawing. It has\\nbeen graded to fit children from the age of nine to fifteen years\\nsix years of the most vital period of life. I have never seen\\na sloyd pupil or teacher who really had the elementary manual\\ntraining required of some of our little children, as described in\\nthis book.\\nIt seems as though the chief idea in sloyd was to see how\\nmany different tools could be used and how many operations\\ncould be devised, little thought being given to the absolute\\nneeds of the eye, the hand and the mind as fundamental tools.\\nIt includes seventy-two exercises with forty-five tools, in eight\\nkinds of wood, and is now employed experimentally in several\\nschools in Boston. In line with paper cutting and\\nfolding, sloyd is occupation or busy work, but is\\nvery slightly educational. Ten courses of sloyd work\\nwill not give the pupil the automatic facility desired, or\\neven fundamental co-ordination of the motor centers of\\nthe hands. Throughout the entire course, instruments of\\nprecision, the rule, the compass, the try-square, the gauge,\\nare used constantly. Therefore, the eye and the mind never get\\nthe unconscious automatic power of grasping magnitudes and\\nproportions so essential in elementary training during the\\nperiod of growth.\\nIs it not a mistake, then, to think that facility in any one\\nnarrow mechanical direction is proper manual-training educa-\\ntion? Should not one look with suspicion upon operations,\\nsuch as paper cutting, stick laying, whittling, sloyd, etc., which\\nSloyd, Larson, Boston, 1S93,", "height": "3354", "width": "2356", "jp2-path": "newmethodsineduc02tadd_0044.jp2"}, "43": {"fulltext": "True and False Manual Training; 29\\nproduce such little results and consume so much precious time,\\nand endeavor to find operations that will give fundamental skill\\nthat is valuable and that can be used in all occupations\\nor trades?\\nThe graded courses and exercises in some other kinds of\\nwoodwork and drawing, extending over two or three vears,\\nexercises\\nwith all exercises thought out, mapped out and charted before- consume\\nhand, limit the pupils capacitv for doino- original work, ens gya d\\n7 inspiration\\ndesigning or creative work, besides consuming the energy at\\nthe nascent period, the period of growth, that should be given\\nto right manual training, which if not given at this period makes\\ngood results impossible at a later period. It is like waiting for\\nthe hand to become fully grown before undertaking violin\\nplaying or piano playing, or some other operation requiring\\nskill, instead of allowing the hand to grow into the positions so\\nmuch to be desired by skillful performers and workers, with the\\nadded penalty of the physical impossibility of getting into these\\npositions after a certain time has elapsed. The same is also\\ntrue with regard to the mental states: after a certain time has\\nelapsed it is as impossible for the mind to invent, to design, to\\ncreate spontaneously and automatically, as it is for the fingers or\\nlimbs to move skillfully, automatically and spontaneotisly.\\nOf course I do not speak against proper woodworking\\noperations as described in this book, joinery, cabinet-making Proper wood\\nand pattern-making. After fundamental manual training skill ol^erations\\nhas been acquired, these special trade operations are fit and\\nproper in their right place, just as mechanical draughting,\\nmachine drawing, architectural drawing, are right and proper,\\nafter training in fundamental drawing. But it is wrong to\\nselect a few operations from any of these processes and give\\nthem to young children as proper elementary training.\\nIn many places drawing and manual training are separate\\nand disassociated, courses of one being given separate and\\ntraining a\\ndistinct from the other. In some cases the absurdity of this is mode of\\nshown bv graded work for each, as thouHi thev were entirelv Sht\\n_ expression\\ndifferent studies and not related. It is as thougli drawing were", "height": "3311", "width": "2389", "jp2-path": "newmethodsineduc02tadd_0045.jp2"}, "44": {"fulltext": "30\\nFirst Principles\\nIdeas the\\nbasis of\\noriginality\\nArt in\\nhandicraft\\nvery rare\\nnot a mode of thought expression, a means whereby ideas of the\\nform and shape of things are recorded, and as if manual training\\nwere not a mode of thought expression in making and recording\\nthese forms and ideas l^y the hands.\\nThe catalogue of some schools will usually show under the\\nhead of manual training, for boys wood turning, pattern mak-\\ning, foundry molding, forging, machine work and bench work\\nin wood, mechanical drawing, draughting and designing; for\\ngirls sewing, dressmaking, millinery and cooking. These are\\noccupations or trades that are good in themselves, but are lim-\\nited in their capacity to train hand and eye to correctly carry\\nout the dictates of the mind.\\nStill more do the trade processes mentioned fail to develop\\nthe formation of thought structure by the working out of\\noriginal ideas, which is the basis of true originality. Right\\nmethods of manual training, on the other hand, do bring about\\nthis union of thought and action, whereby the pupil is enabled\\nto think of the right thing, at the right time, in the right place,\\nand in the right way, and then to do it.\\nI must not be understood here to speak against trades.\\nI am in favor of every person having a pursuit and occupation,\\nbut I speak against the idea that possession of a trade process,\\nor several trade processes, necessarily means true hand skill and\\nright manual training, the power to make the hand obey the\\nmind. The lack of this power explains the lack of real skill\\namong so many workmen. The artist artisan is the exception,\\nwhereas he should be the rule. Art in handicraft is even more\\nrare than handicraft itself. The methods laid down in this\\nbook, properly taught, supply the primary training that will\\ngive the skill, the hand facility, the co-ordination of hand, eye\\nand brain, without which true handicraft can rarely be attained,\\neven by many years of application.\\nBut the youth who has had this true manual training dur-\\ning his elementary schooling has already acquired more real\\nskill of hand and eye than the average apprentice working dur-\\ning the like period at trade processes only, while the manual", "height": "3354", "width": "2356", "jp2-path": "newmethodsineduc02tadd_0046.jp2"}, "45": {"fulltext": "TfU6 and False Manual Training; 31\\ntrained youth is infinitely better off as regards mental develop-\\nment and character building. The manual trained youth is\\nwonderfully fitted to acquire dexterity in trade processes. He training better\\nassimilates them unconsciously, because his hand is already so than\\napprenticeship\\nthoroughly skilled. He wdl learn a trade and become a better\\nworkman in it in a few months than the ordinary apprentice\\nwould do in several years.\\nWhat is manual training? To some it means an exer-\\ncise for muscles, like gymnastics, and to others a process of\\nmaking boys merely handy; others think it a way of teaching-\\ntrades to children, and nearlv all confound it with mechanical ^^chanical\\ntraining not\\ntraining and suppose a drill is necessary in sawing and planing, hand training\\nchipping, filing, wood-turning, plumbing, etc., very few disas-\\nsociating it from the use of machinery and from slow, tedious\\ntrade processes, or dream that it has anything to do with women\\nand girls.\\nReal manual training for the education of individuals can-\\nnot be obtained by mechanical pursuits similar to carpentry,\\nplumbing, chipping, filing, etc. Real manual training is not a\\nmatter of simply doing different things; it is the intelligent\\nselection of modes from the many operations and pursuits most\\nsuited to produce the effect desired. Swinging dumb-bells or manual\\npushing a plane or saw produces muscles, but does not recjuire training is\\nthe constant use of the intellect; the thinking powers are not\\nincreased in ratio. There are many exercises, then, more fit for\\nour purpose. We must select for manual training purposes,\\nwork and methods that in addition to giving muscular activity,\\nwill exercise the peripheral nerves as tools of the senses.\\nIt includes all processes that train the muscles and the mind\\nto work in harmony. In some of its applications it gives skill\\nin planing boards and shaping iron; but just as legitimately does\\nit make the hand cunning to dissect a nerve, to engrave an etch- work together\\ning or to finger a violin. And as no school of manual training-\\nis obliged to teach anatomy, engraving and music, so no school\\nof the kind must necessarily teach joinery or chipping- and filing.\\nThose who believe that such processes are inseparable from the", "height": "3311", "width": "2389", "jp2-path": "newmethodsineduc02tadd_0047.jp2"}, "46": {"fulltext": "32\\nFirst Principles\\nHand skill\\nshould precede\\ntrade training\\nWhat are\\ndrawing and\\nmanual training\\nuse of saws and hammers have not looked all around the\\nsubject.\\nThe distinction between right manual training and trade\\nprocesses is therefore clear. The one precedes the other, just\\nas reading, writing and arithmetic precede accomplishments\\nin the law or the ministry. Right here is a special field for true\\nmanual training that is bound to widen. The old plan of teach-\\ning the trades has been found wanting, in that it consumes\\nmuch time and yet turns out workmen poor in craftsmanship\\nand equally deficient in purpose. The new idea is to teach the\\ntrades in trade schools, or technical institutions, where the\\nyouth is carefully instructed in technical processes by experts.\\nThese trade schools are destined to increase in number and\\nefficiency, as have the schools of law, medicine and theology.\\nThe youth who has had a proper course in manual training will\\nacquire skill in the mechanical movements incident to any spe-\\ncial trade in a fraction of the time that it requires for the novice\\nwho is untrained in facility of hand and eye. And this is true,\\nwhether the trade be taught in a technical school, or accjuired\\nby haphazard in an ordinary apprenticeship.\\nWhat are drawing and manual training when properly\\ntaught?\\nThey are modes of getting ideas first hand and giving ideas\\nfirst hand.\\nThev bring about the union of thought and action which is\\nso essential to the well-being of the individual.\\nThey are physiologically and psychologically sound.\\nThey are methods that train the powers of the instincts as\\nthey develop, that rightly educate these powers during their\\nformative period, when most responsive to good or bad influ-\\nence. They unify and simplify the courses of study.\\nThey fit for the real work of life, for this training has a\\npractical application in almost every vocation.\\nDrawing and manual training, properly taught, do away\\nwith tradition and the traditional errors in education. They are\\nmodes of thought expression, just as speech and writing are", "height": "3354", "width": "2356", "jp2-path": "newmethodsineduc02tadd_0048.jp2"}, "47": {"fulltext": "True and False Manaal Training: 33\\nmodes of thought expression. Drawing is an universal tongue.\\nIt compels observation, reflection, perception and conception.\\nIt opens the mental eye, the eye of the understanding, that looks\\nall around, up and down. It enables one to understand the\\nmessage that is printed in every natural, normal thing, that is\\nstamped Avith everlasting lines on each side of every leaf and Drawing\\nblade of grass, that is twisted into the architecture of every makes mind\\nshell, and that shines in the hues of every crystal a message\\nof beauty, of proportion, of grace and of fitness. Drawing\\nmakes mind.\\nDrawing and manual training properly taught, as Hailman\\nsays, render lucid the latent spiritualities of matter. They\\nenhance the utilities of life by clothing them with beauty,\\ngive power to do, power to enjoy.\\nOne objection that has rightly been made to the introduc-\\ntion of the so-called manual training methods, especially by\\ncommittees and superintendents, has been the great expense of\\nthe plant and equipments necessary. In large cities like Phila-\\ndelphia, only 95 cents per annum per pupil is now spent for\\nall supplies in general school work books, pencils, paper, pens, objections oa\\nand sewing materials. In the light of this fact, it seems account of cosl\\nabsurd to pay for benches, sets of tools, etc., for so-called\\nmanual training, sums ranging from $15 to $30 per\\npupil, for a plant that can be used by a very limited\\nnumber; the sloyd bench and tools alone costing sometimes\\nas much as $30.\\nThe cost of the plant for the manual training herein set\\nforth is very small. It w411 be noticed that but few and very\\nEconomy of\\ninexpensive tools are specified for the work in drawing, model- right method\\ning and carving. In the Public School of Industrial Art, forty\\nsets of carving tools, costing less than $5 each, and a few simple\\ntools for use in modeling, with some models of natural and art\\nforms, suffice for 1000 pupils. The supplies required are\\nequally inexpensive, consisting mainly of chalk, pencils, ink and\\nbrushes, cheap paper, some clay, etc., costing very little per year\\nper capita. This slight expenditure only is req,uired for four", "height": "3311", "width": "2389", "jp2-path": "newmethodsineduc02tadd_0049.jp2"}, "48": {"fulltext": "34\\nFirst Principles\\nEase of\\napplication\\nto large\\nnumbers\\nCost of\\nelaborate\\nplants should\\nbe spent on\\nteachers\\ndifferent departments drawing, designing, clay modeling and\\ncarving, not one only, as in other systems.\\nAnother advantage of these methods is to be found in their\\nease of application to classes of large numbers, without large\\nexpense; in fact, if necessary, the work in drawing, the drill\\nwork, the ambidextrous w^ork on blackboards, can all be done\\non slates and common manilla paper. A few sets of tools and\\nappliances for modeling, and the clay, can be used in common\\nby as many classes as can be brought in succession into the\\nroom. The same with the carving. Although this is not the\\nbest plan, it is inexpensive.\\nBecause of the economy of plant and supplies, this method\\nof manual training is within reach of the smallest or poorest\\nschools as well as those in wealthy communities.\\nThe saving in equipment over improper methods may\\nwell be invested in more teachers and better teachers. It\\nis as wrong to employ an underpaid and overworked\\nteacher (the two usually go together) in manual training\\ninstruction as in other branches. The tendency in school\\nwork has been too much toward extravagance in equipment\\nand parsimony toward instructors. Fine buildings and costly\\napparatus never compensate for poor teachers. It is the teach-\\ner s enthusiasm that must help to inspire the pupil; the teacher s\\nintuition that must aid in discovering the pupil s individuality\\nand help him to make the most of it; the teacher s human inter-\\nest that must w^arm up a responsive interest in the pupil. These\\nattributes of the teacher s personality can be supplied by neither\\nbooks, apparatus nor buildings. The teacher has a mission to\\nperform, he gives more of his very life to it than the worker in\\nother vocations, and should be paid and esteemed accordingly.", "height": "3354", "width": "2356", "jp2-path": "newmethodsineduc02tadd_0050.jp2"}, "49": {"fulltext": "CHAPTER V\\nLack of Real\\nDrawing;\\nERE IT MAY BE FIT TO\\ninterject some of my experi-\\nences at the World s Fair at\\nChicago in 1893. For purposes\\nof gaining experience, as weh as\\nof exhibiting our methods, we\\nhad a very large space in the\\neducational department, adjoin-\\ning the most important of the technical schools and colleges.\\nIn this space I purposely had several traps, one of which was\\na blackboard twenty feet long. My purpose in having this\\nblackboard was to test adults and children of all conditions as to\\ntheir capacity in certain directions. These tests are tabulated\\nand systematized, and I discovered several interesting facts.\\nNot more than four per cent, of the drawing teachers who\\nwere tested could draw, I mean draw as a mode of expression,\\ndelineate what they thought. The rest depended on the model\\nentirely. Amazement was expressed continually at their even\\nbeing requested to draw something simply without a model. I Lack of real\\nfound only eight cases, out of several hundred, that had facility pow^\\ndrawing\\nof hand,\u00e2\u0080\u0094 I mean the kind of elementary facility recjuired in\\nthis book from children. The tests were put to the teachers of\\na great many leading institutions, and to normal art school,\\n(35)", "height": "3311", "width": "2389", "jp2-path": "newmethodsineduc02tadd_0051.jp2"}, "50": {"fulltext": "36 First Principles\\ncollege and technical graduates. Almost invariably there was\\nan absence of proficiency in organic drawing, and, considering\\nthe amount of time they had given to the work, their imitative\\ndrawing was feeble beyond the power of words to express.\\nApproaching this question from the art side, the unpreju-\\ndiced observer who has any knowledge of art cannot fail to\\nrealize and be impressed with the lack of any tendency toward\\nart training in most of the common schools of the country.\\nThere is a o-ulf between the teachers and the idea that has never\\nLack of art\\ntraining in been crossed, and the poverty of ideas on the part of teachers,\\n.ommon schools r, -r ^.i\\nmtelligent m other respects, is amazmg. It seems as it nothing\\nright was being done, and that ignorance ruled in these matters.\\nThis is not owing to any fault of the teachers.\\nI am inclined to lay more blame upon the inventors of\\ncertain systems, who are never artists, who are backed by\\npublishing firms, and whose chief idea is to sell books and mate-\\nrials. Some of the schemes are so artificial as to require\\ndifi^erent sets of materials, copy books and plant for dilTerent\\ngrades, and constructions and technical terms have been so\\nloaded upon these things that it requires a wise teacher and\\nspecial training in the methods of the books alone to be able to\\nunderstand their object and their purpose. This, fortunately.\\nFalse systems teachers endeavor to do. Some of the svstems claim\\nformulated by _\\npublishing firms that their books and materials do away with the necessity of the\\nteachers being al)le to draw, and that instruction can be\\nimparted in an easy and ready fashion by means of these\\nequipments. And so the game goes on at the expense of\\nthe children.\\nAnother of my chief reasons for writing this book is\\nbecause I feel I. can be of service to a large proportion of the\\ncommunity represented by the superintendents of schools, also\\nmembers of school committees, usually men and women of\\naffairs, and others interested in the well-being of the schools in\\nvarious towns and cities of the Union. The spirit of the age is\\ncompelling many, in spite of dislike, to advocate various kinds\\nof manual training in the schools, and through lack of", "height": "3354", "width": "2356", "jp2-path": "newmethodsineduc02tadd_0052.jp2"}, "51": {"fulltext": "o", "height": "3311", "width": "2389", "jp2-path": "newmethodsineduc02tadd_0053.jp2"}, "52": {"fulltext": "38\\nFirst Principles\\nSewing and\\ncooking not\\nreal manual\\ntraining\\nNecessity ot\\nsystematic\\ntraining of\\nthe senses\\nknowledge (and it is a little iinreasonal)le to expect superin-\\ntendents and others to be experts on these subjects) many\\nexperiments and methods of work are being tried that are fun-\\ndamentally ^Yrong, as will be proved by experience. For\\ninstance, various kinds of carpenter work, knife work, sloyd\\nmethods, paper cutting and paper folding are being incorpo-\\nrated at much expense in schools as manual training.\\nI do not ol3Ject to sewing and cooking. I consider them\\nvery important things. But for our purpose, they are not\\nmethods of artistic or manual training. I consider cooking one\\nof the most important of all the arts, and I must be ranked as\\nan advocate of both cooking and sewing, in the proper place.\\nThe proper place, however, is not that gained by usurping the\\nmanual training idea in education, because every thinking per-\\nson will realize that cooking does not give exceptional dexterity\\nand skill of hand in the arts, nor does sewing. If we must have\\nspecial experts to teach cooking, sewing, writing, drawing,\\nmusic, should it not be necessary for us to have experts to teach\\nmathematics, history, geography, and the other studies? This\\nseems to be the tendency, but it is not feasible in the schools.\\nWhat is to prevent the ordinary teacher s having a certain\\namount of capacity in these directions? We certainly cannot\\ncall the teacher an educated person, or one able to teach, unless\\nhe or she has some ability in these directions.\\nIn the beginning, nothing is more important than the\\nnecessity of making the various senses alert and bright by con-\\nstant and systematic use. The perceptive faculties should lie\\nmade accurate, the memory correct, the thinking and the will-\\ning powers strong and true by direct use on things. These\\ncapacities or faculties diminish very rapidly for lack of use, and\\nat certain stages the organism refuses to work, and the best\\nimpressions possible are dull, fleeting and feeble, not being dis-\\ntinct enough to form even nebulous ideas. Mental structure,\\nthought fabric, must be made by children coming in contact,\\nfirst hand, with things, receiving and assimilating all the pos-\\nsible sense impressions, and making all the possible movements", "height": "3354", "width": "2356", "jp2-path": "newmethodsineduc02tadd_0054.jp2"}, "53": {"fulltext": "Lack of Real Drawing; 39\\ncUkI reactions. No mere memorizing of printed words, no\\njuggiing- with ligures, no listening to a series of disconnected\\nfacts, will take the place of organic impressions permanently\\nregistered and systematized.\\nThis can best be done by means of the various modes of\\nexpression, when the hand, the eye and the mind are continu-\\nously and pleasurably storing up facts and making the required\\nmovements. The most perfect lessons can be received from the\\nmost common and the simplest things. Hence, a good teacher\\nwill make use of common and simple things. In the elementary Drawing\\nstages of education, drawing and modeling, properlv taught trams the\\nperceptive\\nfrom the most interesting and simple forms, train the perceptive faculties\\nfaculties of children more than any other study, strengthen the\\nmemor}^, judgment and imagination, and arouse the instinctive\\ninvestigation so powerful in all children. The idle curiosity of\\nuntrained children is the starting point for the good teacher.\\nThis curiosity must be cherished, intensified and stimulated\\nuntil the habit of complete and willing attention is formed, the\\nteacher gradually increasing the power of attentive application\\nof the pupil until the stage of genuine study and hard work with\\nthe eye, hand and intelligence is obtained as a natural growth.\\nAristotle has said, The hand is the instrimient of instru-\\nments and the mind is the form of forms. Surely we must\\ngive some real and fundamental training to the hand. This\\nhand skill is to be acquired by ah, not because they are to work,\\nbut because they cannot afford to be without a training that Hand skill\\nmakes brain co-ordinations form sense connections, and there- makes\\nintelligence\\nfore aids or makes mtelligence, reason, imagination and judg-\\nment in the shortest way. This hand skill is requisite, not\\nnecessarily to enable its possessors to become artists or artisans\\nthough possessing art skill and capacity through esthetics is\\nessential to complete culture, and this is the side usually to be\\nconsidered\u00e2\u0080\u0094 beauty acted. By manual training methods the\\nperson becomes able to deal and do with things if necessary, to\\nbe always ready to enjoy and appreciate nature, and grows self-\\nreliant because confident of power.", "height": "3311", "width": "2389", "jp2-path": "newmethodsineduc02tadd_0055.jp2"}, "54": {"fulltext": "40 First Principles\\nI should like to utter a protest against the vain experiments\\nof certain psychologists who are at present misleading teachers\\nin wrong methods of child study; who are simply dallying with\\nthings that are not essential. A great loss of energy is the\\nresult. For this they have been performing trifling experiments\\non troops of children, efforts that have no product. Why not\\nstudy the acts of children for some useful and educational pur-\\npose, for some method that will tend to conserve their energy\\nand health? I think that half the energy given to some of these\\nthings, spent on investigating the capacity of expression\\nthrough the hand, would soon lead to golden fruit. The possi-\\nbilities and potentialities in this direction are unlimited. Let\\nthis field be worked.\\nIn all my experience I have never yet found a teacher edu-\\ncated by book methods able to draw. This seems an incredible\\nstatement, yet from my point of view it is correct. By drawing\\nI mean thought expression and power to express ideas of all\\nforms on surfaces and in things; not the feeble imitations of cer-\\ntain methods, of conventional forms, with labored application,\\nbit by bit, dot by dot, but to have organically the power at once\\nto delineate balance, proportion, grace, beauty, fitness. By\\ndrawing I mean the vital union of thought and action that gives\\ndefinite expression to individual thought through the hand,\\nthe power to reproduce mental images just as we express them\\nby speech, after assimilating certain sense impressions; creating\\nand designing nature anew.\\nI have actually had pupils come to me who have recently\\nwasted money and energy by trying to learn drawing by corre-\\nspondence through the mails. Perhaps very soon some people\\nwill try to teach music, singing, for instance, the same way.\\nThe methods I advocate are no longer new. Ambidex-\\nterity, psycho-physical co-ordinations, memory work, rotation\\nof classes and other features peculiar to our course, have re-\\nceived the test of time and application to large numbers.\\nCould any sane person walk around the ten acres of school\\nexhibits a few years ago at Chicago, at the World s Fair, and be", "height": "3354", "width": "2356", "jp2-path": "newmethodsineduc02tadd_0056.jp2"}, "55": {"fulltext": "Lack of Real Drawingf 4J\\nIllustration 20\\nThe Freeh;md Circle\\nThese teachers are practising large tree-hand movements in order to acquire facility\\nsatisfied with the work going on under the name of art, of\\ndrawing, of manual training? Could anyone for a moment\\nthink that it represented the work of individual child life, of\\ngrowing organisms, each one alive? Did it not all seem fash-\\nioned from the same mean lack of thought exhibited by some\\nplan or system maker? Did it not show, in its various simi-\\nlarity, an endless repetition of the same things the hand of\\ntrade? Did it not show, from its very constant and feeble ring-\\ning of the changes on cubes, blocks, cones, prisms, defini- insufficiency of\\nold method\\ntions, the iteration of terms, construction, representation and\\ndecoration, shallow minds wading in a morass of second-\\nhand thoughts, words and phrases; able to talk, parrot fashion,\\nbut not able to do; able to say, but not to feel; able to preach,\\nbut not to act? In short, to dogmatize. That is, literally, to as-\\nsert with undue confidence and to advance with arrogance. Did\\nit not show, from end to end, the commercial element, the\\nspirit of greed for money at the expense of mind? There were", "height": "3311", "width": "2389", "jp2-path": "newmethodsineduc02tadd_0057.jp2"}, "56": {"fulltext": "42\\nFirst Principles\\nonly a few green oases in the desert, represented by some\\nschools, where I actnally fonnd real autumn leaves and fruit\\nforms drawn and colored by the pupils. Verily, the sacrifice was\\nawful. Hundreds of miles of paper with soft gray lines rep-\\nresented thousands of minds distorted and drawn out of shape.\\nI state without fear of contradiction that no one who is\\nunable to draw should attempt to teach drawing, yet without\\nTeachers must Qj-^g exception I have found the presenters and representers of\\nbe able to draw\\nall commercial systems unaljle to draw, and, what is far more\\nsaddening, none of their pupils could.\\nI protest once more against anyone s teaching drawing\\nwho is unable to draw. It seems that many of the supervisors\\nand so-called experts on this subject throughout the country,\\nwith very few exceptions, are unable to draw. Most of them\\nhave worked a few years at some art school, chiefly at imitative\\nwork. They have made a few light-and-shade drawings and\\nhave studied perhaps a little perspective. They have painted a\\nfev/ flowers and made a few carpet designs. And then they\\nstart out on their career with some system. The children are\\nexpected to perform a series of graded exercises, usually of\\ngeometric forms and objects based upon geometric\\nforms. They are compelled to work from type forms until\\nthey are sick of them, and then they are expected to see resem-\\nblance in the most diverse objects to these type forms.\\nIt seems to me that this is fundamentally wrong. We\\nshould teach the children to look for dissimilarities. We should\\nmake their observation acute to notice how different and unlike\\nthings are to each other. It is very stupid to me to make chil-\\ndren labor at a cone, for instance, and then give them the wrong\\nidea that a lamp chimney and a carrot, ink bottle, etc., are based\\non this cone, because there is a very slight resemblance. To\\nme they never look alike, and I have never yet found a bright\\nchild who will begin to associate them in the mind voluntarily.\\nRemember, I believe in type forms and in geometric forms in\\nthe right place, but they are abstractions. Children should have\\nnothing to do with abstractions in the beginning. Before they\\nSupervisors\\nshould be able\\nto draw\\nMisuse of\\ntype forms", "height": "3354", "width": "2356", "jp2-path": "newmethodsineduc02tadd_0058.jp2"}, "57": {"fulltext": "Lack of Real Drawings 43\\nare given any idea of the type forms, their minds should\\nbe stored with a series of the natural forms, from which we\\nreceive the idea of the type. When a child has become familiar\\nwith apples and marbles, soap bubbles and other round things,\\nthen the abstract idea of the sphere may be grasped.\\nIt may seem a little unfair that I should attack the methods\\nof the so-called drawing teachers in the schools, but what are we\\nto do when we find the great lights, or authorities, so-called,\\ngiving utterance to statements like the following. In the\\nreport of the proceedings of the National Educational Associa-\\ntion for 1896, on Page 693, will be found such a statement as\\nthis, not by an ordinary teacher or a teacher of drawing, but by\\nthe superintendent of drawing for a whole city a teacher of\\nteachers: There is such a thing as a child having too much\\ncandy, and there is such a thing as a child having too much Foolish\\nbeautv. He may become so accustomed to it that he will not statements by\\nso-called\\nappreciate it. I leave the above to speak for itself. teachers\\nAgain, we find in the same book, on Page 700, not signed\\nby one person only, but by half a dozen, including a college\\npresident, a director of one of the chief institutions in the coun-\\ntry and several other very prominent people, the following:\\nThe use of colored papers is the best means now available of\\npresenting and applying standards or ideals of color, scales of\\nthese standards, and combinations of different scales. I protest\\nagainst stained papers of any kind. I have never yet seen natural\\ncolors on the papers used for this purpose in schools. They\\nare artificial and crude in all respects. What is the matter with\\nthe real colors of nature, as exhibited in flowers, shells, stones,\\nbutterflies, insects, feathers, birds, etc?\\nAgain, the same book, Page 698: Models of the pure\\ngeometric types of form, which underlie all the manifold variety\\nof form in both nature and art, should be studied in connection\\nwith these selected objects in order that pupils may learn to see\\nhow the type forms are the basis of all other torms. Having\\nin mind accurate and distinct concepts of the types, the pupil\\ncan more easilv understand their numberless modifications.", "height": "3311", "width": "2389", "jp2-path": "newmethodsineduc02tadd_0059.jp2"}, "58": {"fulltext": "44\\nFirst Principles\\nAbsurdities of\\ncommercial\\nsystems\\nArtificial forms,\\nstained papers,\\netc., useless\\nThe art part\\nvital\\nHaving a clear understanding of their modifications, he can\\nbest express his ideas of them by drawing. I have personahy\\nshown this complex sentence to many artists. I have not\\nheard one agree with it. I have yet to know any artist of\\nimportance who was ever educated in this way.\\nAnother sentence is as follows: The exercises should\\nalso be distinctly classified so as to cover the three great divi-\\nsions of all art work, namely: Representation, or the appearance\\nof form, decoration or the ornamentation of form, and construc-\\ntion or the facts of form. This sentence, perhaps, will be the\\nkey to a great many of the absurdities indicated above. It simply\\nshows to one who has studied the whole question carefully, and\\nwithout prejudice, that none of these so-called authorities can\\nthemselves draw, or have the beginning of an idea about draw-\\ning, but that they have a very complete idea of an artificial sys-\\ntem which has been classified and systematized until drawing\\nand art have absolutely disappeared from it. I venture to assert\\nthat not one of them ever painted a picture or modeled a statue.\\nHow absurd it is then that they should stand up as authori-\\nties on the subject and mislead people. It has been done, how-\\never, for a purpose, and that purpose is to sell various- mate-\\nrials, series of books for each grade, series of artificial forms in\\nwood graded, pencils for a variety of purposes, stained papers,\\ngeometric shapes, etc. This has gone on until even the cost of\\nthese things makes the work impossible in many schools and\\nfrightens the simple-minded by the seeming complexity and\\ndifiiculty of a very simple subject. Indeed, drawing requires\\nless plant and arrangements than any other branch in the school\\ncurriculum, because dravving can be done with only .a piece of\\npaper and pencil, or a slate and pencil, if necessary.\\nWe must see that art comes into ev ery step of the elemen-\\ntary or fundamental work, using the word in its fullest meaning\\nars, artis, skill in joining and fitting, the employment\\nof means to accomplish some desired end, human labor\\nregulated by design. In every stag-e of the work the instru-\\nmentalities of the pupils should be set directlv at work, the", "height": "3354", "width": "2356", "jp2-path": "newmethodsineduc02tadd_0060.jp2"}, "59": {"fulltext": "Lack of Real Drawing 45\\nhands, the eyes and the head. There should be no instruments\\nof precision, no copy books to save labor or avoid skill. The\\nart part of a great deal of work is the part that cannot be meas-\\nured, weighed or marked, it is the vital part. Science compels\\nobservation and reflection, but does not always result in action.\\nArt compels observation, reflection and action, and makes them\\nmutually dependent on each other. Science is the knowing,\\nart is the doing. It, therefore, makes vital and alive the con-\\nnection that should exist between the inner thought and the\\noutw ard action.\\nI pin my faith to the superintendents, if we are going to\\nbetter the schools in this direction, not to the crank artists, art\\ndirectors and supervisors. Superintendents are usually men of\\naffairs, teachers who have been selected for fitness and Art and manual\\ntraining\\nmerit, men who have been taught by experience. They will teachers should\\nhave to realize, however, that, just as there are many ways of\\nteaching language, reading, geography and arithmetic, some\\ngood and some bad, so there are many methods that go by the\\nname of art and of manual training and drawing. They will\\nhave to demand that their art directors, supervisors and teach-\\ners should be able to draw. I do not mean that they should\\nsimply take their word for it, or be satisfied with a portfolio of\\ndrawings of objects, casts, cubes, blocks, or a certificate of this\\nor that normal art school or mill, but, being rational men, that\\nthey should see that the teacher can draw, knowing that draw-\\ning is a mode of thought expression, not simply a famiharity\\nwith certain graded steps of a traditional or dogmatical thought-\\nless plan. They should say: Here is paper; express youiself;\\ndraw a leaf, a house, a cat, a scroll, anything, Performance\\nshould be the great test in our business, not words and asser-\\ntions. I have actually known some teachers, when confronted\\nin this way, to say: Where is the model for me to copy?\\nSurely these are not teachers, but imitators, copyists.\\nCritics may consider that the author has devoted too much\\nattention to the decorative and conventional forms, to drill and\\ndesigning. He considers, however, that in a book of this", "height": "3311", "width": "2389", "jp2-path": "newmethodsineduc02tadd_0061.jp2"}, "60": {"fulltext": "46\\nFirst Principles\\nDrill essential\\nin the\\nelementary\\nStages\\ncharacter, written to help large numbers of workers in various\\ndirections, the industrial art features and their applications\\nshould be amplified especially. But this is not done at the\\nexpense of any real art study. It is really the elementary part\\nof the truest kind of art work. The drawing from models and\\ncasts, and the other usual fine art studies, are lightly\\ntouched upon, because they are already well known. The\\naim has been, also, to consider as much as possible the largf^\\nnumber of pupils who do not become artists, but who do require\\nthe skill and art knowledge essential for success in the various\\npursuits of life.\\nJDesigDjmg, Ambidextrous Work", "height": "3354", "width": "2356", "jp2-path": "newmethodsineduc02tadd_0062.jp2"}, "61": {"fulltext": "CHAPTER VI\\nRight and Left Hand\\nWork, Ambidextrous\\nWork\\nHE RESULT OF THIS WORK HAS\\nonly to be seen for one to become im-\\npressed with its value as a medium for the\\neducation of the individual. The most\\nskeptical are convinced by the perfect\\nresults produced, the simplicity of work,\\nthe almost instant balance and symmetry,\\nand the visible development in the direc-\\ntions most to be desired in the education\\nof the hand, the eye and the mind.\\nImprovement is also made in other\\ndirections. The co-ordinating of one set\\nof muscles invariably influences the rest.\\nThe hands, the eyes and the mind are Sympathetic\\n1 1 influence\\nexercised to a much greater degree than\\nis possible when using them only partially.\\nHence, a more symmetrical whole is produced. The pupils\\nstand better, hold their heads more erect and level, in a word,\\nthey have more understanding.\\nIf it can be done with the right hand, why do it with the\\nleft? some say. Why waste time that might be given to some-\\nthing else? These questions are natural, and at first seem right,\\nbut a little thought makes one realize that in many trades, espe-\\ncially the ones requiring skill of hand, both hands need to be\\n(47)", "height": "3311", "width": "2389", "jp2-path": "newmethodsineduc02tadd_0063.jp2"}, "62": {"fulltext": "48\\nFirst Principles\\nReasons for\\nambidextrous\\nwork\\nNot\\nunreasonable\\nused, and the more skilled the left hand the better the work-\\nman. Again, some artists who first hear of our ambidextrous\\nwork sometimes think it absurd. They do not realize that we\\ndo not attempt to sketch or paint with the left hand, an J that it\\nis mainly for its physiological and educational value that we\\ntrain it.\\nThe reason we do ambidextrous work is for the physical\\nco-ordinations acquired. Biology teaches that the more the\\nsenses are co-ordinated to work in harmony in the individual,\\nthe better. If I work with the right hand, I use the left side of\\nthe brain; if I employ the left hand, I use the right side of the\\nbrain. In truth, I exercise some special region or center of the\\nbrain in every conscious movement I make, and in every change\\nof movement I bring into play some other center. If, by per-\\nforming any such action with energy and precision, I aid in the\\ndevelopment of the accordant center, I am improving the cere-\\nbral organism, building for myself a better and more symmet-\\nrical mental fabric.\\nDoes this seem unreasonable? We use both feet, both eyes,\\nboth ears. I am firmly convinced that the better and firmer\\nthe union of each hand with its proper hemisphere of the brain,\\nand the more facility we have of working each together,\\nand also independently, the better the brain and mind and the\\nbetter the thought, the reason and the imagination will be.\\nThe results of my method have fully demonstrated this fact, as\\nthe teachings of modern science, and especially of psychology,\\nhave fully established the truth of this contention.*\\nEvery impression of sense upon the brain, every current of molecular activity from one\\nto another part of the brain, every cerebral reaction which passes into muscular movement,\\nleaves behind it some modification of the nerve elements concerned in its function, some after-\\neffect, or, so to speak, memory of itself in them which renders its reproduction an easier matter,\\nthe more easy the more often it has been repeated, and makes it impossible to say that, however\\ntrivial, it shall not under some circumstances recur. Let the excitation take place in one of two\\nnerve cells lying side by side, and between which there ^vas not any original specific difference;\\nthere will be ever afterward a difference betAveen them. This physiological process, whatever\\nbe its nature, is the physical basis of memory, and it is the foundation of the development of all\\nour mental functions. [Maudsley, Physiology of the Mind, page 37.", "height": "3354", "width": "2356", "jp2-path": "newmethodsineduc02tadd_0064.jp2"}, "63": {"fulltext": "H 2\\n5\u00c2\u00b0\\ng I\\nCO\\no\\n5 cl,\\ns- r-\\nP 3\\nr", "height": "3311", "width": "2389", "jp2-path": "newmethodsineduc02tadd_0065.jp2"}, "64": {"fulltext": "50\\nFirst Principles\\nMind building\\nAbstract worl-c\\nwrong\\nI am convinced that in proper manual training move-\\nments exercises that make a firm,,wen knit union between the\\nhand and the brain, making the hand (and each hand) obey the\\nmind independently, we are producing new mental conditions,\\nor physical structure in the brain. The brain has growth in the\\nbeginning for a certain period, and arrives at a certain size dur-\\ning youth. Afterward it increases in complexity and structure.\\nAll recent studies of the cerebrum point to the fact that our\\nintelligence is associated with a union of brain cells one with\\nanother, and the more experience we gain through the various\\nsenses, the greater will be the structural union and complexity\\nof the brain cells.\\nIt seems wrong to see children compelled continually to\\nmem.orize and to draw on the reason, the fancy and the imagina-\\ntion, before they have well developed centers or brain cells with\\nwhich to think, reason and ideate. I know for a fact that the\\nenergy of many children is consumed and exhausted by the use\\nof abstract thought work too early in life, instead of being-\\nconserved by proper training.\\nI claim better results from the right hand, when the left is\\nworked also, than from the right hand working alone, in the\\nsame space of time, in almost any kind of hand work. In 240\\ntrades or crafts the workman employs both hands quite freely,\\nand in certain occupations, like carving, engraving, modeling\\nand chasing, the left hand works as much as the right. Mus-\\ncular co-ordinations and facility with the left hand as well as\\nthe right are therefore very important and of large practical\\napplication, apart from the physiological and mental value of\\nambidexterity.\\nIndeed, the old education neglected both hands, not the\\nOld methods of right hand only. Yet who shall now say that the education of\\nthese marvellous portions of the anatomy shoidd be longer\\nneglected? Truly says Sir Charles Bell, in The Hand\\n(Page 134):\\nThe human hand is so wonderfully formed, so beautifully\\nshaped, it has so fine a sensibility; that sensibility governs its\\neducation\\nneglect both\\nhands", "height": "3354", "width": "2356", "jp2-path": "newmethodsineduc02tadd_0066.jp2"}, "65": {"fulltext": "Ambidextfous Work\\n5f\\nmotions so correctly, every effort of the will is answered so\\ninstantaneously, as if the hand itself were the seat of that will.\\nIts actions are so powerful, so free and yet so delicate, as if it\\npossessed a quality of instinct in itself, that there is no thought\\nof its complexity as an instrument or of the relations which\\nmake it subservient to the mind. We use it as we draw our\\nbreath, unconsciously, and have lost all recollection of the feeble\\nefforts whereby it has been perfected.\\nSurely, then, the new education must not make the mistake\\nof training but one hand one only of these two instruments of\\npower and action.\\nMeissonier also said: It would be a great advantage to\\nbe ambidextrous, children ought to be taught this habit.\\nIllustration 25\\nFreehand Original Designs, Public Scliool, Germantown\\nAll the children in the room draw at intervals on the blackboard making original designs. The pupils at the\\nbenches work on paper from objects and in color, sometimes at designing, sometimes at natural forms.", "height": "3311", "width": "2389", "jp2-path": "newmethodsineduc02tadd_0067.jp2"}, "66": {"fulltext": "CHAPTER Vn\\nDrawing Correlated\\nwith Other Studies\\nModeling Fruit Forms from\\nNature\\nHE LESSONS IN THE Suc-\\nceeding books of this work have\\nbeen evoh ed froiii the results of years\\nCorrelate the r i i\\n\u00c2\u00bb.^\u00c2\u00aeic^r i experience m working- by a num-\\ndrawing with ^^-I d^/^\\nother school ^^^^^S different methods. They have\\nbeen arrived at after much experiment,\\non account of their suitability for the\\n\\\\oung and the old, and the fact that\\nvery little plant is required. From the\\nvery beginning, the object has been to\\nco-ordinate or correlate the drawing\\nwith all the other school work. One\\nof the greatest troubles with drawing\\nby the old method is that it seems to\\nbe something entirely apart from the\\nother studies, a mere accomplishment, something for the select\\nfew, the ones who display a certain amount of talent.\\nBad use of art This is wrong. Drawing and manual training are especially\\nwork in schools suited for backward and dull pupils; they are the very ones who\\nmost need its training.\\nDrawing can very readily be made one of the most vital of\\nstudies, one of the most important. It is the study on which\\nhalf the drudgery and tiresome work of the school can be placed,\\n(5--)", "height": "3354", "width": "2356", "jp2-path": "newmethodsineduc02tadd_0068.jp2"}, "67": {"fulltext": "Drawing Correlated With Other Studies 53\\nIt is the study that makes pleasing and interesting to them-\\nselves the work of the pupils. Drawing and manual training,\\nabove all other work studies, will enable the child to work out\\nits own salvation, in the fact that they form a disposition to\\naction and allow the child to make the energetic movements\\nthat are so good and proper for its well-being.\\nDrawing in the past, to many teachers and children, has\\nconsisted of mere imitative work from a few type forms, mean-\\ningless blocks. It has not been made a vital and connected\\npart of their other studies. If children are to know things, to Compels love\\nof nature\\ngain l ;nowledge (and their coming to school is for this purpose),\\nI know of nothing that will take the place of the right kind of\\ninstruction in drawing, as it compels their attention to things,\\nif properly presented.\\nTake, for instance, a rural school, where the children get\\na little reading, writing and arithmetic, in homeopathic doses,\\nand very little of anything else. See what glorious possibilities\\nand potentialities there are here, if the teacher has any idea of\\ndrawing as it should be taught. Right at the door is the whole\\nfield of nature^plants, flowers, insects, animals, stones, fruits,\\nvegetables, can be procured without any trouble. The children\\nare delighted to bring almost anything in the way of models of\\nthis kind. If they are near the seashore, the boys can get\\nendless forms of life in the way of seaweeds, shells, crabs, fish,\\netc. If in the mountains, the same can be done with dif-\\nferent kinds of plants, weeds, stones, birds, fish, insects, etc.\\nThese forms can be drawn, and the reading, writing, arithmetic,\\nspelling, composition, punctuation, and other studies hung on as The beginning\\nincidentals. The children wdll be fascinated and inspired at first wisdom\\nhand. They will take an added interest in their work, especially\\nwhen the doors of their minds are opened and the things of\\nwhich they see so much and know so little are transformed\\nfor them.\\nFarmers children and others should know all about the birds,\\nbugs, caterpillars, flies, spiders, weeds, plants, the flowers and\\ncommon growths of their environment, and thus have matter", "height": "3311", "width": "2389", "jp2-path": "newmethodsineduc02tadd_0069.jp2"}, "68": {"fulltext": "54\\nFirst Principles\\nKnowledge of\\nthings of first\\nimportance in\\neducation\\nGood pictures\\nimprove taste\\nthat will be of value and an aid to them in their future life. This\\nis very much better than cramming them with disconnected facts\\nof history of far-off countries, incidents in the lives of kings and\\nstatesmen, that are not of much value. Of course the young\\nshould become as completely educated as possible, but if they\\nare to have one thing or the other, let them get, first of all,\\ndirect knowledge of their own environment.\\nThere is no reason, even in city schools, why similar work\\nshould not be done; though the country child has far greater\\nadvantages in the way of studying natural forms, the city child\\nhas many compensating advantages. Nearly all children\\ncan get from their homes and from their friends any of the\\nsimple common things in the way of leaves, plants, shells, ani-\\nmals, etc., that are the fundamentals of study, and with which\\nwe should first fill the mind of the child before we attempt to\\ngive the higher thought studies.\\nI can see already this change coming in m^any places,\\nalthough so far it is mostly in the way of the introduction of\\nthings that have utilitarian value alone, trades similar to car-\\npenter work, cooking and sewing, which to me simply consume\\nthe valuable time of the children without educating them. I\\nthink the time is near at hand when the true idea will be\\nreceived. Institutions like the Drexel Institute, the Armour\\nInstitute, the Pratt Institute, are simply, in my mind, protests\\nagainst the old methods of education. They are schools where\\nthe pupils learn by doing, and though in some cases, trades are\\ntaught instead of real education being given, I think the latter\\nwill be the next step.\\nNo one can see how newspapers and books are changing,\\nwith their endless pictures and illustrations; no one can see the\\nimprovements and means of getting better pictures in all direc-\\ntions, without realizing that this must have a great influence on\\nthe education of those to come. The same is true with regard to\\nsmooth roads, electric lights, the bicycle, etc., all influences that\\nare tending to make life easier and better. Some of the papers\\nand magazines to-day are real works of art. Continually they", "height": "3354", "width": "2356", "jp2-path": "newmethodsineduc02tadd_0070.jp2"}, "69": {"fulltext": "", "height": "3311", "width": "2389", "jp2-path": "newmethodsineduc02tadd_0071.jp2"}, "70": {"fulltext": "56\\nFirst Principles\\nFutility of\\npresent\\nmethods\\nDrawing a\\nmode of\\nthought\\nexpression\\nMeissonier\\nare pouring out on the multitude streams of visual information\\nthat must have an influence. The school is bound to keep in\\nline with these things. Better methods and better text-books\\nand appliances must be used. The old methods Jiaz c to change,\\nand the teachers, too.\\nAppliances in the schoolroom that have been used for 20\\nyears are still being used the wrong way, and at the wrong time,\\nsuch as copy books and drawing models, imitations of copies,\\netc. In some schools, systems of geometric forms (wooden\\nones) are used during the entire eight years of the school\\nlife of the child by teachers who have never been able to\\ndraw from the beginning.\\nCan anyone fail to realize how tired and weary the children\\nmust become of these things, and especially when they do not\\nfind any vital connection in them with their work? We cannot\\nexpect the children to do this when we find the teachers unable.\\nAll artists know how unreasonable it is to expect a product in\\ndrawing from children if they receive only a few homeopathic\\ndoses of construction, representation and decoration\\na few minutes a week. The artist knows how many hours of\\nstudy and actual delineation must be given before even an\\nordinary amount of capacit}^ is achieved.\\nThe wdiole subject, however, assumes a very difTerent\\naspect when drawing is used as one of the chief instruments of\\nimpressing the organism through all its various sense channels,\\nand is also used as one of the chief instruments of imparting\\nknowledge in all its various branches, being a mode of thought\\nexpression, just as speech and writing are modes of thought\\nexpression.\\nMeissonier thought drawing one of the bases of primary\\neducation, and said: To what heights might their intelli-\\ngences be trained by simply teaching them to see. I would\\nhave drawing made the basis of education in all schools. It is\\nthe only language that can express all things. An outline,\\neven if ill-shaped, conveys a more exact idea of a thing than the\\nmost harmonious sentences in the v/orld. Drawing is absolute\\ntruth, and the language of truth should be taught everywhere.", "height": "3354", "width": "2356", "jp2-path": "newmethodsineduc02tadd_0072.jp2"}, "71": {"fulltext": "Drawing: Correlated With Other Studies\\n57\\nI like my pupils and teachers to understand the distinction\\nthere is between sketching from nature and designing. In the\\none case we put down facts, and in the other, ideas. There is\\na tendency for many students to sketch only from nature. Growth of\\nget our ideas by thinking as well. More time should be given,\\nthen, to dwelling on our impressions and to systematic mental\\nreproduction, and to giving expression to these ideas constantly\\nby designing and creative work.*\\nTo get good art work we must have good ideas, and they\\nmust be tangible and concrete ideas that we can instantly revive\\nat will that w^ill recur automatically to the mind v^^hen needed.\\nWe can revive impressions of things, and we ought to be able\\nto revive ideas in the mind. They must l^e placed there first.\\nIdeas must be\\nThey must be firmly locked into the mental fabric by the sys- locked into\\ntematic performance of deeds, not only once, but many times.\\nThe more experience I have the more I can embody in these\\nideas; facility of expression giving accuracy of perception. The\\nmore I know of history, countries, religions, governments,\\nclimates, habits, the more of value I can put in my work.\\nWe must take in things, assimilate them and form ideas,\\nand then we will have an outcome. The more we practice this,\\nthe more facility we will find ourselves obtaining. It is always\\npossible to revive ideas in the mind and to make mental move-\\nments and co-ordinations. The more we do this, the more\\nvatal force we will have, the more deeply we will realize and\\nappreciate things. We wall begin to understand what inspira-\\ntion means.\\nThe idea in fact is organized as a separate mental existence in the cerebral convolu-\\ntions, being for us when so organized to all intents and purposes the object, and may be aroused\\ninto independent activity. Every idea is thus representative, the abstract of many sensations,\\ncomprising implicitly more than it displays explicitly; in it the essential is embodied, the unes-\\nsential suppressed or rejected; it is not the idea of any particular object or event, but the idea of\\nevery object or event of a particular kind; it is fundamentally a generalization or induction. We\\nmay justly say, then, that the ideational nerve centers idealize or ideate our sensory perceptions;\\nthe process of ideation, like other processes of organic evolution, being one of progressive\\ndifferentiation and integration, of discrimination of the unlike and assimilation of the like.\\n[Maudsley, Physiology of Mind, Page 272.", "height": "3311", "width": "2389", "jp2-path": "newmethodsineduc02tadd_0073.jp2"}, "72": {"fulltext": "CHAPTER Vm\\nNature Studies Right\\nMethods\\nLooking at\\nthings not\\nenough\\nBoy makinaf large chart\\nfreehand with brush and\\nink on manila paper. All\\nthe common names and\\ntechnical terms are lettered\\nby him on each part.\\nN EDUCATIONAL AUTHORITY\\nhas stated: The only way to teach\\nnature study is with no course laid out,\\nto luring in whatever may be handy and\\nto set the pupils to looking at it. The\\npupils do the v. ork. They see the thing\\nand explain its structure and its mean-\\ning. The exercise should not be too\\nlong, not to exceed fifteen minutes at\\nany time. And above all, the pupils\\nshould never look upon it as a recita-\\ntion, and there should never be an\\nexamination. It should come as a rest\\nexercise, whenever the pupils become restless. Ten minutes a\\nday for one term of a short, sharp and spicy observation upon\\nplants, for example, is worth more than a whole text-book of\\nbotany.\\nI seriously doubt if this is the way. I cjuestion if they see\\nthe thing simply by looking at it. I cjuestion if in this way\\nthey can comprehend and explain its structure and its meaning.\\nMany teachers have been following this method for years, and\\neven adults in normal schools have been doing it for a series of\\nyears, but I fail to find much product or result. If simply looking\\nat things will accomplish this, why is it that so few people,\\n(58)", "height": "3354", "width": "2356", "jp2-path": "newmethodsineduc02tadd_0074.jp2"}, "73": {"fulltext": "Nature Studies 59\\nsuddenly asked whose head is on a two-cent stamp, can answer\\ncorrectly? Are not stamps seen and handled often? I have tried\\nthis and other experiments on thousands of teachers for many\\nyears, and I know people do not learn or see by simply looking.\\nI find that even looking at and handling things all their\\nlives will not enable some people to know the shape of the most\\nfamiliar forms. Take a common spoon, for instance. Not one\\nin fifty can give a sure answer as\\nto how its handle curves, up or Familiarity\\ndown. I do not mean that they\\nknowledge\\nshould be able to make a drawing\\nof it, but that they should be able\\nto know actually how it bends.\\n(See diagram.) From the concept that they have, or have\\nhad, of the spoon in their minds for perhaps years, not one\\namong fifty will answer this correctly. Try it and see. The\\nsame is true of the shape of the most familiar tools. I can take\\npeople and prove that they do not begin to know the shape of\\ntheir own most familiar hammer or saw handle.\\nCapacity of this kind, accurate observation, can only be\\nmade automatic and useful l)y art methods, by practical esthet- j^ysj-j^e\\nics, by organized impressions repeatedly and systematically repeated\\nperformed until the mind takes in the desired percepts and can\\nform the concepts.\\nBut giving the sensation through one or two channels is\\nsimply useless. All experience teaches this; it is better to make\\na little knowledge vital and organic by the use of the conscious\\nactivities of the child. The child s motor centers must be\\ntrained by systematic exercise to respond instinctively to the\\nstimulation of sio-ht and touch, bv a product that compels the Let study have\\nJ r i permanent\\nexercise of skillful manipulation. It is this performance and results,\\nsystematic repetition that make the result permanent and valu-\\nable. It has actually been found that children have been made\\nmore stupid, dull, tired and restless by too much looking and\\nhandling, without using the spontaneous activities of several\\nother motor senses.", "height": "3311", "width": "2389", "jp2-path": "newmethodsineduc02tadd_0075.jp2"}, "74": {"fulltext": "60\\nFirst Principles\\nWe must\\nappreciate the\\nbeauty of\\nnature\\nPermanent\\norganic\\nimpressions\\nmust be made\\nI maintain that through art methods tangible results can\\nbe obtained that cause the child to take pains, that arouse its\\nemotions to a point of love and sympathy on account of the\\ntroul^le required to o])tain some wished-for product. However\\ntrifling or poor this product is, the thing desired, and for which\\nwe must scheme, is to cause the child to re-create, as the work\\nof its hands and l^rain and effort, the beauty, proportion,\\nfitness, grace, etc., embodied in the forms studied. The child\\nloves its product for the trouble it has caused.\\nThis is w^ell illustrated by the habit most children have of\\nsaving and keeping as precious, trifling odds and ends that they\\nhave made, and that seem to have value to them because they\\nhave thought over them and worried over them. Experience\\nteaches that formal collections of butterflies, pressed leaves,\\neggs, etc., are much less cherished, and usually find their way\\nto the waste basket at some period, only a faint and feeble\\nmemory being retained of their forms, one that is entirely use-\\nless so far as regards a vital love of nature and the enabling one\\nto enter into its beauties. We will not get love for nature unless\\nwe can appreciate the beauty of nature. This must be culti-\\nvated. No doubt there are some impressions, some faint traces\\nof these things left in the adult organism, but not sufficient to\\narouse impulses to action or energetic moving emotion; not\\nenough to inspire the motor reactions that end in deeds, though\\noften enough to result in thinking and dreaming, and some-\\ntimes wishing.\\nYet, we can have a right return from nature study if we\\nmake the right use of our opportunities. All the rambles,\\nwalks and talks of ten teachers, all the looking and handling, are\\nuseless for the purpose of nature teaching, unless the impres-\\nsions and information are made organic by the performance of\\nwork that compels systematic reaction of the motor centers to\\nyield a product, this being the outward, concrete sign of the\\ninternal structure or thought fabric. So much of the one is\\nshown by so much of the other.\\nThere is something dense in the mind of the average child", "height": "3354", "width": "2356", "jp2-path": "newmethodsineduc02tadd_0076.jp2"}, "75": {"fulltext": "Nature Studies\\n61\\nIllustration 33\\nDrawing from Nature\\nthat must be overcome by this systematic work. There is a\\nmental inertia, if yon will, or what might be called an infirmity\\nof purpose, that has to be conquered before the union of thought\\nand action can be made automatic and complete. Hence,, mere\\nlooking at and handling objects will not give the best results\\ndesired in nature study. And, in proof of this, we find that most\\nschool work of this kind does not produce the expected results.\\nBut the methods pointed out in this work do produce the\\ndesired results in every case. The children get a loving recog-\\nnition of things, and this arouses that energetic disposition to\\nperform appropriate actions which is the natural state of the\\nalert and active normal child.\\nIt is dreadful to see children, as they grow up through the\\nprimary, secondary and grammar grades of a school into the\\nhigh school, becoming more restless and more indifferent", "height": "3311", "width": "2389", "jp2-path": "newmethodsineduc02tadd_0077.jp2"}, "76": {"fulltext": "62\\nFirst Principles\\nEffect on health\\nof improper\\nmethods\\nto SO many of the essentialities, when, if properly trained, they\\nshould have become more energetic, and disposed to carry on\\ntheir work with the same energy they make use of in their play\\nand amusement. I am afraid the element of fun, with a\\nnumber of other valuable fundamentals, is gradually crushed\\nout by existing school methods.\\nNo truthful and thoughtful teacher can help but see also\\nthat many physical ills result from the present methods of train-\\ning. Many children that are chubby and healthy and usually\\nhave line color on entering school, are pale, narrow-chested,\\nfeeble, spectacled, cadaverous and pimple faced, when they have\\nfinished the school course. By damaging the body we, in a\\nmeasure, damage the mind. After all, the body is the chief\\nfabric. To this our best care should be given. The body, its\\nmovements, and its productions, are the outward fruits or signs\\nof the inner temple.\\nThe idle curiosity excited by things must be cherished and\\nnourished until it becomes attention. Inspiration from things\\nmeans energy, physical, mental and spiritual energy. We\\nmust assimilate and accumulate this energy. If God speaks at\\nall (and who doubts it?), He speaks through His works. There\\nare tongues in trees, books in the running brook, sermons in\\nstones, and good in everything (Shakespeare). Ought we\\nnot to understand these tongues, read these books and under-\\nstand these sermons? Ought we not to get the good from\\neverything? We must, as Emerson says, Bend to the persua-\\nsion flowing to us from every normal thing entreating us to be\\nits tongue to the heart of man, to teach a besotted world how\\npassing fair is wisdom.\\nWe must make our children realize the divinity that is\\nplanted in things. There is a great desire and tendency in some\\nBeauty and ,-r i i -i i i i i 01 i i\\nmystery of quarters to lift the children above the commonplace. Should\\ncommon things j^qj-^ rather, make them so familiar with things that even the\\nmud and dirt and weeds will seem filled with beauty and mys-\\ntery? Should we not open their mental eyes, the eye of the\\nunderstanding, to the beauty and splendor of the smallest", "height": "3354", "width": "2356", "jp2-path": "newmethodsineduc02tadd_0078.jp2"}, "77": {"fulltext": "Nature Studies 63\\ncreated atom? Make them realize the force that is in every\\ncommon thing, that holds together each flower and leaf and\\nstone; make them realize that matter and spirit are two sides\\nof one fact.\\nWe are compelled to be with matter in this world. We Divine energy\\ncannot lift the children above the commonplace. Instead, we matter\\nshould thrust their heads well into it until they recognize their\\nMother Nature. There is an irresistible impulse, which is like\\nthe tug of gravity, that forces us sometimes against our will, to\\nbe close to facts and things. Let us be obedient and bend to\\nthe divine energy. Then we can gradually take in the idea, so\\nbeautifully expressed by Bishop Keene, that matter is the\\nstairway by which the soul mounts to God.\\nThe desire for nature study is constantly increasing and is\\nbeginning to be appreciated among teachers. It is the method\\nof studying nature that must now be improved. When w^e can\\nlearn, understand and make use of the lessons with which nature\\nteems, the new education will indeed have made a great\\nadvance. This means much more than merely looking at\\nthings, though that is better than only reading about them. A\\nrecent catalogue of a summer school contained a picture of a\\nprofessor of botany dissecting a plant while the class looked on.\\nHe was learning something and receiving an actual impression\\nthrough the touch sense and the muscular sense, as well as\\nthrough the vision, but the members of the class were getting\\nonly a slight visual and auditory impression of the plant and of\\nits parts (for I presum^e the professor spoke) that they would\\nsoon forget. Now if each of the class had dissected the plant methods of\\nand in addition to the visual and auditory impression, had made study needed\\nan impression through the muscular and touch sense^ and then\\nhad reinforced these impressions by making diagrams and draw-\\nings of the various parts, attaching their respective names to\\neach part, first from the plant and then from memory, a more\\npermanent impression would have been made. It is the per-\\nlormance of actions through a number of the modes of expres-\\nsion that calls forth powers of perception and conception and", "height": "3311", "width": "2389", "jp2-path": "newmethodsineduc02tadd_0079.jp2"}, "78": {"fulltext": "64:\\nFirst Principles\\nUniversal use\\nof new modes\\nof expression\\nexpression, and makes so vivid an impression on the brain as\\nnever to be forgotten.\\nThe power of imitation and suggestion, the abihty to draw,\\nto model and carve natural objects, is inherent and only needs\\nto be properly trained to become almost as universal a mode of\\nthought expression as verbal or written words. The succeed-\\ning books of this work afford a partial insight into the methods\\nof developing and training these forms of expression.\\nA Touch of Nature", "height": "3354", "width": "2356", "jp2-path": "newmethodsineduc02tadd_0080.jp2"}, "79": {"fulltext": "BOOK TWO\\nManual-Training\\nDrawing\\nOriginal Designs by Grammar Grade Children\\nThe instantaneous judgments of the distance, the position, the size, the figure of objects, which accompany\\nour visual sensations, are not consciously made, nor are they put in logical form; in fact, all the labors of philoso-\\nphers hitherto have not been sufficient to discover and explain the process by which we acquire them\u00e2\u0080\u0094 to set forth\\nexplicitly the premises, the reasoning, and the conclusions which are implicit in them, [Maudsley, Physiology\\nof the Mind, page 32.\\nThe great source of happiness is to be found in the exercise of talents, and perhaps the greatest of all is when\\nthe ingenuity of the mind is exercised in the dextrous employment of the hands. [Sir Charles Bell.\\n1\\nModels of Leaf Forms", "height": "3311", "width": "2389", "jp2-path": "newmethodsineduc02tadd_0081.jp2"}, "80": {"fulltext": "\u00e2\u0080\u00a2s, S\\nyi-\\nI I i K),\\nc 8\\nO\\nI I\\n.S M\\nO s\\n:3 bB\\nIS\\nH\\na\\ntu\\nH\\na.\\n(66)", "height": "3354", "width": "2356", "jp2-path": "newmethodsineduc02tadd_0082.jp2"}, "81": {"fulltext": "Illustration 40\\nSome Primary Exercises\\nCHAPTER I\\nPreliminary Considerations\\nin Manual-Training-\\nDrawing\\nCTT HE FOLLOWING METHODS are advanced with confidence,\\nin view of the fact that there is a general reaction against the\\nprinted copybook systems of drawing already described. The\\nunsatisfactory character of such purely artificial, nay, even mechan-\\nical aids to the teacher, is now generally apparent, and many teachers and\\nothers interested, feeling this lack of results and deficiencies of methods, are\\nalready seeking better ways.\\nMany artists are also becoming interested in the education of children\\nin art work, and are practically unanimous in their condemnation of the old\\nsystems. Indeed, it is hardly possible to name an artist of any importance\\nwho agrees with the systems in general use. Artists, usually, are not much\\nengaged in public affairs, but when one of them does look into the usual\\nmethods of education, it is generally with an expression of amazement\\nat the feebleness and utter inutility of the art instruction received. Artists", "height": "3311", "width": "2389", "jp2-path": "newmethodsineduc02tadd_0083.jp2"}, "82": {"fulltext": "68\\nManual-Ti-ainingf Drawingf\\nare beginning to be more interested in the subject, and several voices have\\nof late been lifted up in not uncertain tones, advocating a change to rational\\nw^ays of work that will produce useful results.\\nWhen artists are spoken of in this connection, real ones are meant\\nthose who actually produce art work. I do not mean those teachers of art\\nor of drawing, who have never produced a statue, a model, or a picture.\\nMany of these, unfortunately, are engaged in teaching the artificial systems\\ncomplained about, and in many cases they have been trained in normal art\\nschools expressly for that kind of work. They never had any real knowl-\\nedge of art work, and their products are destitute of value, being vitiated\\nby all the intricate inanities of the systems indicated. Artists mus-t, ere\\nlong, combine against the errors in education mentioned, and it is only\\nbecause of ignorance of actual school processes that they have not been\\nalready aroused. Surely, their judgment should be consulted as to what is\\nbest to do, even if they are not teachers. Some of them are sufficiently\\ninterested to condemn false work, and to suggest improvements. I have\\nhad many artists visit my schools, and have never yet found any to ol^ject to\\nany part of the work, as contrasted with the old methods. They usually\\nIllustration 41\\nFirst Exercise, Manual-Training Drawing", "height": "3354", "width": "2356", "jp2-path": "newmethodsineduc02tadd_0084.jp2"}, "83": {"fulltext": "Preliminary Considerations\\n69\\nII lustration 42\\nd i\\nManual Tra-ining Exercises\\nThese grammar grade pupils are trained by the ordinary teacher\\nendorse even the most radical changes we have made changes that are the\\nresult of experiment from the standpoint of the artist, not of the teacher.\\nIt is to be distinctly understood by artists and art teachers who read\\nthese chapters on drill wOrk, that these exercises are not intended to take\\nthe place of art teaching- of various other forms the drawing from objects,\\nthe study of perspective (in its right place), the use of color, light and shade,\\netc. But the object of these exercises is for the definite purpose of supple-\\nmenting art work in all directions, and primarily for giving fundamental skill\\nand dexterity to the hand as an instrument. All art teachers can realize the\\nvalue of a ready hand prompt to obey the mind, one that by training is\\nthoroughly co-ordinated to perform all movements with facility as soon as\\nthought. Especially is this appreciated if time is saved, and certain\\nqualities such as balance, proportion, magnitudes, space relations, etc.,\\nare made automatic (see page yj and, at the same time, the mind is stored\\nwith all the common and conventional forms and units of design of the best\\nperiods and of the different styles or schools of art.\\nTeachers must realize also that only a very short time need be given to\\nthis drill work, about ten minutes each lesson, provided it starts at the nas-\\ncent or incipient period of childhood. Also, that in all cases, the drill work", "height": "3311", "width": "2389", "jp2-path": "newmethodsineduc02tadd_0085.jp2"}, "84": {"fulltext": "70\\nManual-Training Drawing\\nin delineation is accompanied by form work on paper, in clay modelling from\\nforms, and (if children are not too young) by wood carving of various forms.\\nOf course, if children or adults have passed the nascent period for this work,\\nextra time must be given to acquiring the desired facility; for few can be\\nfound now to dispute the desirability of real manual dexterity for each hand\\nfor all boys and girls whatever their future life may be, apart from the idea of\\ndrawing as a mode of thought expression for educational purposes, and as a\\nmeans of correlating all the various studies. I do not think a psychologist\\ncan now be found who will not strenuously advocate real drawing and proper\\nmanual training as one of the chief means to reinforce knowdedge, and to\\nmake it wisdom. They will advocate it as a means through motor move-\\nments and touch sensations of awakening and making still more alert the\\nbrain, which is far too frecjuently made dull and torpid by too much verbal\\nmemorizing, too much print, too much telling, and too little doing.\\nThe drill forms in delineation, then, are for the purpose of getting auto-\\nmatic facility for motor centers of the hand, just as all other modes of\\nexpression require automatic facility, as in speech, writing, singing, playing\\non instruments, etc. A course of this drill work alone is folly, but accom-\\npanied by the other forms of art work and nature study, is of inestimable\\nIllustration 43\\nAmbidextrous Co-ordinations in Four Directions", "height": "3354", "width": "2356", "jp2-path": "newmethodsineduc02tadd_0086.jp2"}, "85": {"fulltext": "Prelitninafy Considerations\\n7t\\nIllustration 44\\nFree Hand Drawing\\nGrammar grade pupils making original designs\\neducational value. The forms have l^een -arranged in the order of their\\ndifficulty, not in the logical order. First, easy line exercises are given, then\\nsimple units of design, then complex exercises and units of design, and\\nso on.\\nIt is not expected to at once overcome all the evil effects resulting from\\nart instruction having been left so long in the hands of mere book publishing\\nconcerns and their agents, but I do expect to let in some light on the subject.\\nEspecially do I expect to see the artists, and people who are authorities on\\nthese matters, become interested in the question and to see them earnest\\nadvocates of newer and better methods. If this interest is once aroused^ we\\nneed have no fear as to what will ensue.\\nThe Two Kinds of Draiving* Many will think that too much\\ntime and space have been given in this book to the manual-training drawing\\nand drill work, at the expense of the equally important work of drawing\\nfrom nature and art forms. This has been done intentionally. The value\\nof drawing as manual training, and of manual training to right and good\\ndrawing, has not been sufficiently emphasized in the past. No one advocates\\nmore strongly than I the importance of drawing from nature and art forms,\\nbut I also recognize the importance of manual training and drill work as", "height": "3311", "width": "2389", "jp2-path": "newmethodsineduc02tadd_0087.jp2"}, "86": {"fulltext": "72\\nManual-Ttaining Drawing^\\nelementary to and supreme for the Ijest results in art work and nature study.\\nFor this reason I have given the manual training part of drawing in con-\\nsiderable detail.\\nThe distinction usually made between the manual training idea and\\nart work is a false one. They are two sides of one fact, equally important\\nand equally worthy of receiving all possible care and attention.\\nIn devising the series of drill forms in manual-training drawing given\\nin this work, it should be distinctly understood that any forms or\\nlike characters can be used. I am aware that the moment set things are\\nsuggested as necessary, routine will begin. The teacher should be con-\\nstantly on the lookout for new forms. In the very nature of the case, false\\nsystems grow out of a rigid adherence to set forms and methods of work.\\nTeachers must change and modify their instruction in accordance with indi-\\nvidual needs and environment. The forms given are simply the result of\\nthe experience of one person, and, though proved to be of value by their use\\nin large classes, may be improved upon by the experience of others.\\nIllustration 45\\nFirst Exercises. Primary School, Colored Children", "height": "3354", "width": "2356", "jp2-path": "newmethodsineduc02tadd_0088.jp2"}, "87": {"fulltext": "Preliminary Considerations\\n73\\nIllustration 46\\nFree Hand Work for Very Young Children\\nPa.per* One of the best kinds of paper lo use for practice work in\\ndrawing and for drill work is the common manila paper. Get the light\\ntints, as they are the best for drawing, although any kind can be employed,\\nthe kind that weighs 36 pounds per ream, costing about $3, is here sug-\\ngested. The sheets can be cut in half, gii ing the liberal size of 18 by 24", "height": "3311", "width": "2389", "jp2-path": "newmethodsineduc02tadd_0089.jp2"}, "88": {"fulltext": "74 Manual-Tfainin^ Drawing\\nInches. This will cover the top of any ordinary desk or table, and as it occupies\\nall the space in front of the pupil, the hands can move with freedom over the\\nwhole sheet. I use this paper because it is very cheap and quite as good\\nas the white drawing papers for practice purposes. It can be purchased\\nwith any kind of texture, glazed or rough. Manila paper is good, even for\\ndesigning and making of patterns, on account of its texture, strength and\\ndurability.\\nFor practice purposes I have the children draw on both sides. Usually\\nwe cover the paper all over many times with the drill forms. This paper\\nalso takes India ink, or the common black inks; of course it is not quite so\\ngood for color work as the Avhite paper, I have settled on this paper after\\ntrying many other kinds.\\nPencils No Rubber. Ordinary school lead pencils will do for drill\\npurposes; the best kind is a good, medium-soft pencil. Do not allow\\nrubl)ers to be used; it simply wastes time, while no good is accomplished. It\\nis, in fact, very important to break pupils of this habit of using rubber.\\nSome children, and even adults, seem to think that the first marks must be\\nrubbed off in any case. In some schools, it seems impossible for the pupils\\nto draw unless they have a piece of rubber in the left hand.\\nThe habit must be formed of putting down the required touches at one\\ntouch to stay. This can readily be done and gives greater freedom and\\naccuracy than when feeble tentative touches a re made, with the idea in the\\nmind that they must be changed several times before they can be right.", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0090.jp2"}, "89": {"fulltext": "Illustration 47\\nCHAPTER II\\nElementary\\nDrill Forms*\\nTHIS INSTRUCTION and the exercises in drill work can be\\ngiven by the teacher to a large number of pupils at once. This will\\nsave time and talking on the part of the teacher. It is advisable\\nat intervals to call the attention of the whole class to certain facts.\\nThe most convenient way to do this is to ring a bell, when all the pupils\\ncease working and can listen to the teacher s directions. Pupils working\\nat desks on paper can make forms reduced in size from blackboard work.\\nThe series of marginal forms here given are intended to illustrate a graded\\nset of lessons. A large number of forms are given, so that the teacher may\\nmake a judicious selection therefrom. Bright teachers usually make num-\\nbers of other forms, and in a very short time have a collection of their own.\\nI like my pupils to forget all they have learned and studied of other systems,\\nfor the time being. New pupils, those who have never received any\\ninstruction in drawing, while they may be very backward with hand train-\\ning, are more pliable and grasp the forms very readily, perhaps more readily\\nthan those who have been trained in other directions and who have various\\nfaults to correct; especially those who have never been taught to make a\\nfirm, clear, decided line with a single stroke, but have been taught to dot\\ntheir lines or to lightly sketch their lines, making a series of tentative\\n*A11 of the cuts, excepting a few of the most complex ones, have been drawn by children.\\n(75)", "height": "3321", "width": "2421", "jp2-path": "newmethodsineduc02tadd_0091.jp2"}, "90": {"fulltext": "76\\nIllustration\\nManual-Training; Drawing;\\nFree Hand Exercises in Strais -ht Lines\\ntouches, with the intention, later on, of making the marks or strokes better.\\nIn the old-fashioned drawing methods, this is called lining in. No one\\ncan think for a moment wathout realizing how stupid it is to make several\\nattempts or to work in that way, when, with very little practice, firm, clear\\ntouches can be made from the start.\\nTo Get cAutomatiC FdciUty. I have repeatedly spoken of\\nthe desirability of facility in the 1)eginning. These first exer-\\ncises are chiefly for the purpose of acquiring facility, actual manual\\ntraining, the power to make the hand obey the dictates of the mind, to\\nmake the hand obedient to the will. It does not matter in the beg-innine-\\nhow crudely the pupil makes the forms. Habit and repetition will correct\\nthat. Give all the attention in the beginning to position, distance\\nmovement, and the like.\\nThe pupil should learn to draw as automaticallv as he learns to write.", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0092.jp2"}, "91": {"fulltext": "Elementary Drill Forms 77\\nSome of the written letters of the alphabet are exceedingly complex,\\nembodying difficult compound curves, and growing still more difficult when\\ncombined with other letters to form a word. Notwithstanding this, the\\ndullest pupil, by constant practice, makes each one of these complex charac-\\nters unconsciously. The movements of the hand in writing are automatic.\\nWhen the pupil desires to express himself in words or writing, he is not\\nobliged to lightly sketch or line in the different characters or letters.\\nHis mind is occupied with the idea he wishes to express upon the paper, and\\nhis hand moves automatically, without a thought being given to the different\\npositions required to form the lines and curves which go to make up the\\nwritten word.*\\nJust so it must be in learning to draw. The different movements must\\nbe practiced till they are drawn with as little effort and as unconsciously as\\nare the letters of the alphabet. No special talent or genius is necessary in\\norder to be able to write well. The same is true of drawing, in the mere\\nacquisition of the mechanical part of the work. Talent and genius are\\nrequired for the higher grades of design and creative work, just as talent\\nand genius are required to express great thoughts in written words.\\nThe First Exercise Is the Circle* It should be drawn with the\\nright hand directly in front (Illus. 40, 41, and 49). Let the circle\\nbe about six inches in diameter. Do not make the circles\\ntoo large in the beginning, but later on they can be made of\\nall sizes as large as the arm can sweep or as the blackboard\\nIt is easy to perceive why will can only determine the result when it dictates an act, and cannot determine\\nthe action of a particular muscle, or the combined actions of certain muscles which have not acted together before.\\nAll it does is to let loose, as it were, the proper agency in the motor center; and this is done by willing the event, which\\nit is enabled to do by means of the proper motor intuition. When I will to utter a certain word, 1 will the event, the\\ncomplex articulating movements oeing possible to me only through the medium of the proper motor intuition. The\\nimpulse jilv.s the special motor intuition constitutes the particular volition. A voluntary movement is truly a reflex\\nact in the cortical centers of the brain; diflfering from the lower reflex movements in these circumstances\u00e2\u0080\u0094 first,\\nthat it does not immediately follow the stimulus, but is caused by the excitation of many associated sensory residua\\nwhich have been laid up in consequence of former experiences; and, secondly, that it contains or evinces a dis-\\ntinct adaptation to an end or purpose, by reason of the excitation of associated motor residua which have been\\norganized elTects of former adjustments. If the result wished is anew, unfamiliar one, no residua thereof from\\nprevious experiences existing in the motor centers, then the will is unequal to the accomplishment of it; there is\\nnot an exact and definite idea cf the end to be efl ected, the necessary motor intuition being wanting. After re-\\npeated trials, the desired skill is firmly acquired, and the movementis thenceforth automatic, the motor intuition\\nhaving been gradually organized in the proper nervous centers the result stored up strictly corresponds with that\\nwhich in other nervous centers we describe as abstract idea. It is probable that the so-called motor centers in the\\ncerebral convolutions are really the centers of these motor intuitions in other words, they are the centers in which\\nthe subordinate motor centers act upon consciousness, and they thus constitute the physiological agency oi\\nvoluntary movements. [Maudsley, Physiology of the Mind, pages 466-467.", "height": "3321", "width": "2421", "jp2-path": "newmethodsineduc02tadd_0093.jp2"}, "92": {"fulltext": "78\\nManual- Training; Drawing\\nIllustration 49\\nwill allow. This graded series of exercises, the result of 20 years experi-\\nence, has enabled me to decide upon certain sizes that are more convenient\\nand more adapted for school purposes than others.\\nThe circle should be drawn on a level with the chin.\\nAll children show a disposition to make it above\\ntheir heads, to reach upward a fact of much inter-\\nest to psychologists and physiologists. Adults who\\nhave never had any training usually make their\\ncircles too low on the 1)oard, and aged people make\\nthem quite low another interesting fact. For our\\npurpose and convenience, we make the circle\\ndirectly in front, just a little below the eye. See\\nthat the body is quite erect, and the head level, and\\nthat the hands swing freely around the circle many times. Then, with the\\nleft hand draw a circle by the side of the first one (Illus. 41). Practice swino--\\ning the hand around until the line flows freely.\\nDo not allow the body to sway or swing in doing this, but see that the\\npupil moves the arm entirely free from the body. The circle is essentially\\nan arm movement. Let there be an easy swing of the arm from the shoul-\\nder, keeping the remainder of the body in an easy, comfortable position, and\\ncarefully avoiding rigidity of the muscles\u00e2\u0080\u0094 no tight grip of the chalk. Every\\nmovement must be as easy, free and graceful as possible.\\nAt first there is a tendency to put the face close to the blackboard sur-\\nface, and to turn the head to one side. Resist these desires and keep up the\\npractice till the movement is free and easy. Ultimately all these movements\\nshould become automatic, or be made without conscious attention or exer-\\ncise of the mind. Of course this cannot be expected immediately.\\nThe next step v ill be to take a piece of chalk in each hand and draw\\nover the same circle with both hands at once Illus. 41). This\\nmovement ...I be rather difficult, but in a minute or two the co-\\nordination is made and it becomes easy. This accomplished, the pupil must\\nbe trained to swing both hands to the right, then to the left, then in opposite\\ndirections, letting each hand go around the circle in a direction opposite to\\nthat followed by the other (Illus. 45). This last movement is much more\\ndifficult, but in a few minutes it is usually conquered by even the smallest\\nchildren. These six movements are to be repeated as drill forms contin-", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0094.jp2"}, "93": {"fulltext": "Elementary Drill Forms 79\\ntially, just as the five-finger exercises are practiced on the piano. Do not\\npay much attention to the accuracy of the circle. It doesn t matter how\\ncrude it is in the beginning, facility being the first thing desired. Alany\\nchildren in a very short time can swing perfect circles frequently with each\\nhand.\\nStraight Lines* \u00e2\u0080\u0094The next exercise will be the making of straight lines\\nfor the purpose of gaining facility in this movement. The pupil, standing\\nin the same position as before, must swing the hand up and down vertically,\\nmaking a line about i8 inches in length. In doing this, pay especial atten-\\ntion to the position of the body. See that it is erect all the time and that\\nonly the hand and arm move. Do not allow the body to wave back and\\nforth as the hand moves up and down. Try to make the hand independent.\\nBeginners will invariably sway the body at first. In teaching a large class,\\nsay 12 or 20, on the blackboard, it is amusing to see the movements some of\\nthe untrained pupils make. This is very readily overcome, however, by\\ndrawing their attention to it, and in a minute or two the hands can be made\\nto swing freely, with every figure quite erect, the heads level and at the right\\ndistance from the board.\\nA second line can now be made in the horizontal direction, crossing the\\nfirst, the hand being kept in the same position, illustration 50\\nand allow it to swing freely from the right to\\nthe left, back and forth, till facility is acquired\\nin this movement. The movements can be Q?!;,,\\nfollowed with the drawing of the diagonal %;r. ilr#\\nlines, also continued until the movements are y\\nmade with ease in any direction (Illus. 48 and nt^ ^b%.\\n50). Invariably, in one or two places, lack ^jpy ;{i| \u00e2\u0080\u00a2%:^s,j\\nof co-ordination will be felt and the line will fit ^^ibx\\nbe crooked and uneven, but very little repetition y*\\nif\\nM lll overcome these defects.\\nIt is to acquire facility and control, and to get the actual structural con-\\nnection and harmony of relation between the hand and the brain, that we\\nmake these consecutive movements all around the circle, not with one hand\\nonly, but with each hand. Especial care must be given to the left hand,\\nowing to the lack of its use with the majority of people. But with the\\nyoung the left hand can be made to work with as much freedom as the right,", "height": "3321", "width": "2421", "jp2-path": "newmethodsineduc02tadd_0095.jp2"}, "94": {"fulltext": "80\\nIllustration 51\\nManual-Training; Drawing;\\nDrill Movements and Spirals for Primary Children\\nThe forms are made with either hand\\nin a very short time, and I see no reason why any of us should not have as\\nmuch control and power over the left hand as we have over the right.\\nCrudely speaking, we have two brains, a hemisphere for each hand, and only\\na very dull person will think it necessary to confine himself to the use of one.\\nUsually, in the beginning, a little more time must be given to left-hand work\\non account of the movements being slower and more awkward through lack\\nof use. (See chapter V I, page 50, Book One.)\\nThe Double Loop (Illus. 52). In making this form, let it be\\nabout 12 inches in length. Very few beginners can draw it so that it will\\nbe erect. Usually the force of the writing habit asserts itself and a great-\\nmany pupils tip this form to the right, finding it almost impossible to make\\nit vertical in the beginning. I have a series of exercises expressly for the", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0096.jp2"}, "95": {"fulltext": "Elementafy Drill Forms\\n8J\\npurposes of overcoming the writing habit the disposition to slope forms to\\nthe right. The double loop is one of them. Allow the hand to swing\\nfreely, make the two vertical loops equal in size (Illus. 52), and resist the\\ntendency of the chalk to follow continually the same line. Let it move about\\ntill the two forms are to a degree equal and the hand moves with ease and\\nfacility. Practice the same thing with the left hand. The next exercise\\nis to make the same form horizontally; then to put in the two diagonals,\\nswinging over each loop many times to get facility and to overcome all awk-\\nwardness of movement. Practice on the loops should be especially directed\\nto the points where awkwardness is indicated, and continued until this is\\novercome. This is a beautiful exercise for compelling rectitude and for\\nmaking balance, proportion and fitness. It is quite difficult to make these\\nforms fit in the beginning. Do not expect accuracy at first, do not mind\\nhow much the forms overlap in getting facility, but as soon as this facility\\nhas been attained, endeavor to get fitness and exactness. The same is to be\\ndone with the left hand. Many rosettes and forms similar to this can be\\nIllustration 53\\nIllustration 54\\nmade. Suggestions may be found in the illustrations in this book. It is a\\nvery easy matter for a good teacher to make twenty arrangements of the\\ndouble loop.\\nWhen facility has been acquired, practice this loop as the smaller child\\nis doing in Illus. 51. The pupil must endeavor to make the loops (47)\\nerect, equal in size, and equidistant from one end of the blackboard", "height": "3321", "width": "2421", "jp2-path": "newmethodsineduc02tadd_0097.jp2"}, "96": {"fulltext": "82\\nManual-Training Drawing\\nto the other. Let them be about six\\ninches in length. Then interlace the loops.\\nIt is quite difficult to draw this (Illus. 60)\\nso that the loops will be erect, equal in size,\\nand of equal distance. This is a very good\\nexercise. Do not allow the form to be\\ndrawn quickly, and resist the tendency of\\nthe hand to move as in writing. Continue\\nthe exercise straight across the board.\\nThere is a great tendency to let it dimin-\\nish in size. This can be seen readily when\\na large number of pupils are drawing\\nthe form at the same time. The same\\nexercise can be done with the left hand\\nand many varieties of it can be devised.\\n(Application of the Loop. The\\nnext is quite an important exercise\\n(Illus. 55). In making this form, draw\\nthe loops from six to eight inches in\\nlength, letting the center loop be erect\\nand the two side loops balance. The hand\\nmust swing freely over these lines till per-\\nfect control and automatic movement are\\nacquired. This compels rectitude, balance,\\nproportion and fitness. It can also be\\ninterlaced by another similar form (Illus.\\n59), making, if it is properly done, a\\ncomplete rosette. This is also to be done\\nwith the left hand. This form can be\\nvaried in many ways, making use of six,\\neight or twelve loops, interlacing them,\\netc., as shown herewith.\\n^dson for these Movements\\nOnly a few of these forms should be prac-\\nticed at each lesson, it being desirable to\\ngive all the period to two or three, a\\nIllustration 55\\nillustration 56\\nIllustration 57", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0098.jp2"}, "97": {"fulltext": "Elementary Drill Forms\\n83\\nIllustration 58\\nMaking Loop Forms With Both Hands, Primary Children\\njudicious selection having been made by the teacher. It will be found\\nthat the forms and the work are a little tedious in the beginning, just\\nas the scales in studying music, or the exercises required in singing, are con-\\nsidered tedious. But experience teaches that these forms, properly carried\\nout, will produce the desired results in the organism in the shortest space of\\ntime, and the teacher will realize that to get automatic facility a flow of", "height": "3321", "width": "2421", "jp2-path": "newmethodsineduc02tadd_0099.jp2"}, "98": {"fulltext": "84\\nManual-Training Drawing;\\nIllustration 59\\nI I\\nIllustration 60\\nV\\nmovement is all-important. Very little can be done in skilled hand training\\nif the movements are made consciously. It is only by making them auto-\\nmatic, thus allowing concentration of thought upon the end in view, that\\ngood and skilled work can be done.\\nThe SpirdL The next form is one of the most frequent in all art\\nforms, the spiral (Illus. 61). In making this, swing the hand to the cen-\\nter with a single touch. Do not mind how crude it is in the beginning.\\nBegin this from the outside at a and aim for the center. Let the end of the\\nline be in the middle, at b. Continually practice this form. It is the\\nbasis of most designs; it is seen in botanical forms, in the movements\\nof water, air and wind. Even the planets spin in spiral orbits. The\\nendeavor must be to make a true and good curve instead of a bent line.\\nOnly by making the swing automatic can this be done. The form must be\\nIllustration 61\\nIllustration 62\\nx\\n\u00c2\u00bb\u00c2\u00bb,1,.\u00e2\u0080\u009e\u00e2\u0080\u009e\u00c2\u00bb,\u00c2\u00bb.", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0100.jp2"}, "99": {"fulltext": "Elementary Drill Forms\\n85\\nrepeated with each hand in all directions; first, to the right, the left, up and\\ndown, and of different lengths.\\nThe next exercise is to double this form (Illus. 63). It can also be\\nmade fourfold. Next, practice making the spirals flow one into the other,\\nlike No. 65. Let them show gradation. This is c|uite difficult. Next,\\nmake a series of spirals flowing one out of the other and ecjual in size, as in\\nillustration No. 66. To do this straight across the board, to keep them\\nIllustration 63\\nIllustration 64\\nV\\nIllustration 65\\nIllustration 66\\nIllustration 67 (a)\\nIllustra ion 67 (b)\\nJ\\n7) I\\nequal in size and at equal distance, is an excellent exercise. It should be\\nrepeated indefinitely. This is one of the most beautiful of all forms and it\\nis used continually in many of the best styles. In fact, it is hard to make\\na good pattern w^ithout introducing this unit. Endeavor to make the lines\\nof the spiral flow one into the other gradually, showing the transition increas-\\ning and diminishing. Do not let it be abrupt and angular, as at a, but flow-\\ning and graceful, as at b, in illustrations No. 67.", "height": "3321", "width": "2421", "jp2-path": "newmethodsineduc02tadd_0101.jp2"}, "100": {"fulltext": "86 Manual-Training: Drawing;\\nModeling and Carving* Years of experience demonstrate that copy-\\ning and drawing- from models alone on flat surfaces fail to give pupils the\\nfree swinging movements so essential in making artistic curves and touches.\\nThe hand always seems to lack a certain facility that even many years of\\nwork sometimes fail to give. When, however, the hand becomes able to\\nmove with ease in soft clay and tough wood, when it has been trained to\\nfollow lines and surfaces through these mediums, it is wonderful how\\nquickly the finest and most complex curves can be produced with free\\nswinging lines and touches. In drawing these spiral forms, therefore, and\\nall the other drill forms, it must be understood that the best results can only\\nbe obtained when carried out as I recommend in the various mediums on\\npaper, in soft clay and in tough w^ood.\\nThe facility and accuracy of form obtained by pupils working this\\nway, compared with pupils who only draw in the ordinary manner, is ex-\\ntraordinary. At first I could hardly believe it possible, the difference is so\\nevident. Experience, however, proves that a much deeper and more lasting\\nimpression of form is secured when pupils make the various forms in differ-\\nent mediums. The hand also seems to become stronger and more energetic.\\nOf course, working in wood compels the exercise of greater strength\\nthrough the hands, and this exerts a favorable influence over the body, espe-\\ncially over the upper part, the arms and chest. This influence is particularlv\\nbeneficial to children who suffer from the sedentary habits formed in schools,\\nwho lack full chests and droop over their work.\\nI\\nj*^\\nx,\\nf", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0102.jp2"}, "101": {"fulltext": "Illustration 68\\nMemory Drawing\\nThese various bird forms are drawn from pictures and the character and size memorized as much as possible.\\nThe forms are repeated until they can be drawn from mental image.\\nCHAPTER III\\nElementary Units\\nyl MONG THE MOST POPULAR FORMS of ornament are the\\n/J various kinds of foliage. Leaves have been modified for many pur-\\nposes in nearly all the styles of ornament. There is no end to the\\nvariety and shape. For our purpose, we will begin by making a\\nfew of the simplest conventionalized leaves, from which we may gradually\\npass to the most complex. The simple leaf units, I find by experience, are\\namong the best things we have for school practice and drill. They embody\\nall the desired qualities and are perfectly graded, from the simplest leaf forms\\nto the most complex of the Roman acanthus leaf shapes.\\nSitnpte Leaf Forms* Draw a vertical line, about eight inches long,\\nto represent the midrib of the leaf. On each side place a double curve, as\\nin No. 69. Draw the center midrib upward in the direction of the growth\\nof the leaf. This form should be repeated. A very good way is to go over\\nthe lines many times till the double curve becomes automatic. The shape\\ncan be repeated fourfold (Illus. 70), thus making eight double curves in\\ndifferent directions; this should also be repeated until automatic. It is\\nquite difficult to resist reversing these curves in the beginning, but a very\\n(87)", "height": "3321", "width": "2421", "jp2-path": "newmethodsineduc02tadd_0103.jp2"}, "102": {"fulltext": "66 Manual-Training^ Drawing;\\nlittle practice enables the pupil to get them right and to make good balance,\\nfitness, proportion, etc. The form can be made more complex by adding\\nfour more leaflets, forming a rosette (No. 71). This form can be made\\nby drawing the leaflets long and narrow, short and thick, with the complex\\ncurve, and the single curve, as illustrated on page 96.\\nIllustration 69 Illustration 70 Illustration 71\\ny.\\n=\u00c2\u00ab\u00c2\u00ab\u00c2\u00ab\u00c2\u00ab\u00c2\u00ab\u00c2\u00abj^4 Kg^r\\nV\\nThe Natural Method. Do not expect this form to be accurate in\\nthe beginning and do not allow any ruling of construction lines or measur-\\ning. This method is a protest against the use of mechanical or artificial aids,\\nwhich help the hand at the expense of the mind and the judgment. These\\nforms and rosettes will be very crooked at first, but it is surprising how soon\\nthey can be made, by very young children, with precision, as though they\\nwere measured and marked off by means of callipers or rulers. The more\\nconstruction lines are used, the more they will be needed. Abolish them\\nfrom the beginning. Compel the hand and the eye to obey the mind and\\nto gain proportion and fitness without aids. This capacity is so desirable,\\nso valuable throughout life, in any vocation, that it is hard to think that any-\\none would be willing to use the crutches which are allowed, and usually pre-\\nscribed, in most drawing systems.\\nIt has been universally the practice to teach the pupils to measure off\\nthese construction lines by artificial aids, thus putting it out of their power\\never to be able to dispense with them. Do not mind how crooked the form\\nis in the beginning. I have never yet found a child, after drawing the most\\ncrooked rosette in this way, who was unable to perceive its imperfection and\\nwas not able, if allowed, to improve upon it. It is this capacity that we wish", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0104.jp2"}, "103": {"fulltext": "Elementary Units\\n89\\nto obtain, the power to compel the judgment to act from the start, so that\\nin the course of time the hand will obey the mind and the habit be formed\\nof making accurate proportion and fitness freehand.* Of course, as facility\\nis gained, accuracy must be tried for.\\nChildren in a very short time can make this comparatively complex\\nrosette form with a great deal of correctness and facility. It should be done\\nwith one hand and then with the other. It is a construction, a representa-\\ntion and a decoration, and I think it absurd to separate these qualities, as is\\ndone in some systems, and to give long lists of graded exercises under\\neach head. All of these simple forms are constructions, representations and\\ndecorations. It is difficult enough to create the power to make the simple\\nforms well without surrounding the work with a lot of technical and seem-\\ningly mysterious terms and processes. Many courses are filled with words\\nlike bi-symmetrical conventionalization, systematic modifications of\\ngeometric, bi-symmetrical ornaments, modifications of the round,\\nkite form, etc. Unnecessary technical terms like these simply tend to\\nobscure to the young that which should be as plain and lucid as the thing\\nitself.\\nThe Next Form is the same as the preceding, only a little more\\ncomplex a leaf with three tips or leaflets. Draw the midrib about eight\\nIllustration 72\\nIllustration 73\\nThe more frequently a voluntary action is repea ted, the easier it is to perform, and the greater is the tendency\\nof its constituents (if it is a complex act) to take on the reflex form, i. e., to arrange themselves in a connected\\nseries of movements, which runs on mechanically when once initiated by the adequate stimulus.\u00e2\u0080\u0094 [Wundt s\\nLectures on Human and Animal Psychology.", "height": "3321", "width": "2421", "jp2-path": "newmethodsineduc02tadd_0105.jp2"}, "104": {"fulltext": "90\\nIllustration 74\\nManual-Trainingf Drawing\\nDrill Work in Leaf Forms and Loops\\nThis picture illustrates a pupil drawing the leat and loop in various ways. The lines are repeated\\nmany times, without rubbing- off the forms, which wastes time. By this repetition the child is making\\nthe various cui-ved lines, the form, and the space between the forms, organic and automatic, and at the\\nsame time facilitv, rectitude, balance, fitness and magnitudes are being J elt and planted in hand, eye\\nand mind.\\ninches in length, balance the side vein on each side, then repeat the double\\ncurve to each tip. Let the proportions of each leaflet be about the same.\\nThis is a very good leaf to practice on. Do not let the tip be made too small,\\nas is the common tendency with nine out of ten children drawing for the first\\ntime. Swing the hand repeatedly over the double curves till they become\\nautomatic.\\nThe same thing can be repeated fourfold, making a complex rosette\\n(No. 73). It is almost impossible to make this in the beginning without\\nreversing some of the double curves. Leave plenty of space in the center,\\nand do not mind if it is very crooked at first. This exercise can be repeated\\ntill the forms fit each other, leaving a space between each leaf.\\nNo one can see the children draw these forms without realizing what\\nan excellent exercise this is for compelling accuracy, facility, fitness and", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0106.jp2"}, "105": {"fulltext": "Elementary Units 9(\\nsome of the most desired qualities in drawing. In a short time the children\\nbecome able to make these forms automatically. From the beginning, do\\nnot allow them to make construction lines. Let each leaf be drawn in\\nits turn separately. Do not make the ribs or veins for the four leaves\\nbefore starting the outline of each.\\nThese exercises are for discipline, it should be constantly remembered.\\nUndoubtedly, by using a few construction lines, the form can be drawn more\\nreadily and with much better proportion, but my idea is to get proportion\\nand fitness in the hand, to make the hand feel that proportion and fitness\\nautomatically. This can be done and well done if the forms are practiced\\nas described. Thousands of children can make this form with ease in some\\nof our schools, showing that it is not as difficult as it appears to people\\nviewing it for the first time. It does seem surprising to see children make\\ntheir hands obey their minds with fluency, accuracy and fitness, but it is not\\nso surprising when one has been through the stages and can realize how they\\nbecome able to do it.\\nI constantly suggest certain sizes for these forms, because experience\\nwith thousands of pupils has proved the size indicated to be the best.\\nThere are good reasons for making the forms either much larger or very\\nsmall, but for general purposes the measurements given are the most suit-\\nable. It is quite curious to notice the tendency, among children and adults\\nalike, to show their disposition and their training by the way in which they\\nmake some of these forms. For instance, children from the kindergarten\\nwill almost invariably make minute, puny drawings. The reverse should\\nbe the case. Very small children ought not to be allow^ed to draw that way,\\nbecause the brain centers with which the fine finger co-ordinations and\\nmuscular movements are made, have not been formed and come much later.\\nIn some little children even the bones and muscles themselves are not\\nformed. Nervousness and chorea frequently result from work of that char-\\nacter attempted too soon. Their movements especially ought to be large\\nand free, using arm and hand more than the fingers. I personally much\\nobject to paper pricking, paper weaving and a number of other similar occu-\\npations in the kindergarten, for the same reason.\\nConventtondt Forms* These leaves here given are conventional in\\nform. Some teachers may object to this, thinking it essential that children\\nshould make realistic forms before conventional ones. A little thought,", "height": "3321", "width": "2421", "jp2-path": "newmethodsineduc02tadd_0107.jp2"}, "106": {"fulltext": "L S\\nex\\nOh\\nu\\nO\\no a\\nS Tn\\nO U O\\nO\\ns\\no 3 5\\nX\\no O\\n(92)", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0108.jp2"}, "107": {"fulltext": "Elementary Units\\n93\\nhowever, should convince them that if they are troubled with the details and\\nmyriad-fold markings on leaves, it will be impossible for them to get facility\\nand speed; but if they work on a few typical or conventional forms of\\nleaves until they can instantly draw them in any position, of any size and\\nproportion, and to fit any space, then it will be easy to grasp details, and\\nwith ver}^ little practice many kinds of leaves and forms can be put down.\\nWe must, as Michael Angelo said, purge a thing of its superfluities and\\ngrasp the essentialities.\\nPupils who have arrived at this stage can make many designs by using-\\nthese simple forms. They have already some capacity in this direction.\\nFrom the start children must be encouraged to arrange these forms in\\nbeautiful ways, to make appropriate patterns for various purposes, in order\\nto allow their creative capacity to come into play.\\nUnits of Design Based on the Spiral. The power having been\\nacquired to make the spiral, a large series of units of design can be based\\nupon this line. In making the first one, the scroh (lUus. 75), draw the\\nouter line first, make the ball come as near the center as possible and\\nendeavor to keep the lines equidistant. This is really a form, the delinea-\\ntion of a solid, one of the forms used in all the arts. It is made in metal,\\nIllustration 73\\nIllustration 76\\nIllustration 77\\ncarved in wood, modeled in clay and used for a great variety of purposes.\\nDo not make the form reversed, as in No. y6. It is a little difficult in the\\nbeginning for some pupils to grasp, the shape, but it must be practiced con-\\ntinually until it can be made automatically.The forms illustrated at yy and 78\\nwill be found useful for practice also, and are based on the same shape, with", "height": "3321", "width": "2421", "jp2-path": "newmethodsineduc02tadd_0109.jp2"}, "108": {"fulltext": "94\\nManwal-Training Drawing\\nslight changes, but increasing complexity. Each of these forms is used in\\nsome of the best styles.\\nDo not allow the children to create freak units. We have so many to\\nchoose from among the best styles that it is absurd to expect them to create\\nunits of design at first, as is done in some of the poor systems of drawing in\\nwhich children are expected to create forms. In such cases, the children\\ninvariably produce poor and feeble forms.\\nThe Crocket*- We next have a series of forms making use of the\\ncrocket. We should practice this form first with the crocket consisting of\\nIllustration 80\\nIllustration 78\\nIllustration 79\\nI I\\nX. -\u00c2\u00abib,\\nV V\\na sino-le curve on the outside and inside the scroll, as illustrated at No. 80.\\nAfter this has been acquired, try to make the crocket with the double curve\\n(81). This is much more difficult and requires a great deal of practice,\\nmuch dexterity being required to get these double-curved crockets so that\\nIllustration 81\\nIllustration 82\\nthey flow and have grace. This is one of the units (see aiso 81 and 82) that\\nmust be practiced continually and for a long time.\\nDo not expect the children to make some of these difficult forms read-\\nily. Remember, they have years to practice them in. Some instinctively", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0110.jp2"}, "109": {"fulltext": "Elementary Units\\n95\\nIllustration 83\\nA Variety of Units of Design Based on the Spiral with Various Crockets\\nThe pleasing forms should be memorized\\nlet the lines flow with gradation, beauty and grace almost from the begin-\\nning. With others it requires a good deal of practice to get the very deli-\\ncate transitions, from one curving to the other, that are exemplified by\\nthis form. It can be made to look cjuite clumsy, and it can be made with\\na great deal of beauty and grace. This is true of all the forms given.\\nOn the Elements of Design* Now that we have some units of the\\nregular styles, we shall in every case hereafter in practicing these forms,\\nmake the form to get (i)\\n^^^^^^^^i^on84 balance, (2) proportion and\\n(3) fitness. Do not let the\\npupils practice any of the\\nshapes given without trying\\nfor these equalities. Very\\ngood simple designs can be\\nmade by using these forms;\\nthe children in the primary\\nschools can make them\\nwith a great deal of facility.\\nFrom the very begin-\\nning, originality of arrange-\\nment must be encouraged.\\nThis pupil is practicing the scroll and various crockets. Repeti- 1 -i i\\ntion will enable the hand to make the form any size and proportion Jje SUrC tO haVG tlie CllllClren\\nxvith clear swinging lines. When it can be made freely this way, \u00e2\u0080\u009e_i_ fl-,^,%- r,nffprn for\\nbeautiful flowing designs can be produced. m^ke tUeU patteiUS lOr", "height": "3321", "width": "2421", "jp2-path": "newmethodsineduc02tadd_0111.jp2"}, "110": {"fulltext": "96\\nManual-Training: Drawing;\\nsome definite purpose and be able to specify what they are for, thus associ-\\nating in their minds the drawing with some object for use. It seems very\\nfoolish, as is sometimes the case, to find a number of children in a class un-\\nable to state for what the drawing they have been making is intended. When\\nyou ask them they say simply, it is a pattern or a design, and when\\npressed for further information about it, they say, it is for the teacher.\\nThis shows that they have not m.ade any mental connection between idea\\nand subject, and the work soon becomes irksome unless they have an object\\nin view.\\nIt is wonderful what a variety of patterns children will make spontane-\\nously and bring to the teacher if they are encouraged to make designs for\\nvarious purposes about the house, designs for carpets, wall papers, hang-\\nings, metal work, chandeliers, brackets, registers, fixtures of different kinds,\\nIllustration 8=\\nI\\nIllustration 86\\nA r7\\nIllustration 87\\nIllustration 88\\nRosettes for Driil Work\\ncarving on furniture, chairs, tables, sideboards, frames, hat racks, etc.;\\ndesigns for pottery and dishes of various kinds. The children instantly see\\nthe connectior and take a great deal of pleasure in making these forms; and", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0112.jp2"}, "111": {"fulltext": "Elementary Units\\n97\\nby using the objects in their own homes they are inspired thereby to better\\nwork. Parents and friends also become interested, especiahy when they\\nsee the practical application of the work.\\nCombitldtiOns of Units* The children should be encouraged, as a\\nunit is thoroughly mastered, to double it, first in simple positions and\\nthen in complex ones, as shown in variety in Illus. 89 to 92. It is sur-\\nprising in how great a number of positions the simple scroll can be placed.\\nIllustration 89\\nIllustration 90\\nIllustration 91\\nI I Illustration 92\\nThe children must be encouraged\\ncontinually to arrange all the units in\\nthis way, so as to form different com-\\nbinations. Do not let them copy only the combinations given here, but\\nencourage them to form combinations of their own.\\nA very beautiful series of exercises for beginners can be practiced in\\nmaking rosettes, using the simple lobe or leaf form. The rosette can be\\nplaced in a triangle (Illus. 93), in a square, in a circle, in an oblong, in a\\npentagon, in an oval form, in a hexagon, in an octagon, and so on. There\\nis no end to the variety of simple shapes that can be made this way. It is a\\nbeautiful exercise for fitness and construction. Make the square, or oblong,\\nand all construction lines entirely freehand. Do this from the very begin-\\n7", "height": "3321", "width": "2421", "jp2-path": "newmethodsineduc02tadd_0113.jp2"}, "112": {"fulltext": "98\\nIllustration 93\\nManual-Training Drawing\\nBlackboard Exercises Dra-wing Rosettes\\nIt is excellent practice to make similar rosettes fit and fill different shaped spaces. The hand and mind\\nsoon g^rasp the idea o\u00c2\u00a3 concrete size on the flat surface, and become able to make definite proportion auto-\\nmatically in any position. The children practice these forms entirely without construction lines.\\nning. Very young pupils make very irregular forms at first, but they soon\\nbegin to get a certain amount of proportion and gradually gain the correct\\nshape. Do not expect little children to make perfect forms. Accuracy\\ncomes by degrees. Facility first, then accuracy.\\nLedding Lines* So far we have chiefly been studying units of design.\\nNow that a number of units have been mastered, we can take up the subject\\nof leading lines, one of the most important things in designing. In all pat-\\nterns there are a series of fundamental lines that can readily be seen by any\\none who will study them. On these leading lines the units are placed, and\\nin accordance with the character of their arrangement will the pattern be\\nbeautiful or the reverse. The basis of leading lines is the spiral, one form\\nflowing out of the other, as in Illus. 96 and 98. If this form is doubled or\\nmade fourfold, we at once have an arrangement on which any of the units", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0114.jp2"}, "113": {"fulltext": "Elementary Units\\n99\\nof design can be placed, making a pattern that is beantiful or not, as the\\narrangement is beautifnl or the contrary.\\nPractice many simple arrangements with a few curves first. In\\nmaking arrangements do not allow the spiral to be made the\\nsame size. This is one of the universal tendencies of a beginner.\\nInsist on variety. Let some of the scrolls be large, some medium\\nand some small. Let them show a certain amount of growth, as\\na plant grows. They should display a certain amount of branching also.\\nIllustrations 94-95\\nRosette Models for Drawing- and Modeling- and Carving\\nAttention must be given also to compactness, to radiation and to tangential\\nflow of line. A very good exercise for practice is to make a number of\\ntangential curves flowing from the spiral (Illus. 99). This must be constantly\\npracticed till the forms flow and branch out without angularity or stiffness.\\nGood tangential curvature must become automatic and organic. Very little\\nIllustration 96\\nIllustration 97\\nin the way of fine designing can be done till the hand makes these move-\\nments automatically and with absolute freedom. If we have to think of the\\ntransition of one line into the other, it will never be graceful. That duty\\nmust be relegated to the spinal centers.\\nLofC,", "height": "3321", "width": "2421", "jp2-path": "newmethodsineduc02tadd_0115.jp2"}, "114": {"fulltext": "100\\nManoal-Trainingf Drawing\\nIllustration 98 Resist the tendency shown by\\na great many beginners to make a\\nseries of Httle curves all alike and\\nflowing in a like manner in differ-\\nent directions. Try to get a\\ncertain amount of strength in the\\npatterns, a certain amount of in-\\nterlacing, and at the same time a\\ncertain amount of simplicity. There will always be a few main or funda-\\nmental curves that can be readily seen, no matter how complex the pattern\\nmay be. From these main curves the minor ones can branch out. Very\\nlittle can be said in the way of rules and laws with regard to the real truth of\\narrangements. Like harmony in music and meter in poetry, it must be felt,\\nit must be part of the organism.\\nillustration 99\\nA Suggestion in the Use of Leading Lines\\nMany arrangements of leading lines should be made for practice", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0116.jp2"}, "115": {"fulltext": "Illustration loo\\nCHAPTER IV\\nCombinations of\\nUnits and Styles\\nDrill Forms Teachers Practice in Unison\\n/t NOTHER FORM, BASED\\n/-I on the loop, is one of the\\nbest for practice, and can\\nnow be attempted. Make\\nthe loop erect and on each side place\\ntwo or three lobes, as shown at loi.\\nSee that the center lobe is quite erect,\\nor vertical. Let each one of the side lobes curve a little more, increasing in\\nmagnitude and then diminishing. This form can be made with five, seven,\\nnine lobes, etc. Properly drawn, it makes the anthemion, one of the most\\nbeautiful of all Greek forms. It is quite dif^cult to get the side lobes to\\ncurve and at the same time to show gradation and fitness, but comparatively\\nlittle practice will enable one to do this. This form must also be prac-\\nticed with both hands, it being one of the very best exercises for ambidex-\\ntrous practice.\\n(lOl)", "height": "3321", "width": "2421", "jp2-path": "newmethodsineduc02tadd_0117.jp2"}, "116": {"fulltext": "t02\\nIllustration loi\\nManual- Trainingf Drawingf\\nIllustration 102\\nIllustration 103\\nIllustration 104\\nm ^ff^^\\nThe Anthemton* ^This form can next be practiced in the four different\\ndirections illustrated in 106 and 116, making another beautiful rosette form.\\nTo do this successfully, so that the lateral movements may be right and the\\ndrawing erect, requires a great degree of manual dexterity and physical co-\\nordination, but children in the primary grades can readily make this form\\nafter a few months practice.\\nIt is important that children should understand the meaning of the\\nforms drawn l^y them, and when they are producing one they ought to be\\ntaught what it embodies. The anthemion is a fundamental Greek form,\\nand, properly drawn, possesses a variety of qualities. For instance, the cen-\\nter lobe contains straight lines. The form has a graded series of curves -from\\na straiijht line to an acute curve. It has balance, proportion, fitness, grace", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0118.jp2"}, "117": {"fulltext": "Combinations of Units and Styles\\nJ03\\nCo-ordination of Motor Centers\\nTliis exercise illustrates how readily children can rnalie\\ncomplex physical co-ordinations in all directions. The exer-\\ncise is repeated until the child can swing- all. the various\\ncurves with(T) facility,(3) balance, (3)^proportion,(4), fitness,\\ngrace and beauty, automatically. Mental co-ordinations are\\nbeing made, as well as physical. All the varieties of the an-\\nthemion should be practiced in different sizes and memorized.\\nThe children should be encouraged to draw them in lead\\npencil and to note variety of forms on surfaces and in ma-\\nterial. This form is the basis of some of the most beautiful\\nof decorative forms.", "height": "3321", "width": "2421", "jp2-path": "newmethodsineduc02tadd_0119.jp2"}, "118": {"fulltext": "J04\\nManual-Training Drawing;\\nand beauty. It has tangential curvature of lines. Its magnitudes are well\\nproportioned. It conforms to a great many of the natural laws and the laws\\nof art. It has a certain amount of growth, radiation and distribution, and\\nhardly an abstract idea of form can be conceived that is not embodied in this\\nshape. This is the reason it was used by the Greeks in preference to almost\\nany other form, and I believe it was for this reason that they used it as the\\nantefix of the Parthenon.\\nIllustration 107\\nIllustration 108\\nIllustration 109\\nIllustration no\\n^w^\\nVarieties of the anthemion can be made in a great many ways, as here\\nillustrated. Names have been given to many of these, as the honeysuckle,\\nthe palm, etc., but as used by the Greeks it was simply an ideal form and not\\nan imitation of any one plant.", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0120.jp2"}, "119": {"fulltext": "Combinations of Units and Styles\\nJOS\\nniustrations 111-112\\nPlaster Models from the Antique\\nCombinations of the cAnthemion* When facility has l^een acquired\\nin making this form, a very good exercise is to combine it with the scroll\\n(Illus. 113). In the beginning, make the form without many lobes, taking\\nparticular pains to make the lobes fit each other and fill the space equally.\\nThis is a little difficult, but if practiced continually, a short time will enable\\none to make the most complex of lobed forms with ease and beauty. After\\ntrying the simple ones a number of times, then more elaborate and complex\\nones can be attempted. No. 114 is a very beautiful form, combined with\\nthe scroll, and can be used for an endless variety of\\npurposes. It can be made short and thick, long and\\nslender, and can be compressed or extended to fit\\nalmost any space. With the introduction of crock-\\nets, first, the single crocket and later the double-\\ncurved crocket, it can be made to look still better,\\nas illustrated in Figures 115 and 120.\\nAs soon as facility is acquired in making this\\nform, which should be practiced with each hand,\\nand as soon as the power to make it with balance\\nIllustration 113", "height": "3321", "width": "2421", "jp2-path": "newmethodsineduc02tadd_0121.jp2"}, "120": {"fulltext": "106\\nManual-Trainingf Drawing\\nIllustration 114 and fitness has become auto-\\nmatic, it can also be practiced\\nwith the scroll combined an-\\nother way, as in No. 120, In\\nmaking this, draw the lobes\\nfirst, with both hands and then\\nthe inclosing scrolls. En-\\ndeavor to make the forms lit.\\nThis is a good exercise for\\nteaching compactness and the\\nfilling of space, and may be\\nperformed in a variety of ways\\nAll of these forms\\nmade fourfold as\\nsoon as the first form has been\\nmemorized, for once these\\nforms are fixed in the mind they are not forgotten, but can be called upon\\nalmost without consciousness.\\n/O\\nI v,./ //y,^ (iihis. 120). j^\\nL\u00c2\u00a3C ^S^ TXJ should be n\\nIllustration 116\\nIllustration 11=;\\n(s\\nv-./ v\u00e2\u0080\u009e.y \\\\\\\\W v..,,/\\nCy", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0122.jp2"}, "121": {"fulltext": "Combinations of Units and Styles\\nJ07\\nIllustration 117\\nIllustration 118\\nIllustration 119\\nA.-,\\nC\\\\\\\\ I //f\\\\\\\\\\\\l/ A\\\\ fi\\nf-^\\\\\\\\ lN\\\\vy///4\\\\ fc\\nL::y)\\\\\\\\/y: l f I %~^,mim/^.^.^^\\n11// 211\\nIllustration 120\\nAnthemion and Scroll\\nThese forms, varied in size and proportion, must be drawn with clear swinging touches until they can be made\\nwithout consc:ous effort. The basis of the seemmgly complex form is the spiral and loop. When once facility\\nand mao-nitudes become automatic, beautiful forms result.", "height": "3321", "width": "2421", "jp2-path": "newmethodsineduc02tadd_0123.jp2"}, "122": {"fulltext": "108\\nManual-Trainingf Drawing-\\nComplex Leaf Forms* The next step is to make a leaf with five\\nleaflets, palmate in shape. Proceed in the same way as with the three-\\npointed leaf (page 89), making the midril) first and two curves on each side\\nbalanced, then the donl)le curves forming each leaflet (Illus. 121). This\\nIllustration 121\\nIllustration 122\\nIllustration 123\\nmust be repeatedly practiced till a medium sized leaf of fine proportions is\\nmade. Do not let the children practice a very narrow or a very short and\\nthick form. This leaf must also be made easy by repetition, and it can, like\\nthe former, be made in four directions (Illus. 122). Let it be a1)out ten\\ninches in length Avhen drawing it on the blackboard and three or four inches\\nin length when drawing it on paper. Reference is continuallv made to the", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0124.jp2"}, "123": {"fulltext": "Combinations of Units and Styles\\nJ09\\nmeasurements that have been found by experience to be the most suitable\\nfor school purposes. If the blackboards are of the ordinary size the meas-\\nurements given are far the best for general purposes. Be careful not to let\\nthe children make forms exaggerated in size, or in miniature.\\nIt is more difficult to draw a side view of a leaf, but when facility is\\nacquired it becomes quite easy on account of its not being a balanced form.\\nLet the leaf part be about ten inches in length, draw the large double curve\\nIllustration 125\\nIllustration 126\\nIllustration 128\\nIllustration 127\\nfirst and then the two ribs. (See 123.) Do not make it look ungraceful or\\ntoo thick and let the stem be narrow. These are common tendencies in the\\nThe form must be repeated a number of times\\nbeginning ith all children", "height": "3321", "width": "2421", "jp2-path": "newmethodsineduc02tadd_0125.jp2"}, "124": {"fulltext": "no\\nManual-Training Drawingf\\nto get facility, and then it can be drawn in different directions, balanced,\\nmade around the circle, etc.\\nBy this time the double curve should flow from the hands with ease,\\nand therefore much more complex forms may now be attempted, as in Illus.\\nIllustrations 129-133\\nIMiflV^\\n124. As many ribs and leaflets as are desired can be put in. Endeavor to\\nget style and beauty in these forms. They can be drawn so as to look very\\ncoarse and clumsy, or, on the contrary, to look exceedingly graceful and\\nbeautiful. In making these complex leaf forms, get as much variety of pro-\\nportion as possible; do not let the leaflets be all of the same size. The same\\nwith the ribs; let them flow out with gradation and tangential curvature.\\nBeautiful rosettes can be made by using the leaf curve (see 125). Small\\npoints or darts can be placed between each leaflet and an endless variety of\\nsuch shapes can be made. Make the center boss or ball first, then draw the\\nleaflets out on each side entirel}^ freehand, without construction lines, mak-", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0126.jp2"}, "125": {"fulltext": "Elementary Units and Forms\\nin\\ning some of the leaflets with three tips, some with five or more, as shown in\\nthe pictures.\\nBud Forms can also be made, and leaf sheaths, consisting of an\\nexterior and interior double curve (see 134). The same forms can then\\nbe made with very simple collars (as in Illus. 135), using four, five or six\\nleaflets. Let these little collars appear to embrace the root of the bud first,\\nand do not draw them as though they came out from one side only. Re-\\nmember that this is delineating the appearance of a solid on a flat surface.\\nIt is difficult to make the collar fit in the beginning, but the children soon\\ngrasp the idea and make very beautiful ones, some short and thick, some\\nlong and slender. This is called, in its most complex stages, the acanthus\\nleaf bud form. It is simply an ideal bud form.\\nAnother Beautiful Series of Leaves can be made by using the dou-\\nIllustration 134\\nIllustration 135\\nIllustration 136\\nllustration 137\\nA\\nI\\nble curved leaflet as before, but making an eye between the leaflets. This\\nchange makes it more complex and a little harder to draw successfull) but\\nit is soon conquered. Make the five-pointed leaf and the side view and all", "height": "3321", "width": "2421", "jp2-path": "newmethodsineduc02tadd_0127.jp2"}, "126": {"fulltext": "U2\\nManual-Training; Drawing;\\nthe other forms with the eye, as ilhistrated in No. 136. The same thing can\\nbe done with the bud forms of the last series, always drawing the bud itself\\nfirst, then the midribs for the collar of leaflets radiating from the bud, and\\nIllustration 138\\n^YM^\\n\u00e2\u0096\u00a0.MH^-\\nthe collar of leaflets last. Never, in any of these exercises, allow the chil-\\ndren to make the outline first, but let them begin with the riljs forming the\\nskeleton or the framework, and if you once get this right, the detail is an\\nIllustration 139\\nLeat Forms Modeled in Clay\\neasy matter. As a result of this practice, the most beautiful and elaborate\\nacanthus leaf buds and foliage can be drawn organically. They will then\\nappear very different from the usual forms given pupils to copy, in\\nwhich the leaf margins and the forms of the leaves themselves are drawn\\nwith meaningless lines, and with notches and points like saw teeth, instead", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0128.jp2"}, "127": {"fulltext": "Comtinatlons of Units and Styles\\nIJ3\\nof the beautiful double curve that we always find in work of the best periods\\n(see Illus. 140-142).\\nThese idealized forms very soon take on the character of the indi-\\nvidual drawing them. Just so much balance and proportion and fitness as\\nthe pupil has in himself can be embodied in the work of the hand. If there\\nIllustrations 140-142\\ny**\\nV\\nZ\\nis a tendency to make coarse forms, then the pupil must struggle, and by\\nrepetition from good copies and good styles, gradually grasp finer forms.\\nI have taken the clumsiest of boys, who seemed to have all their fingers\\nIllustrations 143-145\\nr^\\nthumbs, and who produced in the beginning thick-set, coarse and clumsy\\nforms without grace, and by giving them special drill on one or two of the\\nmost graceful of these forms, I have seen them enabled to draw them with", "height": "3321", "width": "2421", "jp2-path": "newmethodsineduc02tadd_0129.jp2"}, "128": {"fulltext": "n4\\nManual-Training Drawing\\niinusnal grace and beauty. To do the work successfully, then, it nuist be\\nmade automatic.\\nThe work at this stage, although good discipline, is not a task, because\\nthe pupils take pleasure and joy in their efforts. There is no more pleasant\\nsight than to see eight or ten children swinging with each hand these forms\\nfreely and gracefully on large blackboards. Even the beginners soon grasp\\nthe spirit and endeavor to do it also. Do not, however, allow the pupils to\\nstruggle V ith the very complex units before they have mastered the simple\\nIllustrations 146-148\\nones, as you will find that they continually wish to do. I am well aware\\nthat there are many drawing teachers, and even in some cases artists,\\nwho ought to know better, who will say there is not much good in drilling\\nchildren and requiring them to do work of this character. Usually, how-\\never, they will be found to be thoughtless people who have not looked into\\nthe laws of mental growth and who do not know the force of habit. The\\ndrill is necessary to get the qualities desired, and as long as it is enjoyable,\\nbenefit comes to the pupil. I am well aware that the work can be overdone.\\nThis is true of any good thing. But I write this simply for the benefit of", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0130.jp2"}, "129": {"fulltext": "Combinations of Units and Styles\\nJJ5\\nteachers who have a little imagination and who will not be tied down to any\\none set of processes or forms. Ten-minute periods are cjiiite long enough for\\nthis practice.\\nIllustration 149\\nIllustration 150\\nLeaf Forms Modeled in Clay\\nAnother series of beautiful leaf forms can be made, using the leaf\\neither with three points or five points, and with and without the eyes, by\\nemploying double curves in each midrib. These are much harder, and\\nshould not be attempted until the erect or straight leaves have been mas-\\ntered. The forms can be made around a circle, turned up and down, to the\\nIllustration 151\\nillustration ma\\nLeaf Forms in Design Modeled in Clay\\nright and the left, as illustrated in No, 146-8. Pupils will in the beginning\\nfind that they reverse these double curves frequently in starting any new", "height": "3321", "width": "2421", "jp2-path": "newmethodsineduc02tadd_0131.jp2"}, "130": {"fulltext": "JJ6\\nManual-Trainingf Drawing\\nform, and that is a sure sign that the curve is not made automatically. It\\nmust be practiced with both hands till it is right every time. Just as we\\nhave practiced to get facility in making these leaves and a certain good pro-\\nportion, they should also be practiced to get fitness, that is, to make them\\nfit different sized spaces and to proportion them to other surroundings with\\nease and grace. This will not take so long as one would think when the\\nfirst stages have been mastered. Designs embodying these forms should\\nbe made, first, by simply doubling,\\nthen by making fourfold and still\\nmore complex arrangements.\\nIllustrations 153-156\\nvV\\n/7\\njAj^ yy-\\n^i T\\\\ \u00c2\u00a7xy\\n*NX^ V\\nCombinations of Leaf and ScrolL Practice making this scroll and\\nleaf in a very simple form first (Illus. 153-6). Make the scroll with a single\\ntouch, a little crocket inside, and lastly the double curving portion or piece\\nof leaflet. When this has been tried in different directions a number of\\ntimes, make the same form, adding other curves as with leaflets.", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0132.jp2"}, "131": {"fulltext": "Combinations of Units and Styles\\nJI7\\nPractice making these in dilTerent directions quite a numl^er of times.\\nThen the same form can be attempted with more elaboration. Make the leaf\\nportion with several leaflets. These forms will be quite awkward and clumsy\\nin the beginning. It is very hard at first to make them flow out from each\\nother. Let them grow. Persist in making them with the left hand in the\\ndrill work, and in a very short time beautiful conventionalized foliage can be\\ndrawn.\\nThe result is very different from the amateur work usually produced by\\npeople who attempt to make foliage wnthout having first learned to draw\\nthoroughly and automatically. It is impossible to express growth and tan-\\ngential curvature and flow of line with complex leaflets and buds in different\\nplaces, if one has to think of details and the shape of the different portions.\\nThat must all be automatic in the hand, the thought being given to the\\narrangement, the flow and the transition of one form into the other. Only\\nwhen such freedom is secured do we have drazving as a mode of expression,\\nwhich is very different from imitative drawing, copying a piece and a portion,\\nfirst sketching in with light lines and then lining in w ith others. Our\\nchildren have plenty of chance to make merry over that kind of drawing.\\nTo replace the scroll any other of the units of design can now be used\\nIllustrations 157-158\\nL^\\n\\\\A^~M\\nwith the leaflet in endless combinations, paying attention, of course, to fine\\narrangement, to flow of line and to beauty. Space will not allow me to\\nillustrate a fraction of all the combinations that can be made, though I\\nshould like to suggest a few^ These forms can readily be seen in the illus-", "height": "3321", "width": "2421", "jp2-path": "newmethodsineduc02tadd_0133.jp2"}, "132": {"fulltext": "ns\\nManual-Training Drawing\\ntrations of pupils drawing on blackboards, in different parts of the book. To\\nmake combinations of these forms is one of the usual drill exercises in all\\nour schools, the children stepping up to the blackboard in rows and each\\none making different patterns, that are elaborate and graceful according\\nto the amount of practice they have had. Children starting with this work\\nat the regular primary age can readily do as good work as is here illustrated\\nby the time they are about ten years of age.\\nIllustration 159\\nMoresque Designs\\nThese forms are quite difficult to make flowing and graceful. Tfie single units must be tfiorouglily memorized\\nbefore successful designs can be made. Fine arrangements of tliese can be made with brilliant colors.\\nThe Moorish Units* Another very good unit for practice is the\\nMoresque unit. This is much more difficult to make automatic than\\nappears from its simple form. Make the large double curve on the outer\\npart of the unit first. (See Illus. 160.) Then swing in the double curve", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0134.jp2"}, "133": {"fulltext": "Combinations of Units and Styles\\nn9\\nfrom the point so that if prolonged it would\\nflow from the stem and the two short\\ncurves, diminishing in breadth toward the\\nstem.\\nThis form must be drawn with a single\\ntouch for each line. It is an ideal form,\\nand perhaps next to the Greek form is one\\nof the most beautiful in the whole range of\\ndesign. Make the unit short and thick, or\\nlong and slender, but always with a narrow\\nstem. It is quite difficult for the pupils to\\nresist making a scroll instead of a point on\\nthe short blade, as indicated in Figure\\n162. Point out to the class the two blades,\\na long double curving blade and a short\\nthick curving blade. Time must be given\\nto this form, and after a good deal of prac-\\ntice it can be doubled. Practice drawing\\nit singly and doubled in all directions\\naround the circle.\\nThe next unit (Illus. 163), also\\nMoresque, is likewise good for practice.\\nThis is much more easy than the pre-\\nceding form, although it looks more\\nIllustration 160\\nIllustration 161\\nIllustration 162\\nIllustration\\nIllustration 164\\nIllustration 165\\nIllustration 166", "height": "3321", "width": "2421", "jp2-path": "newmethodsineduc02tadd_0135.jp2"}, "134": {"fulltext": "120\\nManual-Training Drawing;\\ncomplex. Make the outer curve swinging to tbe top scroll, and then a\\ndouble curve to the second scroll and then a long, slender stem. This must\\nalso be practiced in many directions. Be careful to space markings equally\\nand parallel. In combination with the other form given, beautiful\\nMoresque patterns may also be made. Great care should be exercised in\\nspacing out these forms and in interlacing them, otherwise the product will\\nbe poor. Simple arrangements are best in the beginning. Each of these\\nforms doubled can be used for drill work on the blackboard, a few of which\\nare illustrated in No. 159.\\n,m\\nJ", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0136.jp2"}, "135": {"fulltext": "Illustration 169\\n\u00c2\u00abi8a^ :;Piy i a iii i^ i\\nColored Pupils from Public Schools\\nThese children have been instructed by their own school teacher, in drawing and modeling\\nCHAPTER V\\nDrill Forms and\\nDesigns.\\nj^ COMPLEX EXERCISE and one requiring a certain amotmt of\\ny/jf dexterity is to combine circles, making different figures. Do not\\nallow the pupils to make these exercises luitil they are expert with\\nthe single circle. Make the following exercise (Illus. 171) by\\ndrawing first one circle and repeating the line by swinging the hand on it\\nseveral times to memorize the size and proportion, then swing the hand to\\nthe second position, making the circle as near as possible the same size, and\\nthen to the third position. If it is properly drawn, it ought to make a\\ncomplete circle inclosing three ec|ual circles, equally interlaced.\\nThis is a good exercise for the judgment and to fit the forms. When\\nthe three-sided center piece is made of equal curves, equi-distant, and the\\nnext space is even and equal, and so on to the inclosing circle, it shows great\\naccuracy. I shall repeat again that we must not expect accuracy in the\\n(121)", "height": "3321", "width": "2421", "jp2-path": "newmethodsineduc02tadd_0137.jp2"}, "136": {"fulltext": "J 22\\nManual-Trainingf Drawing\\nbeginning. Facility first and then accuracy. This is a statement that I\\nshall make continually. Measured accuracy, of course, is not required.\\nThe greatest artist that ever lived could not perform these simple exer-\\ncises absolutely true, but ordinary people can perform them to a degree.\\nIllustration 170\\nca\\nfU\\nif\\nIv ft\\n\\\\^s\\nIllustration\\n171\\nill, J\\nIllustration 172\\nshowing very good proportion, fit-\\nness, and so on. If a large class is\\ndrawing the same exercises, it is very\\nrare that one or two do not fail to\\nshow remarkable facility and exact-\\nness in doing these things. Some have\\nfacility and accuracy almost organic\\nor automatic in the beginning; others seem to entirely lack these qualities,\\nand it seems as if they could never acquire them.\\nBorders make a very good series of exercises for practice and drill work.\\nThe pupils can begin with the simplest frets (like 173). Make these forms\\nentirely freehand, straight across the blackboard or paper, from end to\\nend. Do not mind if they are not accurate in the beginning. The tendency\\nwith everybody at first is to make them diminish in size. Resist this and\\nkeep up the practice, and very soon the border can be made with straight-\\nness and the other required qualities. Make a number of forms similar to\\nthe border, using straight lines, as illustrated. Then a series can be", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0138.jp2"}, "137": {"fulltext": "Drill Forms and Designs\\nJ23\\nmade, using a combination of the horizontal and the oblique line. A num-\\nber of elements are used in borders. The pupils can begin, say with the sim-\\nple frets, using straight lines, then a simple elementary plait, the zigzag, the\\nbeads, and other complex ones. The -wave, the scroll, and the spiral will\\nmake a beautiful series of borders, and all the different units of design can\\nbe used in it. The scroll and crocket, the leaf, the Moresque unit, the Greek\\nform, etc., can be used for the same purpose, as partially suggested in the\\naccompanying sketches.\\nIllustration 173\\nExercise in Drawinof Borders\\nBorders of many styles can be drawn and memorized by repetition. All the good common bor-\\nders seen in wood, metal and stonework should become familiar to the pupils. It is excellent\\npractice to draw them entirely freehand across the board, also on paper and slates. This compels\\na great deal of accuracy.\\nEndeavor to have the children vary these forms and make the same\\nunits of different proportions. Beautiful borders can be made with the\\nGreek forms, introducing theanthemion. Then there is a series of Celticfrets,\\nArabian frets, Moresque, Chinese, and so on. It is quite important that pupils\\nshould understand the meanings of some of these ornaments, this enabling\\nthem to enjoy the ornaments more thoroughl}^ Very few of the wonderful\\npatterns seen sometimes on barbaric ornament fail to contain or symbolize\\ncertain things.", "height": "3321", "width": "2421", "jp2-path": "newmethodsineduc02tadd_0139.jp2"}, "138": {"fulltext": "124\\nManual-Tfainrng- Drawing\\nIllustration 174\\nStrap Work\\nTo make these forms interlace and balance without erasing lines or marking off the dimensions,\\ncompels attention and is valuable manual training. Very elaborate work, strap work and i_om.\\nplex frets, etc., may be drawn for practice this way.\\nExercises to Compel Accuracy*\u00e2\u0080\u0094 Tho. little exercises here given are\\nto compel the hand to attention. I begin with a simple form, the loop\\n(shown at 174). The object is to enal)le the hand to make the loop stand\\nerect and to interlace the band at once, freehand, without crossing. To\\nmake the doul:)le loop is a little more difificult. To make it so that it\\nis equal on both sides at first is almost an impossibility. But notice that when\\nthe form is repeated a few times the hand gradually becomes accustomed to\\nit, and makes it in better shape; and after a few repetitions the power to get\\nthe form interlaced and at the same time drawn correctly is unconsciously\\napplied or becomes automatic. Do this with the loops fourfold as above.\\nNext try the band (Illus. 174), making all the links equal in size and\\neach band interlaced with others at regular intervals. To do this at first\\nwithout raising the pencil except at the required places, compels attention\\nand a certain amount of thought and care that is beneficial. Next, try the", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0140.jp2"}, "139": {"fulltext": "Drill Fofms and Designs J 25\\nform of two rings interlaced. The lines are to be drawn at once without cut-\\nting each other, and the rings should be quite evenly drawn. This must be\\nrepeated many times. Then the same thing can be done with three rings\\ninterlaced.\\nThe next exercise is to draw a band interlacing the ring (Illus. 174).\\nRemember, it is recjuired that these forms should interlace without cut-\\nting and without lifting the pencil except at the proper stops. The work\\nrequires continued thought and trouble in the beginning, but can be done\\nquite swiftly and with a great deal of accuracy after practice. This is a\\nthing to be desired and helps exceedingly in a variety of places in drawing.\\nIt makes the hand obey the thought in certain places with rapidity. Do not\\nmind how crooked the forms are in the beginning, or how many errors\\nare made. Persist with the work till it can be done with ease and accuracy.\\nA good return will be had for the trouble taken.\\nInterlacing work of several kinds can also be attempted. To make\\nthis so that each band is of the right length\\nIllustration 175\\n!j i J A i J j without cutting the wrong band, requires a\\ni-L\u00e2\u0084\u00a2l \u00e2\u0084\u00a2Ll\u00e2\u0080\u009e,\u00e2\u0080\u009ei\\nI II certam amount of dexterity and neatness that\\n\u00e2\u0084\u00a2J~1| U 1 Li is much to be desired, and is difficult to get.\\n\u00e2\u0096\u00a0-\u00e2\u0080\u00a2p-rH I V J I i--^ j Remember, the hand is to practice this till it\\ni I I f- -^--j j can do it automatically. This seems impos-\\nI FT T f I sible at first, but it has only to be repeated till\\n1 I I I the hand and the mind are thoroughly familiar\\nf I i\u00c2\u00ab-J i j I with what is required, when it can be done\\nI j I j I I I I f readily with great ease. The size of the mesh\\ncan be changed. It is a good plan to try\\nstrap work of different kinds like this and other patterns.\\nThese exercises are especially good for students who are inclined to\\nbe a little careless or slovenly in their work. It is especially good for those\\nwho are not careful in the beginning, and expect to come back at some\\nfuture time and make things better, when it might be done right at the\\nstart. It is also excellent discipline, and is useful for adults for practice\\nwhen they require to be braced up a little or do not have energy sufficient\\nfor more important things.\\nDrill Work* \u00e2\u0080\u0094Throughout this period of our work I attach much im-\\nportance to drill. I want lines to be drawn automatically. I want them", "height": "3321", "width": "2421", "jp2-path": "newmethodsineduc02tadd_0141.jp2"}, "140": {"fulltext": "J 26 Manual-Ttaining Drawing;\\nto be made with single sweeping touches. A curve is something very dif-\\nferent from a bent hne. The more sweep and swing you can obtain, the\\nbetter the curve will be. We should be able to swing curves of any size\\nand gradation automatically with a single movement. We cannot imitate\\na true curve or spiral by patches and short touches. This is the reason the\\ndrill forms are so continually emphasized and that I wish you to practice\\nthe sweep and the swing over and over again, until you can make good\\nspirals, double curves, circles and ellipses.\\nThe ellipse is the most beautiful of all geometric forms and one of the\\nmost useful in design. It is even more beautiful than a circle, because it\\nhas the cjualities of the circle combined with variety\\nof curve. Practice to make the ellipse automatic\\nby means of the following exercises. In swinging\\nthis form (Illus. 176), do not endeavor to follow\\nthe same line. Swing about in different places.\\nFacility first and then accuracy. This is a good\\nIllustration 177 exercise, because it compels balance. Both sides of the\\nf^ f^C ellipse must be symmetrical. When facility is acquired\\nX with the one form, practice it in combination (Illus. 177),\\nA //V-- as in the preceding exercises. It is also good to make\\nh long and narrow ellipses, short and thick ones, to be able\\nXi^j -:::::z^ make the hand obey automatically the mind in response\\nto the desire. We should be able to put down in drawing all these forms in\\nthe proportions desired without an instant s hesitation. That is what I mean\\nwhen I say that proportion must be made organic, just as we endeavor to\\nmake balance, facility and fitness organic. iiiustntion 178\\nWhen this can be done it is very good -~~-x\\npractice to make a series of vessel forms. Let\\nthe form be simple in the beginning, like lyS\\nfor instance. There is no exercise that will -_ J\\ngive the children the idea of a solid, the com- -i^^r^ y\\nplex sohd, in different positions, more quickly\\nthan this. The making of simple saucer or bowl-shaped forms must become\\nautomatic. One must practice with them till the form is symmetrical and\\nStands properly. It can be made deeper or wider, and different sizes can be", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0142.jp2"}, "141": {"fulltext": "Drill Forms and Designs\\nJ27\\nmade so graduated as to indicate the whole gradation from a straight hue to\\na circle, as observed in different relations to the eye.\\nPractice with these curves will enable one to get very accurate b^dance\\nin these vessel-shaped forms, and the children can also do it. Of course.\\nIllustration 179\\nDrill for Magnitudes\\nThis picture shows pupils memorizing magnitudes and making solids. The ellipses must be swung with\\nfree continuous touches until the balance and size of form is felt. Various cylindrical forms should be\\ndrawn as cylinders, cones, circular plinths, etc.\\nin the beginning the vessels will seem a little bent or crude, but they will\\nlook like solids, like vessel-forms, containing cavities. In teaching de-\\nlineation, this is quite an essential point to make children realize. It is\\nquite difficult by the old way to make some children, and even adults, re-\\nalize that the movements or touches they are making are the visible rep-\\nresentation of something in their minds. Usually they look at the marks\\non the paper or the board as they make them, disassociated from the mental\\nimage of the thing they want to represent. They look at the pencil lines or\\nchalk marks as the diagram in itself, and begin to work with that, modifying\\nand changing, instead of keeping to the original mental image, and making\\nthe hand follow that form.", "height": "3321", "width": "2421", "jp2-path": "newmethodsineduc02tadd_0143.jp2"}, "142": {"fulltext": "J28\\nManual-Training Drawing\\nIt is not easy to make my meaning clear by means of printed words,\\nbut if one will practice with this form, and at the same time think of the\\nsaucers and dishes being solids, the hand will very soon grasp the feeling that\\nit is delineating something tangible and concrete, not simply making pencil\\nor chalk lines. This association is strictly necessary in drawing. We\\nwant to make the connection between the eye and the hand machine-like,\\nautomatic. We want to make one obey the other without thought, and\\nthe more we encourage this capacity the better the drawing will be. All\\nkinds of cylindrical forms can be made, cylinders of various sizes, circular\\nplinths of different sizes and the like.\\nIt is a very good exercise when the children have acquired facility in\\nthis way to make a cup and saucer. (See Illus. 179.) Every line in this\\ncup and saucer can be made accurately by means of swinging the ellipse in\\ndifferent directions, and it can be put in very accurate perspective. It is\\nquite difficult to make the cup fit the saucer in the beginning. It is good\\npractice also to make different sizes of cups and saucers fit each other.\\nI believe this principle was understood by the Greeks. Certainly their\\nvessel forms of all kinds conform to it. Almost\\nevery Greek vessel can be drawn by a series of\\nthese curves. In the simple vase form with\\nhandles, illustrated in No. 179, page 127, every\\nline is made without any trouble, and very good\\nbalance can be obtained if the ellipses are even.\\nOf course this cannot be expected until the\\nellipse is made automatically, but when that\\nfacility is once obtained, beautiful, balanced ves-\\nsel forms of all sizes and shapes can be produced\\nwith a few touches. It is very good drill, when\\nthe children are practicing, to have them make\\nnew vessel shapes, using the principle. Do not\\nlet it be overdone. Keep the forms simple and beautiful.\\nThe transition of curve into curve can be studied while producing this\\nvase. Some of the most beautiful Greek moldings conform to this prin-\\nciple. Usually, the more gradual the transition from curve to curve is\\nmade, the better the result. I repeat that this is useful in enabling one to\\nmake the two sides of a complex-shaped curved figure of any kind, in wood,\\nIllustration 180\\n5l\u00c2\u00abK5Hra\u00c2\u00abcs3Kia,a^.", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0144.jp2"}, "143": {"fulltext": "Drill Forms and Designs\\nJ29\\nstone or metal. It is easy to bring the concrete ellipse to any proportion\\nand then to repeat that in any position. I have never known any one\\ntaught in the old way able, in drawing a vase form, to make the balanced\\nline down the other side of the complex form. They can very seldom get\\nthe two sides ahke, and never with a single line.\\nIt is one of the most tiresome of the drawing exercises usually given\\nto children in schools, to make the two sides of a vase, and I have even\\nIllustration iSi\\nDiagrams (or Section Views) of Vessel Forms for Designing- Upon\\nSome of these shapes are copied and modified. The good forms are memorized and original designing\\nis attempted. The balanced curves of these forms have been made by swinging the ellipse lightly and then\\nerasing the unnecessary lines.\\nseen the vase form cut out on paper and pasted on the wall, for them to\\ncopy, as though that would make it more easy. Magnitudes must be\\ngrasped mentally before they can be dehneated, and to do this, power to\\nmake magnitude must be made automatic by proper exercises. It is fool-\\nish to expect a child to put down a complex magnitude by imitation at the\\nfirst attempt. It is invariably exaggerated in size, and little profit results to\\nthe pupil. The eye and the hand must take in proportion by repetition of\\nvarious sizes consciously assimilated (Illus. i8i).\\nWork in Design* SNhm the children have had a little practice", "height": "3321", "width": "2421", "jp2-path": "newmethodsineduc02tadd_0145.jp2"}, "144": {"fulltext": "J 30\\nManual=Training Drawing\\n!hBl0T#iS\\ntQs5\\nfeaf", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0146.jp2"}, "145": {"fulltext": "Drill Forms and Designs\\niZt\\nIllustrations igo-193\\nDesig-n, in Several Colors, for Stained Glass Window-\\nMade by a pupil in the Manual-Training classes of the New York Young- Women s Christian Association.\\nThe fine color-qualities cannot be perceived in this reproduction.\\nDesigns by Public School Children\\nThe center cut is unfinished. These designs are made in various colors for different purposes.\\nThe forms are made entirely freehand.", "height": "3321", "width": "2421", "jp2-path": "newmethodsineduc02tadd_0147.jp2"}, "146": {"fulltext": "J32 Manual-Trainingf Drawing\\nin drawing the units of design on paper, as well as the drill forms on\\npaper and blackboards, they can begin to make designs. See various illus-\\ntrations of original designs by children and teachers on pages 66 and 130,\\nalso scattered throughout the work.\\nIn some of my classes I allow the use of the ruler, making straight lines\\nand marking out the sizes of the space that the pattern is to occupy. In\\nother classes they have to do not only this, but the drawing of the straight\\nlines entirely freehand, according to the amount of discipline which it is\\ndesired to give them. If they are very young, or perhaps mixed classes in\\nthe night school or mixed classes of beginners, it is advisable to give them\\nthe ruler to help them. If they are pupils who have had thorough training\\nand the right elements of drawing, and have a certain amount of good hand\\nand eye power, like the grammar grades of children who have had this train-\\ning from the beginning, they can readily make their entire patterns free-\\nhand, drawing all the lines without the use of a straight edge or ruler, not\\nmeasuring distances, and making all circles without callipers. It is good\\nsometimes to give the ruler to pupils to test or judge the amount of pro-\\nportion they have made, if you can depend on their not making the actual\\nforms with it. This is a question for the individual judgment of the\\nteacher. Some classes of pupils, of course, will cheat and use the ruler,\\nothers will do as is required.\\nColor and Brush Work* When designs are finished to the teacher s\\nsatisfaction with a pencil, it is a good plan to allow the pupil to paint the\\nbackground or the design, whichever is best, in black ink. If it is a mat-\\nter of economy, say in the night schools or rural schools, common jet l^lack\\nink can be used, with a round pointed brush, with hairs about half an inch\\nin length, Nos. 4 and 5. If the best results are wanted, allow the pupils\\nto paint the pattern with India ink, or Higgins s black ink, or preparations\\nof that kind. This throws out the design and enables one to see the full\\neffect, besides affording the pupil the opportunity to use another tool, the\\nbrush.\\nIt is quite important to get good brush handling, and in this elementary\\nbrush work you should endeavor to get the children to make free, clean\\ntouches with the brush (Illus. 194). Practice making some of the forms\\nlarge, and some small; try to swing the brush freely, without resting the\\nhand or arm. The most beautiful flowing lines and forms can be made this", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0148.jp2"}, "147": {"fulltext": "Drill Forms and Desigfns\\n133\\nway. At first, the forms will be very crude, but to be of value the forms\\nmtLSt be made freely without help. Do not allow them to pick out the shape\\nwith little patches. Endeavor to get them as much as possible to draw\\nwith the brush. Very little practice will enable one to grasp the best mode of\\nhandling the brush. There is no better way than the Japanese method of\\nIllustration 194\\nFreehand Brush Play is Good Practice\\nin making various forms and also backgrounds in color. The pupils must endeavor to make the\\nforms with as few touches as possible. Try to draw with the brush, also to do it without sup-\\nporting the hand in any way. Much of the best Greek and Japanese work has been painted\\nfreehand. Grasp the brush sometimes in the hand like a pen, sometimes by the tip of the handle.\\nworking, wdiere the entire forms are made b}/ brush work. The patterns\\ncan also be painted in monochrome, in one or two shades of the same\\ncolor, as sepia or terra cotta; and later on two, three and four shades of\\ndifferent colors.\\nFrom the beginning the best pupils should be allowed to use white\\npaper and should be given water colors. If it is a matter of economy,\\ncheap colors can be purchased that are very good for this purpose, as low\\nas fifteen cents a box. For ordinary school purposes, however, it is still", "height": "3321", "width": "2421", "jp2-path": "newmethodsineduc02tadd_0149.jp2"}, "148": {"fulltext": "t34 Manual-Training; Drawing\\nbetter to use the regular water-color paints. They last a long time, and\\nfive or six boxes will answer the demands of a large number of designers.\\nBlackboard Work. \u00e2\u0080\u0094Class instruction at the blackboard is shown in\\nelementary stages for grammar grade pupils in illustrations 41, 42, 43, and\\n45. These pictures are from photographs taken in one of the public schools\\nin Philadelphia. The teacher has about 60 pupils, and all receive this\\ninstruction in turn. The four pictures simply show a series of stages\\nfrom the simple circle to elementary designing. No. 41 represents the\\nchildren making the first exercise, the circle, which is usually drawn,\\nIllustration 195\\na^..\\nid.\\nFreehand Designing\\nAllow pupils to draw bold and free flowing arrangements as large as possible, making the curves\\nwith swinging lines. This is open air work on blackboard, made by a member of my summer school\\nin the Adirondacks.\\nas described before, in six difi^erent ways. The second picture (page\\n69) illustrates the children drawing the scroll form doubled with each\\nhand, the beginning of a pattern. The third (43) illustrates the pupils\\ndrawing the anthemion four difl^erent ways, the hands being placed for\\nthe purposes of illustration in the different positions. The fourth\\npicture (No. 44) represents the children drawing designs. These pic-\\ntures were made on the same day and the visit was unexpected. I", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0150.jp2"}, "149": {"fulltext": "Drill Fotms and Designs J 35\\nmade the pictures myself, but had never been in the building before, so\\nthat the test was a fairly good one.\\nUnder each stage represented there is a very large series of forms in\\nwhich the children are drilled. Of course it is not possible to represent\\neach one, though I should like to do it. The children are called up in\\nrows, two or three to a board, there being four blackboards in the front of\\nthe classroom. In some schools there are blackboards around two sides\\nof the wall, which will allow more pupils to be drilled at the same time. I\\nfind some teachers can, by thus dividing the class, give very conveniently\\na good lesson in blackboard-drawing to a large class in 20 or 30 minutes,\\nevery pupil working in turn on the blackboard.\\nThe wise teacher will modify the suggestions offered here to suit her\\nown environment. It is advisable for the pupils not working on the black-\\nboard to observe closely those who are drawing, the teacher calling especial\\nattention to faults in position, or to particularly good results; then if con-\\nvenient, or at other times, the pupils at the desks can draw the same forms\\non their slates or paper, as preferred. It would appear from the pictures\\nthat these children are too close to their work, almost as though their\\nfaces were touching the blackboard. This, however, is not the case. The\\neffect is produced simply because the camera had to be placed behind the\\nchildren. You will find that some are almost at arm s length from the de-\\nsigns. There is a tendency with little children to stand too close to the\\nboard. Resist this as much as possible. Let the work be bold and free.\\nDesigning on Bla.ckboa.rds* When the pupils have become able to\\nmake the elementary forms and units of design without any trouble, and\\nhave gained a certain amount of automatic balance, proportion and fitness,\\nit is desirable that they should take up a course of designing on the black-\\nboard, it being one of the best possible surfaces for doing good or advanced\\nwork. I recommend, if the classes are not too large, that one pupil work\\non each blackboard, or at least have a space 3x4 feet 4x5 feet is still better.\\nThis makes a splendid surface for a single pattern. It is advisable that the\\ndesigns be made as large as possible, and that both hands be used.\\nNotice the illustrations herewith, page 136. This is part of\\na blackboard-drawing class. For convenience, I have shown the same\\nteachers drawing two different patterns. It will b\u00c2\u00a9 noticed that each pat-\\ntern is different, that the scroll, anthemion, leaf form, shell form and", "height": "3321", "width": "2421", "jp2-path": "newmethodsineduc02tadd_0151.jp2"}, "150": {"fulltext": "Illustrations 196-197\\nBlackboard Designing and Drill\\nThese designs have been made by teachers of the public schools, members of the teachers classes, Public School\\nof Industrial Art, Philadelphia. The forms are memorized but the arrangement is original, and is drawn without\\nerasure until the entire pattern is finished. Both hands are used, the left hand for the left side and the right hand\\nfor the right side. See page 135. Work like the above is done in about 4 to 6 minutes usually.\\n(136)", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0152.jp2"}, "151": {"fulltext": "Drill Forms and Designs J 37\\nMoresque form are used. The teachers are using the left hands in every\\ncase illustrated. This is simply to emphasize the desirability of using the\\nleft hand, for reasons advocated in First Principles.\\nIt is best for the pupils to make the center of the pattern first, being\\nsure that they find the middle of the board. It is not necessary to draw\\na line, as is done in some cases, down the middle of the board. They must\\nbe able to feel the middle. The center parts can be drawn with both hands\\nat once when they are symmetrical. If the pupils have had proper drill in\\nthe elementary stages, this will be quite easy. Then the rest of the pattern\\ncan be put in position. From the beginning, emphasize the desirability of\\nfirm lines made with clear and swinging touches. Endeavor to erase as lit-\\ntle as possible. Of course when the pattern must be modified and changed,\\nthe eraser may be used, but refrain as much as possible from altering every\\nlittle part.\\nTry to see the form as a whole before making it. A good designer\\ncan always do this; a bad designer is one who makes it up as he goes along,\\nputting things here and there by chance, if they happen to look well. It\\nis much better to be able vividly to form the concept of what is desired, and\\nthen to put it down complete, with a few firm touches. The teacher can\\nvery soon distinguish the pupils who are drawing this way, with a complete\\nconcept in mind, from those who are making up as they go along. Lack\\nof clear thought shows in the hesitating movements, which betray lack of\\nconfidence. I can also distinguish this class of work in finished designs.\\nIt is a little difficult to cover the whole surface of the board with judg-\\nment, good balance, etc., but it is good discipline, and can be done just as\\nreadily as if the pattern were very small, and gives much greater dexterity.\\nPatterns drawn this way in the beginning will sometimes be very poor in\\ncomposition and sometimes be too large or too small in parts. The ob-\\nject of the teacher should be to rectify, as much as possible, this fault. The\\nmoment the pupil steps back, errors of this kind can be perceived and recti-\\nfied. It is better to hammer at one pattern several times than to try mak-\\ning a number of difi^erent ones, letting each one have an entirely dift erent\\ncharacter. Modify one pattern till it becomes very much better, till\\nteacher and pupil are alike satisfied with it, then attempt another.\\nThis practice should be continued till the forms of any style can be", "height": "3321", "width": "2421", "jp2-path": "newmethodsineduc02tadd_0153.jp2"}, "152": {"fulltext": "J38\\nManual-Training Drawing\\nvaried endlessly at will. Very soon, when pupils arrive at the stage illus-\\ntrated, there will be a desire to introduce still more complex forms in the\\ndesign, such as dolphins, griffins, grotesques, and other decorative forms.\\nThis should be encouraged in moderation, and attention should be given\\nto the form used. It should not be used unless the pupil is thoroughly\\nfamiliar with it. From the beginning, see that the patterns are made for\\nsome purpose. Do not let the drawings be meaningless patterns on the\\nblackboard, without any intention. Of course there is practice in this, but\\nfrom the beginning the pupil should firmly keep in mind what the pattern\\nis for, whether it is to be used for wood, or for stone carving or fabrics, etc.,\\nand as much as possible it should be rendered so as to be fit and appro-\\npriate for use in those materials,\\nlllustrat on 198\\nFree Hand Design wilh Gritliiis\\nDo not let pupils use any complex form in designing until it is thoroughly memorized. This pattern has been drawn\\nin six minuses, without removing the hand until finished. The left side was drawn with the left hand first, then the\\nright side drawn in proper balance with the right hand.", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0154.jp2"}, "153": {"fulltext": "illustration 199\\nDrawina: from Life\\nCHAPTER VI\\nDrawing From Life Forms\\nand Memory Drawing;\\nrHIS IS AN IMPORTANT PHASE of oiir work, and one that\\nmust be emphasized by the teachers, all the time, if they desire to\\nget good results from the pupils. Pupils should be encouraged to\\ndraw from living forms as much as possible. A few illustrations herewith will\\nserve to explain my meaning. Notice the picture of the girl drawing chick-\\nens. The chicken is moving about in a coop. At first the results produced\\nare very depressing. The bird will not keep still, the pupil complains.\\nWith a little practice, however, it will be found that it is not nec-\\nessary that the chicken should keep still that its shape can be\\nobserved even when it is moving about. Notice that the girl has\\ndrawn the same chicken in five different positions, a side view that\\n(139)", "height": "3321", "width": "2421", "jp2-path": "newmethodsineduc02tadd_0155.jp2"}, "154": {"fulltext": "140 Manual-Trainlngf Drawing\\nwas drawn first; the chicken eating corn; a front view of the chicken\\nlooking up; the chicken seated; and the chicken holding up its head.\\nIf the pupil will persist in making a few of these diagrams without\\nminding how crude they are in the beginning, in a very short time it will\\nbe noticed that the hand and the mind become more familiar with the form,\\nand that although the drawings are very rough, they will become success-\\nsively a little better. A little more power will be registered in the mind\\nand hand by means of each diagram made, and by degrees the hand will be-\\ncome more obedient. The feet will not be made too large or small, the bill will\\nbecome of the right proportion, and the tail will stick out in the proper\\nway. Nothing but making the form of the chicken organic by constant\\nrepetition, will enable one to draw^ it properly. When a sufificient num-\\nber of impressions of the various parts of the chicken have been received bv\\nthe mind, through the hand, then the hand will begin to obey the mind and\\nbe able to reproduce them readily. This is the stage desired, and it\\nwill come to almost any one who practices a sufficient time. The chief\\nthing to do is to work, and not be discouraged by the distortion of the first\\nforms that are made.\\nThe same discipline can be obtained from cats, dogs, horses, birds, or\\nany living animals that can be seen without trouble. The sketches may\\nbe made on pieces of paper or in a note book or sketch book. In some\\nof my summer classes w^e frequently use blackboards in the open air, as will\\nbe seen from several illustrations in this book. It is of no use to copy the\\nchicken a few times and then stop. The work might as well not be\\ndone if that is all that is done. The memory of the form must\\nbe fixed by subsequent repetition w-ithout the chicken. This is\\nan important point. Sketch first from the real things, as often as is de-\\nsired, to make the required mental and manual connection, and then as\\nsoon as possible test the mind and the hand by trying to recall the shape or\\nshapes.\\nDo not be discouraged if the product is bad at first. Continually re-\\nenforce and refresh the mind with new^ impressions from the object, and in\\na short time it will be found that facility is obtained, and that much better\\npower of expression is the result. The first pictures and sketches are not\\nmade to keep. Of course I understand as well as any one that there are\\ndegrees of capacity in this work, as in all other kinds of work, but I have", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0156.jp2"}, "155": {"fulltext": "Plate Ten\\nV f\\n:M\\nfA --W,,- .saak.^\\nPainting in Color from Nature\\nBeautiful color work from natural forms can be done by children in the lower grades of all schools, if they are\\nrightly instructed. Vivid memories of color should be received from fruits, flowers, insects, birds, fish, shells, etc.\\nColor harmony and values should be taught from natural forms, not from stained and tinted papers. The butterfly\\nshould speak directly to the child. The colors, their areas, tints and values should be^ memorized and similar ar-\\nrangements made in designs for various purposes. The teacher should be very careful in the beginning not to\\npuzzle children with abstract theories about color, or to teach false nomenclature.\\n(MI)", "height": "3321", "width": "2421", "jp2-path": "newmethodsineduc02tadd_0157.jp2"}, "156": {"fulltext": "J42 Manual Trainingf-Drawingf\\nnever yet found children, teachers, and other art students who have not\\nbeen benefited, however bad their work may be at the outstart, by working\\nthis way.\\nGood drawing- and sketches of this character can be made from the\\nmounted animals and other specimens in any good museum. There is a cer-\\ntain stiffness and rigidity even in the best stuffed forms, but thev are\\ngood to use if nothing better can be had. In some of my schools I have\\nbeautiful stuffed bird and fish forms of various kinds, mounted for study,\\nbut if possible I prefer the pupils to work from the real forms, and for this\\npurpose excursions are made to zoological gardens and to other places,\\nand the children are continually invited to draw animal forms in their native\\nenvironment. Almost every one has a cat, a dog, or a canary, and there is\\nno better practice than to sketch one of these forms continually until it can\\nbe put down successfully from memory alone.\\nPersistence Required* To do this properly requires a good deal of\\nartistic and manual skill, and these exercises are desirable for their aid in this\\ntraining, apart from the even greater value to the mind, the judgment and\\nthe imagination that always accrues from vivid, permanent impressions reg-\\nistered in this way from the realities of life. Such sketching from memory\\nmust be done continually, not a few times only, followed by long intervals\\nof cessation. It is like practicing on the piano; fifteen minutes or half an\\nhour each day, steadily persisted in, will do more good than five or six\\nhours a day with long intervals between.\\nI think this holds good with almost anything. All progress is a mat-\\nter of persistence and self-control. There are many people who desire to\\nbe able to play well or to sketch well, yet who have not enough force and\\nenergy in their disposition to be willing to make the required movements\\ncontinuously, and who allow the influence or force of their surroundings to\\ndra,w them away from their desires. This yielding is in proportion to their\\nweakness of character. I think one of the most valuable lessons that we\\ncan learn from this work is the fact that it helps to form the will and de-\\nvelops a tendency to continuous application, which increases as the difficul-\\nties increase, and our line of work is of such pleasurable character that it\\ncarries with it a certain amount of satisfaction and joy that cannot fail to\\nexpand and elevate the mind.", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0158.jp2"}, "157": {"fulltext": "Life Foi-ms and Memory Drawing 143\\nMemory *Drd1Vtng of all forms and ideas is not insisted upon enough\\nanywhere, though it is one of the most beneficial exercises for expandino*\\nthe mind and giving the artistic ability so much to be desired educationally/\\nAll good artists sketch incessantly; it is beneficial even to recall forms and\\ndesigns when there is no opportunity to put them down on paper. Not life\\nforms only should be memorized, but the mind should be exercised in mem-\\ntally designing, and making compositions or patterns. Very valuable and\\nuseful power can be gradually acquired in this way. We should be able\\nto think compositions and designs, and mentally to change them from state\\nto state, just as the character of our speech or the current of our ideas\\nchange when we are thinking or reasoning.\\nIllustration 200\\nCommon Mackerel Scomber Scombrus\\nOne of the most important of food fishes. It is finely fo.med and a very active oceanic fish. All the fish\\nlorms illustrated hereaffter are drawn and modeled in my various classes.\\nFish Forms are fine subjects for study. Usually simple in form, the\\nchildren will be found to draw them with much delight,\u00e2\u0080\u0094 good typical forms\\nlike mackerel, the salmon, the bass, perch, blue fish,\u00e2\u0080\u0094 what fine shapes!\\nThere is something about the fish that usually makes children s eyes sparkle.\\nI don t know whether it is because they have experienced the joys of fish-\\ning, or whether it is that the drawings revive the sparkle and the gleam of\\nthe actual fish in or out of the water, but I do know that children take much\\ndelight in making these forms. A few suggestions will be given as to\\ndrawing these on the blackboard and on paper. There is an endless variety\\n*The nhysiolocjical condition of memory is that organic process by which nerve experiences in tne diflferent\\ncenters are registered; and to recollect is to revive these experiences in the highest centers the functions of which\\nare attended with consciousness-to stimulate by external or internal causes their residua, aptitudes, dispositions\\netc., into functional activity. Stimulated from without, they constitute recognition, that is, cognition with memory\\nof former cognition; stimulated from within, they constitute recollection.-[Maudsley, Physiology of Mind, page 514.", "height": "3321", "width": "2421", "jp2-path": "newmethodsineduc02tadd_0159.jp2"}, "158": {"fulltext": "J44\\nManual- Training Drawingf\\nIllustration 201\\nIllustration 202\\nThe Carangoid Fish Caranx Mjyposis\\nThis fish is related to the mackerel, American bhie fish and pilot fish. This and other essentia! facts\\nabout it are learned by the children as they draw or model the form.\\nof form among the fishes. Some seem all head, some nearly all tail, some\\nare without fins, some with fins like wings.\\nFish are beautiful examples of color. It is important to draw the\\nattention of the children to this. The colors are iridescent, pearly, and\\nbrilliant to a wonderful degree in some fishes; when they first come out of\\nthe water, they gleam like a rain-\\nbow. Get the children to recall\\nthese impressions. In many\\nschools and homes small aquari-\\nums afford good opportunity to\\nstudy the movements of living\\nfish. Small fish have just as beau-\\ntiful movements as the large\\nones. After some of my talks\\nthe children take a joy in visiting\\nthe fish markets. Nothing is\\nmore beautiful in color than a\\nheap of shad, herring, mackerel,\\nlobsters, crabs, and shell fish,\\nwhen just out of the water, and\\nchildren, when they once become\\ninterested, are fascinated and register many vivid impressions in various\\nforms. Encourage them to look at these things, Hardly any one can go to a\\nAnarel Fish", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0160.jp2"}, "159": {"fulltext": "Life Forms and Memory Drawing;\\nJ45\\nfish market, when the fish are beginning to arrive, without seeing crowds of\\nmen and boys, usually idlers, looking at the splendid forms, the beautiful\\ncurves, the variety of color, as the fish slide about. If anything ex-\\nceptional, like a large turtle or sturgeon, is on view, there will be a crowd\\naround it for some time. There is something more than idle curiosity\\nhere, there is so powerful an attraction in these strange and beautiful forms\\nthat the attention of even the most careless is compelled for a little while.\\nThis is the thing to lay hold of, with children, and it is a divine energy\\npoured out on every one. On this we must build if we wish to get them in-\\nIllustration 203\\n-g-^-\\nSheepshead\u00e2\u0080\u0094 ^rc7josargrMS\\nA large and valuable spnroid food fish. So called from the fancied resemblance of its\\nhead and front teeth to those of a sheep.\\noculated with the love of nature and the beauty and the joy that follow if\\nthis is cultivated to the higher stage. This energy must be cultivated and\\nconserved, otherwise, like other vivid impressions of youth, it fades away,\\nand finally, in a great many cases, is wholly lost. It must be cultivated\\nskillfully and systematically from stage to stage. This a true teacher will\\ndo without taking the life out of the work by tedious, needless repetitions\\nof tiresome formulas, graded steps, definitions, etc.\\nTypical Forms* I use fish forms throughout all the grades. In the\\nfirst grade I find th^ children fascinated in drawing a fish, while in the", "height": "3321", "width": "2421", "jp2-path": "newmethodsineduc02tadd_0161.jp2"}, "160": {"fulltext": "J 46\\nManual-Training; Drawing\\nThe Silver Moonfish\u00e2\u0080\u0094 Fo?7ier setipennis)\\nCalled also Blunt-Nosed Shiner.\\nIllustration 204 liighest grades they are\\npleased to make various\\nlish forms and also to ideal-\\nize them in the way of dol-\\npliins of various shapes.\\nThe experience of many\\nyears has taught that the\\nchild in the beginning must\\nhave a concrete generalized\\nfish form in its mind, a kind\\nof type form if you like, one\\nthat has the usual spines on\\nits back, the tail at the end,\\nfins on the side, gills, etc.,\\nbut which is not the picture of any special fish. But I find that when the\\nchildren have once become able to make this generalized fish form with\\nfacility (and by making it, I mean when the connection has been thoroughly\\nestablished between their finger tips and their brains so that they can re-\\nproduce it automatically as they think of fish), the moment they think of\\nspines, the spines grow on the back; the moment they think of tail, the\\ntail rays out from behind; the moment they think of fins, the fins are placed\\nin position automatically; while the same is the case with the scales I\\nfind also, if this form is thoroughly organized into the mental fabric, that\\nchildren, when they have special fish forms presented to them, can readily\\ngrasp the differences and the resemblances, and with very little practice be-\\ncome able to delineate these forms.\\nSpeaking Through the Finger Tips* This is the manner in which T\\nshould wish all drawing to be done, and the way in which I have en-\\ndeavored to make my pupils work. It has proven to be quite successful.\\nTo me this method is in accord with the usual process of mental develop-\\nment, it being simply the assimilation of certain impressions till they are\\nmade permanent and can be reproduced through the finger tips, just as we\\nassimilate impressions and through other motor reactions give utterance to\\nour ideas vocally or in writing. The time is coming when people will\\nspeak with their finger tips as well as their tongues. I mean the common\\npeople, not simply a few geniuses. I believe that there is a larger proportion", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0162.jp2"}, "161": {"fulltext": "Life Forms and Memory Drawing; J 47\\nthan we think of people who are gifted in this direction, and I see no reason\\nwhy the hand should not respond to any idea or thought as instantly as the\\ntongue usually does. In education, I have found that working in this\\ndirection is perfectly practicable; that the instrumentalities in all children\\nand their powers and capacities seem as though they were specially en-\\ndowed to this end. I really believe that all hands are capable, in the way of\\nart work, of responding in an exceptional degree to some environment, or\\nto some of the varied conditions of nature.\\nNotice the children drawing firsh forms in Illus. 205. These are gen-\\neralized forms. In making them the children, of course, have had the real\\nfish, a plaster model, or a diagram, to study. I am not as firmly set as\\nsome teachers on the subject of copying from models all the time. I\\nfind that a photograph or print will call up a good memory of the various\\nparts of a fish to children, especially if they are encouraged to look at and\\nmemorize the real forms. I find every day that it is more important to get the\\nchildren to mentally recall form than it is to imitate it from the object. Of\\ncourse some imitation must come first, but the fine technic is a matter of\\nyears, and the ideas of form can be growing meantime. But there is a\\ngreat deal of merit and discipline in getting the children to endeavor to make\\ntactual impressions on paper of even the complex things they cannot readily\\nhave before them, like a horse, for instance, that they have seen\\non the street. If you speak of a car horse or a cab horse or a horse in any\\nof the v/agons coming along the street, and mention several parts of its\\nform, the children usually look for these things the next time they see the\\nhorse.\\nI frecjuentl}^ ask them to draw a shad during the shad season, and find\\nthey do not know its shape. They have forgotten, perhaps, the shape of its\\nspinal fin or its tail or the bulk of its head. Let them do the best they\\ncan for the lesson, and then request them to look at the shad, and you will\\nfi.nd that the next time they draw they have a very vivid impression or-\\nganized in the mind, of spinal fin or tail or head, usually an impression that\\nis organized so that the concept never fades. It is to get this knowledge\\nto come to the finger tips, instinctively on command, that we work.\\nImportance of Simplicity* Notice that these diagrams of fish that the\\nchildren are drawing are very simple, that they contain the fewest lines pos-\\nsible. From the very beginning the essential features of form should be", "height": "3321", "width": "2421", "jp2-path": "newmethodsineduc02tadd_0163.jp2"}, "162": {"fulltext": "J48 Manual-Training; Drawing\\nIllustration 205\\nMemory Drawing of Fish Forms\\nThe children are practicing drawing various fish from memory, to make different sizes and proportions, and to\\nmake them turn in different positions. The child should get facility of expression with a few essential features, before\\nmuch in the way of detail is required.\\ngrasped with a few touches. If I give a fish form to a student, of any age,\\nwho is not practiced in our method, there is usually an attempt to represent\\na maze of details, and the fish form or other form is lost in the endeavor to\\nput down unessential features. To grasp the essential features and to\\npurge the form of superfluities is of course the artistic part of the work,\\nand this point the teacher can illustrate in different ways by showing good\\n.sketches, diagrams, and pictures by good artists, Invariably it is found", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0164.jp2"}, "163": {"fulltext": "Life Forms and Memory Drawing; J 49\\nthat great artists simplify things. And in drawing as a mode of expres-\\nsion, the kind of drawing that we wish to get, this simphcity and\\nstrength is what we aim for. There is no harm in the l^eginning to have\\nlittle children copy one of these hsh forms from the teacher s diagram on\\nthe Ijlackboard, or from a chart or a good photograph. The teacher can\\nalso have real fish, bonght for a few= pennies, on the desk; can have a\\nstuffed fish, a plaster model, or a living fish in a globe. He must aid the\\nchild, however, to get a certain proportion in this work, just as it gets a\\ncertain proportion in a leaf or an apple. The teacher must direct attention to\\nthe radiation of the spines and fins, the marking of the scales, and prac-\\ntice must be given in making these forms a number of times, till the propor-\\ntion and detail of the different parts become automatic.\\nThen the teacher can let the children make the fish move al^out or\\ntake difTerent positions. This is much harder, but they soon conquer it.\\nTo make the fish turn around or swim up or swim down, or flap over, is quite\\ndifficult, but if they have once conquered the generalized form, so that it is\\nautomatic, they can very soon become able to make the same forms move\\nabout, and they take a great deal of pleasure in doing so.\\nc/1 Wdrning* Do not expect these things to come in two or three les-\\nsons. Remember, though you can give a little child these form.s, that it\\nusually has eight years of school time in v\\\\diich to practice. The children\\nyou see in our illustrations drawing these forms have become able to make\\nany kind of fish in an}^ kind of position, just as readily as they speak. Of\\ncourse it is a matter of years. It is a very foolish teacher who expects a\\nchild to make a fish or other animal turn around in a few lessons, a thing\\nthat some artists cannot do (if they are recjuested) after years of experience,\\nsimply because they do not draw from memory, by the expression of ideas,\\nIjUt b} imitation. They must imitate some form before them, they have\\nnever done anything else.\\nThis is usually the trouble wath many of the art schools, there is\\nimitation of models and sketching from models endlessly, with very little\\nmemory W Ork. I believe if a cjuarter of the time spent in looking at models\\nwere given to recalling, without the model, the impressions made by it, much\\nmore valuable results would be obtained.\\nVariety in Forms* When the children have facility in making the\\nfish forms, as illustrated, drawing them with ease, allow them to make", "height": "3321", "width": "2421", "jp2-path": "newmethodsineduc02tadd_0165.jp2"}, "164": {"fulltext": "i50 Manual-Training Drawing\\nIllustration 206\\nq\\nThe Sea Bass.\\nA large marine food fish, called also locally blue bass, black sea bass, black fish, blue fish\\nand black perch.\\nvarieties of fish, long and slender, short and thick, etc., and encourage them\\nto look at fish.\\nInvite them to catch fish. If we register the vivid impression\\nthat comes when a child first catches a fish and inspects it in all its glory of\\nsparkling color, if we can make this impression vivid and organic with the\\njoy and the beauty that goes with it, we have done something toward de-\\nveloping the artistic sense; and I attach much importance to these uncon-\\nscious glimpses of nature forms, as seen in the fields, the streets and the\\nmarkets. Let us do all we can to make them indelible and permanent, es-\\npecially through the feelings and emotions. This can only be done by fre-\\nquently recalling the images and nailing them into the fabric of the mind by\\ndeeds, by performance of actions through the different channels of human\\nactivity. For our purpose we do it by recalling and recording the forms\\nas often as possible on paper, in clay and in wood. Beware of making any of\\nthis pleasant and enjoyable work a task. This is where the teacher s judg-\\nment and skill must come in. Through the same door that you open into\\nthe mind, this energy or spirit can fly away. Watch, therefore.\\nInvite the children to try to represent fish forms that they have ex-\\nperience of and with which they are familiar. They become sometimes\\nespecially fascinated by strange fish forms, and it is well, if you have the", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0166.jp2"}, "165": {"fulltext": "Life Forms and Memory Drawing;\\n151\\nfacilities, to show them pictures of these or make pictures of them on the\\nblackboard, a shark, for instance, a flying- fish, or some of the many various\\nforms with special peculiarities.\\nBy degrees various adjuncts of the fish form can l^e taught to them,\\nwan the names of the different parts, like the diagram on page 153. These\\ntechnical terms and others have a more or less complex character, accord-\\ning to the grade of pupils that are receiving instruction, but they can readily\\nbe fixed in the mind by this method.\\nI have many children who know the names of the different parts of the\\nfish, which they can express with ease by drawing. To get them to memorize\\nthe names of the first dorsal, the second dorsal, the pectoral fin, the ventral,\\nanal and caudal fins, and other difficult technical names, without some means\\nof systematically reproducing them, is a hardship, and one of the things\\nfrom which the present schools suft er. It is unreasonable to task the mind,\\nIllustration 207\\nDrawing Fish Forms From Memory\\nThe children also write or print the name of each variety under its form, so that they never forget it.", "height": "3321", "width": "2459", "jp2-path": "newmethodsineduc02tadd_0167.jp2"}, "166": {"fulltext": "J52\\nManual-Trainingf Drawing\\nthe verbal memory, with such things. Placed in the mind, however, by\\nthese instrumentalities, learning, and even the practice of expressing ab-\\nstract thought in symbols, becomes a delight and a pleasure, and is con-\\ntinued with ease.\\nEncourage the children to notice the strong erect lines of the spines,\\nthe stiff, springy look. In some positions fish assume most beautiful\\nIllustration 208\\nFish Forms in Desiarn\\ncurves and when the children begin to ideal-\\nize these forms, very fine designs and sugges-\\ntions can be received from them. Notice the\\nmany varieties of form in which the fish is\\nused in combination with other forms.\\nFish Forms in Design.~Uke other animal forms, the fish is much\\nused in decorative work, and gives additional beauty to some parts. The\\nscales are used for surface decoration of many kinds. Practice in\\ndrawing scales so that they fit is one of the exercises that I give chil-\\ndren at certain periods. To draw scales so that they are equal in size and\\nfit nicely, so that they gradually diminish or increase in size, compels a\\nwonderful amount of atte-ntion, and requires a great amount of manual\\nskill. To do it successfully in certain materials, like clay and wood, re-\\nquires fine manual training. Further suggestions for the use of fish forms\\nin design are described and illustrated in Chapter VIII of this book.\\nIn making work of the highest character, of the most beauty, it is im-\\nportant that we should know as much as possible about fish forms and their\\ncolor. The more intimate we are with these things, the more wisdom and\\nthe more knowledge we can put into the designs that we idealize or ideate\\nfrom them. Very few people can really enter into the pleasure and the joy", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0168.jp2"}, "167": {"fulltext": "Life Forms and Memory Drawing;\\n153\\nof some of the great works of the best periods of different nations, simply\\nbecause they do not see the connection between the natural forms and the\\nidealized forms. Some of the most beautiful and wonderful of the Japanese\\nand Chinese dolphins, dragons and grotesques are made from idealized fish\\nforms. It is an added pleasure and joy in life to be able to perceive the\\nbeautiful as rendered even by pagans and other curious peoples.\\nFish forms should be modeled in clay continually, especially if a vivid\\nmemory of the form is desired. They also make beautiful decorative forms\\nfor various purposes.\\nGeneral Remarks* I have given this lesson on fish forms enlarged and\\nat length simply to illustrate and suggest a few points to instructors that\\ncan be applied equally to all forms, the same ideas and movements applying\\nto everything created and suitable for instruction. Stupid and dumb is the\\nteacher who cannot, even in the most degraded and forlorn environment,\\nget the common bits of nature that are so silently eloquent. Make even\\nthe sticks and stones and grass speak to and through the hand, the head\\nand the heart\\nIllustration 210\\nNature Study\\nDrawing a chart to indicate technical names of the different parts", "height": "3321", "width": "2459", "jp2-path": "newmethodsineduc02tadd_0169.jp2"}, "168": {"fulltext": "Plate Eleven\\nfE\\nDrawing from Nature\\nRapid sketches are made of the movements of the dog. This work is difficult at first, but if the\\npupil models the form also, accurate memories of form are received and made permanent.\\n(154)", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0170.jp2"}, "169": {"fulltext": "Illustrations 211-213\\n~1\\nVarious positions of tlie same sliell, as memorized by tlie children. The shells being- fine in form are oood\\nmodels.\\nCHAPTER VII\\nDrawing; from\\nNature and from\\nMemory\\n71 T^VTURE IS THE BEST DESIGNER. Our pupils must assimilate\\na variet}^ of impressions from nature before we can expect them\\nto create anew. Take shells, for instance. It is almost impossible\\nto think of a new shell, the entire field seems to be exhausted b} nature, shells\\nbeing of every conceivable variety. It seems as though nature had worked\\nout every possibility to its utmost exaggeration. We have shells thick, shells\\nthin, shells long and slender, shells very short and thick, with spikes, spines,\\nprocesses, ad infinitum. Before drawing shells it is advisable for the\\nteacher, and the pupils also, to make a few diagrams, illustrating the growth\\nof shells by addition to the margin, as pictured in No. 214. They can be\\nmade to take much interest in the growth and structure of the shell. It is\\nadvisable to explain to them how and why shells assume the diiTerent\\nshapes, from the flat, scalloped to the pointed, spiral form.\\nSimple diagrams should be made at first, almost conventionalized forms\\nif you prefer, and study should be made of shells simple in form, like the\\nscalloped shell, spiral shell, cockle shell, clam shell, etc. If some of these\\nare in pairs and doubled (Illus. 215), it makes a still more interesting picture,\\nand the children grasp the relation of actual shell forms to some of the\\nbeautiful idealized shell forms in ornament.\\n*As much as possible, nature forms should be used in drawing-. Good work, however, can also be done\\nfiom photographs and books. Diagrams from books are used several times herein as suggestions.\\n(155)", "height": "3321", "width": "2459", "jp2-path": "newmethodsineduc02tadd_0171.jp2"}, "170": {"fulltext": "i56\\nManual-Trainingf Drawingf\\nDrawing from the Object\\nAll sizes of shells can be drawn in the hand this\\nway and form memorized. Small shells of beauti-\\nful form and variety can be purchased cheaply.\\nIllustration 214 j^ jg good practice to draw the\\nshell freehand on the board from one\\nheld in the hand, making different\\nviews, then memorizing them, like the\\nillnstration 214. There is no better\\npractice in drawing and color work\\nthan can be received from making ac-\\ncurate drawings of beautiful shell\\nforms. Shells can be purchased in\\nsome instances for ten cents a quart.\\nIn a quart of such shells scores of per-\\nfect and beautiful specimens can be\\nfound. They last a long time and the\\nchildren, if they are inspired properly,\\nare never tired of looking at them. Shells are among the best things we\\nhave for teaching color. Some of them are perfect poems of color, and as\\nthey can be bought lustration 215\\nvery cheaply, they are\\namong the best things\\nwe can have for school\\nmodels. The children\\nhave learned one of the\\nmost desirable lessons\\nwhen they begin to ap-\\npreciate the wonderful\\narchitecture spun into\\na shell, its form, its\\ncolor, its structure and\\ntexture. When they\\ncan in the slightest de-\\ngree r e pr o d u c e its\\nbeauty, prgportion and\\nntneSS m actions that Drawing from Meinory and from the object\\nare themselves fit and beautiful, the shell has fulfilled one of its missions.\\nThere is a great deal of talk about the expensiveness of school models.\\nIt is simply an excuse made by some ignorant people for the barrenness and", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0172.jp2"}, "171": {"fulltext": "Drawing; From Memory\\nJ57\\nbareness of the ordinary common school room. A bright teacher can\\ncollect or gather clam shells and oyster shells that are perfect in form and\\ncolor. Sometimes a clean oyster shell is a revelation of perfect colors and\\ntints, being iridescent, translncent, pearly, etc. The greatest scientists\\nor artists could require nothing better or conceive anything so fit. It\\nis possible, for two or three dollars, to get a collection of shells of the com-\\nmoner varieties that would stand the wear and tear of a class room for many\\nyears. The same is true of other forms.\\nI find usually that this idea of lack of materials is more a matter of ig-\\nnorance than anything else. It comes from a barrenness of mind which is\\nan outgrowth of the common idea, so fixed in the mind of most people, that\\nreading, writing and arithmetic are the main things. Fortunately that\\nUustrations 216-217\\nShell Forms\\nSome of the most beaiitiful lines in design and ornament have oeen taken from shell forms. No study\\nwill broaden and expand the mind more quickly than to assimulate, first hand direct from the shell, complete\\nideas of fine lines, curves, structure, texture, color, etc.\\ntime is passing by, and we are beginning to find school rooms filled with\\nappropriate things. I read in a recent paper the account of a new school in\\na large city where the committee are actually requesting the sum of $100,-\\noop for plant and fixtures alone. I knov^ by experience that, unfortunately,", "height": "3321", "width": "2459", "jp2-path": "newmethodsineduc02tadd_0173.jp2"}, "172": {"fulltext": "J55\\nManual-Training: Drawing\\nIllustrations 218-2TC\\nf4t\\nInside and Outside of the Same Shell\\na great deal of this money will be spent for elaborate furniture, cumbersome\\ndesks and closets, etc. But the beginning- of the new era is upon us.\\nBlackboard Work. Shells should be drawn on the blackboard at in-\\ntervals. Allow the children to select any shell they desire and to make dif-\\nferent freehand views of it on the blackboard. The shell can be held in\\nIllustrations 220-2!!\\nm\\nLesson From Shells\\nThe examples ot tang-ential curvature, radiation, transition of curves, etc., are perfect on shells. The\\nchildren should be carefully instructed to study and reproduce these qualities in pencil and with color. Sorne\\nof tlie scallop shells are much used in carved work.", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0174.jp2"}, "173": {"fulltext": "Drawing From Memory J59\\nthe left hand while doing this, and even vei small shells can be used. At\\nfirst allow the drawings to be as simple as diagrams and of the easiest views,\\ngradually attempting the more complex positions, as facility is gained. Re-\\nmember that the first object of this work is to store the memory with im-\\npressions of shell. To enable the mind to vividly recall or recollect shell,\\nthese exercises should be repeated until typical shells can be drawn from\\nmemory. Lead-pencil sketches for detail should be made, and also, if pos-\\nsible, sketches in color.\\nShells should also be modeled in clay, producing both realistic and\\nconventional copies.\\n^trd ^orms* Little children can begin to draw bird forms. The con-\\ncept or typical idea of bird is made up, to the child, of the various impres-\\nsions it has received from the birds with which it has been familiar. (See\\nillustrations of children drawing birds on pages i6o and i6i. It does not\\nmatter how crude the first attempts are. It is a good plan for the chil-\\ndren to make simple diagrams of birds heads, like those of the pigeon, crow,\\nhawk, parrot, paroquette, eagle, and so on; or of the common chicken, the\\nrooster, the duck, the goose, the swan and others. Side views of the duck\\nswimming are perhaps as simple as anything in the beginning.\\nEndeavor to get the children to think of the shape of birds. Simple\\ndiagrams or drawings can be made on the blackboard of very difl^erent\\nshapes of birds, for instance, the crane, the stork, the heron, and then birds of\\nopposite characteristics, like the owl and the eagle. A simple bird form,\\nlike the sparrow or any small bird that can be readily procured, should be-\\ncome automatic. The children should be made by repetition able to put\\nthis form down without trouble from memory. When this can be done\\nreadily, then the bird should be placed in different positions and the child\\nshould be encouraged to make drawings of these positions and to mem-\\norize them. Allow the children to attempt these different positions on the\\nblackboards. Of course to render a bird flying or spreading its wings is\\ndifficult, and it requires a knowledge that you must not expect from chil-\\ndren in the beginning. But as they become able to place the simple forms\\nin various positions, and as they get more practice, in drawing, of the dif-\\nferent things required in their different studies, so they will become able to\\nmake these complex forms with greater ease than one would think possible\\nif it be attempted to render them without this previous work.", "height": "3321", "width": "2459", "jp2-path": "newmethodsineduc02tadd_0175.jp2"}, "174": {"fulltext": "J 60\\nManual-Training Drawing\\nIllustration 222\\nPrimary Work by Little Children\\nDrawing bird forms, dogs, cats, etc., from memory, in diflerent positions\\nEncourage the children to notice different kinds of birds, as the\\ncanaries at home, the parrots, and other birds they see when they go to the\\nzoological gardens, or the common birds seen in the country. Encourage\\nthem to make drawings of these things, even while they are moving about.\\nI have numl)ers of children who can do this readily. It is not necessary\\nthat a bird should be stuffed or that it should be dead before you can see\\nthe length of its bill or the size of its head. If a child is looking at a\\nflamingo walking about, making its peculiar motions in the water, it can\\nnotice the strange shape of the bill, the wonderful length and beautiful\\ncurving of the neck, the remarkable length and structure of the legs, and\\nother particulars without any trouble. It should l)e a1)le also to make a\\ndrawing or tactual record of these remarkable points. It does not matter", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0176.jp2"}, "175": {"fulltext": "Drawing: From Memory\\nt6i\\nif the bird bends its neck while the drawing is being made; it is still the same\\nbird and neck. With very little encouragement children become able to\\ngrasp the form and reproduce it, even when the model is moving. This\\nis a great and desirable step in drawing.\\nIt is only the most stupid kind of people who think that the living-\\nforms must pose before them to enable them to grasp the shape. The\\nchildren you see working in the pictures here given have made many of\\nthe drawings from living forms. They can also make very good drawings\\nof the same forms in any position without the models. The chickens have\\nbeen drawn while walking about, the same with the parrots.\\nOf course in the beginning bad drawings result. No one can make\\nsix or eight diagrams of a crane without making the last diagram better\\nthan the first, if one has a crane or a picture or model of one to refer to.\\nIllustration 223\\nMemory Drawing\\nThese bird forms have been memorized rom specimens photographed in this book. This pupil can\\ndraw any of the birds in different positions from memory,", "height": "3321", "width": "2459", "jp2-path": "newmethodsineduc02tadd_0177.jp2"}, "176": {"fulltext": "i62\\nManual-Training; Drawing;\\nIllustration 224\\nEnlariJ:ing Drawings from Sketch Book\\nThe same forms should be drawn in many positions and memorized.\\nIt is the constant repetition, the association of idea with movement, the\\nconstant endeavor to reproduce, that ultimately leads to achievement.\\nAnd do not expect likenesses, actual portraits of these forms, from lit-\\ntle children. If they get any idea of the form in the beginning, they\\nWhen they have had sufficient practice with this\\nIllustration 225\\nshould be encouraged\\nBird Studies\\nVariety of birds bills, drawn from Webster s dictionai7. The teacher is giving\\nan object lesson to a class.", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0178.jp2"}, "177": {"fulltext": "Drawingf From Memory J 63\\nmemory drawing, some can reproduce images with the utmost fidehty, and\\nit is remarkable what an amount of observation they disclose and of acute\\nperception of details that they can render. Never expect them to render\\nforms without first assimilating impressions from the real things, or from\\nprints, pictures or drawings of some kind. They must be constantly sent\\nto the source, to the thing itself, to receive fresh impressions.\\nBy degrees they will lose the desire to sit and imitate detail by detail,\\nand this is a valuable quality we wish them to get, the power of being able\\nto mentally photograph the object they look at, and then to revive it later;\\nto be able to recall it with its original vividness of form, color, light and\\nshade, its essential qualities. That this can be done and well done by\\nchildren I am convinced from the product that we get in our schools. If\\nit is done systematically throughout all the years of school life, I claim that\\nwe will have a product that will be much more valuable than any yet at-\\ntained. As teachers, this is what we must aim for.\\nColor in Birds* Let the children study a feather. Beautiful lessons\\ncan be given on a feather. And then, wings Is there anything more\\nbeautiful in the world than a wing, in its wonderful structure, form, texture,\\ncolor? A few wings of different kinds should be drawn repeatedly till the\\nchildren can automatically reproduce the overlapping of the pin feathers\\nand the short feathers, just as they draw the scales of a fish or any other\\ndetail. There is nothing more beautiful in the world than the appearance\\nof some flying birds; the spread of wing,\\nthe gradation of form shown by the illustration 226\\nfeathers, the regularity, strength and beauty ^,...,.,--\u00c2\u00bb~Sr^^^\\nof movement must impress the most care-\\nless. Children can be encouraged to make 55\\nsimple diagrams of flying birds, like the\\npigeon or the sea gull, and they will very\\nreadily when they see these birds watch\\ntheir movements and make visual notes\\nof their difi^erent positions when flying. The same is true of birds\\nswimming in the water, like the duck, the goose and the swan, the per-\\nfection of living beauty, grace, and fitness. (Illus. 232.)\\nThe children should be obliged continually to notice the colors of birds.\\nI believe we can get more real knowledge of the tints, the tones and shad-", "height": "3321", "width": "2459", "jp2-path": "newmethodsineduc02tadd_0179.jp2"}, "178": {"fulltext": "J64\\nManual-Tratningf Drawing;\\nows, and the harmonies of color from a dead sparrow or a pig-eon or the\\nhead of a duck than from all the books and stained papers that have ever\\nbeen printed, for the purpose of teaching color. Some colors on birds\\nare ravishing. They shine like jewels, and there is a flashing efi^ulgency\\nand a delicate iridescence on the neck of a pigeon that will in a measure\\nreproduce the soft glowing radiance of the heavens, to the heart who can\\nIllustration 227\\nEnlarging and Memory Drawings\\nOf birds in various positions from sketch book. The original sketches were made from the aeal birds.\\nlook at it with sufficient love. If there is anything in education that we\\nought to cherish and to nourish, it must be this; to give the children a feeling\\nfor these things, to touch their emotions if we can, to infect them wdth the\\nalmighty energy of the love of nature. These experiences help to develop\\ndesirable phases of character in the young, which are seldom reached by\\nother means. Other bird forms are shown on page 179, and elsewhere in\\nthis book.\\n-Bofa/t/ca/i^^r/n5\u00e2\u0099\u00a6\u00e2\u0080\u0094 Splendid lessons in drawing and elementary botany\\ncan be given. Botanical forms are especially beautiful, interesting and\\nuseful for school work. The simplest leaves and flowers, the commonest\\nweeds and grasses, make good illustrations, and the pupils can be led on", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0180.jp2"}, "179": {"fulltext": "Drawing; From Memory\\nJ 65\\nfrom the simple diagrams made of these forms to the most abstract and dif-\\nficult scientific work. The difficult nomenclature used in botany can be\\nmemorized without effort if the lessons in drawing are given rightly. The\\ntactual, muscular and visual impressions seem to make the form and the\\nname stick more readily in the memory. They can be recalled more\\nclearly at any future time.\\nTake the horse-chestnut leaf, for instance (Illus. 230). This embodies\\nthe whole of the laws which are to be desired in some of our work. It has\\nperfect grace of form, proportional distribution of areas, radiation from\\nparent stem, tangential curvature of lines, even distribution of surface dec-\\noration, repetition, growth and a number of other minor qualities. This\\nis also true of an assemblage of leaves, with their equal arrangement of\\nmasses, and perfect distribution of group or groups.\\nTry to make the students enter into the beauty of these simple forms.\\nIllustration 228\\nA Lesson m Drawing and Elementary Botany\\nUse the real flower forms to dra\\\\v from as often as possible, then memorize the characteristic features, as\\ndescribed in Chapter VII. The last, flower form is a cross section of a daisy. Small drawings should also\\nbe made in pencil and color. The drill work in Manual-Training drawing in the present and preceding chap-\\nters is of wonderful value in imparting the faculty to draw from objects of all kinds.", "height": "3321", "width": "2459", "jp2-path": "newmethodsineduc02tadd_0181.jp2"}, "180": {"fulltext": "J 66\\nManual-Trainingf Drawing\\nDo not allow them to create freak units. When we have such a wonderful\\nrange In nature of leaves, flowers, shells, and so on, it seems foolish to re-\\nquire students to make kite units and the varieties of the kite unit, as some\\nstupid systems do. If the child is made to produce these forms, they are\\nsimply wasting valuable time, but the tendency of a great deal of the present\\nmode of culture is to create freaks. All the objects of nature are beautiful,\\ncreated for our admiration and for our study.\\nFor instance, take the leaves in illustration No. 231, the pedate,\\nlobate, crenate, palmate, cordate, dendate, binate, and other leaves. If\\nthese are drawn, instantly the technical name, the appearance symbolized l^y\\nIllustration 229\\nDrawing- from Fruit\\nFruit, flowers, foliage should be drawn and memorized. In the spring many kinds\\nof blossoms make attractive studies. Branches of foliage alone make useful models.\\nthe name, is registered permanently. This is a great help to the language\\nwork of the children, especially when they begin to dissect the plant forms,\\nand the work from the many different parts begins to be complex.\\nThe technical names can be mastered without any trouble, and some of\\nthese technical names are very formidable, even those describing the ap-", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0182.jp2"}, "181": {"fulltext": "Dfawingf From Memory\\nt67\\nIllustration 230\\nBotanical Drawing\\nIn this dra^ving six stages of the dandelion have been illustrated, with various leaf forms These diagrams\\nare drawn from memory. Accurate drawings have previously been made with pencil from the plant\\nIllustration 231\\nBotanical Drawing\\nThese cuts are from Webster s Dictionary, and the children memorize the\\ntechnical terms with the form by repetition", "height": "3321", "width": "2459", "jp2-path": "newmethodsineduc02tadd_0183.jp2"}, "182": {"fulltext": "168\\nManttal-Trainingf Dtawingf\\npearance of a simple leaf. I have no trouble even with children of the\\ngrammar schools in getting them to remember these terms, if they have had\\nsufficient practice in making the diagrams and drawings, with, of course,\\nthe auditory impression of the name associated with the drawing at the\\nsame time. Understand, I do not mean notes taken at random during a\\nlong, tedious talk about function, growth or structure of various plants or\\nflowers, but I mean the close attention and clear perception of a single plant\\nor few parts of the plant, until a complete mental structure or thought-fabric\\ncorresponding to the plant is erected in the mind to stay. The main thing-\\nis to actually do and act through the eye, ear, tongue, touch, muscular sense,\\netc., instead of merely reading about or listening to a lecture upon the sub-\\nject. I have seen so many classes of teachers and normal-school graduates\\nwho have listened to thousands of facts poured out in a stream, and who\\nhave filled scores of note books with diagrams and notes, yet who have\\nfailed to fix in the mind anything about their work. The many impressions\\nhave obliterated each other and only partial ideas result.\\nIllustration 232\\niri^\u00c2\u00abig|^\u00c2\u00bb\u00c2\u00ab\u00c2\u00ab\u00c2\u00bbi^\\nS^vans\\nThe perfection of living beauty, grace and fitness", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0184.jp2"}, "183": {"fulltext": "Illustration 233\\nDolphin Forms in Conventional Design\\nCHAPTER VIII\\nConventional and\\nSymbolic Forms\\nJ^OLPHINS MAKE VERY BEAUTIFUL FORMS FOR DRAW-\\nI ing- It is very easy to memorize one of the simplest forms, and\\nthen, by practice, to get faciHty in making this form in various posi-\\ntions, as shown above. Do not let the dolphin be feeble-looking or weak,\\nbut let it be made with good strong curves in all of these conventional\\nshapes. It is a good plan to begin with a form alniost as simple as the scroll\\nitself (Illus. 234), and then make it a little more complex, in different posi-\\ntions, suggesting the mouth, and with crockets for fins and spines.\\nThe next stage should be to introduce still more detail in the head,\\nptittingreal spines and fins in different positions, as in 235. Then make it\\nmore elaborate by getting all the characteristic features of a dolphin in good\\nproportion and by adding scales, a good tail, form and even with wings, if\\ndesired. In making these forms for decorative purposes, it is per-\\nfectly proper to do anything one pleases in the way of modification. Units\\nof design of all kinds can be used in combination with the form; it can\\nturn into leaf forms, the acanthus leaf being frequently used in this com-\\nbination.\\n(169)", "height": "3321", "width": "2459", "jp2-path": "newmethodsineduc02tadd_0185.jp2"}, "184": {"fulltext": "J 70 Manual-Training; Drawing;\\nThe dolphin s head can be used instead of the scroll termination in al-\\nmost all patterns, enriching them very much in some cases. In drawing\\nthis form in patterns see that it becomes an actual part of the pattern. Do\\nnot make it look stiff, as though it were added. It should grow out of the\\npattern, or the pattern should grow out of it, naturally. Dolphins, griffins\\nand grotesques are never successful and cannot be drawm with much success\\nunless they form part of the design. Do not use them too frequently in\\nIllustrations\\n234-235\\nC\u00e2\u0080\u0094\\n1\\nV w;\\\\\\ni i\\n4\\\\\\nJ J\\nn I\\n^-s\\nthe same pattern. It is very good practice to make the body take different\\npositions for certain purposes, as suggested in the headpiece for this chapter.\\nThe dolphin is one of the best of all forms for use in wood, clay, stone\\nand metal. The fish form must be thoroughly studied to get successful\\ndolphins. There is a squirmy appearance about a dolphin that is taken\\nfrom the fish, while the scaly appearance of the body, the eye, the spines and\\nthe fins are usually fish forms, and the better the fish is known the better\\nthese forms can be reproduced. To carve these forms successfully, even\\nafter the form has become pretty familiar by drawing, it is necessary to\\nmodel them in clay several times.\\nGrotesque fish forms of simple character can also be made, an instance\\nof which is shown in Illus. 233. These are all suitable for designs for\\nvarious purposes. Make the simplest forms first, and as they become\\nfamiliar try the more elaborate ones. Any good book of ornament will", "height": "3349", "width": "2372", "jp2-path": "newmethodsineduc02tadd_0186.jp2"}, "185": {"fulltext": "Conventional and Symbolic Forms\\nJ7I\\ncontain dolphin torms, but it is still better to see moaels of the real animal\\nin material of various kinds.\\nGriffins also are conventional or idealized animal forms. To make\\nsuccessful griffins, pupils must understand the character of heads of dogs\\nand lions, and the shape of their bodies. Griffins can be winged, they can\\nhave spines, they can have bodies like dolphins, without legs, or they can\\nIllustration 236\\nIdealized Animal Forms\\nThis picture shows more clearly than No. 233 the strength and freedom with which the lines are drawn.\\nAdvance from the simpler to the more complex.\\nhave two legs, four legs, and any kind of tail, as suggested in illustration\\n236. The wings can be turned into leaves or scrolls, as can any part of\\nthe body. The griffin is simply an animal form introduced as an element\\nof variety, one which allows the introduction of beautiful curves, and which,\\nwhen done properly, will improve some patterns very much. It is a good", "height": "3321", "width": "2459", "jp2-path": "newmethodsineduc02tadd_0187.jp2"}, "186": {"fulltext": "M2 Manual-Training; Drawing;\\nplan in learning to draw these forms to originate them, because each one\\nshould be able to make a dolphin or a griffin with a certain amount of style.\\nIt is important to begin with the very simple form, almost like a scroll\\nand then give it still more detail as one advances in knowledge of\\nits characteristic features. These shapes can be made to fill any space, and\\nof any proportion. The necks can be twisted in and out, the wings can\\nbe rudimentary or extended as much as the student may desire. It will\\nrepay any one to notice the beautiful forms of griffins, grotesques and\\ndolphins. These forms will always be good if the essential character of\\nthe lion or the tiger is grasped. An expression of fierceness is necessary to\\na good griffin. It should never look weak, like a kitten. It is a good\\nplan to practice making it fierce and to sketch open the jaws as widely as\\npossible.\\nTo grasp this form practically and to become able to draw it with\\nthoroughness, it is absolutely necessary to model and carve a good type sev-\\neral times. There is no better practice in drawing on the blackboard than\\nto make, when a little facility has been acquired in making the simpler forms,\\nthe more complicated ones in the diiTerent positions, with short wings,\\nlong wings, wings closed together, wings extended; to make them jumping,\\nto make them erect, to make them crouching; to throw the head up, to\\nbend it down, to make the mouth stretch open in various degrees. Some\\nbeautiful examples of griffins rampant can be found in heraldic devices of\\nvarious kinds. Modeled and carved work in many materials will embody\\ndolphins and griffins.\\nThe ^ifd Form is conventionalized in a great many ways. It can have\\nthe body of a lion or a griffin, and the wings and body can turn into the\\nacanthus leaf or any of the variety of units desired. It is much used on\\naccount of the beauty of the feather forms, the curves of the neck and the\\ntalons. It is used in ecclesiastical art. Next to the griffin and the lion,\\nit is one of the commonest of heraldic devices. It is the national emblem\\nor device of various countries.\\nTo produce these decorative figures well real bird form must be studied.\\nThere is a fierce expression about the eye and the bill of an eagle, and an\\nenergy about the legs and claws, that is very beautiful. If these essen-\\ntial features be grasped and the form embodied, the resultant form must of\\nnecessity be beautiful. Some coins have the eagle in various positions", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0188.jp2"}, "187": {"fulltext": "Conventional and Symbolic Forms\\n173\\nstamped on them and they can be studied to advantage. Avoid feebleness\\nand weakness in design of this character its beauty depends in part upon\\nits strength and virility.\\nIllustration 237\\n-^1\\nDecorative Birds\\nThese designs are copied and memorized, tlien other arrangements of similar\\nforms are made, or entirely original designs are created.\\nIt will be of advantage to study a wing and the different parts of a wing.\\nSome of the arrangements of pin feathers and minor feathers on wings are\\nbeautiful, and the wonderful way in which they change their position when\\nthe wing is fully extended, partly closed and fully closed, repays any amount\\nof close observation and study. It is a most perfect example of fitness and\\nadaptability.\\nIn drawing feathers, or in modeling or carving them, the main features\\nonly must be grasped. When we try to put in the detail of each feather the\\nspirit is usually lost. The large groups must be put down, the striking\\nfeatures and marks, but the detail must be left out. Wings can be ideal-\\nized and conventionalized just as the other forms are, and very great variety\\nof changes can be given to them.\\nDrawing From Objects.\u00e2\u0080\u0094 ChMren should continually draw from\\nvarious objects that interest them. If they have had proper training in", "height": "3321", "width": "2459", "jp2-path": "newmethodsineduc02tadd_0189.jp2"}, "188": {"fulltext": "J 74 Manoal-Training Drawingf\\nelementary work, it will be very easy for them to sketch comparatively\\ndifficult forms with much truth. The birds, flowers, fish, shells, etc., are\\ninteresting, but it is also important that other forms not quite so entertaining\\nshould be drawn.\\nGreat care, however, must be taken not to render the children tired and\\nstupid by giving them too many uninteresting shapes. The cubes, prisms,\\ncylinders, and other blocks and abstract forms that have been given too\\nmuch to children in the past, actually seem to make them blockheads for the\\ntime. We must make the young love the work if we wish true art, and the\\ngreatest art of the teacher is to bring in the uninteresting forms without\\nmaking the children tire of them. Blocks and type forms continually\\nadministered to the children by stupid teachers, who consider that through\\nthem they will get a love of nature, are responsible for much of the lack of\\ninterest and disgust of children for art work. The true art forms are natural\\nforms, and God has planted a certain beauty and fascination in some of the\\nsimplest forms on purpose to inspire love. The truest inspiration comes from\\nthe common natural forms, and to get the children to love nature, then, is\\none of the chief works of the elementary teacher.\\nChildren will take pleasure in drawing boxes, books, furniture, boats,\\ntools, etc., but great care must be taken not to make them dislike the work.\\nIt is good practice for pupils to draw different kinds of printed letters\\nfrom type and from memory. Very few people know the actual shape of\\ncommon printed letters in books and newspapers. It is very good discipline\\nin free-hand work to space out and draw block letters on paper and on the\\nblackboard, being careful to make the actual form of the type without meas-\\nuring and without ruling lines. Ornamental letters can also be copied, and\\nthen original designs attempted, as illustrated in Nos. 238-241.\\nIn these suggestions for manual-training drawing, it is not possible to\\ngive details about light and shade, color-work, perspective, etc. Unless the\\nteacher really understands these principles, formal lessons should not be\\nattempted. No one should attempt to teach these subjects unless qualified\\nto do the work.\\nChildren should never receive formal lessons or lectures in perspective,\\nexcept by continually drawing forms of different character, and then having\\ntheir attention drawn to self-evident facts. Thus the abstract part of the\\nwork gradually dawns upon them in a natural way. Nothing is more", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0190.jp2"}, "189": {"fulltext": "Conventional and Symbolic Forms\\n175\\nIllustration 2-^S\\nExercises in Lettering and Design\\nSome of these letters are copied and memorized. Various styles of type should be made, without the use of luling\\nand measuring. It is quite difficult to draw simply formed letters straight across the board equal in size and\\nspaced correctly.\\nIllustrations 239-241\\nColored Designs for Initial Letter\\nMade by pupils of manual training classes, Young Women s Christian Association, New York. It is impos\\nsible to reproduce in black and white the beauty and charm of these illuminated designs in several colors.", "height": "3321", "width": "2459", "jp2-path": "newmethodsineduc02tadd_0191.jp2"}, "190": {"fulltext": "176\\nManaal-Tralningf Drawingf\\ninjurious than the lectures on perspective given to some pupils about angles\\nof vision, vanishing lines, picture plans, etc., before they are ready for\\nthem. They tend to obscure the subject so much that I ha^-e known many\\nIllustration 242\\nH\\nThese children are memorizing chair forms.\\nThe chair is placed near by and drawn in\\nvarious positions many times, the lines being\\nentirely freehand and not erased until fin-\\nished. The character of the lines is better\\nshown in the larg er\\nengraving on page\\n177. The perspec-\\ntive is not correct\\nevery time, but\\neach time the form\\nis drawn a more\\nvivid memory of\\nthe correct form is\\nproduced and by\\ndegrees the vari-\\nous parts are\\ndraini into their\\nrelative positions\\nwithout trouble.\\nTo make the vari-\\nous parts oi the chair move into their right\\nplaces on the flat surface is the problem.\\nMerely drawing it once with labored detail will\\nnot enable the child to know the complex form.\\nIt must memorize the form, by feeling through\\nthe eye, the touch, and the muscular senses, the\\nvarious positions in relation to the eye. Draw-\\ning from objects of this character has its\\npi-oper place, for it obliges the pupil to express\\nthrough the hand the perception and memory\\nof artificial forms as well as natural forms.\\nBut this jjr.iclicc is not\\nallowed at the expense of\\nfacility and sweeping free\\ncurves and touches. To\\nmake the hand spin true\\nspirals and accurate\\ncurves of all dimensions,\\nat will, implies a dexter-\\nity that is not only indis-\\npensable, but that is use.\\nful in every vocation.\\nDrawing from Objects ia Various Positions\\nstudents to be only confused by the seeming complexity of a comparatively\\neasy subject.\\nTo understand correct perspective is abstract work. It requires a\\ncertain amount of reasoning, that must only be done after a sufficient\\nnumber of visual and tactual impressions have been made; then it becomes", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0192.jp2"}, "191": {"fulltext": "Conventional and Symbolic Forms\\nJ 77\\nclear and plain to the dullest pupil. Perspective is very often taught as\\nsyntax used to be taught in language work the hardest part first, the rules\\nbefore the words.\\nForm is first considered, and then comes light and shade in color. I\\nlay great stress upon the pupils learning form by modeling, and learning\\nlight and shade also by modeling, in Book Three. If possible, pupils should\\nbe allowed to use light and shade and color in drawing from the birds, fishes,\\nshells, leaves, etc., as well as in designing.\\nThe simplest forms about the house are good subjects for drawing. To\\nbe able to draw chairs free-hand, as in some of the pictures herewith, is good\\nIllustration 243\\nFreehand Drawing- ui likuis hi iirious Positions\\nThis hirger illustration shows the strength and positions of the lines more clearly than the smaller pictures\\nin No. 242.\\npractice. Of course, in drawing them on the blackboard only an outline can\\nbe rendered, but to make that outline free-hand, without erasing, and to\\nplace the chairs in different positions, is no easy task. If, however, the pupils", "height": "3321", "width": "2459", "jp2-path": "newmethodsineduc02tadd_0193.jp2"}, "192": {"fulltext": "J7S Manual-Training- Drawing\\nare encouraged to repeat their poor drawings until they actually get good\\nchairs, and then become able to draw them from memory, these compara-\\ntively complex forms, and others, can be drawn with considerable ease.\\nThe perspective is not absolutely correct in these drawings, but to make\\nthem freely, especially when foreshortened, and when the chair is quite near,\\nshows skill and power, particularly when the lines are drawn from the first\\nintention and are not changed.\\nAnimal forms should also be drawn freely, as, in Plate Eleven, the\\npupil trying to get the movements without detail, trying to get the essential\\nfeatures Avith the fewest possible lines.\\nSymbolism* Some of the most wonderful art forms in the world are\\nsymbolic. It is important that we should understand symbolism. Too\\nmany people see forms in art, decorations of all kinds, without understand-\\ning their import. I do not think one person in a thousand begins to ap-\\npreciate why some of the greatest and simplest forms are so interesting and\\nbeautiful. Most people look at ornament, and at conventionalized and\\nsymbolic work, as the savage looks at print, regarding them as simply\\nmarks, forms, colors, that convey no idea. The mind does not grasp any\\nof the thought conveyed. It is important that common people should be\\nable to comprehend the abstract idea of these things through observation\\nof concrete forms of various kinds.\\nSymbolism is a word of Greek origin, and signifies a visible form; im-\\nplying something that is in itself incapable of representation. It em-\\nbodies a thought that is the sign or symbol of something higher than merely\\nmeets the eye. It has been used in all times, and some of the most wonder-\\nful as well as some of the most beautiful art work and ornament of all\\nperiods have been symbolic. Before print was in use, or had come into\\ncommon use, symbols were frequently employed as a means of impressing\\non the multitudes truths that were incapable of being represented by words.\\nA sign lifted up meant the same thing to everybody; a statement in words\\ncould hardly be as generally understood. Symbolism has been used, per-\\nhaps, most widely in religion.\\nEcclesiastical work of all periods embodies some very beautiful con-\\nceptions. These are symbolized in the simplest possible forms, and grad-\\nually come to mean the same thing to different people. The circle, mean^\\ning eternity, without beginning and without end; three circles interlaced,", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0194.jp2"}, "193": {"fulltext": "Plate Twelve\\nBird Forms\\nThese real birds, with many others, are used as models for the children to work from. They are drawn in\\npencil, painted in water color and modeled in clay,\\n(179)", "height": "3321", "width": "2459", "jp2-path": "newmethodsineduc02tadd_0195.jp2"}, "194": {"fulltext": "J 80 Manual-Training: Drawing-\\nmeaning the trinity in unity, or the three persons of the Godhead. The\\ntrefoil has the same meaning.\\nThe cross has been employed in myriad forms all over the world, from\\ntwo sticks crossed to the greatest concepts in art that it is possible for the\\nmind to bring forth. It has gradually become the keynote of Christianity,\\nwhich it pre-eminently symbolizes. At one time the symbol of suffering and\\ndegradation, and forever after the symbol of achievement and vic-\\ntory, it to-day forms the ground plan of the noblest buildings, and\\nin gold is a fitting emblem to crown their pinnacles. Bejeweled and\\nbegemmed, and stamped on the books of prayer carried around in\\nhands gloved in costly fabrics, the cross has too often lost its\\nmeaning.\\nThe nimbus or halo is a symbol. Among the early Christians many\\nforms of this were used to symbolize their rites. The Egyptians used it\\nalmost entirely. Their hieroglyphics are symbols, written pictures, some\\nof them embodying very fascinating meanings that should be understood.\\nMany living forms have been used as symbols,\u00e2\u0080\u0094 the serpent, the dove, the\\neagle and a great many others. It is wonderful to what an extent\\necclesiastical art has gone in the representation of these forms. Take, for\\ninstance, the passion flower, which symbolizes the passion of Christ.\\nTo every part of this strange and beautiful flower has been attached\\nsome svmbolic meaning. It can be seen used in every conceivable form in\\nv.-ood, clay and stone, in churches; even windows, and fabrics of various\\nkinds are embellished with it.\\nPlaster Models* The series of vegetable fruit forms and forms illus-\\ntrated herewith (No. 244) suggest an excellent primary course for young\\nchildren. They can be graded according to the desire or inclination\\nof the teacher from the simple forms to the more complex. Each one of\\nthese vegetable or fruit forms has been cast from nature, endeavor having\\nbeen made in procuring the original forms to get those most typical in\\nshape.\\nChildren should not draw from casts of fruit and vegetables unless it is\\nimpracticable to provide the real forms. As often as possible, real apples,\\npears, potatoes, and other fruits and vegetables should be furnished for the\\nchildren to study. The forms are also to be modeled in clay. Only by\\ndoing this repeatedly can organic memories of the forms be made that will", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0196.jp2"}, "195": {"fulltext": "Conventional and Symbolic Forms\\nJ8J\\nIllustration 244\\nModels of Fruit Forms\\nbe permanent and valual^le. These forms, heads and other models are also\\nmore attractive to the children than geometric forms and blocks, and inspire\\nthem with more desire to work and more admiration for natnre. It is desir-\\nable to have as many good casts of art and nature forms as possible. All\\nIlustration 245\\niBmw lfS\u00c2\u00abiuJHIl! *ji Jiji.\u00c2\u00bb .v l\\nf\\nAnimal Forms\\nTliese plaster models are nearly life size, and with a number of others are used for drawing, modeling- and\\nof the models pictured in the various parts of this book are used in my\\nschools. Many of the casts are original.\\nThe casts of animals heads have been made especially for school pur-", "height": "3321", "width": "2459", "jp2-path": "newmethodsineduc02tadd_0197.jp2"}, "196": {"fulltext": "^S2 Manual-Training: Drawing\\nposes. One series is quite small in size, the other series is of life size. Some\\nare quite difficult and some are easy. It is best, however, to allow the chil-\\ndren to make their own selection. These forms are carefully modeled, and\\nin some cases have been made by skillful artists of acknowledged reputation.\\nAs well as being useful for class purposes, they are especially appropriate for\\ndecoration of the class room. They should never be shut up in closets, but\\nexposed to view all the time. It is a good plan to change their positions\\noccasionally, to hang them in different places in the room, or to turn them\\naround to show different views.\\nIn some of the classes, casting in plaster of various forms is done. It is\\ngood practice, and requires skill to make a fine cast from nature. The work\\nis very simple and can be done by grammar grade children who have had\\nany manual training work. All teachers should be able to make plaster\\ncasts of leaves, fruits, fish, birds, animals, etc. Except the original, nothing\\nis more instructive than a fine cast of some natural form. The finest detail\\ncan be reproduced with the utmost fidelity. The time occupied in making\\nthe casts is almost the only expense, the material costing very little. It is\\nwell to occasionally encourage the pupils by selecting some of their most\\nperfect modeling to be multiplied by casting in plaster. Casts of so many\\nthings can be made good use of in every day life, the operation is so simple,\\nso quickly learned and so educational in value, that it should not be over-\\nlooked as a minor feature in the course in modeling.\\nThe Barye casts of animal forms (see page 213), of wdiich examples\\nwill be found in many of our pictures, are especially useful in the\\nclass room. They are examples of the w^ork of the greatest modeler of\\nanimals of the modern period of French art, and are especially appropriate\\nto the school room for their fidelity to nature and for a certain amount of\\nbreadth of style in modeling which makes it easy for the children to repro-\\nduce them. In some cases, the partly finished forms afford good illustra-\\ntions of how they should be blocked out. The young never tire of these\\nnoble and interesting shapes.\\nArchitectural Models* These plaster models, represented in the illus-\\ntrations on page 184, will be found very useful for a variety of purposes in the\\nschools. I wish it were possible for a series of them to be placed in every\\nschool in the country. They represent five great styles of architecture, the\\nDoric, the Ionic, the Corinthian, the Roman and the Composite. They are", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0198.jp2"}, "197": {"fulltext": "Conventional and Symbolic Forms\\n183\\nill perfect proportion with the great originals, and should be studied carefully\\ntill the pupils know thoroughly the essential features of each style, their dif-\\nferences and their resemblances.\\nIllustration 246\\nArchitectnriil Forms\\nDrawing from memory -various capitals. These should be drawn entirely freehand.\\nIt is good practice to sketch these forms freehand on paper and to de-\\nlineate them large on the blackboards; to make accurate measurements, and\\nto memorize frequently as many things as possible from them. This knowl-\\nedge is of great service to all pupils in their after life, whether they become\\narchitects, technical workers, artists or tradesmen. It will be found that\\none can enjoy the appearance of buildings ever so much more, and that\\none s taste is influenced by properly embodying these forms. The vase\\nforms are classic examples of the best periods, and should also be studied\\ncarefully from the models. It is quite surprising, even to experienced edu-", "height": "3321", "width": "2459", "jp2-path": "newmethodsineduc02tadd_0199.jp2"}, "198": {"fulltext": "184 Manual-Training Drawing\\nIllustration 247\\ncators, to witness the admirable effect on pupils in the grammar grades of a\\nlittle experience in drawing and modeling typical forms of the great styles\\nin architecture. If these units of style are modeled as well as drawn, the\\npupil acquires a far more intimate acquaintance with their proportions and\\npeculiarities.\\nIllustration 248\\nPlaster Casts of Architectural Styles", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0200.jp2"}, "199": {"fulltext": "BOOK THREE\\nModeling\\nClay models of real fish made by\\ngrammar grade pupils\\nIa^\\nPerception and memory should be indissolubly associated. Two errors\u00e2\u0080\u0094 to expect a child to remember what il\\nhas never perceived, and to allow it to perceive without any systematic representation of the object in memory.\\n[Jacobi.\\nGood thoughts are no better than good dreams unless they be executed. [Emerson.\\nWithout action, thought can never ripen into truth. [Emerson.\\nvl\\nX\\n1\\nWood Carving by School Roy", "height": "3321", "width": "2459", "jp2-path": "newmethodsineduc02tadd_0201.jp2"}, "200": {"fulltext": "", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0202.jp2"}, "201": {"fulltext": "Illustration 249\\nPlaster Model\\nFor drawing, modeling and carving.\\nCHAPTER I\\nIntroduction,\\nPlant Etc.*\\nTHERE IS ONLY ONE WAY TO KNOW FORM\u00e2\u0080\u0094 that is by\\nmaking it, not simply drawing it. If we are to know things as they\\nactually are, and at the same time to cultivate an energetic disposi-\\ntion to perform deeds, then modeling, clay modeling, must become a part\\nof educational work. The greatest artists have been the men who have ])een\\nable to model, like Michael Angelo, Donatello, Cellini, Leonardo da Vinci,\\nLeighton, Gerome and others. All sculptors have to know form, because\\nthey have to make it. There are many artists who know form but slightly,\\nand that is the reason some of them fail in their work.\\nIn many art schools modeling is now advocated as a means of teaching\\nform, even for painters, engravers and illustrators, for one may draw the\\nshape of an object many times, and still not be familiar with its appearance\\nall around. This is not the case in modeling, for in this you have to make\\nit all around and touch it all over. A vivid impression is gained through\\nAll the modeled work in the illustrations, and the tiles inserted in the text, have been modeled by the children\\nof the various grades.\\n(187)", "height": "3321", "width": "2459", "jp2-path": "newmethodsineduc02tadd_0203.jp2"}, "202": {"fulltext": "iSS Modeling\\nthe sense of touch and the muscular sense. I have continuahy spoken of\\ndrawing as a mode of thought-expression. In hke manner modehng in\\nclay is a mode of expression, only a more thorough mode than any other.\\nModeling- compels the use of both hands continually. The more we\\nJ,\\nuse our hands the more control we have over those organs, and the more\\nvital we make the connection between the hands and the brain. In model-\\ning we use several channels of impression, the sight, the touch, and the\\nmuscular sense. All sculptors get a wonderful sense of form through feel-\\ning or touch; the most beautiful curves and the most delicate portions of\\nsome statues being made by the fingers alone. All bronze and marble\\nstatues are first modeled in clay, and then cut in marble or cast in bronze.\\nThe actual thought of the artist, the real manipulative work, is always im-\\npressed on this plastic medium, that responds to the slightest touch. It is\\nthis wonderful feeling that enables the sculptor mentally to grasp almost\\nimperceptible variations and gradations of form that are invisible to the\\nordinary vision. This seeing-power, as it may be called, is partly the re-\\nsult of the tactual impressions on the mind. Touch has been considered by\\nsome to be the master sense, one of the first developed, and few realize its\\nimportance as a means of training the mind and the judgment. A great\\npart of the knowledge attributed to the sense of sight is received through\\nthe touch alone.\\nIn these chapters on modeling I have purposely refrained from grading\\nthe work too closely. The elementary forms suggested for little children\\nare just as good for adult teachers or others, if they have never handled clay.\\nThe exercises on manipulation of course cannot be attempted by very young-\\npupils. The following lessons may be taken in any order desired, and are\\nchiefly intended to indicate the variety of things that can be made and one\\nway of making them. The lessons are the result of experience with large\\nnumbers, and the forms given are some of the best for class purposes.\\nihe Pldnt Required for modeling is inexpensive. A board 12x14\\nabout one inch thick, a palette knife to cut and smooth the clay, one or\\ntwo modeling tools for each pupil, and one or two cups for w^ater for a class\\nare all that is required. Clay can be purchased at any pottery or brick-\\nyard. If it is not convenient to get it at these places, it can be purchased\\nthrough any art-material store. It should not cost more than a cent and a\\nhalf a pound, although some dealers charge from three to five cents a pound.", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0204.jp2"}, "203": {"fulltext": "Pen\\na 3\\nC\\n3\\nQ.\\nrt\\nH^\\nc\\nr^\\nrt\\n00\\nO\\ni\\nO\\nP\\n3*\\nC/5\\nS\\ni\\n3\\n0-\\nP\\nCL\\nn\\n3\\n\u00e2\u0096\u00a0a\\niL\\n;i3\\n-1\\nf^\\n3*\\n3\\nT]\\nr+\\no\\nat;\\n3\\ns*\\nt\\ncrq\\ntt\\n3\\nc\\n3\\n01\\nr+\\non\\nS\\nB\\n3\\ndq\\np\\nft!\\nO\\nro\\n3\\nrf-\\nCX\\nf\u00c2\u00bb 3\\nt-h 3*\\n3 3 a n\\no 5 oT P L-i\\n2, 3- S\\nft 3 a- ri)\\no 3 5 r-\\n1^ S B\\no i jj :i.\\n-73\\n3 2\\n2. S\\no o HI\\nS\\n3 k-\\na 1^ w\\n3 g ro\\nH. O- Q.\\nre si p\\nS- S 3\\n2 p\\nS S\\no 2 3 n-\\n5\\nm rt 3\\np 3 O\\nS S\\n\u00e2\u0080\u00a25 m 3 P-\\n5! D 3*\\n3 rt 2\\n5 (J\\nC/5\\nO\\nn\\nn\\nT1\\nO\\nc\\nH", "height": "3321", "width": "2459", "jp2-path": "newmethodsineduc02tadd_0205.jp2"}, "204": {"fulltext": "t90 Modeling\\nIt can be purchased in quantity at any pottery for about $20 a ton. This\\nclay, used in making pottery, is very fine, clean, sifted and screened, and is\\nthe kind used by sculptors. Clay in some localities is gray, in others red or\\nyellow or blue. The gray clay is the best, but good work can be done with\\nthe red, blue or yellow. If possible, however, procure the ordinary gray\\nclay.\\nGood clay is one of the cleanest mediums of which we have any knowl-\\nedge. It is antiseptic. If disease germs are placed in the clay and it is\\nallowed to remain in the sunlight to dry, the germs become devitalized.* It\\nbrushes from the clothing with a very few touches, and if the pupils are not\\nallowed to scatter it on the floor, when the modeling boards are put away\\nno one need know that clay has been used. The children should be al-\\nlowed to wash their hands after using it. Like flour in mixing dough, it\\nhas a tendency to make the hands feel a little dry in the beginning. This\\nsoon passes away.\\nMany teachers object to the use of clay in schools because they say it\\nmakes a mess. Only in the hands of an ignorant teacher can it do so.\\nNo one should attempt to teach clay work who is unable to model. The\\nclay must be in good condition every time it is given to the children. Only\\nan expert, one accustomed to model, can tell when the clay is in good con-\\ndition. It must not be too hard, it must not be too soft, it must not be\\nrotten, it must be just right. This can be felt only by one who himself\\nmodels. In this series of lessons I propose to illustrate, by means of a few\\nexercises, the manipulation and care of clay, the use of tools and appliances,\\nand then the making of a series of easy, simple elementary forms suited for\\nthe very youngest children in primary schools, the exercises increasing in\\ndifficulty up to the ordinary work of the grammar grades.\\nTeachers must not ?ive these series of forms to the children one after\\n*The following is an extract from the report of the committee of hygiene of the Philadelphia board of public\\neducation as to the value of clay modeling, made in 1895\\nYour committee would urge as a matter pertaining to the health of the children attending our public schools^\\nthe most extended introduction possible of the present system of clay modeling, believing that such inanual training\\nis in every respect valuable and likely to be followed by the best results to mind and body. As the Director of the\\nPublic School of Industrial Art has said, No medium better than clay will ever be devised to fulfill the plastic require-\\nments of educational thought-expression, as is witnessed by its universal use in the arts and industries of all nations\\nsince the beginning of history.\\n(Signed) Alexander H. McAdam, M. D., Chairman.\\n(Signed) Thomas G. Morton, M. D.\\n(Signed) William K. Mattern, M. D,", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0206.jp2"}, "205": {"fulltext": "Introduction, Plant, Etc\\nJ9f\\nthe other in quick succession. Many of the shapes need to be made a num-\\nber of times, and others of like nature should be given. The series are\\ntaken from a variety of forms used in my classes, and with some classes of\\nnormal pupils the entire number can be made in a few weeks. Teachers\\nmust not cease to remember that the children have several vears to become\\nIllustration 250\\nJT\\nGeometric Forms and Bird Forms\\nBctrinnint;s at Modelint:\\nThis picture at the rig-ht represents the first attempts of a beginner ten years of age and made at one sitting.\\nFirst the large rosette, then the starfish, then the rosette with loops and then the small cantaloupe. The hands can\\nbe seen making the loop. The clay has been rolled out to about the thickness of a lead pencil and then is bent into\\nposition as desired. These pictures illustrate the simplicity of the work and the little plant that is required.\\nAlmost any object in the garden or the yard can be modeled.\\nproficient in this work, and that it is unreasonable to expect fine results at\\nthe first attempt. This is a constant failing with some teachers; they ex-\\npect too much from little fingers.\\nA Good Box for the Cl3.y* In constructing clay ]:)Oxes. see that\\nthey are made without any metal or slate lining. There is no sub-\\nstance better than wood or clay. In some schools I have seen zinc-lined\\nboxes and slate, used through ignorance of this fact. Clay will not stick\\nto a wooden surface, it sticks to metal or porcelain-lined boxes like wax-", "height": "3321", "width": "2459", "jp2-path": "newmethodsineduc02tadd_0207.jp2"}, "206": {"fulltext": "192\\nModeling\\nAny carpenter can make suitable boxes. Of course the form can be mod-\\nified to suit any sized space in the class room.\\nI have found it useful to use a case that runs up like a book-case, with\\nshelves that are removable. It should be possible to put the shelves close\\ntogether or far apart, as desired, according to the size of the work. If the\\nwork is on flat tiles, they can be put within two inches of each other; if it\\nforms a large mass, several shelves can be taken out and the work put in\\nwithout trouble. Doors can be put to the case to keep the work secure.\\nIts lower part may open with lids. This is for the mass of clay, which\\nshould be easy of access on account of its weight. A spade can be used\\nto keep it in good condition. The box may be made large or small, accord-\\ning to the size of the class or the number of pupils. A box 5x6 feet and 3\\nfeet deep for the clay part will serve for a class of 200. The clay can be\\nkept moist by means of pieces of flannel or blanket spread over it.\\nUlustration 251\\nPortion of the Modeling Room, Public School of Industrial Art, Philadelphia\\nThe room accommodates fifty pupils, five at each table. Eight hundred grammar grade pupils and varioiis\\nteachers classes rotate into this rooi-n. eacji term.", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0208.jp2"}, "207": {"fulltext": "Illustration 252\\nMaking a Ball ot Clay\\nCHAPTER II\\nElementary\\nCourses in Modeling\\nTM MANIPULATION OF CLAY.\u00e2\u0080\u0094 Take a piece of clay in the hand.\\n/m/l I want yon to learn something abont its manipnlation. Roll it out\\nbetween the palms of the hands until it is as thick as the finger and\\nabout four inches long. Notice when you hold it by one end that it is limp,\\nand will not stand erect. Now observe that I pinch the clay together\\nand wedge it, making it a little firmer in consistency. Wedging\\nis a potter s term for soldifying the clay in this way. When I hold\\nit up you perceive that it will support quite a weight, that it is strong.\\nIn every piece of work that we make we should endeavor to keep\\nthe clay wedged. Now I will take the same piece of clay and roll it\\nout again two or three times on the board or bet wen my hands. I rub\\nit out and then roll it out again. You will now see that the clay is no\\nlonger plastic, but rigid, and that if I bend it, it breaks. This clay is now\\nrotten, unfit for use. It has ceased to be elastic or pliable. Do not let\\nchildren use it when it is of a consistency like this. Rotten is the tech-\\nnical name given to clay that crumbles like bread, instead of being tempered\\nand pliable, or plastic. It can be improved very quickly by moistening and\\nkneading over again, and it is then what is technically called tempered\\nclay.\\n13 (193)", "height": "3321", "width": "2459", "jp2-path": "newmethodsineduc02tadd_0209.jp2"}, "208": {"fulltext": "J94\\nModeling\\nThe SpiraL Take a piece of clay about the size of the last joint of the\\nthumb. Roll it out between the palms till it is about as thin as a slate pen-\\ncil, allowing it to be pointed at one end. Then try to make a spiral (Illus.\\nIllustration 253\\nThe Spiral\\nThe form shown in this picture and the next is an exercise to test the texture and temper ol clay. If the\\nform can be made with a few turns of the fingers, the clay is just in the right state for manipulation.\\nr cT\\\\. You cannot do this at first, but with a little practice you will be able\\nto do it well. I have had pupils try to make this form for weeks before they\\nsuceeded. Others can make it in a few minutes. The more you practice, the\\nmore skill you will get. Tt is good exercise in enabling you to determine the\\ntexture and the temper of the clay. When with a single touch and two or\\nthree turns you can make this form so that it will stand erect, and remain\\nwithout falling, it shows that }-ou can manipulate the clay when it is just at\\nthe right temper and texture. If it is a little too hard it breaks in a most", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0210.jp2"}, "209": {"fulltext": "Elementary Courses\\ni95\\naggravating fashion. If it is a little too soft it does not stand up. There\\nis a happy medium, and the sense of touch must become educated until it\\ncan feel the proper quality and produce it without any trouble. If you find\\nthat the clay breaks, put it to one side and try another piece. Do not use\\nthe same piece twice. When you can make a good spiral, you understand\\nthe texture of the clay.\\nLedf Forms* Take a piece of clay about as large as the last joint\\nof the thumb, and roll it out in the palm of the hand until it is spear-shaped\\nor resembles a spear head. Now take the form between the fingers and\\nthumbs, as illustrated in 254, and beginning at the tip, with both hands make\\nIllustration 254\\nLeaf Forms\\nExercise for manipulation of clay.\\na leaf form. This is a little difficult at first, but with practice each pupil\\ncan make a midrib, show each of the veins and the serrations on the edge\\nof the leaf, leaving it thick in the center and thin on the edge. At first there", "height": "3321", "width": "2459", "jp2-path": "newmethodsineduc02tadd_0211.jp2"}, "210": {"fulltext": "m,\\nMi\\nVsr*\\nS96 Modeling\\nis a tendency to break and crumble the edge, but when it has been attempted\\na few times the fingers will respond and a very good leaf will be the result.\\nThis is a good exercise in manipulation. It compels the use of both hands,\\nand the complex form is the product.\\nCircutdr Forms* Take a piece of clay about as large as the thumb\\nand roll it out between the palms until it makes a good, slender roll about\\nfour or five inches long. Now bend it\\nand make both ends meet till it forms\\na ring. Then by the use of the fingers\\nalone manipulate the clay so that the\\njoint will not show and so that the\\nring is true and even all around. This\\nis another good exercise, and one\\nthat requires skillful handling. It\\nis still more difficult to make an-\\nother ring interlacing with this one.\\nHints to the Tea.cher* When\\nthe children are making these forms do\\nnot allow them to break the clay in pieces; let them keep it in a lump except\\nthe portion they are using. Allow no crumbs to fall about the board, the\\ndesk or the floor. All the pieces must be put back in the main lump. If\\nthey are rotten, they can be placed at the left by themselves. From the\\nvery beginning, resist the tendency of the beginner to make a dirt. In\\na few lessons it will be found that pupils can model elaborate and complex\\nforms without dropping or scattering the clay at all. It is simply a habit\\nof neatness that must be taught, and if insisted upon from the beginning\\nthere need be no trouble with the propensity to make dirt that is wrongly\\nattributed to clay-work.\\nWhen the children begin to make good forms do not allow their work\\nto be destroyed. Place all pieces made on a shelf to dry. Then if they\\nare not kept permanently, they can be sorted out, the good ones given to\\nthe pupil to take home and the bad ones mixed with the main mass in the\\nclay-box. The same mass of clay can be used for years in this way, and\\ncontinue perfectly healthful and free from any odor. Never allow the clay\\nto remain for long periods in a damp state unused. If it is not to be used\\nfor a few months, permit it to dry. It can readily be moistened again when\\nAiouldintr ;i Circular Konii", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0212.jp2"}, "211": {"fulltext": "Elementary Courses\\nJ97\\nrequired. The damp from the clay yields a musty and moldy odor which\\nis not pleasant. If the clay is constantly used, it Avill keep fresh and sweet\\nindefinitely. Covering with a moist, clean cloth will prevent drying.\\nDo not attempt to keep the clay in a crock or a tin vessel. A wooden\\nbox is far better. I have clay boxes in some of my schools that have been\\nin use for fifteen years, and except that the bottoms are a little decayed, they\\nare as good as new.\\nTiles and other unfinished work should be kept on wooden shelves\\nin the clay-box or closet. If possible in the class room devoted to\\nmodeling, shelves or ledges should be put around the room, on which\\nfinished work can be placed. In this way in a very short time the rooms\\nIllustration 256\\nFirst Exercises, Making Balls, Rosettes, etc.\\ncan be decorated with creditable work produced by the pupils. This is\\ninspiring to all and makes the place look like an art workshop.\\nEletnentdry Forms* The following are suggestive of the simplest\\nforms that can be made from clay w^ithout the use of tools, for the most\\nelementary classes. Make some balls, by rolling the clay in the hand, about", "height": "3321", "width": "2459", "jp2-path": "newmethodsineduc02tadd_0213.jp2"}, "212": {"fulltext": "J98\\nModeling\\nthe size of a large marble. Groups of these can be made. Make groups\\nof three, groups of four, groups of five. Make a pyramid, make a star, and\\nso on. Children of six years of age and upwards take pleasure in making\\nthese forms.\\nIllustration 257\\njl\u00c2\u00a3mi~^ .Mt:\\ni\\nFirst Exercises in Modelinfi\\nOther forms can be made by taking a piece of clay and rolling it out\\nabout as thick as a lead pencil and about four or five inches long. Make a\\nlittle loop. This can be combined with others, making the following forms.\\n(Illus. 257.) Little rosettes can be made by adding a center. Do not let\\nthe children make crumbs or pieces. Instruct them continually to keep\\ntheir clay together and see that it is in pei-fect condition. It must be cjuite\\nsoft for very little fingers, and still not soft enough to stick. Make no at-\\ntempt to do anything with the clay when it is sticky. Disgust is sure to fol-\\nlow if it is handled in that state.\\nMany simple rosette forms can be made. Make a form about the\\nsize of a small marble and then press it till it is nearly flat. Make a\\nlittle disk or center. Combinations of these can be made. Make the", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0214.jp2"}, "213": {"fulltext": "Elementary Courses 199\\nsame form a little pointed at one end. A large series of rosettes can be\\nmade with the addition of a little ball or boss for a center. Bend the\\nleaves up, make them cup-shape. Make some with points. With some\\nthought an endless variety of these forms can be devised which will give\\na great deal of pleasure to the child and variety to the lesson. Be care-\\nful not to let the children tire of any of the forms. A teacher of course can\\nmake one of these forms in a half-minute, but for very young children tw^o\\nor three of the forms are quite sufficient for one lesson.\\nA number of natural forms can be made. Roll out a piece of clay into\\na ball, about the size of a marble. Press it till it is nearly flat, make a little\\nstem by rolling out another piece, and we have a very good imitation of a\\nmushroom. Bend the top over the stem a little and stick it on the board in\\na standing position. Make several sizes, forming a group. Easy fruit\\nforms can be made by rolling out pieces till they form a ball about the size of\\na marble, then putting long stems to them, making bunches of tw^o and three\\nlike cherries. Plums can be made with the small stems.\\nAnimdt Forms* An interesting series can be made from various\\nanimal forms. Of course these must be reproduced from memory. It is\\nwonderful how cpiickly the children grasp the idea of form after a few lessons\\nin making these elementary shapes and how soon they get an amount\\nof detail. But do not expect them at the first few lessons to master detail,\\nsince they begin to apprehend this only after they have taken notice of\\nthings, through the desire to make them in clay. Do not mind how pool\\nthe forms are the first few days.\\nLet us begin with a chicken. Take a piece of clay about the size of a\\nsmall hen s egg. This wall form the body. Now take another piece of\\nclay and roll it in the palms till it is about the size of a small marble. Place\\nthis on the Jarge piece for the head. Next add a Httle piece of clay for the\\nbill, two dots or two little balls for eyes, and a few marks on the side for\\nwings. If desired, a very short tail can be pinched out at the end. This\\ncan be made with a few touches to look like a very small chicken.\\nNext we can attempt a little duck form. This is more complex than\\nthe chicken, and can be made about the same size. Make the neck longer\\nand give it a nice curve, make the bill a little longer and thicker. The tail\\ncan be made longer, and the wings marked a little more carefully.\\nA somewhat similar form can be made to represent the swan. It has", "height": "3321", "width": "2459", "jp2-path": "newmethodsineduc02tadd_0215.jp2"}, "214": {"fulltext": "200 Modeling\\na body of the same shape as the duck, rather a httle larger, Avith a long\\ncurving neck, which needs to be made separately and fastened on the body.\\nSee that there is a double curve in the neck and that it bends back over the\\nbody. Give it a nice swan s neck curve. Two wings can be made by\\nIllustration 258\\nElementary Forms in Clay\\nAll of these forms are suitable for very young children, and are first attempts made by beginners.\\nflattening out some clay, and they can be pressed onto the sides of the body\\nso that they stand out. The result looks much more elaborate, but it is\\nquite as simple to make as the chicken or the duck.\\nUnderstand the object of these lessons. It does not matter how\\ngrotesque these forms are at the start. The early art work of all races of\\npeople is grotesque and their products are often examples of how children\\nshould or do draw in the beginning. Very many adults, as well as chil-\\ndren, cannot recall the shape of a duck in the beginning, but no one can en-\\ndeavor to make it from memory without memorizing, he next time he sees\\na duck, a swan or a chicken, some part that he had never noticed before.", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0216.jp2"}, "215": {"fulltext": "Elementary Courses 20 J\\nA specially valuable part of the lesson is the fact that it compels one to mem-\\norize form. If I am modeling a frog from memory, and do not know the\\nnumber of toes, I may make three, four or live, but the next time 1 see a\\nreal frog I will satisfy myself on that point and fix that knowledge so firmly\\nin my mind that I am not likely to forget it.\\nUsually I do not tell my children details of this kind. I prefer\\nthat they should learn the truth by investigation. Some people do not\\nknow how many toes a dog has, or a chicken, or a canary. If they are\\ncompelled to draw or model the form from memory, they discover\\ntheir ignorance, and by observation of the real form they learn to\\ngrasp the detail. So it is with little children. At first the forms\\nwill be very crude, but when they begin to make things that they\\nhave investigated, it is wonderful what an amount of detail they will em-\\nbody. Remember, these are simply generalized forms. Imagination is\\nthe result of a series of impressions. It is only when we have received a\\nsufficient number of impressions through the difl^erent sense channels that\\nwe begin to be able to represent the essential facts of form. This work I\\nsometimes call compulsory memory work.\\nChildren should be encouraged to make clay figures of any kind they\\ndesire, clay horses or sheep or men and women, like the Mexican toys which\\nimitate these figures. They should be allowed to give expression to their\\nfeelings and imagination with the pencil in making horses, bufl^alo, Indians,\\netc., ships, war vessels, etc. They will often be found to draw them with the\\nsame character and simplicity that the Indians do. They grasp essentialities\\nand ignore details the first thing desired in good work.\\nOther Animal Forms* A starfish is a good form to model. Make\\nthe five tapering members first, about the same size, by rolling out to a\\npoint, and then join them in the center. Bend the form till it assumes a\\nnatural position and make the detail with the tool. Make several sizes of\\nthis form. Do not make them so large that they cannot be modeled with\\nthe fingers.\\nA snake about six or seven inches long is very good practice. Roll\\nit out first in the hands and then on the board. Let it taper to a fine point,\\nmake the head a little thick, the neck a little thin, flatten the head, make\\nthe features, mouth and eyes with the tool, and then bend in a natural posi-\\ntion. A good plan is to coil it with the head standing erect as though it", "height": "3321", "width": "2459", "jp2-path": "newmethodsineduc02tadd_0217.jp2"}, "216": {"fulltext": "202\\nModeling\\nIllustration 259\\nModeling the Snake\\nwere going to strike. Another good position is to curve it, as though it\\nwere moving along the ground. A snake makes a series of heautiful\\ncurves in moving, and very nice forms can be made by modehng. Make\\ntwo or three. In the L^egin-\\nning, of course, only the\\nmost elementary kind of\\nforms can be made to sug-\\nlessons\\n.Q:est a snake, but as the\\nprogress w i t h\\npractice the body can be\\nthickened a little in the\\nmiddle, tapering to the tail,\\nscales can be modeled, a\\nforked tongue can be placed\\nin the mouth, and so on.\\nChildren are fascinated by\\nthesesmall living forms, and afterafewattemptsgrasp many unnoticed details.\\nThe fish form is one of the best of all shapes to make. Roll out a piece\\nof clay about the size of an egg till it is a little pointed at each end, flatten\\nslightly between the two hands, then add the pointed tail, making it quite\\nsharp and thin on the edge. (Illus. 261). Let the body be thick in the\\nmiddle and taper to the tail. Make the two dorsal fins thick near the body\\nand tapering to a thin edge. Do the same with the pectoral fin on the side,\\nand with the anal fin underneath. The gills can l)e marked with the tool\\nand the eye can be pressed in with its point, or a little ball can be made to\\nrepresent the eye, stuck on and then modeled. The mouth can also be\\nmade w^th the tool.\\nThere is an endless variety of beautiful fish forms. In making this\\nelementary fish form, however, a very simple shape can be selected, a gen-\\neralized fish, or a typical fish form if you wish. A very realistic effect can be\\nmade by putting the rays and spines on the fins and tail with the tool. The\\nscales can also be marked, and if the fish is curved a little it will look quite\\nrealistic. Numerous pictures of modeled fish ocur in this work.\\nA small frog can be made. Take a small piece of clay, roughly shape\\nit with the fingers about the size of the body of a medium-sized frog. The\\nmouth can be made with the tool, two little balls can be stuck on for eyes,", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0218.jp2"}, "217": {"fulltext": "Elementary Coufses\\n203\\nthe rough places on the 1)ack can be modeled with the tool, then the two\\nhind leg s can be made. Make the legs bent in the position of a h-og sitting\\ndown. Then make the two little fore-feet with smaller pieces of clay, add-\\ning the toes last.\\nNext make a small turtle. Do not mind if some of the children have\\nnot even seen a turtle or cannot recall the number of feet it has. Make the\\nbody about the size of an egg, flatten, cut the division between the two\\nshells with the tool, make the cavities for the four legs, a cavity for the head\\nand another for the tail. Make a pointed tail, make a head something like\\na snake s head, partly flattened, and then the four flippers. Of course the\\nteacher should be able to make each one of these forms quickly as a sug-\\ngestion to the class, giving some idea of the size, and as much detail as pos-\\nsible. The pupils, however, are not to copy this model. They can look\\nat it and recall the mental image, as far as they have gained one. of the turtle\\nor tortoise.\\nA lizard makes a good form to model. Roll out the body just as we\\nIllustration 260\\nModelintr Various Natural Objects\\nform the body of a snake, make the tail taper to a point, make the neck a\\nlittle thin, flatten the head, form the mouth, eyes, etc., with the tool. Then\\nthe legs can be formed by smaller pieces of clay bent and added onto\\nthe sides.", "height": "3321", "width": "2459", "jp2-path": "newmethodsineduc02tadd_0219.jp2"}, "218": {"fulltext": "204\\nModelingf\\nA little mouse can be made. Model the body, then add the long tail,\\nthe two ears, make the detail with the tool. If desired the feet can show\\npeeping out from beneath the body.\\nThese small life forms are suggested because children are especially\\nfond of them, and although the product will be very crude at first, impres-\\nsions are being made that cause the children to become very attentive to the\\nforms when they meet with them again. Their ideas unconsciously become\\nclearer and more vivid. Remarkable instances of observation of detail will\\nconstantly be made by pupils from particular forms that interest them.\\nIllustration 261\\nf^ \u00c2\u00abw\\na^g^ p l!!H#!Wk\\nElementary Modeling of Animal Forms\\nVessel Forms* A good exercise is to make a little vessel form.\\nTake a piece of clay about the size of a small egg, press it in the center till\\nyou form a cavity, bending up the edge all around at the same time with the\\nfingers, till it forms a hollow, cup.-shaped form. (Illus. 261.) Do not let\\nit become flat like a saucer. Make the base by pressing it on the board,\\nand, by rotating it a little between the four fingers and thumb, it can grad-\\nually be made small and cup-like. Do not let it be thick and thin in places.\\nSmooth away the little hills and hollows, and resist the tendency of the cup\\nto spread out. Let it be about i inch or i inches in height and perhaps 2\\ninches in diameter and about f inch thick. This is a splendid exercise for\\nmanipulation. Work with it till the rim or top is a good circle. Let the", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0220.jp2"}, "219": {"fulltext": "Elementary Courses 205\\nbase form a true circle. This requires a little more manual dexterity than\\none would think to make it good in shape. Endeavor to make the inside\\nsmooth and the rim a nice flat edge all around. Make different sizes. With\\na little practice small vessels for various purposes can be made, little basins,\\nbowls, vase forms and so on. If these forms are allowed to dry, they can\\nbe fired and glazed in any pottery for a few cents each. Beautiful little\\nvessel forms suitable for pin trays, flower receptacles, salt cellars, match\\nsafes, etc., can be made.\\nNext take a piece of clay a size larger than that used for making the\\ncup, and make a small shoe. The pupil can imitate a wooden shoe, or\\nslipper or boot. Press in the cavity for the foot with the thumb and fingers.\\nThe point can be made to turn up, in the usual manner of a wooden shoe or\\nTurkish slipper, or any other shape can be made as desired. Draw the at-\\ntention of the children to the fact that the foot is wider in front than at the\\nheel, and so on. It is w^onderful what a variety of shapes the children can\\nmake after a few lessons. They will put rosettes of different kinds or\\nbuckles on the front, and sometimes make the shoe to button or lace. It\\nrequires the merest kind of suggestion to make the children observe in a\\nvery little while all kinds of shoe shapes, and to reproduce them. That is\\nthe object of the lesson, to compel observation. A very good plan, if the\\nchildren are making realistic shoes, is to draw attention to their own. Let\\nthem look at the foot and the shoe. Let them see how narrow it is at the toe or\\nthe instep. Let them look at the shape of the heel. This form also makes a\\nnice little receptacle for pins or flowers, if fired. Allow the pupils to keep it\\nwhen it is satisfactory and is not too rough.\\nThe next form may be a bird s nest. Take a piece of clay, roughly\\nshape it by making the cavity with the thumbs and fingers, working it\\naround in the hands until it assumes a cup-like form. Now place it in the\\nmiddle of the desk or modeling board, and with the tool make the ragged\\nedge. Try to imitate the texture of the sticks and grass, and then bend the\\nedge over till it is about the size of a nest. Do not let it be too regular,\\nmake the form irregular. Allow some pieces to stick out in an accidental\\nfashion. Three, four or five eggs can now be made and placed in the nest.\\nBe sure the_v are of the same size. (See Illus. 260.)\\nTake a piece of clay and make a rough tree, stump. Pull up the edges\\nto form the ragged stem of the tree. Let it be hollow and cup-shaped. Let", "height": "3321", "width": "2459", "jp2-path": "newmethodsineduc02tadd_0221.jp2"}, "220": {"fulltext": "206\\nModeling-\\nniustration 262\\nthe edg-e be very irregular. Pull out a few roots, or model one or two more\\npieces of clay and add them for roots. Be sure they stick on, and that\\nthe clay is incorporated with the main mass. Do not simply press the piece\\non, but incorporate it with the tool so that when it is dry they will not fall\\napart. Do not make the roots or rootlets look like legs. Let them be ir-\\nregular, one on one side and two or three on the other. Make the texture\\nof the bark with the tool by a series of short, irregular marks. This also\\nforms a very nice little receptacle for flowers, pins or matches.\\nA small basket may be made. Take a piece of clay, press in the cen-\\nter, making it hollow, and raise the edge; let this be about as thick as the\\ncup form that we made. The basket can be made square, oblong, or ellip-\\ntical, as desired. Roll out a piece of clay, bend it over, make a strong\\nhandle. Do not make these handles too thin. In modeling never make\\nanything thinner than the h.and e of a small teacup, a fine China teacup.\\nAnything smaller than this is siu e to\\nbreak with liandling. The texture\\nof the basket can be imitated with the\\ntool. This makes a nice receptacle\\nfor various purposes. All of these\\nforms can be placed on tiles, slabs or\\nplinths.\\nIn making a tile (Illus. 262) take\\na piece of clay, press it in the center of\\nthe modeling board, then take another\\npiece and add to it, incorporating\\none wath the other. Do this contin-\\nually, turning the piece of clay and\\npressing it flat till it is about the de-\\nsired size. Do not allow the clay to\\nstick to the board, fingers or tool. When you have a rough piece made\\nabout the size or a little larger than the size you desire, take the knife and\\nflatten it. Keep turning the tile continually and give it plane surfaces by\\npressing it against the board with the knife. When it is flat enough and of\\neven thickness, draw with the point of the knife on the top the size of tile\\nyou desire. It can then be cut with the end of the knife blade. Do not\\ncut with the entire blade of the knife; use the end of the knife and let it pass\\nA Modeled Tile\\nThe pupil has completed the design in clay and\\nnow trimming the uneven edges from the tile.", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0222.jp2"}, "221": {"fulltext": "Elementary Courses\\n207\\nthrough the clay so that there is Httle friction. (Illus. 262.) When the\\nchildren have a little more skill and desire to keep the forms they make, it\\nis a good plan to mount them on tiles, the animal forms, the fruit forms,\\nrosettes, etc.\\nIllustration 263\\nf^\\n--/\u00e2\u0096\u00a0WB\u00c2\u00abSie6\u00c2\u00abvV*\u00c2\u00bbS* 315;? !e!HEt-Vlt\\nThe Real Bird\\nDirections for modeling birds from the real, or\\nother animal forms, are given in Chapter VI o\\nthis section. Work of this kind is much more\\nadvanced than the elementary exercises in this\\nchapter.\\nIn making these elementary\\nforms simplicity of work is one of\\nthe things to consider. Remem-\\nber, the entire work is chiefly to\\ncompel the children to think of\\nand to memorize form. Children\\ninstinctively endeavor to give\\nexpression to thought in all directions.\\nMode\\nin Clav from Birds\\nThe panel below has been mod-\\neled, from the real bird shown at\\nthe left, by a pupil of the grammar\\ngrade. It is quite a good tile for\\nsuch a young pupil. Perfection\\nmust not be expected from the chil-\\ndren, especially when they have\\nhad but little experience. But the\\neagerness with which the children\\nstiive to faithfully imitate nature,\\nand their enthusiasm over this con\\ntactwith the real thing, are by no\\nmeans the least valuable character,\\nislics developed in the young by\\nthe natural education.\\nThe Clay Model\\nThe mind is worked upon\\nand developed through the senses by externals, and it is to compel this union\\nof thought and action that we make these seemingly trifling exercises.*\\nIdeas are, on the efferent or motor side, nascent movements that is, intuitions of such movements as have\\nbeen performed; on the afferent or sensory side, they are images of the sensory impressions which have been expe-\\nrienced, the revival of such sensory impressions on the occasion of a suitable external stimulus being 2)erception.\u00e2\u0080\u0094\\n[Maudsley, Physiology of Mind, page 443.", "height": "3321", "width": "2459", "jp2-path": "newmethodsineduc02tadd_0223.jp2"}, "222": {"fulltext": "208\\nModeling;\\nMany adult minds are paralyzed or wanting in certain directions at maturity.\\nNever having been required to perceive accurately, they do not remember\\ncorrectly, and so they cannot judge soundly or imagine truly. As I have\\nrepeatedly quoted, accurate perception and exact memory are the funda-\\nmental bases of sound reasoning and imagination. Do not be troubled\\nif the results are not artistic. They are sure to be pleasing to the children,\\nfor children are like savages in some of their stages of development.\\nMany people speak of the necessity of art atmosphere in the school\\nroom, and in some places or cities fragments of the antique, statues like\\nthe Elgin marbles, the frieze from the Parthenon, the Venus of Milo, etc.,\\nare placed in the school room.\\nI find, however, that these forms do not impress the children. I would\\nrather see the same money spent on natural forms real butterflies, birds, fish,\\nshells, good specimens of minerals, etc. We must make the children love\\nnature at first hand. We must inoculate them with the desire for beauty\\nthrough the real living forms in nature. Then, later, we can expect some\\nresult when they come in contact with the great art works, the thought\\nof great minds expressed in concrete forms. But it is useless to put before\\ntheir eyes the perfection of Greek art unless we first give them the hunger\\nand thirst, the vital love for beauty as it is exhibited in every natural flower,\\nleaf, and shell, and in the various living forms that attract and fascinate the\\nyoung.\\nVarious Leaf Forms, Models", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0224.jp2"}, "223": {"fulltext": "Illustration 266\\nClay Modeling\\nModeling- original designs on a curved surface. Grammar grade children.\\nCHAPTER m\\nModeling- Fruit and\\nVeg-etable Forms\\nTP RUIT FORMS MA-KE A GOOD SERIES OF OBJECTS to work\\nJ from. Endeavor to have the real fruit if possible. We can start\\nwith an apple. Let the children take up the apple in their hands\\nfirst and observe its shape. Draw their attention to the stem end, how deep\\nit is; to the blossom end, how shallow it is. Let them continually handle\\nthe form, during the lesson. It is good to study the colors of fruit forms.\\nDraw their attention to the beautiful shades and hues of green or red or\\n14 f209)", "height": "3316", "width": "2449", "jp2-path": "newmethodsineduc02tadd_0225.jp2"}, "224": {"fulltext": "210 Modeling-\\nyellow, as the case may be, on the apple. Make them aware of the facts\\nbefore them by speech as often as possible. Take a piece of dry clay and\\nroughly shape it in the fingers. Do not let be too large, make an average-\\nsized apple. Some of the apples will be large and some small, but it is best\\nto choose one of medium size. Do not let the children make any of the\\nforms in miniature. It is very absurd to see a lot of apples modeled by a\\nclass, as small as cherries, to see grapes modeled as small as peas or currants,\\nand pears as small as strawberries. In every case let the children make the\\nforms about the average size of real fruit.\\nUse the tool now to make the form smooth, working it all over the\\napple without scraping the clay. Mold it. Do not allow clay to stick to\\nthe tool or to the fingers. Be very particular about this. It is a sign of\\nerror if the children have clay on the wrong side of the fingers or sticking to\\ntheir hands anywhere; or if it is sticking to the board, the tool or the knife.\\nThe clay must be made compact, by often caressing it with the tool.\\nIt is somewhat difficult at first to prevent the tool from scraping the\\nclay, but with a little practice it can be done. Do not mind if the form\\nis a little rough or shows the tool marks, in the beginning. Remember,\\nthis is simply to get dexterity with the hands and the tool. We do not\\ncare for the product of the first efi^orts.\\nMake the cavities at each end with the tool and endeavor to keep the\\nconvex curve like the model. One or two little touches with the tool will\\ngive the appearance of the blossom end, and then a little piece of clay rolled\\nout and inserted will form the stem. Let it stick to the side of the apple\\nso that it will not break ofl^ when dry. There is a great deal of character in\\nthe stem of an apple. It is usually short and thick, therefore do not make\\nthe stems too long, as is frequently done. It is absurd to see apples with\\nstems almost as long as cherries. Do not let the children use the stem of\\nthe real apple in the clay apple, as they are frequently taught. This is sim-\\nply trickery. Any child able to make an apple will take pride and pleas-\\nure in making a good stem to it. The only people I have found who com-\\nplain of certain of these exercises being too difficult for the children, are the\\nteachers who could not make the forms themselves.\\nContinually draw the attention of the children to the minor facts of\\nform visible on the apple, and by degrees they will perceive, apprehend and\\nreproduce these forms. Do not, except in special cases, perform the work", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0226.jp2"}, "225": {"fulltext": "Ffult and Vegetable Forms\\n2n\\nfor the pupils, but make them consider the form for themselves. It is the\\nidea of an apple that you wish them to assimilate. The clay form or prod-\\nuct is not of much consequence. Think of this continually. It is the\\nconcept of apple firmly locked into the mind in all its various aspects\\nIllustration 267\\nPlaster Casts for Modeling\\nWhen the real fruits or vearetables are not available.\\nthrough the senses that you desire to produce. It is a very good plan at\\nthe end of the lesson to let the pupils, if the lesson has been satisfactory, ac-\\ntually assimilate the apple and test its gustable qualities. This adds to the\\npermanent impression, remember, and is a very good lesson, and one that is\\nusually enjoyed. It will do no harm to speak of the structure and the text-\\nure, the color and the taste of the apple at this stage.\\nIllustration 268\\nVegetable and Fruit Forms for Modeling\\nAnother point to speak of before we leave the apple is, not to allow\\nthe children to make freak forms. Usually in a large number of apples\\nthere are one or two that are very much distorted. Draw attention to the\\ntypical apples. It is not necessary in the beginning for the child to make", "height": "3316", "width": "2449", "jp2-path": "newmethodsineduc02tadd_0227.jp2"}, "226": {"fulltext": "212 Modeling\\nall the accidental kinks, creases or curves that are on the apple. It will be\\nsufficient if they make a good generalized form in the beginning.\\nThe Pedf Is more complex than the apple and requires a little\\nmore, thought and care. See that the pupils have good models, nicely\\nshaped pears. It is better to have a few good ones for the class, even if\\nthey cost more, than to give out a lot of poor shapes that are perhaps cheap.\\nTake a piece of clay, roughly shape it like the pear, depressing it at one\\nend. Use the tool to smooth the surface, as described in making the apple,\\nalways getting the main form of the pear first with the hands. Do not\\nmake the forms too large. It is the tendency with all beginners to exag\\ngerate the size.\\nDo not hesitate to take the tool in the left hand continually. It feels\\nvery awkward in the beginning, but in all modeling the tool has to be used\\nsometimes with one hand, sometimes with the other. Later on, in large\\nforms, the tool is held a great deal with both hands. Notice that the blos-\\nsom end is not so deep as in the apple, that the stem end has a distinct\\ncharacter, and that the stem is usually a little longer than the apple stem.\\nOf course there may be exceptions. Notice also the difference in color of\\nthe pears and in the texture of the skin, some pears being quite rough in\\ntexture, others smooth.\\nWith a little practice texture can be imitated very successfully. The\\nsmooth chubbiness of a tomato can be rendered; also the texture of cloth,\\nvelvet, fur, and so on. Of course at first the children can not try for any of\\nthese qualities. I simply mention them to show the possibilities in clay, it\\nbeing the most plastic medium of which we have any knowledge, and one\\nwhich, for that very reason, has been used by sculptors from the beginning\\nof history.\\nHints to Teachers* Make the children handle the model, let them\\nlook continually at it and compare it with the one in their hands. Invite\\nthem to observe other pear shapes, show them the typical ones from the\\nnumber that you are using. By this time you will find that the children\\nare unconscious!} using either hand and that they are actively busy with the\\ntouch, the vision, the muscular sense, in the work of assimilating impres-\\nsions. In doing this work, also notice that they are overcoming awkward-\\nness, for at first, when the tool is used in the left hand, it will feel and look\\nverv awkward. That, however, is soon overcome.", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0228.jp2"}, "227": {"fulltext": "H\\nd\\nn 2. rt-\\na 3\\nTl", "height": "3316", "width": "2449", "jp2-path": "newmethodsineduc02tadd_0229.jp2"}, "228": {"fulltext": "214 Modeling\\nIt is habit only that compels the arbitrary use of the right hand in many\\noperations; and the habit of using both can be just as easih^ taught.* Par-\\nents begin the wrong way by compelling children to take the spoon in the\\nother hand, dear; to hold the pencil or fork a certain way; to change the\\nscissors if they happen to pick them up with the left hand. Surely it is\\no-ood to be able to cut with one hand as well as with the other. I have\\nnever yet found a doctor, dentist or scientist, or skilled user of instruments,\\nwho does not agree with this. In fact, they say that to be able to use both\\nhands is a very valuable capacity.\\nThe Bdndtld* Take a piece of clay, roll it out, make it four or\\nfive inches long. Some bananas are very large, but the large sizes are dif-\\nficult for the children to handle. As we have learned by experience,\\nthe medium sizes are the best for practice. Try to make the planes by\\ndrawing; the tool or the finger from one end of the banana to the other.\\nSometimes they are four, five and six-sided. Try to grasp the character,\\nto apprehend the main forms. The shape is a little difficult to make at\\nfirst. Draw the attention of the class to the color aand other characters.\\nOther forms that can be made are the peach, the lemon, the plum, the\\ngrape, and in fact any available fruit.\\nFruit Tile* A good lesson and a very simple one is to model a tile\\nwith a branch of fruit forms on it, making the twig, the fruit, the stems\\nand the leaves. Make the tile about eight inches long and about four\\ninches wide. Do not trim the tile till the fruit forms have been modeled.\\nIf you trim the tile in the beginning the edge will be scarred or marred be-\\nfore the form is finished, and then it has to be trimmed again. Leave that\\nfor the last thing to do. Take a piece of clay, roll it out about the size of a\\nlead pencil, about three inches long. Shape the end of the branch, allow-\\ning it to be a little thick at the lower end and tapering to the top. Place\\nthis in position on the tile. Then add another piece about the same length\\nand also tapering, and bend it to form the shape of a branch or twig. Con-\\ntinue this from one end of the tile to the other.\\nHabit\u00e2\u0080\u0094 self-respect, self-help, application, industry, integrity, all are of the nature of liabits, not beliefs. Prin-\\nciples, in fact, are but the names which we assign to habits, for the principles are words, but the habits are the\\nthings themselves\u00e2\u0080\u0094 benefactors or tyrants, according as they are good or evil. It thus happens that as we grow\\nolder a portion of our free activity and individual! y becomes suspended in habit\u00e2\u0080\u0094 our actions become of the nature of\\nfate, and we are bound by the chains which we have woven around ourselves.\u00e2\u0080\u0094 [Smiles, Self-Help, page 404.", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0230.jp2"}, "229": {"fulltext": "Fruit and Vegetable Forms\\n2J5\\nNext make one or two branches. Make these branches fork out in a\\nreahstic fashion. Be sure the clay is thoroughly incorporated with the\\nmain branch. Use the tool to do this, also to incorporate the stem or\\nbranch on the tile. A few little digs with the sharp end of the tool will\\nunite them and then the marks made can be removed by a little modeling. Im-\\nitate the bark of the cherry tree on the stems or branches and allow the\\nbranch to bend up in one or two places. Next make two or three cherries\\nof the natural size. Place them in position to form a group. Then make\\nthe stems; let them be of the right length, 2 inches or 2^ inches long from\\nthe cherry to the branch. The cherry stems of course must be made much\\nthicker than they are in nature, about as thick as the handle of a very fine\\nteacup. It is a little difficult to incorporate these thin stems to the main\\nbranch and to the cherry without breaking, but with a little practice it can\\nlliustrations 269-271\\nCasts of Leaf Forms\\nbe done. Bunches of three cherries can be made, placing one on top of the\\nother two, and the stem placed in the same way. Make one or two bunches\\nof cherries, as desired.\\nLastly, make leaves as described in Elementary Modeling, and en-\\ndeavor to get the fine points, the serrations, the midribs, and other features\\nwith the fingers before placing the leaves in position. Bend each leaf so\\nthat it will look as natural as possible. Allow the edge to curve up in one", "height": "3316", "width": "2449", "jp2-path": "newmethodsineduc02tadd_0231.jp2"}, "230": {"fulltext": "2J6 Modeling:\\nor two places. Make several leaves in this way. Cherry leaves are long\\nand slender, two, three and four inches long and about one inch wide. Place\\nthe leaves in different positions to see the effect before incorporating them.\\nThis is quite important.\\nMake d Composition* Four or five leaves will be enough for this\\nsmall tile. Then take a tool and incorporate the leaves carefully with the\\nbranches and with the background of the tile. See that they are well sup-\\nported underneath. If necessary, block them up with clay so that they have\\na solid backing connecting them, though invisibly, with the background.\\nAhow the edges of the leaf to be quite thin, but let the body of the leaf be\\nthick and strong. A leaf can be made to look as thin as paper by making\\nthe edge sharp though it really may be half an inch thick. Allow the\\nleaves to curve naturally, and do not place them at regular intervals. It\\nis a little difficult at first to prevent their looking like pieces of tin. This is\\na very good exercise for young people, because even though it is roughly\\ndone, the product usually pleases them.\\nAn apple with a branch and several leaves on a tile is a very good ex-\\nercise (Illus. 272). Make the tile first, then the ap]Dle, as described in our\\nfirst exercise; place the apple in a natural position on the tile. Then in-\\ncorporate it so it will not drop ofl^ when the clay dries. To do this, press\\npart of the apple firmly into the tile, and then remodel with the tool the\\nparts marred. Next make the piece of branch of the apple tree about three\\ninches long and place it in a natural position near the apple, making the\\nstem reach the apple.\\nNext model a few broad simple leaf forms and attach them in a group\\nto the branch. Take care to make the leaves look as natural as possible.\\nLet them be thick in places, and where the edges show, allow them to be\\nsharp to suggest thinness. To give strength make all the parts solid that\\ncannot be seen. Never attempt to make things too thin in clay, like leaves\\nor stems or twigs. It is better to make them solid down to the\\nslab, rather than to have them so thin that with a touch or two in hand-\\nling they break. Try to show the curved surface of the leaf and the serra-\\ntions with the tool. It is a very good practice in composition to arrange\\nthese little groups.\\nTwo peaches, with branch and leaves, also make a very good exercise.\\nMake the peaches on the tile first, side by side. Next make the", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0232.jp2"}, "231": {"fulltext": "Fruit and Vegetable Form\\n217\\nbranch and then the leaves. Try to grasp the character of the leaf forms\\nand the arrangement.\\nThese exercises are very good in learning to fit form on a surface, and\\nalso for giving the children a great deal of pleasure. For these forms, of\\nIllustration 272\\nModeling Fruit from Nature\\nThis picture illustrates another child modeling an apple on a branch, with leaves, from the real form\\nout in the open air. The table is a box with a board upon it; two modeling tools and a knife only being\\nused. First the tile is made, about seven Inches square, then the apple is modeled in the hand. As soon\\nas it is the right size and with a certain amount of finish, it is incorporated on the tile in the usual\\nfashion; then the stem is made, and lastly the leaves. It is very good practice making the character of\\nthe branches they are quite rugged and have distinct textures. The same is true ol the leaves the apple\\nleaf is a broad one and finely marked. In making a tile like this, the leaves can be made solid, then the\\nedges can be slightly raised and undercut.\\ncourse, models may be used. If you cannot secure the real fruit, stems and\\nleaves, casts can be purchased at a very low price. The teacher should\\nhave models of this kind that she has made from real forms herself to show\\nthe pupils.\\nVegetable Forms*\u00e2\u0080\u0094 Let us begin with the potato. A potato has a\\nrough, irregular shape, but still it has its own essential character. Have the", "height": "3316", "width": "2449", "jp2-path": "newmethodsineduc02tadd_0233.jp2"}, "232": {"fulltext": "2J8 Modeling\\nchildren make a typical one; take away the unreal shapes. Make the\\neyes of the potato with the tool. Let them study the model in their\\nhands, and draw their attention continually to facts. Do not let them\\nmiss any of the characteristic features of the potato. The form wnll stick\\nin their minds when they reproduce it with the tool. I cannot resist the\\ntendency myself when I am talking to my class to interject a stream of facts\\nand fancies about the forms we handle. Splendid ideas can be grasped if\\nthe teacher is awake. It need not be a lesson in modeling only, but in many\\nother things. The surface texture of a potato is quite different from that\\nof fruit. Make the children apprehend this. But because potatoes are\\nfamiliar forms and easy to get, do not tire the children with them. Lead\\nthem to appreciate the tints or coloring of the potato.\\nThe carrot is a little more complex. Do not let the carrot look like a\\nparsnip or a radish. Let the form be of a handy, medium size, and make the\\ntexture marks with the tool. Seethatthe children apprehend the texture. Do\\nnot let them make simple cuts or jag marks. Give them a little time to\\ngrasp the detail. Have them handle the model as much as possible, since\\nmuch information is conveyed to the mind through the touch. Do not try\\nto model the top or the leaf part of the carrot. Let it be cut off, just\\nshowing the stem. This can be modeled with the carrot or added on.\\nThe Tomato* Take one that shows the typical form. Some are\\nvery much distorted and some do not have the features clearly marked.\\nMake the divisions with the tool. The stem end will be found a little\\ndifficult. Have the children make the leaflets separate and add them on.\\nIt is difficult in making the ridges to prevent the form from looking like a\\nlittle cantaloupe. Do not place the ridges too regularly. Use the tool as much\\nas possible in making the texture. It is very smooth and gives good prac-\\ntice.\\nThese vegetable forms may seem trifling in their value as a mode of\\ncompelling thought, but very few adults realize the shape of even the most\\nordinary vegetables, simply because they have never consciously assimilated\\nthrough the different sense channels all the facts about them. Their im-\\nagination is not vivid because their impressions have not been distinct or\\nclear. The slight percepts that they have fade away, and it is surprising to\\nfind how many pupils there are even in adult classes who show that they\\nhave not the beginning of an idea as to the shape of an egg or a grape, if", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0234.jp2"}, "233": {"fulltext": "Fruit and Vegetable Forms\\n2J9\\nthey are requested to shape it without the model. We can create talent and\\ncapacity in the dullest people by teaching them observation in this way.\\nThere are plenty of people with good eyesight who go through the world\\nIllustration 273\\nA More Complex Form for Modeling- in Clay\\nIt is wonderful with what fidelity the children may reproduce even a whole branch in clay, with all its fruit and\\nleaves. One work of this kind will impress the pxipil with many of the fascinating lessons Nature offers so bounti-\\nfully. When an important composition has been well modeled, it should be fired, and may also be multiplied by\\nplaster casts.\\nwithout seeing anything, and there are many with very poor eyesight who,\\naided by observation, notice many things. Modeling compels observation,\\nperception, reflection and conception.\\nThe Turnip *~M3ke a medium-sized one, pinching out the root and\\nmodeling on the opposite end a part of the leaves. The variety of*. form we\\nhave among root crops is wonderful, and it is by receiving these vivid im-\\npressions, through making them, that we are fully impressed. The\\ntexture, structure, color and form of the commonest, simplest vegetables\\nare valuable as lessons, if we can organically and permanently register them\\nwithout wasting the time and energy of the pupils. Some turnips have", "height": "3316", "width": "2449", "jp2-path": "newmethodsineduc02tadd_0235.jp2"}, "234": {"fulltext": "220\\nModelingf\\nbeautiful tints of color and shading; some are a little rough in texture, and\\nothers, like the Swedish turnip, are quite smooth.\\nHitch on to your lesson as many facts as possible. Do not let the^work\\nbecome drudgery. Many other vegetable forms can be given, but do not\\nlet the pupils tire of any one. Give them variety. We all need it to keep\\nour faculties and our interest in trim. It is a natural craving that we have\\nfor new fields to conquer. It is not right to teach only a few set forms\\ncontinually instead of the variety that Providence provides for our special\\nstudy and delight. The children cannot readily eat the raw vegetables, so\\nthat you must make up to them for it by giving them more food for thought,\\ntaking extra pains to make the accompanying talk both interesting and\\ninstructive.\\nFluster Model of Shield", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0236.jp2"}, "235": {"fulltext": "Models of Plaster Capitals\\nCHAPTER IV\\nModeling\\nGeometric Forms\\nrHE SIMPLER GEOMETRIC FORMS can be readily modeled\\ninto shape. They are not very pleasing or interesting, but they\\nyield useful and necessary lessons, and in teaching little children\\nthis is the only palatable way in which these uninteresting exercises can be\\nserved. The child s awakening mind can grasp only what it sees, an abso-\\nlute thing, and here we give it the opportunity to grasp geometric form\\nitself directly, not through a needless definition.\\nIt is wrong to tire the children with these abstract shapes. The\\ngeometric forms are essential and necessary at certain stages of education,\\nbut to present them continually all through the various grades creates in-\\ntense dislike. Except for modeling a few times, they should not be used\\nin the early stages. I have known children to be completely spoiled for art\\nwork by having these unmeaning forms presented to them so often.\\nExperience teaches that there is a feasible size for these geometric\\nforms. In some schools they are made very large, and in others much too\\n(321)", "height": "3316", "width": "2449", "jp2-path": "newmethodsineduc02tadd_0237.jp2"}, "236": {"fulltext": "222\\nModeling\\nsmall. The best way will be to make the forms of a size that can be readily\\ngrasped by little children and made without the use of tools by the two\\nhands alone. Many of the geometric forms can be seen in the pictures in\\nChapters I and II of this section, also on page 231. They are shown about\\nthe proper size they ought to be made.\\nThe Sphere* Take a piece of clay and roll it in the hands till it forms a\\nball about i| inches in diameter. It is quite difficult to make this a true\\nIllustrations 278-280\\nJ\\n5\\ny\\n1\\nX\u00e2\u0080\u0094 ILJ eL-\\nModels of Pilaster Panels, Italian Renascence\\nsphere, but by manipulation with the thumbs and forefinger, rubbing away\\nthe hills and making the rough places plain, and then rolling it between the\\npalms again, a good sphere can be produced (Illus. 252). In making this\\nseries of forms it is advisable to have the pupils place the forms as finished\\nalong the top of their modeling board or desk.\\n71?^ Cube* Next make another sphere similar to the first and of the\\nsame size. This can only be done by comparing the two. Place them\\nside by side and take away or add clay till they are equal. Now take the\\nsecond sphere, and tap it on the board till a plane about one inch in diameter\\nis made. Next turn it over on the opposite side, parallel to the first plane,\\nand make another plane in the same manner. Be very particular to have\\nthe pupils endeavor to get these planes really parallel through observation.\\nLet them continually look at the form in their fingers.", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0238.jp2"}, "237": {"fulltext": "Geometric Forms\\n223\\nNext tap two more planes opposite to each other, and then two others,\\nmaking- the six-sided cube. It is a very good exercise now to make these\\nplanes merge together by tapping on the flat board until the form is a\\ntrue cube, with sharp, clean corners and each plane equal. To do this with\\nany accuracy requires constant attention. Make the children pay attention.\\nThis is an excellent form for teaching a number of very desirable qualities.\\nResist the tendency, especially if there is a large class, to tap the cube care-\\nlessly on the board. Be sure that it is grasped correctly, and that the\\nchildren continually look at the form. Pay strict attention to position.\\nSee that the pupils sit constantly erect, keep their heads level and take\\ninspiration.\\nIf they have to look at the cube in their hand, let them hold it up. Do\\nnot let them tip and turn the head to look under it. If you wish to see\\nIllustration 281\\nReducing- Acanthus Leaf Forms\\nAntique model. The work is placed upright on an easel, for convenience.\\nthings straight, you must look at them with the head level. Do not expect lit-\\ntle children to make very sharp corners or very correct cubes in the be-\\nginning. With practice a perfect cube can be made if the clay is in right\\ncondition, with sharp edges and fine corners. Any teacher can perceive", "height": "3316", "width": "2449", "jp2-path": "newmethodsineduc02tadd_0239.jp2"}, "238": {"fulltext": "224 Modeling\\nthat to get these six planes equal in size with the hand and eye alone is good\\ntraining. To do it a few times is also pleasing, but it is not wise to tire the\\nchildren by giving them the geometric forms continually, as is so foolishly\\ndone in many schools and even in the kindergarten.\\nIn this work of modeling, we are using the master sense of touch, aided\\nby all the others working in unison. This form of representation produces\\na healthy activity of the perceptive faculties that is valuable. Here we are\\ndealing with form itself, actually making it. We are getting all around our\\nsubject and are in this way made conscious of all its peculiarities. We are\\ngetting accurate perception, which precedes exact memory, by performing\\ndeeds. It is this quality in sculpture which raises it above painting and\\ndrawing and places it at the head of the creative arts. It is for this reason\\nthat sculptors drawings often possess those characteristics of strength, bold-\\nness of line, truth, which can come only from a thorough knowledge of the\\nsubject, gained during many years of contact with form, not simply by look-\\ning at it, but by actually making the forms.\\nWe never really know form until we have attempted to reproduce it a\\nnumber of times in the solid. One of the chief objects of these lessons is\\nto impress this fact on the pupil while studying and trying to make these\\nobjects; even though the object is not well made, you are really gaining\\nmental development, you are making these things a part of you to the ex-\\ntent that you gain just perception of the thing modeled. You are assimilating\\nconcrete knowledge through several sense channels and must become richer\\nin mind for it.*\\nT*he Cylinder* Take a piece of clay and roll it out between the palms\\nuntil it is about one inch in diameter. Gently tap each end on the model-\\ning board. Let the cylinder be about two inches in height. It is quite\\ndifficult to get the ends smooth and flat in the beginning. If it is rolled\\ntoo much, a hole will form in the end. Use the tip of the finger or the\\nthumb and fill the hole, and gently pat again until you have a true circle\\nat each end. Resist the tendency to make it too long. If it is too long,\\npat down until it is short and roll again. Place the cylinder next to the cube.\\nThe human brain is an organized register of infinitely numerous experiences received during the evolution o\\\\\\nlife, or ratlier, during the evolution of that series of organisms through which the human organism has been\\nreached. [Spencer.", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0240.jp2"}, "239": {"fulltext": "Geometric Forms\\n225\\nThe Square Prism* The next operation is to repeat the same\\ncylinder. It is a Httle more difficnlt to make this one match the\\nother. Then take the second one, and by tapping on opposite sides, as in\\nforming the cube, make four planes, converting the cylinder into a square\\nprism. Do not make it too long, but let it match the cylinder in size. The\\nchief difficulty will be that it tends to become too long. Keep tapping it,\\nand continually observe each plane, till it becomes a good square prism, then\\nplace it by the side of the cylinder. If you have a large class, notice that\\nIllustration 282\\nModcli\\nHe Lid\\nThis picture shows one position ot the h-.inds in modeling a head. The thumbs are\\nfeeling the form near each eye. Scvilptors frequently model portions of the figure with the\\nfingers alone.\\nthere is a tendency to rap the forms on the board without looking at the re-\\nsult. Make the children look to see what they are doing. Do this con-\\ntinually.\\n^he Cone* Take a piece of clay, roll it out in the hand so that it be-\\ncomes of a cone-shaped form, and pat it on the end, to form the base. Make", "height": "3316", "width": "2449", "jp2-path": "newmethodsineduc02tadd_0241.jp2"}, "240": {"fulltext": "226 Modeling:\\nthe form in the hands roughly first, and then use the flat board. It must be\\nrolled till it makes a perfect circle on the base. This form is difficult and\\ncompels the use of a good deal of manual dexterity. Do not make the\\ncone too high. The tendency with all beginners is to make spear points\\nor little steeples. A great many of the cones used as models have this\\nfault of form.\\nLet the cone be the same height as the cylinder and square prism. As\\nsoon as it is finished to your satisfaction, place this product beside the square\\nprism. Then start another cone and make it of the same size as the first\\none. Notice in making these forms that we have made a pair and turned\\nthe second one each time into something else. It is very good practice for\\ngaining size and proportion, to make one like the other. The second cone\\nwe will turn into a square pyramid by tapping the planes on the board. This\\nis still more difiicult to keep in shape than the square prism or the cube.\\nThe base must be a good square, and the four sides must taper to a point\\nand the pyramid must be of the same height as the cone.\\nMany olher geometric forms can be made. The series given, how-\\never, will be sufficient to illustrate the process. The forms suggested are\\nthe result of many years of experience with numbers of children and teach-\\ners, and, if the operations are performed properly, must result in valuable\\ntraining. Do not tire the children with these forms. Remember con-\\ntinually that they are abstract forms. In the higher grades, when the\\nchildren are studying geometry, they will have plenty to do with them, but\\ndo not disgust them with abstractions, as is so frequently the result in those\\nschools where geometric forms are reproduced year after year till even the\\nsight of them is abhorrent.\\nNotice that I have made this series of models to present a series of\\ntransitional steps, each one a little more difficult, and that the forms can be\\nmade without the use of any instruments or tools. Children will take great\\npleasure in modeling these forms a few times, and that is the reason we give\\nthem in the beginning, just as we give blocks to play with. But the essen-\\ntial things are natural forms.\\nIn teaching, never mind the abstractions, continually think of the im-\\npression that you desire to make on the mind through the eye and the\\nhand. If the impression is clear and distinct, the form will be clear and\\ndistinct. If not, it will be cloudy and nebulous. In talking to teach-", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0242.jp2"}, "241": {"fulltext": "Geometric Forms\\n227\\ners, continually speak of the co-ordination of the mind and senses, the tac-\\ntual, the muscular and the visual, and of the power of observation this work\\ngives one, thus enforcing the acquisition of exact knowledge. Teachers\\nmust realize that they are not simply working in clay, modeling common\\nforms in common clay, making dirt pies, as some ignorant teachers sa}^,\\nbut they are molding the human mind, they are shaping the stuff out of\\nwhich immortal souls are made.\\nkMlkJj\\nf\\\\\\nModels of Various Borders", "height": "3316", "width": "2449", "jp2-path": "newmethodsineduc02tadd_0243.jp2"}, "242": {"fulltext": "in\\nQh\\nJ= a.\\n.2 -g B\\n-K^ c o\\ngo\\nO\\nO\\no\\nCO\\n-a\\nO w\\n0- eg-\\nc\\no c\\no\\nU", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0244.jp2"}, "243": {"fulltext": "A Shell Form for Modelins\\nCHAPTER V\\nModelingf for\\nGrammar Grades\\n/N MODELING THIS SERIES OF FORMS the pupils vAU pay\\n])articnlar attention to making fine curves, and getting- clean, sharp\\ndetail and perfect backgrounds, that is, making the tile of even\\nthickness, with sharp, true edges, and so on. These forms are also good for\\ngrammar-grade pupils, and have been tested for many years with thousands\\nof children. The entire series is the result of much care in selecting forms\\nthat will do the most good in the shortest space of time. The forms are\\ngraded in accordance with their increasing difficulty, and include the\\nelements of the best styles.\\nThe single forms must be made thoroughly well by the children, and\\nthen they can be used in combination. It is not necessary for the pupils to\\nmake the whole series. As soon as they have grown expert with the scroll\\n(229)", "height": "3316", "width": "2449", "jp2-path": "newmethodsineduc02tadd_0245.jp2"}, "244": {"fulltext": "230\\nModeling\\nIllustration 288\\nand the leaf, combinations in the way of decorative tiles can be made, using\\nboth leaf and the scroll. As soon as the anthemion and scroll have been\\nmade, these can be similarly combined. As soon as one of the rosette forms\\nhas been mastered, it can be used in combination with other forms. The\\nsame may be done with shells, the Moresque unit, the Saracenic unit, etc.\\nIn Making the Scrolls (Illus. 288), build up a good solid tile at least\\none inch thick and six or eight inches square. Do this with the hands alone,\\npiece by piece, as described on Page 206.\\nDo not allow it to stick to the board.\\nWhen it is about the right size, make it\\nplain and smooth by means of the knife,\\nbut do not trim the tile till the form is\\nfinished; let the rough edge remain to pro-\\ntect it. The last thing done should be to\\ncut it square and true when the entire\\nornament has been modeled. Now take the\\nend of the tool and draw on the tile a good\\nscroll, similar to the one illustrated.\\nPractice doing this many times. It can be\\nrubbed out with a touch of the palette\\nknife. The freehand drawing on the clay\\nsurface is excellent practice, and with all my classes, adults and children, in\\nthe beginning I invariably have them sketch the form for five or ten minutes\\nfreehand, since at first it may be a little too large, then again it may be too\\nsmall. Illus. 289 shows a child making the single scroll in clay.\\nMake the scroll so that it fits and fills the space. Let the ball come\\nnear the center of the tile. As soon as you have a satisfactory drawing,\\ntake a piece of clay, roll it out about two or three inches long and about as\\nthick as the finger, and place it on the drawing. Then take another piece\\nand place it in the same position, continuing until you have the scroll\\nroughly formed with the clay. Next, take the tool and press it into the\\npiece of slab and endeavor to get the curves. The raised edge in the mid-\\ndle of the modeled form is the first thing to get. That is called the mod-\\neled line. Press away the surplus clay and try to swing the tool around\\nthe whole length of the curve from one side to the other. Make long, con-\\ntmuous touches. The clay must be exactly right in consistency. If it is too\\nA Srcoll in Clay\\nWith another scroll flowinsar out from it.", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0246.jp2"}, "245": {"fulltext": "o\\nT1\\nO\\nC/5\\nr\u00c2\u00bb r-;-\\nCT-\\n3\\nm\\n\u00e2\u0080\u00a2-h\\n2\\nC/J\\nrt.\\nrf\\n3\\nP\\na.\\n2\\nP\\n00\\n3\\nfU\\n3\\nCO\\nrj\\n3\\no\\nP\\n3\\n3\\no\\n3\\no\\nr\\nCO", "height": "3316", "width": "2449", "jp2-path": "newmethodsineduc02tadd_0247.jp2"}, "246": {"fulltext": "232 Modeling\\nsoft it will stick to the tool. It is better for it to be a little too stiff in the\\nfirst place than too soft, especially for the tile itself, although of course the\\nharder the clay the more difficult the form is to make in the beginning.\\nGrasp the tool in both hands as illustrated in most of the pictures show-\\ning pupils modeling. Of course the hands move about in different posi-\\ntions as the tool moves. At first it will be quite difficult to sweep the\\ncurved end of the tool from one side to the other, making half the circuit or\\neven the whole circuit with a single sweep, but with very little practice\\nmanual dexterity will be acquired that will enable you to make a single\\ntouch continuing all around the scroll with ease, swinging the tool back and\\nforth on the curve. Notice in doing this that vou are actually drawinsf in\\nmaterial. Do not mind how rough the work is if you can get this swinging\\nmovement. Resist the tendency to scatter clay crumbs on the work, keep\\nall pieces in the hand or in the main lump. The form or raised edge must\\nbe equal in height all over the tile; do not let it be thick in one place and\\nthin in another. It is quite difficult to get this quality at first. As soon\\nas the curved surface of the scroll has been made, then the form can be\\nclearly cut out by vertical cuts on each edge of the scroll and the sur-\\nplus clay removed, keeping the tile flat and smooth.\\nIt is not easy to work in the center around the ball, to get into\\nthe corners, to keep the edges sharp, at first, but with practice this can be\\ndone. Do not mind the tool marks showing at first. We do not want\\nthe work finely finished or polished. Try to make the curves as true as\\npossible. Eventually, the longer the swing of the tool, the truer and better\\nthe curve will be. Do not let the curved lines look as though they were\\nbent.\\nThis is excellent practice in getting the hands to swing curves, and it is\\nby modeling and carving these forms that we enable our children to draw\\nthem with such boldness and facility that it surprises outsiders who do not\\nknow of the work they have been through. All our children make these\\nforms. I cannot recall now, among the many thousands of pupils I have\\nhad, one who was unable to draw, model or carve these conventional forms\\nif he learned how to do it in this way. Of course if pupils have been al-\\nlowed only to draw, or to model, or to carve, I am sure many would be un-\\nable to draw the forms; but being required to do the three things in rota-\\ntion, one after the other, they get a manual dexterity that makes the form", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0248.jp2"}, "247": {"fulltext": "Coufse for Grammar Grades\\n233\\nIllustration 289\\norganic, and enables the hand in the end to make the form automatically\\nwithout conscious thought as can be seen from the v^arious illustrations\\nshowing forms modeled by pupils, where the scroll is shown in combination\\nwith other forms, sometimes ten and twenty times over. All the units of\\nstyles, and most of the drill form units, are modeled and carved as well.\\nAny one can see what a great help this is in making forms organic. But\\nwhen we have actually, through the\\nsense of touch, made the form in soft\\nmaterial and then actually by hard\\nstruggling made the same form in\\ntough wood, it is a very easy matter to\\ndraw it on paper or the blackboard with\\nthe hand as firm and with a line as clean\\nas though it were being made by a steel\\nbar. This facility of hand, this manual\\ndexterity, this control over the nerves\\nand muscles of the hand, so that\\nthese instruments shall do as they\\nare directed l)v eve and mind,\\na^\\nOne Position in Holding Modeling Tool, while Turning a Scroll\\nBoth hands are used and work equally, the tool changing position constantly\u00e2\u0080\u0094 sometimes the concave side being\\nused, sometimes the convex. Endeavor to make free swinging touches as long as possible do not allow the hands\\nto rest on work. In the above picture, one hand rests to enable photograph to be taken.\\nare among the highly desirable objects of manual training that can never be\\nattained by the limited exercises of mere shop practice. Wood carving is of\\nwonderful value in accomplishing this hand training and character growth.", "height": "3316", "width": "2449", "jp2-path": "newmethodsineduc02tadd_0249.jp2"}, "248": {"fulltext": "234\\nModclingf\\nIllustration 290\\nThe Rosette Form* The next form illustrated (page 235) is the\\nrosette. ]\\\\Iake a tile eight inches square, as described before. First draw\\nthe rosette with the tool freehand, making it to fit the tile. Make the center\\nof the rosette in the middle of the tile and then the four leaf-like forms\\none after the other. Do this entirely freehand. Do not make construc-\\ntion lines. Rub out the drawing with the knife and practice the drawing\\nof the rosette several times. Then start with the center boss. Let it be\\nabout one inch or one and one-half inches in diameter. Be sure that\\nthe clay is incorporated in the tile by mixing\\nthe boss with the substance of the tile, so that\\nit will not drop off when the form is dried, then\\nmodel the surface with the tool till it is a true\\nhemisphere. It is quite difficult at first to swing\\nthe tool over from one hand to the other in\\nmaking this curved surface, but by persisting a\\nlittle it can be done almost from the beginning.\\nNext we make the four leaf-like forms,\\nshaping them roughly in the hand first. Let\\nthem be about one inch thick, sloping down to\\nthe center or boss, shaped almost like a large\\ntongue. Make all the four forms before\\nyou place them in position and see that they are equal in size. When this\\nis done they can be placed around the center boss. Squeeze the forms into\\nposition, being sure that the clay is roughly incorporated into the tile. If\\nit is simply pressed on the tile, it will be sure to drop off when the tile\\ndries. All these directions are not only essential to making a good tile, but\\nsuch thoroughness helps mind and memory.\\nRemember this: The clay mitst always be incorporated, one piece of clay\\nworked into the other, if you wish it to hold together. It is very exasperat-\\ning to make a number of forms and then when they dr)^ up to have them\\nfall apart. This is usually the case unless care has been taken every time to\\nincorporate the clay with the main mass. Each piece as it is put on should\\nbe made one with the parent piece.\\nNow the rosette must be tooled into form. It has been roughly\\nshaped with the finger, and now we take the tool and make the cup-shaped\\nA Complex Rosette", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0250.jp2"}, "249": {"fulltext": "-13\\nO\\n3\\nO\\nr^\\nn\\n(T\\n3\\nif\\np\\na\\nO\\nCO\\nH\\n3\\n(/9\\nB\\nU\\nO\\nre\\n3\\nm\\no\\na:", "height": "3316", "width": "2449", "jp2-path": "newmethodsineduc02tadd_0251.jp2"}, "250": {"fulltext": "236 Modeling\\nhollow on each leaf with a single stroke if we can. Pass the tool over the\\nsurface of the leaf many times and then over each of the other leaves. Do\\nnot turn the tile.\\nThe object in this exercise is to make the four leaves in four different\\ndirections while the pupil keeps the same position in relation to his work.\\nSee what a wonderful amount of muscular co-ordination is required to turn\\nthe hands, both hands guiding- the tool, in such diverse positions. Perhaps\\nwe can make the leaf cpiite readily and easily on the right side, while it is\\nvery difficult to make it on the left side. Perhaps we find the lowest leaflet\\nquite easy to make, then we find it quite difficult to make the upper ones,\\nwith the same movements reversed. We must, however, resist the tend-\\nency of the pupils to turn the tile around, thus making all the leaflets in the\\nsame way, and allowing the hands to make only those few movements\\nwhich they find easy to acquire. Remember, this work is educational, and\\nthe object of this lesson is to enable the hands to make the physical co-\\nordinations all over the complex surface in the different directions. When\\nyour hands can move readily with ease all over these four leaflets without\\nawkwardness, it indicates a great amount of manual dexterity.\\nDo not mind the form being rough in the beginning. Make the edges\\nsharp and clean, let the tile be smooth and flat. Make a good broad edge\\non the leaf. Do not hesitate to make the touches all over the leaf many\\ntimes. Do not expect it to be finely finished with a few touches.\\nThe touches must be repeated. Do not finish up one leaflet at a\\ntime, making it very fine and smooth all over. Roughly finish the whole\\nseries, and then go over them again. Avoid finicky, small, feeble touches.\\nAvoid picking the clay and making small pieces. Model or mold it into\\nshape with a few free touches. In modeling a form of this kind, if clay has\\nto be removed from the tool, we do not pick it off and place it in the main\\nlump every time, but add it rather to a piece which we keep in the hand.\\nWhen we need to add more clay, or have to remove it from the model, it\\ncan be taken from or added to the lump in the hand. The last step is to\\ntrim and square the tile.\\nPosition of Toots*\u00e2\u0080\u0094 I have purposely made a number of pictures to\\nshow the different positions of holding the tool in modeling and carving.\\nThere is no one special hold. The tool is changing from one hand to the\\nother constantly. Experience will give the natural hold. Of course it is", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0252.jp2"}, "251": {"fulltext": "Course for Grammar Grades\\n237\\nIllustration 291\\ndifficult to get the movement from the pictures .and the print alone. See-\\ning it done by an expert is the best way. In teaching, the teacher should\\ngo from seat to seat illustrating movement on each tile or slab, if necessary\\nmaking one leaflet or part of one leaflet occasionally, the pupil looking on\\nand learning.\\nThe Leaf Units* For the three-pointed leaf form (Illus. 291), make\\na tile, on the tile draw the leaf with the point of the tool, making the ribs\\nfirst and then the double curves forming the outline. Practice this a num-\\nber of times. Make the leaf to fit the tile. Encourage children as much\\nas possible to make these quick drawings on\\nthe clay, for position, before beginning to\\nmodel. Next take a piece of clay, and\\nworking with both hands, make the leaf\\nform about three-eighths of an inch thick\\nin relief. Make the stem also. Get the\\nentire shape in the rough, with the fingers,\\nin the beginning. Be sure that the clay for\\nthe leaf is thoroughly incorporated with the\\nmain mass, and that each piece you add is\\nalso incorporated with the adjoining surface.\\nSee to this in all cases, so that the model will\\nnot come apart in drying.\\nProperly worked together this way, the\\nclay tiles and models should be durable, quite strong and lasting. Unless\\nthey are struck or allowed to drop, they can be kept any length of time. It\\nis good to have shelves in the class room on which to place these forms. In\\nmost of my schools all the walls are completely covered with the work of\\nthe pupils. We do this so that they can get ideas from the work exhibited,\\nand at intervals we allow them to take their productions home and place\\nothers in their stead.\\nNext take the tool and roughly make the depressions on the leaf, first\\nfor the midrib and then for the side ribs. Let these touches be bold and\\nfree. Then model from the center towards the edge, making the undula-\\ntions on the leaf. Next make the double curves on each side, beginning\\nwith the middle leaflet. Do not finish one part,- work all over the leaf. In\\nshaping the leaflet on one side, do not completely finish it, but make almost\\nA Leaf Tile", "height": "3316", "width": "2449", "jp2-path": "newmethodsineduc02tadd_0253.jp2"}, "252": {"fulltext": "238\\nModeling-\\nIllustration 202\\nevery other touch on the opposite side. In this way you will find that you\\ngradually model balance.\\nIt will help a beginner to look at the pictures of some of the modeled\\nleaves in this book, to see how the texture is produced and also how the\\ncarved leaves are made. Do not put in very fine detail in the beginning.\\nIn making the serrations on the leaf, model each leaflet separately, first on\\none side and then on the other. Hold the tool in both hands in doing most\\nof this work. Very rarely is the tool held by one hand alone, it is nearly\\nalways guided by the other hand. The same is true of the chisel in carv-\\ning. This form can be varied, a five-pointed\\nleaf can be made in the same way and quite\\na number of other shapes can be based\\non it.\\nThe Moresque Form is quite difficult,\\nalthough it looks so simple in outline. In\\nmaking this, first spend some time in draw-\\ning it. It is a little difficult to make this\\nform fit the tile. Do not make it too small,\\nlet it be about the proportion of Illus. 292,\\nTake a piece of clay, fill in the surface of\\nthe form piece by piece with the fingers until it is about three-eighths of an\\ninch in hight. Allow the form to be a little larger than the one you intend\\nto make. Try to keep the double curve on the large blade showing clearly,\\nletting it taper to a fine point. With very little practice you will find that\\nyou can get good forms with the fingers alone. With the fingers the clay\\ncan be thoroughly incorporated and made into a solid piece. Now take the\\ntool, and, beginning with the stem, make a single plane from one end to the\\nother with a sweeping touch. I want you to draw this double curve repeat-\\nedly on the soft clay, compressing and flattening it at the same time. Repe-\\ntition will in time compel accuracy, until the hand is able to make these\\nswinging lines quite automatically.\\nNext we will make the other plane, allowing the modeled line to show^ a\\nbeautiful double curve, the modeled line being the raised edge in the middle\\nof the form. Swing over this curve a number of times, then try the curve\\non the inside or short blade, swinging around from one end to the other\\nrepeatedly. Next on the outside edge. As soon as these planes are satis-\\nThe Moresque Unit", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0254.jp2"}, "253": {"fulltext": "Course foi* Grammaf Grades\\n239\\nfactory, then with a single touch cut out the form, beginning with the large\\ndouble curve, then making the other side of the blade, and lastly the short\\ncurve. This is one of the most difficult forms to get properly and still one\\nof the most satisfactory to make when practice gives facility. The entire\\nform should be made with a few strokes when dexterity has been acquired.\\nDo not make finicky touches. Allow the tool to swing from one end of\\nthe unit to the other each time, holding it in both hands and pushing away\\nthe surplus clay or adding on, as is needed, from a piece in the hand. Feel\\nthe form with the tool and draw it out. Next clean up the background\\nand see that the stem is narrow. Much attention must be given to the\\nraised edge, the modeled line; for although when the model is flat on the\\ntable this does not show very plainly, it is the most important line on the\\nmodel, and when it is in position standing up, it shows more distinctly than\\nany other.\\nTike Scroll and Crocket* Make the drawing of the complete scroll\\nfirst (Illus. 293), allow it to fill the tile, and then add the crockets, one to\\neach corner. Make this foi m repeatedly till\\nit fits the tile. At first it will be a little too illustration 293\\nsmall and seem a little crowded. Give five\\nor ten minutes to the drawing. Then take a\\npiece of clay, roll it out about the size of the\\nlittle finger and place on the drawing, incor-\\nporating the clay piece by piece till the entire\\nscroll is covered about three-eighths of an\\ninch thick. Make the form a little thicker\\nthan it is intended to be. Now add on the\\ncrockets, forming the curve and the tip with\\nthe fingers. Let every member of the class cror-ket\\nblock in the entire form with the fingers\\nbefore using the tool. Then take the tool and place the plane or curves on\\nthe surface from the tip of the crocket, gradually merging them with the\\ncurves of the scroll. Notice that finally the concave curve of the crocket\\nmust meet the convex outer curve of the scroll; and the convex curve of the\\ncrocket, the concave line of the scroll. Pass the tool repeatedly up and\\ndown tin a nice curve is made all around the scroll, curving out each tip at\\nthe right place, pushing away the surplus clay with the tool, and adding it", "height": "3316", "width": "2449", "jp2-path": "newmethodsineduc02tadd_0255.jp2"}, "254": {"fulltext": "240\\nModeling\\nto the main lump in the hand. The curve around the center boss is dif-\\nficult to produce in the beginning, but with practice it can be done with a\\nfew touches. Then make the curve inside the scroll. This can be very\\nmuch curved or almost flat. At first it would be better to make it a little\\nflat. Try to swing this from one end to the other with as few touches and\\nwith a movement as continuous as possible.\\nNext cut out the form down to the tile with the tip of the tool, draw-\\ning the shape of the form repeatedly and removing the surplus clay. The\\npupil must be very attentive in doing this work, otherwise the scroll can be\\nspoiled very quickly. The crockets make the form much harder to model,\\nowing to the curve being interrupted, but with a little practice crockets can\\nIllustrations 294-296\\nPlaster Models for Drawing, Modeling and Carving\\nbe thrown out in any direction without any trouble. Later on the double-\\ncurving crocket and other forms can be introduced on the scroll in the same\\nway.\\nCombination of Scrolls and Leaflets* To make two scrolls in clay\\nflowing one from the other, is good practice. A leaf tip can be modeled\\ncoming out of the center. To make this form fit the tile, and to curve the\\nscrolls gradually, one from the other, with single sweeps of the tool, is capital\\nmanual training. Combinations of different forms can then be attempted,\\nand balanced designs made for various purposes.", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0256.jp2"}, "255": {"fulltext": "Course for Grammar Grades\\n24J\\nThe c^nthemion is perhaps the most diflicult of all the elementary\\nforms and takes the most time in the beginning. (Illiis. 298.) Make a fnll-\\nsized tile. Make the drawing a nnmber of times first, endeavoring to get the\\nform to fit it. Roll out the lobes in the hand, beginning with the center\\nlobe. Numerous lobes can be made as illustrated in Book Two, Chapter\\nIV. Be sure that they taper to a fine point, and as they grow slim towards\\nthe base let them also grow less high in relief. Bend the side lobes so that\\nthey curve and balance nicely. Make the lobes match. This is a little dif-\\nficult at first. Try to get a good curve to each one; show the gradation\\nin the form. Try to feel with the fingers the magnitude of each lobe.\\nBegin tooling with the center lobe, push away the surplus clay, and\\nmake it taper to a fine point. It is difficult to prevent the stems or pipes of\\nthe lobes from running into one another. Beginners cannot help this at\\nfirst. To keep all these stems gradually curving in to the center and to\\nget them to diminish gradually recpiires a great deal of skill. Do not ex-\\npect fine results in the beginning. Hold the tool firmly with both hands\\nIllustrations 297-298\\nr\\ny\\nf\\n4\\ne\\nScroll und Leaflet\\nAnthemion in Clay\\nand model each lobe from side to side. The widest part of the lobe will be\\nthe thickest. The form must be blocked out roughly in the beginning\\nwith a few large touches to get the approximate bulk, and then it must be\\nmodeled over again several times, each time getting a finer finish.", "height": "3316", "width": "2449", "jp2-path": "newmethodsineduc02tadd_0257.jp2"}, "256": {"fulltext": "242\\nModeling\\nDo not expect good results the first time/ Any one making this form\\ncan realize what excellent discipline it gives in attaining dexterity and phys-\\nical co-ordinations. Do not allow the children to turn the tile, keep it in\\none position throughout the entire lesson. Of course if I were to move it\\nfrom one side to the other and to keep my hands in the same position all\\nthe time in making each lobe, it would be much easier to model. But re-\\nmember, the object of the lesson is to get the skill that is given to the hands\\nwhen they become able to move with facility all over the complex form.\\nPay particular attention to the stems, clean the spaces between the lobes,\\ncut the tile true. This form is much used in carving, modeling, and draw-\\ning, and it is one of the best of all the units of design for its union of beauty,\\nbalance, proportion, grace, etc.\\nIllustrations 299-301\\nVarious Arrangements of the Antheniion\\nThe Curved Ledf^ lllus. 302.) First, make this fit the tile. Make\\nthe drawing a number of times. Do not make it too small; allow\\nit to fill the tile. Block in the form with the fingers, as described in makingthe\\nother forms; be sure to keep the eft ect of the double curves. Allow the leaf to\\nbe nearly half an inch thick in the thickest part, while the back of the leaf\\ntapers down to the tile. Model a large double curve on the back of the\\nleaf first with the tool. Try to make the surface undulate. Keep the\\ndouble curves of each leaflet true and try to make them with a single touch\\nThe reiietition of good action generates the habit of doing well, function developing construction, and the\\nbfihit of doing- well generates a moral feeling in regard to said action, which it becomes fit last a pain to go against,", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0258.jp2"}, "257": {"fulltext": "Courses for Gtammar Grades\\n243\\nof the tool. The spaces between the leaflets should also be made with a\\nsingle touch of the tool. Get the texture on the surface of the leaflet\\nrepresenting the small ribs, then finish with a narrow stem. To make this\\nleaf with graceful curves, so that it appears to swing nicely, requires practice.\\nTry to prevent a thick and clumsy appearance of the leaf. The tool marks\\nwill give very good texture to leaf form. This can be made much more\\ncomplex, showing more leaflets.\\nSimple Shell Forms* The real scalloped shell (page 235) can be con-\\nventionalized as desired. Make the drawing, get about the proportion and\\nsize, and then add on the clay, making the shell curve up, being sure that it\\nis incorporated on the tile. Repeatedly speak of this to your pupils. It\\nis very uncomfortable to find a shell form hke this, for instance, come ofif\\nthe tile, when it dries, especially if a lot of careful work has been placed upon\\nit. Try to get the halves of the shell to balance with the thumbs and\\nforefingers, working at both sides at once. The thumbs are very useful in\\nthis work. With a little practice one can make an entire shell form with\\nthe fingers and thumbs alone of course, roughly.\\nPractice this movement continually. Feel the balance of things. Then\\nyou will be able to draw balance. Sculptors\\noften find the thumbs their best tools. We\\nmust use the fingers as much as possible,\\nbut do not expect to make the sharp edges,\\nthe fine detail expected in woodwork, metal\\nwork, stone work, and so on, with the\\nthumbs alone. The tool must be used for\\nthis. As a person becomes more skilled he\\nwill find the fingers more usefifl, and in\\nmaking the human figure sometimes the\\nthumbs and parts of the fingers are the main\\ntools used. (See Plate Eighteen, page 235.)\\nUse the tool to make the ribs on the shell.\\nIt is very difficult to make these taper. The shell is a wonderful piece of\\narchitecture. There are no finer lines or curves in nature than may be found\\non a good-shaped shell. Try to make the lines all converge and\\ntaper gradually. Model on each side. Do not finish one side first and\\nthen the other. It is much easier to model both sides, to make all the ribs\\nIllustration 302\\nV\\nX\\n4\\n4:\\nThe Curved Leaf", "height": "3316", "width": "2449", "jp2-path": "newmethodsineduc02tadd_0259.jp2"}, "258": {"fulltext": "244\\nIllustrations 303-304\\nModelingf\\n\u00c2\u00bb3 V\\nReal Shells for Models\\nAll Idnds of shells are suitable to be reproduced in clay. They are cheaply pur-\\nchased if not otherwise available, and ofFer endless variety in form, proportion, etc.\\nThe accompanying text describes the shell work illustrated on page 335, not the making\\not these shells in Illustration 303.\\nand serrations first, in the rongh, and then to shape them up and make them\\nstill finer. The lines of growth as well as the lines of texture show on a real\\nshell. If you are copying from a real shell endeavor to get these.\\nIn some conventional shells and models of shells the lines of growth\\nare left out. The suggestion of a spiral in most shell forms where the lines\\nmeet together is very beautiful. Try to make a true spiral instead of a\\nbent line. The last part to model wall be the serrations on the edge of the\\nshell. Cut these out with a few simple touches.\\nIt must be constantly remembered that, at best, word descriptions of\\nhow to model are inadequate, compared to the actual doing. The reader\\nwho will trv modeling, who begins with the elementarv work and follows", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0260.jp2"}, "259": {"fulltext": "Coufse for Grammar Grades\\n245\\nalong into the more difficult forms, will quickly realize the merit of each\\npoint advanced in these pages. Experience is the best teacher.\\nThe student will find many suitable forms for modeling suggested in\\nthe drawings in Book Two, and the carvings in Book Four. Many of the\\nplaster casts contain also suitable forms.. After making a few of the simple\\nunits, designs should be made, consisting of some of the units combined in\\ndifferent ways, as illustrated in the picture of tiles on page 231, and on page\\n189 in first part of book.\\nGothic Rosettes Models", "height": "3316", "width": "2449", "jp2-path": "newmethodsineduc02tadd_0261.jp2"}, "260": {"fulltext": "3\\n2\\na\\n43\\nb/)\\nU3\\nS S\\no\\n1\\nto\\nc", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0262.jp2"}, "261": {"fulltext": "Advanced Clay Modeling\\nThese hoys are making large original designs and animal forms in clay for architectural purposes. Advanced\\nclass, R. C. High School.\\nCHAPTER VI\\nModeling-\\nAnimal Forms\\nj^NlMAL FORMS. After tlie children have modeled several com-\\n^j^j_ paratively elaborate tiles and can produce simple forms with good\\nbalance, proportion and fitness, they should be allowed to model\\nsome of the various animal forms illustrated. Small heads are suitable to\\nbegin with. Allow them to make their choice of the sheep, dog, tiger,\\nhorse, lion, or other animal. The teacher will find by experience that pupils\\nwork with a great deal more energy if they are allowed to work on some\\nform that pleases them. The series of head forms illustrated in 306 has been\\nmade for this express purpose. Some of them are quite difficult and some\\ncomparatively simple, but if a boy like a horse s head better than a dog s\\nhead, although it is much harder to model than the dog s head, he will suc-\\nceed better with it. So it is with girls. The girls will sometimes select the\\ntiger s head, in preference to the sheep s or the dog s head, although it is\\nmuch more difficult.\\n(247)", "height": "3316", "width": "2449", "jp2-path": "newmethodsineduc02tadd_0263.jp2"}, "262": {"fulltext": "248\\nMocieling:\\nDo not, however, let them attempt the very complex forms till they\\nhave made several of these heads. Let each pupil have a separate model,\\nand never allow two or three pupils to copy from one model, if they are seated\\nat tables. The pupils must be able to handle the form all over, whenever de-\\nsired, or to put it in any position desired, to compare it with their own work.\\nThis cannot be done if two or more are working from the same model.\\nBuild up the form in the rough first, being sure that the clay is thoroughly\\nincorporated, that it is a solid, weh-wedged piece. Do not allow cavities\\nIllustration 306\\nCasts of Animal Forms\\nThis set was specially modeled for school purposes, and then duplicated by making plaster casts therefrom.\\nThere are about twelve heads in the set; some are pictured on page iSi. They form a fine series of models for va-\\nrious classes. For further remarks on these and other plaster models of Aarious forms, see pages 1S0-1S4.\\nto form in the clay. If there are many air spaces in the lump, it is apt to\\ncrack in firing, or even in the drying when it is put on the shelf before firing.\\nI earnestly desire every one reading this book who wishes to get sug-\\ngestions on the work of modeling, to examine carefully the pictures given\\nof the class rooms. Notice the variety of models around the walls and on", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0264.jp2"}, "263": {"fulltext": "Animal Fofms 249\\nthe shelves. All of these pieces of work, except the very white ones, which\\nare plaster casts, have been modeled by the pupils. By studying these\\nplates carefully, ideas can be received as to the best way to work.\\nDo not allow the pupils to make details in the beginning-. Blocking\\nout means to be able to get the large shape roughly first without any detail.\\nThis is one of the most difficult things for beginners to do. Nearly always\\nthey will begin to make the features before the size of the head is gained.\\nAlso try to prevent exaggeration of size. Beginners, especially in making\\nheads, will almost invariably enlarge the size. It takes time to overcome\\nthis disposition. If the illustrations accompanying this chapter are carefully\\nstudied, you will find by looking at some of the pupils working, that they\\nhave produced first the general form in the clay, and on this the careful\\nworking for detail is done.\\nVery little can be said in print on this subject. The model is the best\\nteacher. Till the form is like the model, the pupil can go on working,\\nchanging and altering. Allow the pupils to measure if it helps them in\\nthe beginning. Rough dimensions can be formed by means of the tool.\\nUsually the plaster models are much smoother than the forms from v^ hich\\nthey are produced. The plaster casts have been made by pouring the\\nliquid plaster into molds. This, of course, leaves the smooth surface usually\\nseen on plaster casts. The pupils very soon notice the texture of different\\nsubstances, the texture of wood when it is carved, the texture of metal, the\\ntexture of original models in clay. They soon find that it is not always\\nnecessary to make the smooth surface of the plaster cast. The required\\nsurface varies with the different forms. There is no one kind of modeled\\nsurface. On the head forms the tool marks can show, as they do in some\\nof the illustrations. It is far better to show the tool marks all over than\\nto make the form so smooth that it looks like a piece of jelly or pudding.\\nAny good modeler or sculptor will give advice about his work at any time\\nto a student who is unable to work in a school.\\nFor variety, after one or two heads have been made, the pupils can at-\\ntempt the Barye casts (page 213). These are used in all my schools. They\\nare perhaps the most perfect examples of beautifully modeled animal forms\\nthat can be procured. There is a great variety, and all of them seem to\\ninterest the children, many pupils being able to duplicate even the most\\nelaborate of them.", "height": "3316", "width": "2449", "jp2-path": "newmethodsineduc02tadd_0265.jp2"}, "264": {"fulltext": "250\\nModeling:\\nIllustration 307\\nModeling- from Birds\\nThe panel below is a model in\\nchiy from the real bird shown at\\ntlie left. The panel was made by\\n;i pupil of the grammar grade, who\\nhad had more training than the\\npupil that modeled the bird illus.\\ntrated on page 207, and we there-\\nfore have here a better product.\\nThis panel is about 16 inches long.\\nThe pupil has had only two hours\\na week in the Public Industrial\\nArt School for drawing, modeling\\nand carving. It must be con-\\nstantly remembered that these\\nthree branches of work are taken\\nin rotation by all pupils. Excel-\\nlent as is the training aflbrded by\\nmodeling in clay, this training is\\nstill better when combined with\\nappropiiate exercises in drawing,\\ndesigning, carving and wood con\\nstruction.\\nThe Real Bird\\nThe Animal Forms* The ped-\\nestal or plinth is usually made first, and\\nthen a rough form about the size of\\nthe body is put in the required position\\nby a very solid prop under the abdo-\\nmen. Let this prop be thick and\\nsubstantial. It does not matter if it\\nfills the whole space under the body, in\\nthe beginning. The first day the form\\ncan only be very roughly built up, mak-\\ning a kind of core. After the second\\nday, this clay will be found to be much more solid. It shrinks and\\nhardens so that about the second or third day it is quite substantial,\\nThe Model in Clay", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0266.jp2"}, "265": {"fulltext": "Animal Forms 25 J\\nand clay can readily be modeled onto this core, making the form\\nthe required size and putting the legs in the required position. Every\\nday the clay will shrink. If a model is to be made of the same size\\nas the original from which it is copied, it must be started a little larger.\\nThe shrinkage is about one inch in eight. Remember, the clay shrinks\\nwhile the form is being made till it is quite dry, and then it shrinks again\\nwhen it is fired at the pottery and turned into stone. See Plate Thirteen.\\non page i86.\\nDo not let the core dry too much. It must be only a little harder\\nthan the clay that is added to it. If it is too hard, the clay will shrink un-\\nevenly and cracks will result. If the core, or the form in the rough, is\\nmoistened too much when it is put away, it is apt to fall down. Nothing\\nbut experience will teach the proper manipulation. Of the two states, it\\nis better to keep the clay a little too hard than too soft. As the model\\napproaches completion, it should be allowed to become harder, and the\\nprops or supports under the body can be gradually cut away. It is a little\\ndifficult to get a large model to shrink evenly all over, but after two or three\\nattempts on forms that are not too difficult, like the animals that are sitting\\non their hind quarters, it will be found quite easy to model the more com-\\nplex forms that have a number of supports. If the props are cut away too\\nsoon, and before the clay is stiff enough to support its weight, disaster will\\nIllustrations 308-309\\ni\\nModeled by Grammar Grade Pupils\\nresult. The remedy, if the forms fall down, is to build them up again with\\nnew props, being sure that the broken surfaces have been made wet, so that\\nthey will stick together. This frequently happens even to good workers.", "height": "3316", "width": "2449", "jp2-path": "newmethodsineduc02tadd_0267.jp2"}, "266": {"fulltext": "252 Modeling\\nFor all of the small forms illustrated in onr ordinary class work, it is bet-\\nter that the pupils should make their models without any interior supports,\\nthat is, without pieces of wood, or of lead pipe, or of iron and wire. We prefer\\nto omit these so that the clay models can be tired at the pottery and the\\nchild can keep his original work, his model when fired showing every\\ntool mark and being very durable and strong. This is much better than\\nto have a cast of the model made, which is done in a great many schools.\\nIn our art school over 900 pupils model each winter, and it would be\\nvery expensive to cast all their models. The children get a great deal\\nmore skill in being able to build up their forms with such solidity. It re-\\nquires more skill to keep the clay of a regular consistency, so that it will\\nshrink evenly without falling down. Of course, if a plaster cast only is de-\\nsired, supports can be used inside, or lead pipe can be bent into the recpiired\\nshape. This makes it more easy to model the forms. A plaster cast, how-\\never, breaks very readily, chips easily, and, if handled very often, looks quite\\ndirty in a short time. I recommend for school purposes keeping and firing\\nthe original models.\\nMany choice forms suitable for modeling can be found in the pictures\\nof the carving department. All the conventional forms of the dilTerent\\nstyles make suitable subjects for modeling.\\nBefore dolphins, griffins, grotesques and other complex forms are\\ncarved, they should be modeled.\\ncModeling Natural Forms* It is only possible in a book of this char-\\nacter to give suggestions for work on a few subjects. As many natural\\nforms as possible should be studied. When I speak fully and at length\\nabout shells or fish, it must not be understood that I mean only those forms.\\nBirds, crabs, and animals of various kinds should be studied in the same way.\\nMy idea is simply to suggest suitable forms and ways.\\nEach year we find it feasible to try new subjects before thought not\\nattainable in the school rooms. Shells and fish, butterflies and birds, have\\nbeen seldom used by large numbers, as they are now used for some of our\\nclasses. I find them durable and lasting to a remarkable degree. Stufi^ed\\nbirds in the studio, that have been roughly handled for 18 years by private\\npupils, are still fit for use. The colors especially seem to be quite permanent.\\nThe fish forms illustrated in Book Two, beginning on page 143, are all\\nused for models in the art schools, with many others. They are mounted on", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0268.jp2"}, "267": {"fulltext": "Animal Forms\\n253\\npanels of wood and are very durable. They are used in the modeling room\\nas much as in the drawing room.\\nModeling the fish in clay seems to make a very enduring impression\\nupon the mind. The children are really fascinated, for the time being, with\\nlUustiation 310\\nModeling Fish Foi ms\\nReal mounted iish are used as models. Birds, fish, butterflies, shells, etc., are also kept lor general use in the\\ndrawing, modeling and carving rooms, as well as casts of various art and nature forms. Conventional forms are\\nalso made, embodying fish forms, such as dolphins, grotesques, etc.\\nthe strange and sometimes beautiful forms and colors. The mspiration is in\\nthe natural forms, as it should be, and the mere contemplation of the forms\\nseems to influence the pupils to action. It is inspiring to the true teacher to", "height": "3316", "width": "2449", "jp2-path": "newmethodsineduc02tadd_0269.jp2"}, "268": {"fulltext": "254 Modeling:\\nrealize the moving force and power of nature. Bring something into the\\nclass room like a new bird form, or fish form, and all of the children follow\\nit with their eyes, which seem to almost stick out; there is no lack of atten-\\ntion here, the magnetic influence is at work, the divine energy is flowing.\\nWe should flow with it instead of trying to thwart it, as is too often done.\\nThis magnetic and energizing power of nature has a splendid influence on\\nthe physical, mental and moral development of the young. It also fills the\\nchildren with interest, imbues them with vigor, inspires them to think and\\nwork, while at the same time giving them an appreciation of beauty that\\nadds vastly to the ability of the young to enjoy life.* These are certainly\\nmost desirable attributes to develop in youth, for whatever one s vocation\\nmay be, the individual should be the better for this training. It is thus dis-\\ntinctly practical, and commends itself to the most materially inclined, as\\nwell as satisfying the more ethical aspirations of our nature. The emotion\\naccompanying every generous act adds an atom to the fabric of the ideal\\nman. By working direct from beautiful natural forms we unite the emo-\\ntion with the action, and thus still more thoroughly educate.\\nThe tile is first made, as in Illus. 310, and then the fish is built up piece\\nby piece, taking care to keep about the general proportion. Then the tool\\nIs used to get the surface and fine curves. When the bulk of the body Is\\nabout right in proportion, then the spines, fins, eyes, etc., can be added and\\nthe details made upon them, the scales usually being the last thing repre-\\nsented. Fish can be readily cast in plaster, and are very easy forms to begin\\nBeauty is not a luxury, as some seem to believe. It is not the exclusive privilege of the few but the common\\nheritage oi the many. The rich cannot monopolize it, and persons of taste cannot appropriate it to themselves. There\\nIS in every human breast a sense of responsiveness to the beauty of the external world, and the difference is only in\\nthe degree to which that sense is developed and cultivated. It is confined to no class, to no age, to no stage of civiliza-\\ntion. It is an universal hunger, and its cravings demand satisfaction as urgently in the cabin as on the throne.\\nAnd yet this sense of beauty is too often repressed and crushed instead of being nourished and educated as it\\ndeserves. Much happiness is thus lost out of life, for the sense of beauty, wisely administered to, is a wellspring of\\npleasure. It is even more than this. It is a fountain of life itself. It adds to its fullness and energy, its refinement\\nand delicacy, its sweetness and purity. The life from which it is ungraciously pushed out grows inevitably harder\\nand rougher, coarser and colder, and its influence over other minds deterioriates in the same way.\\nHo w shall this sense of beauty be saved and educated, for rich and poor, for old and young? One way is by\\ncontact with its presence. Another and still surer means of cultivating the sense of beauty among us is to accustom\\nourselves to create it in daily life. This is a part of education and of self-culture that is sadly neglected.\\nThen there is the beauty of truth and of character. Perhaps we dwell too much upon the dry and stern aspect of\\nduty and forget to exhibit or to admire the Ijeauty of goodness. But as fast as duty, instead of a sacrifice, becomes a\\ndesire, and the love of righteousness becomes the ruling motive, does the character become noble, admirable and\\nbeautiful. So all beauty is bound together and leads up from the smallest things of life to the greatest; from tli3\\nmost material to the most spiritual; from the simplest and humblest to the most exalted. [Anonymous.\\n1", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0270.jp2"}, "269": {"fulltext": "Animal Forms\\n255\\nupon in doing- plaster casting. The forms are comparatively simple and\\ncan be removed from the mold without difficulty.\\nThis work of modeling looks simple, and it is easy when you know how.\\nThat is to be learned by actually modeling, rather than by reading about it.\\nThe suggestions given in these pages will help, but you must do the work\\nto realize its educational power. The more you model, the more facility\\nand accuracy you will obtain, and the more you will be fascinated with this\\nmode of thought expression.\\nIjrirtin, Original Design\\nModeled by a R. C. high school boy, for architectural use.", "height": "3316", "width": "2449", "jp2-path": "newmethodsineduc02tadd_0271.jp2"}, "270": {"fulltext": "H\\nhJ] vo", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0272.jp2"}, "271": {"fulltext": "Oi-iginal Design Modeled in Wax\\nThe design is afterwards cast in plaster and the wax used again.\\nCHAPTER VII\\nWax Modeling-\\nCTT HE DESIGNS SHOWN IN THE PLATE on the opposite page\\ng are modeled in wax, and were made by grammar grade pupils.\\nThey are either their original patterns or heads, antique forms and\\nbird forms which they have copied. For convenience, boards 8x14 inches\\nare used to model on, as illustrated above. The pupil first makes a drawing\\nor sketch in chalk on the board. When this is satisfactory it is then lined in\\nwith the pencil.\\nThe wax is much stifi:er than ordinary clay. It is sometimes also quite\\nsticky and not so pleasant to use as clay. We use it simply be-\\ncause it can be kept an indefinite time, and very fine complex pieces of work\\nrequiring a long period of time can be kept from month to month on shelves\\nwithout their having to be moistened, as is the case with clay. Unless the\\nclay models are wet at frequent intervals they dry up and crack and are of\\ncourse spoiled. With the wax a piece of work can be labored upon for\\nmonths if necessary. Real modeling wax is worth about $1 a pound, the\\nbest kind. There are several very good substitutes, however, on the mar-\\nket under several names, which are quite as good for general use. Com-\\nposition clay is used frequently, costing about 30 cents a pound. The\\n1- (^57)", "height": "3316", "width": "2444", "jp2-path": "newmethodsineduc02tadd_0273.jp2"}, "272": {"fulltext": "258\\nModeling-\\nlustration 313\\nsame tools are used as in clay modeling, and if the wax is a little sticky it\\nis advisable to have a cup of water to moisten the tools and fingers occa-\\nsionally.\\nWood of a little roughness in texture is the best to model upon. Wax\\nmust be rubbed into the surface so that it will stick firmly. On this sur-\\nface the form can be built\\nup into the desired shape,\\nplaning off with the tool\\nand forming it as described\\nin the clay iiiodeling. Wax\\nis used for modeling very\\nfine forms to he cast in\\nmetal and other materials.\\nMedals and coins are \\\\isu-\\nally modeled in wax. A ^ery\\nline and beautiful work can\\nbe made with small tools.\\nA common slate with a\\nwooden rim is a useful sur-\\nface to model upon.\\nIt is advisable to allow\\nsome of the advanced pupils\\nin each class at intervals to\\nwork in wax. For general\\npurposes, however, it is not\\nso good as clay. Do not\\nallow pupils to make very fine work all the time. Let them occasionally\\nmake a large, bold piece for contrast. Wax can be purchased in a number\\nof colors, bronze-green, brown, red, gray. For general purposes gray is\\nbest. Bronze-green is very suitable for figure work, having somewhat the\\nappearance of a bronze when finished.\\nWax or composition clay is also more portable than common clay and\\nhas been used with success in several of my summer schools. Models of\\nanimals, figures, designs, can be boxed and carried with safety when modeled\\nin wax, when a clay model would be broken. The clay when dry is very\\nbrittle, and any sudden jar or shock will break large and heavy work unless\\nOriginal Panel in Wax\\nThe form is modeled in an upright position by being clamped\\nto a board. The same form with different lighting is shown oppo-\\nsite. By viewingthe model with the light and shade changed it\\ncan be improved. It is important to get good light and sliade.", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0274.jp2"}, "273": {"fulltext": "Wax Modelingf\\n259\\nit is fired. For this reason wax is a good siil3Stitute. When the wax has\\nbeen used many times and becomes discolored or dirty, it may be cleaned\\nby melting it.\\nThe plate or designs made by grammar grade children, page 256, has\\nbeen taken h om casts made from the wax models and then the wax is used\\nIllustration 31+\\nModeling a Dolphin in Wax\\nThe form can be rapidly chnaged and improved when viewed in a different light. Use the fingers\\nand thumb as a tool, as illustrated in the above picture, as much as possible. Fine cui-ves and swinging\\nlines can be made this way.\\nover again many times. Simple designs of this character can be readily cast\\nby the pupils or teacher in the following manner\\nWhen the wax pattern is finished, build a wall of clay around the edge\\nof the design about one inch high. This wall, or fence, of clay, must entirely\\ninclose the design with desired margin. Next take a tin vessel and put in\\nenough water to more than fill the inclosed space. In this water sprinkle\\nthe dry plaster with a large iron spoon, stirring it slowly until about the con-\\nsistency of thin cream. When in this state, pour over the wax model, taking", "height": "3316", "width": "2444", "jp2-path": "newmethodsineduc02tadd_0275.jp2"}, "274": {"fulltext": "260\\nModeling-\\ncare to see that the Hquicl fills all the pattern and space without any large\\nbubbles; this will soon set and harden, and should be about one inch thick.\\nThe clay rim can then be removed, the plaster tile lifted from the board, and\\nit will l)e found to retain the form of the wax model. When the plaster\\nmold is hard, the wax can be pulled out, leaving the exact shape of the\\nmodel reversed in the plaster. This is the mold.\\nFrom this mold another cast may be made that will repeat the form of\\nthe wax model. To do this, a clay wall must be built around the mold,\\nand the surface and all parts of the impression upon it must be brushed with\\nsweet oil; this prevents the new plaster, when poured in, from sticking to\\nthe mold. The liquid plaster can now he poured in. When it is hard the\\ncast can be separated from the mold l)y tapping it gently or inserting a\\nblunt knife as a lever. If successfully done, the cast should be a complete\\ncopy of the wax model.\\nOf course this can only he done with flat forms that do not project on\\nthe edges to prevent the mokl and\\ncast from separating. If any edge is\\nundercut, it must be filled with wax,\\nto insure good results. This is a good\\nway to make some of the class work\\npermanent and also interests the chil-\\ndren. Sometimes the mold is slight-\\nly colored l)y mixing red clay or\\nOiher coloring matter with the plaster\\nbefore it sets.\\n/n\\nri- m- V\\nEnlarging- Animal Forms\\nThese low relief forms are modeled in wax from small casts.", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0276.jp2"}, "275": {"fulltext": "BOOK FOUR\\nWood Carving\\nThe hand, destined to become Ihe instru-\\nment for perfecting- the other senses, and for\\ndeveloping- the endowments of the mind itseli\\nis, in the infant, absoluteh powerless. The\\nHand, Sir Charles Bell, K. G. II., F. R. S.\\nAwkwardness of limb and inabilit-v to use\\nthe fingers deftly, continually entail small dis-\\nasters and occasionally great ones; while ex-\\npertness frequently comes in aid of -welfare,\\neither of self or others. One who has been well\\npracticed in the use of his senses and his mus-\\ncles, is less likely than the impracticed to meet\\n\\\\vith accidents; and when accidents occur, is\\nsure to be more efficient in rectifying mischiefs.\\nWere it not that the obvious trutli is ignored,\\nit would be absurd to point out that, since\\nlinibs and senses exist to the end of adjusting\\nthe actions to surrounding objects and move-\\nments, it is the business of everyone to gain\\nskill in the performance of such actions.\\n[Spencer, Principles of Ethics, page 515,\\nTT^\\n/S\\n;1^ -U\\n.ft\\nV", "height": "3316", "width": "2444", "jp2-path": "newmethodsineduc02tadd_0277.jp2"}, "276": {"fulltext": "O\\nI\\nZ\\nc\\ncJ.::^\\nJi 3\\no\\n~.U1\\nCQ\\nQ.\\nc^\\nbis\\nC J3\\n-1-5\\noi\\n-o-n\\nIH\\nQh\\nb;.P\\nJ m\\n^2\\no\\nu-^\\no\\noH^\\n.e.2\\nu\\nU)\\nEH\\no\\no\\nXI\\nE.g\\n-1\\no\\nQ-\\nM o!\\nc\\no\\nO^i\\nn\\n\u00e2\u0096\u00a0r\\ncc;\\n6r\\nby\\nrt Tt-\\nm-\\np o\\nCJ\\nfV-rt\\nu\\nsr\\ny\\n-n\\no\\nte\\no\\n\u00c2\u00bbJt1\\n!^t3\\nIH c\\no\\n0-S\\n^ti\\naj\\nrt .5\\nbi!\u00c2\u00ab\\nt\\nf\\\\S\\nn -1\\nb c\\n;_\\nE o\\na,\\nbCi;\\noiE\\n0) (A\\n^8", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0278.jp2"}, "277": {"fulltext": "Designed and Carved by High School Pupil\\nCHAPTER I\\nTools for Wood Carving\\nDesign in Wood\\nT T700D CARVING is one of the most beautiful of arts. It requires\\nf/t^ a real knowledge of form, therefore its educational value\\nlies in enabling pupils to receive fixed or permanent impres-\\nsions. Just as pupils acquire dexterity and skill in drawing on blackboard\\nor paper, and just as they gain similar dexterity and skill in soft clay, so T\\nwish them also to obtain dexterity in tough wood.\\nThe tools required in carving are very simple. A few gouges and\\nchisels and a mallet, with clamps to hold the work on the table or bench,\\nwill be enough. In wood carving, as in carving in marble or other slone,\\nfew tools are needed; the fewer the tools used, the better the workman. A\\n*The carvin;\\n.s and similar work illustrated in this chapter are all done by the children of the various grades.\\n(263)", "height": "3316", "width": "2444", "jp2-path": "newmethodsineduc02tadd_0279.jp2"}, "278": {"fulltext": "264\\nWood Carving;\\nmallet and a few chisels are the only tools used in sculptured work, and as far\\nback as we can trace in history the tools appear to have been similar in shape.\\nOn the back of the Venus of Milo rough tool marks may be seen that in-\\ndicate to us the kind of edge and size of chisel used in that period of the\\ngreatest Greek art.\\nThe Tools* In carving, the simpler the chisels and the fewer in num-\\nber that are used the better the\\nIllustration 316 r- 1\\nresult. Some carvers have\\nrows of 50, 60 or 70 different\\nchisels, but these are usually\\nnot very good carvers. Again\\nsome of the finest carvers will\\ndo all their work in wood,\\neven the most intricate and\\nmost elaborate sculpture work,\\nwith perhaps no more than\\nhalf a dozen. My sets for or-\\ndinary school purposes usu-\\nually consist of about 10 tools.\\nIt is far better to become thor-\\noughly familiar with all the\\ncapacities of a few tools than to handle a great variety.\\nAge at Which to Learn* As soon as children are big enough\\nto swing their elbows freely above the table or bench, they are ready for\\ncarving. Carving is work; not hard work, but work that compels the ex-\\nercise of a certain amount of energy. Some women are deterred from\\ncarving because they think it is hard, and requires the exercise of main\\nstrength continually. This is not so. Like marble carving, wood carving\\nis re-enforced by the use of the mallet. If the chisel or gouge cannot be\\nreadily pushed through the wood, the mallet is used, and any one who has\\nstrength enough to drive a tack can cut the hardest wood. Children of\\neight or nine, therefore, unlesstheyareconstitutionally defective or very weak,\\nare quite large enough and strong enough to carve, and usually enter into it\\nwith a great deal of energy and joy. It is fun to them to see the chips fly,\\nand they find it especially attractive when they discover that from the be-\\no-innine thev can make fit and beautiful forms, rather than the amateurish\\nClamps and Mallet for Wood Carvinu", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0280.jp2"}, "279": {"fulltext": "Tools for Wood Carvingf\\n265\\nthings used in some schools, where the children spend their energies on\\nfeeble imitative constructions in wood.\\nJust as our children from the beginning are fit to draw forms of the\\nbest style, embodying beauty and grace; and just as in modeling they can\\nmake fine forms of the best periods, so in wood we find it to be of ad-\\nvantage that they should from the beginning do the best class of work pos-\\nsible, and become familiar with the forms best suited for this material. It\\ndoes not follow that because a mind is young, it is less bright and clear in\\nperceiving beautiful and true things. It is just as wrong to give children\\nfeeble, aimless forms to model and carve because they are young, as it is to\\nutter baby talk to them when we wish them to speak clearly and to enunciate\\nproperly.\\nThe Wood to Use* Do not let the pupils use soft wood at first,\\nsuch as pine or poplar. This advice, it is true, is opposed to the\\nIllustration 317\\nSet of Carving Tools\\nIncluding small sharpening- stone. With this simple and inexpensive\\nset of tools all ordinary carving can l^e done.\\nusual practice in schools. Usually the pupils are allowed to chip blocks of\\nsoft pine or poplar. This is a mistake. From the very beginning our pupils,\\nas can be seen by the illustrations, make in hard wood panels fit to be\\nutilized. My reason for using hard wood is that the children from the first", "height": "3316", "width": "2444", "jp2-path": "newmethodsineduc02tadd_0281.jp2"}, "280": {"fulltext": "266 Wood Carvingf\\nmay get accustomed to the texture in ordinary use; most carving being\\ndone in oak and mahogany, cherry and wahiut, while only occasionally are\\nsoft woods employed. The best and the cheapest wood for school pur-\\nposes is oak. It is a little tough in texture, and offers just enough re-\\nsistance to prevent it splintering and cutting too freely. If you give a be-\\nginner a piece of very soft wood, it splinters so readily that when attacked\\nwithout skill, the forms are soon spoiled. With a piece of hard wood, on the\\ncontrary, a great deal of cutting can be done without splintering the work.\\nOf course it requires more labor, but the product is better, and there is\\nnot so much disappointment. The grain being of firm consistency, it does\\nnot give way in unexpected places, as it so often does in the soft wood.\\nDesigning the Form to Carve* The pupils should from the stan\\nmake a design that will be of use and alue. The first panel can embody\\nthe forms that have been given in the modeling. It is not necessary to\\ncarve a series of panels, each of which has a separate unit on it. The\\nunits may be combined from the beginning, and a panel that will have some\\nvalue and that can be used for some purpose is the result. In every article\\nprinted about carving heretofore, pupils are recommended to practice cut-\\nting on soft blocks of wood first, apparently just to get exercise. They are\\nadvised to use tracing paper to transfer drawings to the wood; sometimes\\ncarbon paper is recommended; at other times tracing cloth, or they are\\ntaught to use a pattern wheel, this is a wheel with little spurs on it that\\nprick the outlines through the pattern into the wood. Some even advise\\nthe making of stencils, the forms being cut out in stiff paper in order that\\nthe pupil may draw around the edges, and so produce the designs. These\\nare very erroneous bits of advice, and such methods must be avoided\\nby the carver who does not wish to be a feeble amateur.\\nLet the pupil take a piece of chalk and draw freehand a simple pattern,\\nsay the scroll doubled. Reserve a simple band around the edge of the\\npanel about half or three-quarters of an inch in width. Practice making\\nthis drawing till the scrolls balance and fit the space. It is a little difficult\\nto draw freely on rough wood, but with practice it can be done readily. Add\\na few crockets if desired, each added form making the carving a little more\\ncomplex. As soon as the form is satisfactorily placed, then with a soft\\nlead pencil one with a thick lead preferred make the outline permanent,\\ndrawing the line heavily, so that it will not rub off. Any good teacher will", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0282.jp2"}, "281": {"fulltext": "Tools for Wood Cai-ving:\\n267\\nsee the absurdity of advising children to trace or to paste on the wood or to\\nproduce by artificial means a pattern that ought to be produced automat-\\nically by the hand of the pupil. It is because from the very beginning we\\ncompel our pupils, on all various surfaces and in the different mediums,\\nIllustration 318\\nPositions of Hands in Carving\\nThis picture represents four hands gripping tools in various positions. In cutting from right to left\\nthe left hand will usually be guiding the tool and also resting on the work to prev(jnt the tool from\\ngoing too far.\\nto make the work freehand, that we get the results we do uniting hand\\ndexterity with originality of product. I have in one school alone 900\\npupils carving, and have never had two patterns made exactly alike since the\\nschool started. This drawing on the wood, in the beginning with the", "height": "3316", "width": "2444", "jp2-path": "newmethodsineduc02tadd_0283.jp2"}, "282": {"fulltext": "268\\nWood Carvmgf\\nIllustration 319\\nixfe\\nU---.\\n\u00c2\u00ab-\u00c2\u00bb5r;*rt5\u00c2\u00ab\u00c2\u00bb? i ,tiV;f.\u00c2\u00bba i;iT?,feV\\nJ- 4\\n\u00e2\u0096\u00a0I\\n1 f\\n,^v i\\nchalk and then with the lead pencil, gives very good practice. It requires\\nonly a few minutes to do it, and makes the children feel in the beginning\\nthat the work is their own. It is very wrong to allow pupils to cheat; and\\nit is really a sort of deception when they are allowed to claim as their own\\nwork that which has been copied or traced.\\nThe background can now be scored with the pencil all over. (Illus. 319.)\\nThis prevents the pupil from cutting out the ornament instead of the back-\\nground, a mistake w h i c h\\nwill frequently occur unless\\nproper precaution is taken. It\\nis only by repeated experience\\nthat pupils begin to grasp the\\nidea of form on (lat surface.\\nVery few can see a back-\\nground all over and distin-\\nguish it readily from a pattern\\non the background, unless\\nthey have had practice in\\nmaking these forms. Even\\nadults will frequently cut out\\npart of a pattern by mis-\\ntake, and do this several times before they get accustomed to distinguish the\\ndifference. It saves trouble, therefore, to score the background in every\\ncase with beginners. Then very little work is spoiled.\\nAs to Graded Work* Illustrations are given herewith of graded\\npanels showing the different elements of design separately cut and ex-\\nhibiting the different stages. These are made simply to illustrate the steps\\nin carving, a first, a second, and a third stage. They must be carefully\\nstudied in advance, and then it will be easier to make the first attempt. In\\nour schools the children see all these operations going on at once, on the\\ndifferent panels. They soon take in the idea, and we find in consequence\\nthat it is not essential for each one to make the different units separately,\\nbut they can begin on panels.\\nA number of pictures of panels with graded exercises have also been\\nprepared for those who like to systematize things. These forms, how-\\never, are mainly useful for pupils who have never had any practice in draw-\\nBackg-round Marked Over for Cutting Out", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0284.jp2"}, "283": {"fulltext": "Tools for Wood Carving: 269\\ning and modeling. All the pupils in my schools receive the drawing and the\\nmodeling from the beginning, in rotation with wood carving, this rendering\\nit imnecessary for them to make the elementary forms. Usually a pupil who\\ncan draw a good scroll, and who has modeled the same, can begin to produce\\nit with the chisel in the first lesson.\\nIllustration 320\\nV\\n1\\nA Pictuix- Frame Designed and Carved by Grammar Grade Pupil", "height": "3316", "width": "2444", "jp2-path": "newmethodsineduc02tadd_0285.jp2"}, "284": {"fulltext": "b/} x\\nu\\n-a\\no\\no\\nm", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0286.jp2"}, "285": {"fulltext": "C\\n1\\n1\\n1\\nCarvud by Graiuiiuir Grade Fupils\\nCHAPTER II\\nInstructions for\\nElementary Carving\\nOW TO CARVE. Take a gouge, and without removing the lead-\\npencil marks from the panel, gouge a channel around the design.\\nGrasp the tool firmly in both hands. There is no one position for\\nholding the chisel (see Illus. Nos 322 to 326), but in doing this work, the\\nchisel should change from one hand to the other, as we work from right to\\nleft or the reverse, sometimes one hand guiding the chisel and sometimes\\nthe other, but most of the time both hands grasping it tightly and helping\\nto guide it.\\nCutting tough oak is splendid discipline. Unless the tool is held\\nfirmly, it is likely to slip and cut the wrong place. The w^ood being easy\\nto cut with the grain and hard to cut against the grain, it is difhcult at\\nfirst to make the chisel sweep around a curve, because some part of it will\\nbe hard and resist, while the parts of it that go with the grain will be soft.\\nA very few attempts will enable a pupil to find out this characteristic. It\\nis one of the things that we can properly learn only by experience. All the\\nspeech in the world and all the talk of a dozen teachers will not enable one\\nto feel these things. If the tool is not very sharp, or if the wood is a little\\ntoo hard to be cut with a simple pressure of the hands, one hand can hold\\nthe chisel and the other drive it, like a mallet, or the mallet even may be\\nused.\\n(371)", "height": "3316", "width": "2444", "jp2-path": "newmethodsineduc02tadd_0287.jp2"}, "286": {"fulltext": "272\\nWood Carving\\nIt is better, however, In the beginning, to practice as much as possible\\nby pushing the chisel through the wood, so that both hands can get the\\npower to grip the tool tightly, and at the same time to guide it. Do not be\\ntoo anxious to remove the wood quickl3^ Endeavor to make free curves\\nfrom the beginning. It is perhaps better to make slight grooves at first\\nIllustration 322\\nWood Carving-\\nThis picture shows method of clamping work to the bench, position of tools and method of grasping tools\\nwith both hands. Various pieces of work carved by the boys are in the background.\\nand then gradually increase them in depth as one s power increases. It\\nwill be found very soon that while one hand guides the tool the other will\\nhold it back as much as possible. These movements must be practiced\\ncontinually till the wood is entirely removed around the whole pattern.\\nThe gouge can then be used to remove roughly the rest of the background,", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0288.jp2"}, "287": {"fulltext": "Instructions for Elementary Carvingf 273\\nworking the chisel as freely as possible and taking care not to cut too deeply\\ninto the wood. About one-quarter or three-eighths of an inch is quite\\nenough. Do not attempt to smooth up the background in the beginning.\\nOther tools can now be taken and the forms can be cut sharp and clean\\naround the edge. This is done by taking a curve that will fit the edge, and\\ncutting it down vertically with a few taps of the mallet. Endeavor to make\\na continuous clean cut with the tool, fitting successive tools to the altering\\ncurve of the outline. Do not let it show irregular marks. Do not try to\\nmake a wide curve with a narrow-curved tool. From four to six curves\\nwill fit almost any part of a scroll. Where the curve is acute, a chisel of\\nquite an acute curve must be used; where the curve is almost flat, a flatly\\ncurved tool is required.\\nIn using the mallet, the pupil from the beginning must get accustomed\\nto holding it in both right and left hand. Do not let the pupils become\\nright-handed, that is, so that they can use the mallet with one hand only.\\nA good carver should be able to work both ways, changing the mallet from\\nhand to hand just as the tool is changed from hand to hand, according to\\ndirection. Sometimes the entire background can be cut out this way,\\nusing the tool and mallet. It is a matter of choice to the individual. An\\nexpert carver will not consider the line or the drawing, but from the begin-\\nning will sweep out with a large, deep gouge as much of the background\\nas possible, afterward shaping the different parts of the design. As soon\\nas the whole design stands up clean and well drawn, and as soon as all the\\nbackground has been removed from every part, the pupil must begin to\\nmodel the raised part.\\nCarving the Raised Surface* This is the most difficult part of the\\ncarving, and to be done skillfully requires that the pupils should feel form\\nin the wood with the chisel, just as we feel it in the clay. Select the gouge\\naccording to the curve required on the scroll. Next carefully draw a line\\non the design representing the modeled edge, or the edge that stands up.\\nThen take the gouge and scoop out the inside curve around each scroll to\\nthis line. Do a little at a time, gradually letting the chip grow smaller as\\nwe come to the end of the sweep. Usually we carve this out about half\\nthe depth of the wood, just as we have in the past modeled the form. Prac-\\ntice swinging the chisel in both bands around the curve, making clean,\\nsharp cuts, the pressure being put on the chisel with one hand, while being", "height": "3316", "width": "2444", "jp2-path": "newmethodsineduc02tadd_0289.jp2"}, "288": {"fulltext": "274\\nWood Carving-\\nguided and held by the other. Most of the time in doing this work one\\nwrist will rest tirnily on the work. This support gives a kind of center and\\nleverage that enables one to cut around the curves without much difficulty,\\nIllustration 323\\nWood Carving\\nTwo other positions of holding tools. Variety of carved panels in the background. These boys are carv-\\ning portions of a very handsome piece of furniture.\\neach hand helping, one holding back and the other pushing. Curve out\\nas carefully as possible the inside of each scroll.\\nThen take a chisel that is almost flat and bevel ofi^ the outer edge. This\\nis a little more difficult and great care must be taken not to chip or break the\\nmodeled edge. The inside curve of each crocket must be scooped out and\\nthe outer edge beveled with a nearly flat chisel. Take care of the tips of\\nthe crockets. Do not under-cut them so that they chip off. It will not\\nmatter if some of the crockets are broken in the bes inning. They can be", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0290.jp2"}, "289": {"fulltext": "Instructions for Elementary Carving 275\\nmade smaller, and, if they break again, cut still smaller, or if necessary the\\ndesign can be rendered without them. Because one crocket is spoiled, do\\nnot cut off all the other crockets. Practice on those also. It is very fool-\\nish to see some pupils, because they have spoiled or cut off by mistake one\\ncrocket, cut off all the others. Practice making each crocket, trying to\\nkeep it sharp and to get the curved edge and the bevel edge with facility.\\nPoHVer in the Hand* Two or three panels must be carved before\\none becomes familiar with the grain of the wood. In cutting around a single\\nscroll, the direction of the chisel must usually be changed four times on\\naccount of the grain. This seems a little troublesome at the\\nstart and puzzles a beginner, but by the time we have cut half a dozen\\nscrolls, the work begins to grow automatic. We no longer have to think\\nabout it, and attention can be confined to the shape which we are carving,\\nthe hands almost unconsciously having become aware of the texture of the\\nwood in the dift erent positions. This is the power that we wish to get, and\\npupils must be made to struggle with the wood till they reach this stage. It\\nis an uncomfortable experience to pass through, and the first scroll may\\ntake perhaps one, two, or three hours to cut, when later, after facility is\\ngained, it can be done in perhaps fifteen minutes.\\nEncourdge the PupiL Remember, the wood is tough and unyield-\\ning. The pupils must be encouraged They must be told what to expect.\\nUnless a pupil can see an expert cut the wood, the experience they receive in\\nthe beginning of lack of power is very depressing. But the wood will answer\\nto every touch like plastic wax when once the capacity to carve is acquired.\\nTherefore, again I say, encourage the pupils at this stage. Because oc-\\ncasionally a panel is spoiled, that is no reason why a pupil should be spoiled.\\nThe first stages of a carved panel are also very depressing to look at. It\\nis the last few touches, the smoothing touches and the stamping of the\\nbackground that make the essential difference. Scores of times in my ex-\\nperience I have found that the pupils, who are most stupid in the be-\\nginning, the ones who make the most awkward attempts, who seem to be\\nall thumbs and despair, are the ones who develop into skilled workers.\\nDo not, then, because the wood is hard and brittle and notched, and be-\\ncause struggling and strength and reliance are required, let the pupils fail\\nto use these qualities. I consider that our children have learned a most\\nvaluable lesson when thev become able to make a piece of tough wood", "height": "3316", "width": "2444", "jp2-path": "newmethodsineduc02tadd_0291.jp2"}, "290": {"fulltext": "276\\nWood Carvingf\\nassume the desired beautiful shape. In reaching this stage they have had to\\nexercise their patience, they have had to struggle with both hands and\\narms; they have had to compel their hands to obey their minds; and to do\\nIllustration\\nWood C;irviny; Position in Malleting\\nWork of pujiils should bu disphiyed around the chiss rooms, as illustrated.\\nthis, thev have had to bring into application a knowledge of form and a\\ncare and precision that make them embody these qualities. They must not\\ndo all this once or a few times only, but they must form the habit till it\\nbecomes automatic.\\nThe Vdlue of Cdft ing* I regard carving as one of the best means,\\nwith modeling, to impress ]3ermanently and quickly fundamental forms,\\nfixed concepts of form, in the minds of the children. It is comparatively\\neasy to swing forms of grace and beauty on a blackboard or on a piece of\\npaper. There is very little resistance offered to the hand. But is is a", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0292.jp2"}, "291": {"fulltext": "Instructions for Elementary Carving;\\n277\\ndifferent matter to swing these tilings in a tough piece of wood. I want\\nthe pupils to be able to look at a flat panel or a rough block of wood and to\\nsee its possibilities and potentialities. I want them to be able mentally to\\nsee the design in the wood, and with the fewest touches to form this pat-\\ntern, not by picking it out, as too many often model and carve, bit by bit\\nand chip by chip, but by freely drawing with the tools in the wood. This\\ncapacity can be acquired, and all good carvers have it, their work looking\\nvery different from that of amateurs.\\nUse of Finished Work* It is important for children to see fin-\\nished pieces of work. In all my class rooms, even in the night schools, we\\nIllustration 325\\nWood Carving\\nPosition when using the hand as a mallet. The hands should swing as freely as possible over the carving\\nput all the finished work around the rooms a certain length of time, as may\\nbe observed in the illustrations. The pupils thus get ideas. They can see\\nthe application of the work, and can follow it in its different stages.", "height": "3316", "width": "2444", "jp2-path": "newmethodsineduc02tadd_0293.jp2"}, "292": {"fulltext": "278 Wood Carving\\nAnother plan that I have pursued, Is always to allow the children to\\nown their work. It must not be kept by the school altogether, to be used\\nfor exhibition purposes, but should always belong to the child. I In-\\nvariably let them take their pieces home for parents and friends to see; then\\nif necessary they can be brought back and hung up a certain length of time,\\nusually till after the spring exhibition, when all work is carried home by the\\npupils. Those who are the most discouraged in carving, who find that it\\nIs almost impossi1)le to work out the backgrounds and to struggle with the\\ntough wood in the hard places and In the corners, where it is so difficult to\\nremove, are the very ones who need the work the most.\\nFor educational purposes, experience has taught me that a certain\\nproportion of children will dislike drawing on a surface, a certain proportion\\nwill dislike clay work, and a certain proportion will dislike carving In wood.\\nFrequently these are the very pupils who do exceptionally well In the other\\ndepartments. Do not let them for this reason work only In those depart-\\nments. It is in cases like this that we need the value of the work as dis-\\ncipline. I have never known a pupil, l^ecause he liked modeling and dis-\\nliked carving, to stop work altogether Ijecause he was made to carve. He\\ndoes the carving because it Is part of the course, and the modeling because he\\nlikes it, or the reverse. After a while all the pupils are intelligent enough to\\nrealize the value of each department as training, and are willing to pursue it\\nIrrespective of their likes and dislikes.\\nAs d irdining* The bitter must be taken with the sweet. Never\\nallow pupils to elect the branch in which they should work, unless In case\\nof constitutional defect, when exceptions can be made; for Instance, when\\nthe pupil is a cripple or is physically weak. There is a great dispo.sitIon\\namong parents, and even among teachers, to let children do as they will,\\nrather than to make them do as they ought. Moral habits must be formed\\nIn children long before you can teach moral principles. In the end the\\nteacher is always justified in the mind of the child when he comes to re-\\nalize the value of the habit, and later of the principle. Carving compels\\nattention mentally and visually, in combination with a certain amount of\\nDr. Phillip S. Moxom.", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0294.jp2"}, "293": {"fulltext": "Instfuctions for Elementary Carving-\\n279\\nmuscular energy that must be exerted, a certain amount of disposition to\\ntug and pull the tough, resisting wood into shape.\\nPersistent activity that requires the use of a close grip with both hands,\\nand that requires all the muscles of the arm and the thorax to be actively\\nIllustration 326\\nOne Position of Hand in Gouging\\nUsually the tools are kept turned in one direction on the bencli, with sharpening stone and mallet near to hand.\\nengaged, is good for the growing children. They are compelled to exert\\nthemselves in the very parts of their being that are but little used and are\\nallowed to be torpid most of the time in schools. The chest muscles, the", "height": "3316", "width": "2444", "jp2-path": "newmethodsineduc02tadd_0295.jp2"}, "294": {"fulltext": "280 Wood Carving:\\nbreathing muscles, the muscles of the arm and the upper part of the body,\\nare all actively exercised in carving. This is doubly valuable to children,\\nbecause their school work gives them a disposition to lack energy, making\\nthem torpid in a measure. I have seen children who are actually too tired\\nthrough the training they have had, to be willing to grip the handle\\ntight for a continuous period. This is a very bad condition for the pupil to\\nbe in, and carving in nearly every case removes it. If a carver has any\\ncapacity at all, it will be generally found that he has splendid grip, caused\\nby clutching handles for a certain purpose. We want this capacity in our\\nchildren, and I believe there is a very firm connection between mental grip\\nand physical grip.\\nCarving also is unlike sawing and planing, and a good many other\\noperations that merely require the use of strength without much mental\\neffort, since every touch of the chisel in carving must be guided by in-\\ntelligence. There is no mechanical work about it. The pupil cannot use\\ninstruments of precision or other mechanical aid. There is no method by\\nwhich original carving can be done without the use of the mind.* To\\nprevent cutting too far he must exercise continuously the eye, the hand, and\\nthe intelligence, and the hands must continually follow certains forms or lines\\nand those only. That is the reason carving, in combination with drawing\\nand modeling, takes a so much higher rank than all the mechanical methods\\nor the mere teaching of a trade, or those amateur systems of knife-work,\\nwhere a few feeble constructions are made that have been thought out by\\nthe teacher, repetitions of other people s ideas, and where amateur tools\\nare used.\\nFinishing the Cdrving* When the carving has been modeled so far\\nas the pupil can do it, the background can be finished by stamping or left\\nexposed, showing the chisel marks. The former is done by going all over\\nthe surface with the point of a stamp, of course using the mallet to apply\\nforce. A stamp may be made of a big nail filed on the end to the desired\\nshape. Rough or fine backgrounds can be made as desired. This throws\\nout the design and makes the background even.\\nCarving and modeling are much superior means of compelling obser-\\nMachines are now construrted that can copy carving very exactly. But the original piece must first be carved\\nor modeled by the hand and mind.", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0296.jp2"}, "295": {"fulltext": "Instructions for Elementary Carving; 281\\nvation than simple drawing; on account of the forms having been made,\\nthey become fixed in the mind permanently, when in drawing or in looking,\\nalone, this is not always the case. After modeling or carving, usually the\\nfirst time, all the pupils remark the fact that they notice shapes that they\\nhave never seen before on the most familiar objects fences, gratings, build-\\nings, and so on.\\nIt is a fact that not one person in a hundred knows the shape of some\\nof the most familiar forms till they have actually made them. By know-\\ning, I mean, to be able to reconstruct in any way the actual form. They\\nusually have only a partial concept, and the universal peculiarity that is re-\\nmarked among modelers and carvers is the new way they have come to look\\nat things. They perceive things that they had never noticed before in\\ntheir environment, and they cannot help but speak of them continually.\\nThis is simply nothing more or less than that they are beginning to ob-\\nserve to some purpose for the first time in their lives, and are also beginning\\nto put their powders of observation into practice. They assimilate the dif-\\nferences and resemblances of things that they see and embody them in a\\nwork of their own hands and minds. In other words, they have added\\nanother weapon to their arsenal of power.\\nV\\nV^;!\\n^i.-\\nv., V\\nA-- N\\n~v\\nCarved Panel.", "height": "3316", "width": "2444", "jp2-path": "newmethodsineduc02tadd_0297.jp2"}, "296": {"fulltext": "o\\nCO\\nXi\\nW\\nO\\n(X,\\nu\\nu\\na:\\nH\\nI\\nV", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0298.jp2"}, "297": {"fulltext": "H\\n^-v-A ^^i\\nV\\nN\\n1\\nCarved by High School Boy\\nCHAPTER m\\nCarvingf the\\nElementary Units of\\nDesign\\n/N THIS CHAPTER are given instructions in carving some of the units\\nof design and simple forms used for elementary work in drawing and\\nmodeling. In most of my carving classes all the pupils are engaged In\\nmaking these forms in combination, in designs on panels, etc., to be used\\nfor various purposes. For convenience in describing methods, however,\\nthe units have been carved to show three stages or steps in the work (i) the\\nform grooved out, (2) the form nearly finished, (3) quite finished. If these\\ncuts are studied attentively, the work of carving can be readily performed.\\nThe Scroll* The form Is first carefully drawn In chalk until It fits the\\ndesired space, then In soft lead pencil to make it show plainly. Then a line\\nis gouged around the form as shown in Illus. 329, being careful not to cut the\\npattern and to get clean, clear curves. Then the background is partly\\ngouged out. The second step is to cut dowai aro und the form to the re-\\nquired depth and then to smooth the background. The raised part can then\\n(283)", "height": "3316", "width": "2444", "jp2-path": "newmethodsineduc02tadd_0299.jp2"}, "298": {"fulltext": "284\\nWood Carving;\\nbe modeled, with a curved surface on the inside of the scroll and a slope on\\nthe outside, being careful not to cut more than half-way down to the\\nbackground.\\nOne can readily see what valuable training is given to the hand and the\\nIllustration 329\\nCarving- the Scroll\\nThe first part shows the beginning- of the work, the form being- grooved out; the\\nsecond partly completed; the third is the finished carving- of this simple scroll.\\neye, when the pupils can swing these curves freehand in the tough, unyield-\\ning wood. What a valuable training it is, in enabling the hand to swing\\naccurate and true forms on paper or surface of any kind.\\nIllustration 330\\nr\\nCarvinor the I^eaf\u00e2\u0080\u0094 Three Stages\\nThe Simple Leaf* The leaf in this example (Illus. 330) is made\\nabout the same in proportion as the leaf used in drill work and for modeling.\\nWhen the leaf has been carved the form is more vividlv remembered and the", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0300.jp2"}, "299": {"fulltext": "Elemcatary Units of Design 285\\nmagnitude grasped better than through merely drawing and modeling it.\\nTo know this simple form accurately is a help in making all other forms.\\nThe form is first drawn in chalk; when the proportions suit, with soft\\nlead pencil. Then gouge the outline and remove background, as illustrated\\nin the first stage. Now sink the background and partly form the surface of\\nthe leaf. Third, finish curves and ribs. Every touch with tool will help the\\nstudent to embody the shape and draw it better.\\nThe Spiral l^iyith Crockets* This form(Illus. 331) is more elaborate\\nand is made in the same way as the spiral. The crockets make it harder to\\ncarve, because they interrupt the curves, but with a little practice the forms\\ncan be made to flow out with fine tangential curvature. It is dif^cult, at\\nfirst, to make the corners free and clean; they will chip ofT, but a little care\\nwill prevent it. The raised edge, or modeled line, is hard to make fine and\\nIllustration 331\\nJ\\nL\\nCarving Spiral Crockels The Three Steps\\nclean the first few times; it is difficult to prevent it being angular. gradual\\ntransition from curve to curve is necessary. Right here the pupil receives\\nexperience in persistence, application, patience, combined with co-operation\\nof hand, eye and mind. All this has an important influence in forming\\nhabits of industry and a love for w^ork, as well as its influence manually and\\nmentally.\\n^he cAnthemion* (Illus. 332.) Let this be draw^n in chalk, then\\nin pencil. Then (i) remove background, (2) next deepen the background\\nand partly model the various lobes, and (3) then finish the panel. To keep\\nthe long narrow parts of the lobes clean and slender is hard, but with practice", "height": "3316", "width": "2423", "jp2-path": "newmethodsineduc02tadd_0301.jp2"}, "300": {"fulltext": "286 Wood Catvingf\\nall the forms can be nicely modeled with the tools. Use a nearly flat curve\\nfor this finishing work, and feel the curves with the hand continually. The\\ntool should cut convex curves all over the lobes.\\nAll the various units of form should be carved repeatedly in various\\ndesigns suitable for use as panels or enrichments for furniture, etc. All the\\nmodels in the various parts of this work are suitable for carving.\\nJ^settes are forms frecjuently required in carving, and to cut some of\\nthem in wood gives a wonderful accuracy and fitness. The calipers are\\nused to strike the circle (Illus. and the little boss in the center of the\\ncircle. The wood can. then be scooped out with the gouge. On this\\ncurved surface the leaflets can then be drawn. With a curved chisel cut\\ndown the edges, and with a parting tool make the ril3S down the center of\\neach leaflet. Remember, the tips stand up and the background curves in\\nquite deep, the entire rosette being below the surface of the piece of wood.\\nThe stages can be seen at 333, first a part lead-penciled, then the midrib\\npartly cut, and the leaflets at the back. These forms are simply intended\\nfor suggestions, and the actual forms should be studied from examples that\\ncan readily be seen in many places. A second form is suggested at c in Thus.\\n333, partly finished and then completely finished. Pursue the same plan in\\nmaking this form and its variations.\\nSquare l^settes can also be made (Illus. 334). Mark out the form\\nwith ruler, put on the diagonals of the square, make the little circle to rep-\\nresent the boss in the middle of the rosette, and draw the inner square.\\nNext cut around the edge of thedeaves with the chisel and sink the middle\\npart of the leaf, then trim out with a nearly flat chisel the points between\\nthe leaves; next, sink the background still deeper, and put the finishing\\ntouches on with the gouge, as illustrated. In all this work requiring the\\nrepetition of similar forms, we allow the use of the ruler and the compass,\\nsimply to save time. The actual form is cut with the hand many times, even\\nwhen the lead-pencil marks have been cut away, so that it is freehand carv-\\ning, and it is simply for convenience that we space off with the calipers.\\nOf course the spacing also might be done with the aid of the eye alone, but\\nit would never look quite as well. It is only in patterns of this kind, like\\nfrets, rosettes and moldings, where there is constant repetition, that we ever\\nuse the ruler or the compass. In all other work and designs of different\\nkinds, the eye alone Is used.", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0302.jp2"}, "301": {"fulltext": "Elementary Units of Design\\n2S7\\nniustration 332\\n1\\nJ\\ni\\nhustration 333\\nCarving- the Anthemion\\n1\\n\u00e2\u0080\u00a2\u00c2\u00ab\u00c2\u00bb\u00c2\u00bb^jp\u00c2\u00bbm\\n^^^T\\nwta^ar\\nf\\n:f^.\\n1\\n1\\ni\\n1\\ni\\n1\\n1\\n4^\\n1\\nL\\nCarvino Round Rosettes\\nIllustration 334\\nCarving Square Rosettes", "height": "3316", "width": "2423", "jp2-path": "newmethodsineduc02tadd_0303.jp2"}, "302": {"fulltext": "288\\nWood Carving-\\nThe next rosette form in the square is a httle more difficult, b. (Ilkis\\n334.) Place diagonals of the square, as before, make the center boss and\\nthen mark out the darts and the scalloped leaf behind the darts. Then with\\na chisel cut down the outline of the form and remove the background. In\\nmaking the center of the darts, cut the middle line first quite deep, and then\\nslope down to it with a nearly flat chisel. The curved edges of the form\\nlllustralion 335 h et,\\n^r^f\\\\\\niw\\nm\\n\\\\y//\\nCarviniT Fluted Foin.s\\ncan then be made and the ribs gouged out. Pupils should be encouraged\\nto make varieties of these rosette forms.\\nThe next rosette is still more complex, and represents a conventional\\nleaf running out to the four corners, c, Illus. 334. Draw the form with a\\nsoft pencil first, then cut down with a partly curved chisel, remove the back-\\nground, pfouee out the sides of the leaves, as shown in illustration, and\\nround over with a nearly flat tool. The balls can next be modeled and the\\nveins on the leaves gouged out. The background is then finished by\\nstamping.\\nFluted Forms are also used for a variety of purposes in carving.\\n(See Illus. 335.) Mark out the surface to be filled, then the center, then with\\na parting tool make a set of lines ray out from the center, and curve over\\nwith the chisel, lastly making the curved surface at the end of each ray, as in a.\\nThe fluted form in a circle {b) is more difficult. It is sunk in the wood\\nbelow the surface, and a concave form must first be made, leaving the center\\nboss standing up Then make the rays around the circle with the parting tool\\nand curve over. Lastly finish the edges with sharp, clean cuts. The next\\nis a still harder renderinp- of the same form and the ellipse, with the fluting", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0304.jp2"}, "303": {"fulltext": "Elementary Units o\u00c2\u00a3 Design\\n289\\nmaking a double curve, as at c, Illus. 335. The general form must first be hol-\\nlowed in the surface, then the form may be drawn with the pencil and made\\nas before. It is excellent discipline to make each one of these curve and\\ndiminish gradually. An exceeding amount of patience is required, which is\\nvaluable discipline for any one. A steady hand and a true eye are de-\\nmanded, and if these are properly employed there is a sure return, and a\\nproduct that is valuable, useful, and beautiful.\\nConventionalized Forms for Carving* The next illustration con-\\nsists of conventioalized shell forms, 33.6. These are made the same way\\nas the forms just described. The shape is to be drawn with the pencil, the\\nsurface sunk to the desired depth, and then the flutings or lobes are to be\\ncarved. Shell forms are among the most beautiful forms that can be made\\nin wood. They seem especially appropriate, and endless is the variety of\\nbeautiful results that can be obtained by simply changing the depth and the\\nIllustration 336\\nCv\\n1\\n_ v\\n1\\nCa.r viii ys ot Conventionalized Shell Forms\\nrelief of the carving. Sometimes they look very beautiful when scooped in\\nquite deeply, at other times when the\\\\ are raised up in high relief.\\nAfter a few simple forms have been made, like those illustrated, many\\nothers are sure to be observed, and fine carved work of different kinds, and\\nthe pupil will soon have a desire to make them, and the carving of simple\\nforms will readily enable one to grasp the more complex forms when they\\nare seen. Carving, actually making these shapes in the tough wood, is\\nthe best means that I know of for making permanent records of form. This\\n19", "height": "3316", "width": "2423", "jp2-path": "newmethodsineduc02tadd_0305.jp2"}, "304": {"fulltext": "290\\nWood Catvingf\\nis the reason that carving is one of the essential branches in this method of\\ntraining. Many elaborate pieces of carved furniture have been made by the\\nmembers of the teachers classes at the art school. They work very faith-\\nfully and it is valuable as an offset to their sedentary work at the schools.\\nCarved bv Teacher of the Public Schools", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0306.jp2"}, "305": {"fulltext": "iiii\\nCarving- on a Curved Surface\\nThis piece of work, a heavy frame, is clamped in the bench and shows uosition of hands in carving- on the\\ncurved surface. Tlie carving- is to extend all around the frame.\\nCHAPTER IV\\nCarving- on Furniture and\\nOther Advanced Work\\n/0^\\\\RVING IN RELIEF ON CURVED SURFACES.\u00e2\u0080\u0094 -Pupils must\\nly get skill in carving in relief and on curved surfaces, as well as in\\nflat carving. They should make several panels in the fiat, how-\\never, before attempting work in relief. The borders illustrated\\nherewith (339 to 344 are simple and can be used for a variety of\\n(291)", "height": "3316", "width": "2423", "jp2-path": "newmethodsineduc02tadd_0307.jp2"}, "306": {"fulltext": "292 Wood Carving;\\npurposes in the enrichment of furniture, as can be seen by the various\\nillustrations. In making the first strip, which consists of a series of beads\\nof difTerent proportions (Tllus. 339), it is necessary to use the calipers, a\\npair with a screw preferred. The calipers must be sharply pointed, and\\nby fixing it to the size rec|uired, being careful to screw it tightly, the length\\nIllustration 339\\niBMaai\u00c2\u00bbag\u00c2\u00bb ag,a\u00c2\u00bbMi;...\\nBeaded Surface Border\\nIllustration 340\\nTongue and Part Molding\\nof each bead can be accurately marked with the point. As soon as this\\nis done, take a flat chisel and make a slight indentation between each two\\nbeads. Enlarge this till it is of the size illustrated, and then with several fiat\\ntools, of small size, model each ball or curve. It is quite hard to make them\\neven and equal. If one is cut too small, by accident, do not make the rest\\nso. Go on with the work, making them the proper sizes.\\nA spoiled one can be cut off and a piece of wood glued on again to be\\ncarved. Almost all forms carved in wood can be repaired in this way. It is\\nalmost impossible for skilled carversnot to break off occasional pieces. These\\ncan be glued on again, or, if lost, another piece of wood can be glued on and\\nthen cut to the desired shape. It is very stupid to see a pupil cut off all the\\nelevations or points or crockets, as the case may be, simply because one or\\ntwo are broken or spoiled in cutting.", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0308.jp2"}, "307": {"fulltext": "Futniiute and Other Advanced Work 293\\nThe c/^xt ^kce of Molding is the tongue and dart, or egg-dart\\nmolding, (Illiis. 340.) It is seen frequently in wood and stone, and\\nis considered to be one of the best of all moldings. All of these pieces of\\nwood have been shaped by machiner}^ first, and can be purchased, with the\\ndesired curve, at almost any mill. It is not necessary for the student to do\\nthis preliminary work; it would simply be a waste of time. This design is\\nalso to be marked out with the calipers in the beginning, being sure to get\\nthe ovals or tongues equal in size, and to make them of such size that the re-\\nquired number will fill the space. This must be done by marking or\\nmeasuring off the entire surface first. As soon as it is spaced out with the\\ncalipers, take a soft pencil and draw the outline of the raised edges. Next\\ntake a parting tool and form the outline of the tongue and the darts. (See\\ncut.) The next step is to deepen this, as illustrated, then to make the\\ncurve on the tongue and to form the two slopes, making the dart. The\\nbackground can next be cleaned out and the further depression made on\\nthe dart. This work requires considerable care and accurate cutting to\\nmake the darts look even, and is very good discipline. It is best not quite to\\nfinish several forms, simply to block them out and then go over them again\\nwhen the hand is more accustomed to the form.\\nThe next molding is made on a single curved piece, and contains the\\ndart and double curves, producing a more elaborate form. (Illus. 341.)\\nIllustration 3^1\\nPlain Curved Molding\\nThis must be marked out with the calipers, picking out all the points and\\ndistances, after which the forms should be drawn with a soft pencil. The\\nmidrib can next be marked out with the parting tool and the double curve\\nmade with a small gouge. A larger gouge can then be used and the form\\nmodeled over to the groove, with a nearlv flat chisel. Next work out the", "height": "3316", "width": "2423", "jp2-path": "newmethodsineduc02tadd_0309.jp2"}, "308": {"fulltext": "294\\nWood Carvingf\\ndart, keeping- a sharp edge down the center and making the corners sharp\\nand clean.\\nA.nother Easy Molding requiring great care, however, can be made\\non the same curve, as illustrated in No. 342. This is to be spaced off with\\nthe calipers, after which the form can be drawn with the soft pencil. Use\\na small gouge to start the outline of the curved forms, and the straight\\nchisel or a parting tool to start the darts. The form can then be fin-\\nIllustration 342\\nPlain Curved Moldina\\nished as illustrated. The next two forms (343 and 344) are complex, mak-\\ning use of the acanthus leaf curling over at the top. This yields a very\\nbeautiful series of forms for elaborate work. Mark out carefully with the\\ncalipers the size or space to be occupied by each leaf, then draw each leaf\\ncarefully with a soft pencil, as illustrated in the first stage. The form can\\nIllustration 34:;\\nAca .ithus Leaf Moldini;\\nthen be cut in with a curved chisel, using the parting tool to make the rib\\nup the center of each leaf. Next, lower the surface between each two\\nleaves, the rib of the partl_y seen leaf to remain raised. Then the pipes\\nand undulations on the leaflets can be modeled with dilTerent-sized gouges", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0310.jp2"}, "309": {"fulltext": "Fttrnitare and Other Advanced Work 295\\nand flat curves. The top of the leaf can also be cut clown and modeled\\nover, allowing the molding to show behind each leaf. It will be found quite\\ndifficult to get the edge to run straight. The spaces between the leaves at\\nthe top must be made rather deep. The four stages are well shown in the\\naccompanying cut (344).\\nAnother style, on the same kind of molding, is shown in the next illus-\\ntration. Some find this a little harder and some find it easier to make\\nthan the other one. It is to be done in the same way, marking out with\\nthe calipers, as before, the space to be occupied by each leaflet, then cutting\\ndown with the curved chisel the edge of the leaflet, as shown\\nin the illustration, then sinking the part around the leaf, allowing the partly\\nseen leaf to stand up in the middle. The surface is modeled by making the\\nridges and forming two sloping surfaces running to the end of each leaflet.\\nIt is a little difficult to make all these pipes equal in the beginning. All of\\nIllustration 344\\nAcanthus Leaf Moldint\\nthis work should be cut m oak at first. This wood is a little tough and is\\nnot so liable to chip as walnut, cherry or mahogany. Disaster is sure to\\nhappen in a few places at first, but when the leaflet has been carved a num-\\nber of times, it can be done with ease.\\nThe cM^xt Piece of Carving illustrated is elaborate, and should not\\nbe attempted unless the pupil has modeled the form in clay a number of\\ntimes. The shell form is one that is frequently used in carving, and, with\\nthe leaf, forms a nice shape to be used for many purposes, for instance, on\\na cornice, on a chair back or part of a settee, on picture frames, and so on.\\nIt is best not to copy these very elaborate forms from the illustrations.\\nThis would prove a little too difficult. They are simply placed here as", "height": "3316", "width": "2423", "jp2-path": "newmethodsineduc02tadd_0311.jp2"}, "310": {"fulltext": "296\\nWood Carving-\\nexamples of carving. Students will see carving of all kinds when their\\neyes become opened through the work, and good examples may be seen in\\nwood, stone and metal on different buildings, which can be reproduced. It\\nis only by frequent observation that pupils become aware of form and ac-\\nlllustration 345\\ni-^^, J J\\nTartly Carved Piece, Suitable for Chair BaCli\\ntually notice shape. Every time a different piece of work is carved, the\\nstudent will have increased ability to perceive various forms.\\nForms Stiitdble for Carving* lullustrations 346 and 347 show a\\nvariet}^ of frames that can be made of different sizes for many different pur-\\nposes. Alade with narrow borders they are very suitable for water colors\\nIllustrations 346-347\\n_j\\nFrames Carved by Night School Pupils\\nand engravings; made nmch heavier and of thicker wood they are suitable\\nfor oil colors and mirrors; made still larger, and with metal hat pins, they\\nare suitable for hat racks, and are convenient pieces of furniture to have in\\ndifferent parts of the house.", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0312.jp2"}, "311": {"fulltext": "Furniture and Other Advanced Work\\n297\\nThe series of chairs ilhistrated shoAv a variety of shapes. (IHus. 348.)\\nSome of them may appear to be overloaded with carving. This is simply\\na matter of economy, and though I know the forms in some cases will be\\nbetter if they were not carved so much, it is simply to provide surfaces for\\nwork that they were made originally. Some of these chairs consist of\\nfive pieces, each piece of which is heavily carved, thus affording the pupils\\nseveral hours of work on each. The blanks for the chairs vary in price,\\nsome $3 to $5, according to the amount of labor expended upon them. The\\nchairs are usually delivered in the white and doweled together, so that they\\nIllustration 348\\nChairs Designed and Carved by Public School Pupils\\ncan be taken apart with a few taps of the mallet and carved. Two or three\\nchairs will thus furnish occupation for a whole class for a number of\\nperiods.\\nThe designs are in no two cases alike. This will be found true with re-\\ngard to every pattern in any material made by any of our classes, each child\\naccording to its capacity creating the forms most suited for use. I do not\\npretend to defend all the patterns. In some cases they are crude and could\\nbe made much better, but being the work that the child sometimes started\\nbefore the teachers could modify or criticise, it has been finished and must\\nstand on its merits. It is very easy for a good teacher to give good lessons\\nin designing and construction, using as examples the good patterns or the\\nbad ones made by the class. Examples of poor w^ork therefore teach by", "height": "3316", "width": "2423", "jp2-path": "newmethodsineduc02tadd_0313.jp2"}, "312": {"fulltext": "29S\\nWood Carving\\nlustrations 349-350\\nFemale\\nItalian Renascence Carving by Farari, in the Studio of the Authnr\\ncontrast. No class of people perceive errors and faults in designing and\\nconstruction quicker than children. Usually they will be found to select\\nthe best. There is an endless variety of forms that afford practice for\\nwork in wood. Chests of various sizes can be made with six, eight, ten or\\ntwelve panels. Settees also give opportunity for large pieces of work and\\ncan be carved liberally all over. A variety of small work can be made, like\\nbook-racks, mirror-backs, screens, cabinets, closets, hanging shelves. Clock\\ncases, half size and full length, are in demand and usually find a ready sale.\\nCarving is work especially appropriate for children, for the reason that\\nthey are embodying value in the material upon which they work. This", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0314.jp2"}, "313": {"fulltext": "Furniture and Other Advanced Work\\n299\\nthey realize h-om the beginning. They are also learning the value of per-\\nsistent hard work, and they get a certain amount of knowledge of art forms\\nand real drawing that cannot be acquired in any other way. Then- taste\\nand appreciation of common things around them is enlarged, and the works\\nof their hands usually enter into a great many places where taste and ap-\\npreciation are lacking, and thus act as missionaries. This is especially true\\nof the night schools.\\nI am much surprised to notice the small number of schools among all\\nthe art institutions of the country where carving is thoroughly taught. It\\nIllustration 351-354\\n1\u00e2\u0080\u0094 The rl.iiu I! lock\\n2 The Form Begun\\n3\u00e2\u0080\u0094 Carving More Advanced 4\u00e2\u0080\u0094 The Finished Work\\nCarving a Cupid s Head\\nis taught in some, but in the. larger number it is entirely neglected. Mak-\\ning form in tough, resisting material is one of the truest and best methods of", "height": "3316", "width": "2423", "jp2-path": "newmethodsineduc02tadd_0315.jp2"}, "314": {"fulltext": "300 Wood Carving:\\ngaining permanent and organic ideas of form. Surely this is especially\\nimportant to the art workers in the higher fields of art. It certainly was a\\npart of the education of some of the greatest of the old masters, who fre-\\nquently carved in stone and other materials. The energy and diligence\\nbegotten by carving, where it is properly taught, are also of the utmost value\\nin counteracting the disinclination to manual effort that occurs so often in\\nchildren whose school hours are largely occupied with book studies. This\\nfostering of an energetic disposition, along with true ideas of elementary art,\\nis by no means the least important benefit of wood carving and real manual\\ntraining. Most of us have got to work for a living, and education should\\ngive us energy for work instead of a disinclination for it. Not only this, but\\ncarving compels accuracy, attention to details, the doing of things well, in\\ncontradistinction to the carelessness in the work of one s hands which is\\nsometimes begotten in children who learn from books alone. The carver,\\nwhether self-taught or learning from an instructor, will cjuickly see that\\nslovenly work will show, that the carving will reflect something of his own\\ncharacter. The pupil will also recognize the difference between the result\\nwhen he tries to do his best, or when he is careless. The wood will tell the\\ntruth, always an important lesson.\\nCdrving in the Round* In this part only a suggestion of what can\\nbe done is possible. In another volume I shall give detailed instruction in\\nall kinds of wood carving, with many examples of all the styles. Very beau-\\ntiful examples of wood carving still exist, made by artists of different periods.\\nWood of different kinds, especially the Italian chestnut, is suitable for sculp-\\ntor s w^ork, and very elaborate work may be seen in Italy of groups of figures,\\netc. Examples of fine modern Italian carving are given in Illus. 349 and\\n350, made by Farari.\\nThe series of four cuts on the previous page show the successive\\nstages in blocking out a Cupid s head with wings: i, the plain block made of\\nseveral pieces of wood glued together; 2, the same partly carved with form\\nin the rough; 3, the head and wings showing distinctly, but still unfinished;\\n4, the work as it appears finished.\\nTwo examples are given of winged griffins suitable for the arms of\\nsettees (Illus. 355-356). The first is shown partly carved, with the form only\\njust beginning to show the intention. The block of wood Is three inches\\nthick and is a piece of mahogany. It is clamped on the benches, as shown", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0316.jp2"}, "315": {"fulltext": "Furniture and Other Advanced Work\\n301\\nin some of the other pictures\\nof pupils working-, and is being-\\nmade by one of the advanced\\npupils of studio classes. The\\nsecond form shows a similar\\npiece of work of different de-\\nsign entirely finished. The\\nbody consists of one block of\\nwood, the wing being an addi-\\ntion after the other part has\\nbeen carved. Work of this\\ncharacter cannot be done un-\\nless the pupils have a vivid\\nmemory of form and have had\\ngood m_anual training.\\nDolphins are freciuently\\ncarved in wood, and the fol-\\nlowing example (Illus. 357) is\\nfrequently cut by some of the\\npupils. The form is changed\\nand modified to suit any pur-\\npose, and is comparatively\\neasy to cut. Both sides are\\ncarved, and it makes a suitable\\narm for chair or hall bench.\\nA great variety of forms,\\nsuch as iron and brass castings,\\nor gas fixtures, grills and other\\nornamental objects, are first\\ncarved in wood and then used\\nas patterns for making the\\ncastings. Several examples\\nare given of forms of this kind,\\nalso architectural detail for in-\\nterior work, such as caps, pilas-\\nters, panels, rosettes, etc.\\nIllustration\\nAnil for Settee\\nThis illustrates the block of wood partly carved, with the\\nhead wings, etc., in the rough. The form is carved on both\\nsides.\\nAiioUk 1 Aim Inr Soltcu\\nThis is another form of similar character completely finished.\\nIllustration 357\\nDolphin Ann for Chair", "height": "3316", "width": "2423", "jp2-path": "newmethodsineduc02tadd_0317.jp2"}, "316": {"fulltext": "302\\nWood Catving\\nIllustrations 358-365\\nCarved Patterns for Metal\\nThese desi^^ns are carved in wood for various purposes, to be cast in metal. Many patterns for brass work, g-as\\nand electric light fixtures, etc., are carved in wood first.", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0318.jp2"}, "317": {"fulltext": "BOOK FIVE\\nVarious Applications of Art\\nMethods, Real Manual\\nTraining and Nature Study\\nm\\nJ. CONSTRUCTION -Mechanical Drawing and Wood- Working\\n2. CORRELATION of Art, Real Manual Training and Nature Study with Other\\nInstruction\\n3. SPECIAL SCHOOLS\u00e2\u0080\u0094 0 Night Schools, Vacation Schools, Normal Schools,\\n{(l) Summer Schools\\n4. OTHER APPLICATIONS\u00e2\u0080\u0094 (a) Decorating School Rooms, (b) Backward Pupils,\\n(c) Insane and Feeble Minded, {(I) Truant Schools, (e) Reformatory Institutions,\\nMiscellaneous\\n5. THE FINE ARTS\u00e2\u0080\u0094 Some Suggestions for Art Students", "height": "3316", "width": "2423", "jp2-path": "newmethodsineduc02tadd_0319.jp2"}, "318": {"fulltext": "", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0320.jp2"}, "319": {"fulltext": "CHAPTER I\\nConstttJCtion in\\nWoodwork and\\nMechanical\\nDrawing\\nXPERIENCE leads me to be-\\nlieve that constructive work\\nas taught in niany schools,\\nsimilar to joinery or cabinet-\\nmaking, and mechanical\\ndraughting, are of little value\\neducationally, except to the\\nspecialist, without previous\\ntraining in the art work and\\nreal manual training I have\\nbeen advocating in the pre-\\nceding chapters. When pupils\\nhave acquired a certain dex-\\nterity of hand and accuracy of\\neye and are able to draw,\\nmodel and carve reasonably\\nwell, then it is of advantage for them to attempt constructive work and me-\\nchanical drawing. They should then he about 14 years of age, or readv for\\nthe high school, and should have acquired complete control of their hands\\nin manual dexterity, and be able to draw fairly w-ell and observe accurately.\\nThen, and not until then, are they ready for tools and tool-processes and\\ninstruments of precision.\\nThe fallacy of teaching boys carpenter work or mechanical draught-\\n20 (305)\\nPattern Making\\nVarious patterns made by the boys, to be cast in metal.", "height": "3316", "width": "2423", "jp2-path": "newmethodsineduc02tadd_0321.jp2"}, "320": {"fulltext": "306\\nVarious Applications\\ning without this elementary experience in real manual tramnig is illustrated\\nin nearly all the pupils issuing from the so-called manual-training schools;\\nbeyond the limited trade processes in which they have been trained, they\\nllustration 367\\nWood Working\\nA lesson in sawing. All forms are made from rough timber, the boys cutting it from planks as required.\\ndo not have manual dexterity. Any ordinary test will show this. Few of\\nsuch graduates can do even the elementary art work illustrated in this book.\\nThey lack the ability to make the hand obey eye or mind in doing work\\noutside of the few processes in which it is trained, and are of course almost\\nwholly deficient on the art side.\\nA. RddtCdt Fedture of our manual-training method is the absence of\\nmachinery, steam power, turning lathes, etc. Machine-shop methods have\\nnever yet produced and will never produce craftsmen who are mechanically\\nand artistically equal to those of the best periods of history. Of course this", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0322.jp2"}, "321": {"fulltext": "Constftiction and Mechanical Drawing\\n307\\nis an industrial age, and our material progress so far has depended largely\\non the harnessed power of steam, electricity, etc., but in a measure this has\\nbeen at the expense of the individual. No system of education or progress\\ncan atTord to miss the lessons of the great periods in craftsmanship, when\\nthe individual workers put their soul, feelings and emotions into the work of\\nIllustration ::,68\\nMaking- Joints\\nA roug-h freehand drawing of the joint under discvission is shown on the blackboard. The teacher is testing- its\\ntheir hands in stone, metal and wood. We are far from equaling the\\nbuildings and masonry of the past, and our mechanics and common people\\nscarcely realize what artistic excellence means in metal, stone and w^ood.", "height": "3316", "width": "2423", "jp2-path": "newmethodsineduc02tadd_0323.jp2"}, "322": {"fulltext": "I\\nz\\nUJ\\na.\\nO\\nI\\nT3\\nO\\nO\\nS S\\no\\no\\nG H\\n2\\nI\\nXI\\nt;\\nCS\\n4)\\nH", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0324.jp2"}, "323": {"fulltext": "Constrttction and Mechanical Drawing^\\n309\\nThe idea is too common that a manual-training school should be a ma-\\nchine shop. This was one of the many forms of so-called manual train-\\ning that the author early tried and found wanting. The deficiencies of\\nmachine-shop practice for the purposes of educating hand and eye, as well\\nas brain, are now generally recognized among progressive educators, but\\nIllustration 369\\nBuilding Construction\\nUnfinished model of simple frame building-, showing detail construction. Work of this kind is of the greatest\\npractical value to thebojs, and gives excellent opportunity to correlate mechanical drawing.\\nthese deficiencies are all the more pronounced when boys are put into ma-\\nchine-shop practice without the elementary training already advocated.\\nIt is not denied that using machines gives some skill, and that they\\nare in their proper place in the trade school, but there are many operations\\nfor handwork in constructions of various kinds that produce more skill and", "height": "3316", "width": "2423", "jp2-path": "newmethodsineduc02tadd_0325.jp2"}, "324": {"fulltext": "310 Various Applications\\nfacility, and therefore these are more educational. The time of the young\\nduring the nascent period is too precious to be wasted in teaching them\\nhow to use machines; it should be devoted to the development of their own\\norganism, to the training of eye and hand as well as of mind.\\nThe whole tendency of modern industry is to make machines of us\\nsoon enough, and how pitiful the narrowness of life, the one-sided develop-\\nment, of the millions whose capacity is measured only by their ability to\\noperate an ingenious machine. The fact that many occupations and trades\\ndo thus confine both mind and body within a stultifying range, is all the\\nmore reason for so developing the mind and body that, while doing to per-\\nfection even the routine work one may have to do, he or she may be so\\ntrained as to rise above the otherwise narrowing effects of constant attend-\\nance upon machines or mechanical processes and be able to appreciate and\\nenjoy the beautiful and good in nature and in the common things of every-\\nday life. It is a great thing to be so trained as to be happy, joyous and en-\\nthusiastic to be so educated as to know how to enjoy life and how to\\nmake the most of it in whatever station our lot may be cast.\\nMdchine-Shop Practice Has Its Place. Since long and costly ex-\\nperience has demonstrated the greater educational power of hand operations,\\nthe time has come to relegate machine-shop practice to its proper place.\\nIn the technical school or trade school, it serves a remarkably useful pur-\\npose. That purpose is to impart to the youth who expects to be a me-\\nchanic or an engineer the expert training and practical knowledge of ma-\\nchines and processes employed in his trade or profession. Hence there is\\neven more necessity for trade schools, engineering schools, textile schools\\nand similar technical institutes than there is for colleges of medicine and\\nsurgery, divinity or law. But just as there are better means of giving ele-\\nmentary and high-school instruction mentally than that of introducing the\\nstudies that specially quaHfy the doctor, lawyer or minister for their pro-\\nfessions, so there are better exercises for imparting real manual training to\\nthe youth than the trade processes and machine methods so important to\\nthe specialist in mechanics, steam or electricity.\\nIn technical schools for special pupils, machinery of various kinds and\\nthe use of power (electricity or steam) may be employed with reason, but I\\nmust be understood here to protest only against the misuse of these things\\nduring the earlv stages of many boys lives. Before boys are 15 or 16 years", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0326.jp2"}, "325": {"fulltext": "Plate Twenty-six\\nIllustrating Roof Construction\\nI King Post Roof Truss 2 Truss for Curb Roof\\n(311)", "height": "3316", "width": "2423", "jp2-path": "newmethodsineduc02tadd_0327.jp2"}, "326": {"fulltext": "3J2\\nVarious Applications\\nof age, if they have had real manual training any good teacher can pick out\\nthe ones suited to be engineers and mechanical workers. Their capacity\\nin these directions will then have showni itself. These, of course, can enter\\nIllustration 370\\nWood Working-\\nThe first boy is cutting a dovetail, and the second boy is sharpeni.ig a chisel; correct positions are shown.\\nthe special or trade schools, but to give machinery and machine work to\\nlarge classes of young boys irrespective of their capacity and dispositions,\\nbefore they have had real manual training and a certain amount of art\\nwork, is as foolish educationally as to make them all carpenters only.\\nLarge Economy* This point cannot be too strongly emphasized In\\norder to correct a prevailing false notion about manual training. It also\\nshows that a costly equipment of machinery is not necessary for an ad-", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0328.jp2"}, "327": {"fulltext": "Consttuction and Mechanical Drawing:\\n3J3\\nvanced manual-training- school, and this demonstrates the feasibility of a far\\nmore general application of manual-training methods than has heretofore\\nbeen thought possible. We see too that the introduction of rational meth-\\nods of manual training in cities now provided with machinery in their man-\\nual-training departments, will pave the way for utilizing such equipments of\\nmachinery for trade schools or technical institutes, thus accomplishing an-\\nother good ol)ject at a minimum of expense.\\nThis inexpensiveness of equipment for the mechanical department of\\nour manual-training method is all the more important when attended, as\\nit is, by better results. How cheaply this department can be fitted up, as\\ncontrasted with the expensive machine-shop plan, may be inferred from the\\nlist of tools for a room large enough to accommodate twenty benches, given\\nIllustration 371\\nQiieen Post Rool Truss\\nat the close of this chapter. Twenty pupils will form a suitable class for one\\ninstructor, and 300 pupils can receive one and a half hours lesson in one\\nweek during sessions from 9 a. m. to 2 p. m. The list has been found by ex-\\nperience to suit classes of high-school boys, and to be reasonably complete.", "height": "3316", "width": "2423", "jp2-path": "newmethodsineduc02tadd_0329.jp2"}, "328": {"fulltext": "314\\nIllustratinns 372-376\\nVarious Applications\\nModel of Ai-cliili;cturLil Column\\nBase and Entablature\\nI Dovetail Scarf Joint\\n2 Scarf Joint\\n3 Complex Mortise Slip Joint\\n4\u00e2\u0080\u0094 Simple Mortise Slip Joint", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0330.jp2"}, "329": {"fulltext": "Construction and Mechanical Drawing\\n315\\nIllustration 377\\nPupil drawing- projections free hand\\nUse of Head Work. Believing that one who lacks practice in\\nskill cannot become skillful, we do not substitute machines for skilled opera-\\ntions. Even round forms and their modifications are made by hand with\\nhand tools, instead of being turned upon a lathe. This compels the develop-\\nment of a skill of hand and eye not possible to those who make sim-\\nilar forms only on machines. And this makes the hand more ready to\\nwork a machine skillfully when necessary. In short, we get a co-ordination\\nof hand, eye, and mind by handicraft that no aftiount of machine work will\\ncompensate for. Along with mechanical precision we also get an artistic\\nexcellence of execution and encourage originality of conception not pos-\\nsible with mechanical repetitions, or repetitions of forms made mechanically.\\nRotdtion of Work* In this branch of manual training pupils ro-\\ntate from mechanical drawing to work in wood during each lesson, just as\\nin their previous training they rotated the branches of drawing, modeling\\nand carving. Do not let them take separate courses of one or the other.\\nThe best plan is to correlate the two branches by making the pupils draw\\nthe forms in their various stages and then construct them, of course giv-\\ning thorough instruction in use of tools and instruments first.", "height": "3316", "width": "2423", "jp2-path": "newmethodsineduc02tadd_0331.jp2"}, "330": {"fulltext": "3J6\\nVarious Applications\\nThe abstruse ideas embodied in working drawings, plans, sections,\\netc., should become as familiar to the pupils as their previous studies have\\nmade them familiar with common forms. Pupils should become accus-\\ntomed from the beginning to making and reading these drawings and len-\\nlUustration 378\\nIsometric Drawing\\nA demonstration in isometric drawing, the cube and variouo fouits are being explained.\\ndering them in material. The planning should be part and parcel of the\\ndoing. Only in this way will the youth grasp the vital connection between\\nthe two and be able to make the most of it. A course in mechanical draft-\\ning dissociated from the execution of the work, is as deiicient educationally\\nas freehand drawing which is not correlated with other school work. It\\nis as barren of results as to expect a love of nature or of the beautiful in\\nart to be created by the drawing and contemplation of stupid wooden blocks\\nand the type forms by un\\\\A illing pupils.\\nObjects of Instruction* The object is to give a deep and com-\\nprehensive training, rather than a detailed and one-sided mechanical educa-\\ntion. It is not possible to teach a part of all the many pursuits, but it is\\npossible to teach processes which are the best for them all. Thus in wood\\nworking, we do not give a detailed view of every process and every tool, but\\nwe give a thorough training in the principles, and facility in using the most", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0332.jp2"}, "331": {"fulltext": "Construction and Mechanical Drawing\\n317\\nlllustralion 379\\nJ\\nimportant tools. A pupil ought to know that there are classes of tools, and\\nshould get a logical understanding of the use and possibilities of the principal\\ntools in each class. If we give instruction in a great variety of tools, we\\ndefeat the purpose of this work. The tendency to teach tools instead of\\nprocesses and skill, seems to be universal. We must\\nadhere to fundamentals, we must teach the pupils\\nto discern between the important and the trivial,\\nthe fundamental and the accidental.\\nEach pupil must learn that the tools in them-\\nselves are not the end, but only the means with\\nwhich we shape ideas or concepts. Hence, we\\nshould acquire early such control over tools that\\nour attention can be given to the work we have to\\ndo with them, instead of our thoughts being direct-\\ned wholly to the method of using the tools. In\\nother words, the movements with tools should be\\nmade automatic as soon as possible, just as in draw-\\ning we acquire unconscious control over the mus-\\ncles and nerves that guide chalk, pencil or brush.\\nIt is only when we have obtained this automatic\\naction that we can concentrate our entire energy\\nto putting thought into work.\\nPut Art First* In some systems, wood\\ncarving is taught in connection with joinery and\\ncabinet making, and is taught in the same mechani-\\ncal fashion. This is radically wrong. Wood carving-\\nis as distinct from woodwork as freehand drawing\\nis from mechanical drawing. Wood carving\\nshould always precede cabinet making, and be\\ntaught in connection with clay modeling and free-\\nhand drawing. In the principal manual-training\\nschools, the mechanical product is given chief prominence, and such work\\nis generally good, but the artistic product is very poor, in manv schools re-\\nceiving no recognition at all. The art part, which is the vital part for the\\nyoung, is neglected to develop mechanics. Introduce mechanical work\\nonly after a thorough elementary training in art and manual dexterity.\\nMl\\nif I\\nThis is made in wood and is\\ndivided in the center to show\\nconstruction. The sections are\\ndowelled and fit toarether.", "height": "3316", "width": "2423", "jp2-path": "newmethodsineduc02tadd_0333.jp2"}, "332": {"fulltext": "3JS\\nVarious Applications\\nA Good Teacher is of more consequence than good tools. The\\nteacher should be a master of the method and of all the exercises in which\\nhe assumes to instruct. Too frequently, committees and others think a\\nIllustration 380\\nHouse Building\\nA lesson on stairs. Tlie house is the result of the combined eflbrts ot four boys. All the joints in the\\nbackground have been made by the jnipils.\\nskilled mechanic is the only proper instructor in this branch of manual\\ntraining. It would be difficult to make a greater mistake. I have never\\nknown a carpenter or mechanic able to teach this work in the right way.\\nIn many such classes the boys make plenty of joints and enjoy it thoroughly,\\nbut the educational value of the work is lost sight of and the mind and the\\nhand are not intimately related to the things, facts and processes of life as\\nthey should be.", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0334.jp2"}, "333": {"fulltext": "Construction and Mechanical Drawingf\\n319\\nIf a true teacher is taken, however, instead of a mechanic, even the sub-\\njects of glue, nails, etc., will be made an avenue for much fruitful discussion\\nand instruction. Every point will be made of interest, and its connection with\\nother phases of work and study will be comprehended by the pupil so that he\\ncan make actual use of his knowledge. Unless the exercises are correlated\\nin this way with the other studies, bench work has no business in the schools.\\nOur Course in Mechamcal Draiving includes the ordinary course\\nin most schools, the study of mechanical perspective, and of the architectural\\nIllustration 381\\nWood Working\\nPupil applying try square to a planed surface.\\nstyles, and some designs and construction. In education, where we must\\nconsider the development of the esthetic principles, as well as the practical\\nelements, such a course will be found more instructive than the usual one-", "height": "3316", "width": "2423", "jp2-path": "newmethodsineduc02tadd_0335.jp2"}, "334": {"fulltext": "320\\nVarious Applications\\nsided and totally mechanical course. The teacher should strive to give a\\nthorough understanding of the principles of mechanical drawing, but should\\nnot enter into a lengthy and detailed discussion of machines.\\nIllustration 382\\nApparatus for Various School Purposes\\nThe boys design and manufacture considerable of the laboratory and other apparatus needed in the school\\nSuch work is not allowed at the expense of the educational object of this training. This model is to illustrate the\\nprinciple of the incline plane and the principle of friction in physics.\\nParallel and angular perspective are dwelt upon at length, architectural\\nstyles are similarly treated, and architectural design and construction are\\ndiscussed. Our object, at this stage, is not to make draftsmen or architects,\\nbut to open up the minds of the pupils to the immense possibilities and the", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0336.jp2"}, "335": {"fulltext": "Construction and Mechanical Drawingf\\n321\\nintrinsic beauty of the suljject. This course will be as valuable to one\\ndesiring to devote his life to fine art, as to one who wishes to become a\\nmechanical engineer, an architect, draftsman, farmer, etc., while at the same\\ntime it embraces real manual training.\\nThus far, the chief attention has been given to the development of man-\\nual skill, co-ordinated with e3^e-training and mind-culture, and to the study\\nof form, historical ornament, the use of water-colors, and charcoal, etc.\\nNow, Avhen the abstractions included in projections, sections, developments,\\nshades and shadows, and angular perspective, are dealt with, it is surprising\\nhow quickly and vividly the pupils will comprehend these subjects, and what\\nfreedom and breadth they will exhibit in their renderings. To a pupil with-\\nlllustration 383\\nMechanical Drawing\\nDemonstrating the principle of a screw and showing application of helix.\\nout this previous training, a mechanical drawing is a dead object; the\\nexecution of such a drawing will be devoid of all artistic beauty, and the\\ncondition of the mind of the pupil will, generally, be at a still lower stage;\\nthus the soul and the imagination are confined and restrained, and the possi-\\nbilities of which they are capable are not even opened to viev,-,\\n21", "height": "3316", "width": "2423", "jp2-path": "newmethodsineduc02tadd_0337.jp2"}, "336": {"fulltext": "322 Various Applications\\nThe course begins with a discussion of the instruments. One of the\\nbest exercises, and one which brings into use all the tools, is the construction\\nof some simple frets or geometric ornaments. This is much better than a\\nsimple exercise in drawing lines, or proceeding at once with some geometri-\\ncal problem, or working drawing, and gives freedom, and a logical\\nunderstanding of the instruments and their use.\\nGeometric problems are then taken. This will be an additional exercise\\nwith the instruments. Working drawings follow; first, of a very simple\\nnature, neatness and accuracy being the essentials at this stage; later, more\\ncomjilex figures may be taken, such as joints, etc.\\nThroughout the entire course there is every opportunity to consider the\\nindividuality of the pupils. When the teacher is discussing any subject, the\\nprinciple should be made prominent, and the pupils should make many notes\\nand sketches. Those who exhibit more aptitude, should make more com-\\nplex drawings. In this way, each pupil may make a different drawing, all,\\nhowever, showing the same principle. With proper management, this will\\nnot conflict with the necessary uniformity of class work.\\nIsometrical drawing, the simplest mechanical perspective, is taken next.\\nThis will be found useful in illustrating constructions, projections, and pene-\\ntrations. Sections and developments follow in order. The choice of\\nparticular subjects should be left to the pupils as much as possible. The\\nteacher, at all times, should exercise the greatest care and discretion in the\\nselection of typical figures.\\nBy this time the pupils will be found to work with considerable freedom\\nand insight into the principles involved, and will be ready for the more\\nadvanced exercises. The mechanical units are now taken, screws, nuts,\\npropellers, cams, gears, etc. As all the pupils have had a previous experience\\nin water-color and charcoal, they should, at various intervals, make shaded or\\ncolored drawings. Of course, too much time must not be consumed in this\\nway. The class should, at times, get some practical experience. Visits to\\nlarge machine shops and constructive establishments should be made; in\\nmany cities there are abundant opportunities to visit large industrial plants,\\nlocomotive and electrical machine factories, and shipyards, etc. These\\nexcursions can be made very interesting and will prove highly valuable to\\nthe students.\\nTracing and 1:)lue-printing should be treated at the best opportunity.", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0338.jp2"}, "337": {"fulltext": "Construction and Mechanical Drawing\\n323\\nShades and shadows, parallel and angular perspective, should receive a great\\ndeal of attention, as they are valuable educational subjects.\\nArchitecture is taken next, the chief aim being to give a good under-\\nstanding of styles, and their characteristics. This is a most valua[)le study,\\nfor, at all times, the character of a period, or a nation is embodied in its\\nr ust;ation 384\\nFi-eeband Perspective\\nThe boys are given frequent opportunity to make large drawings in perspective as above.\\nbuildings. A good set of architectural models is almost indispensable for\\nthis work. The students should visit different typical buildings, and some\\ntime should be spent in instructive discussion. Some time should also be\\ngiven to planning and construction. Pupils should not be allowed to make\\nactual copies of architectural drawings, or plans of houses, but should make\\noriginal plans of their own, involving individual ideas. No matter how\\ncrude in the beginning, this gives them concrete ideas and experience. The\\nsame is true of machine drawing; the pupils should not be always copying\\ndrawings of machines, often beyond their comprehension, as is sometimes\\ndone, but should work at principles, on simple forms which they fully\\nunderstand, and that are typical. Much time is wasted in fancy lettering,\\nand over unnecessarv detail.", "height": "3316", "width": "2423", "jp2-path": "newmethodsineduc02tadd_0339.jp2"}, "338": {"fulltext": "324\\nVarious Applications\\nBtdckbodrd Work should be carried on as much as possible. All the\\npupils in the constructive departments should work at intervals on the black-\\nboard. All the ordinary geometric forms and simple constructions should\\nbe drawn full size and freehand, until memorized. Sketches should also be\\nmade of architectural details, plans and styles, and the forms should be\\nrepeated and modified many times.\\nThe full benefits of such a course can be bestowed only upon pupils wdio\\nhave had the previous elementary art training. To them, the artistic\\nIllustration 385\\nA Model for Building\\nConstruction showing principles of vaultinj:\\nelements will appeal as much as the practical ones. They will leave school\\nwith their minds opened, with skilled and responsive hands and eyes, and\\nwith a developed love for the beautiful and the true.\\nThe teacher is as yet comparatively rare who is capable of giving this", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0340.jp2"}, "339": {"fulltext": "Construction and Mechanical Drawing 325\\nphase of rational manual training, just as the teachers are not yet numerous\\nwho have mastered drawing and modeling in connection with school work,\\nbut the sphere for such teachers is large and increasing. No branch of\\neducation offers so line an opportunity for teachers, both for usefulness and\\nfor pecuniary reward. And the teacher who masters both the art side and\\nthe mechanical side of real manual training will have the still wider oppor-\\ntunity that awaits the real master in any profession.\\nIn Teaching the Mechanical Side of manual training, thorough in-\\nstruction on and discussion of all tools, materials, and forms made should be\\nconstant. Nothing should be taken for granted. I have frequently seen\\nboys making a joint or piece of work without an itelligent idea of its name,\\nuse or purpose, and this is also true in regard to tools.\\nEvery tool should be explained thoroughly and its use made manifest\\nin as many directions as possible. Lessons should also be given on the\\nvarious woods and materials used (glues, varnishes, nails, etc.), and upon\\nthe use and applications of the constructions made. Upon all these sub-\\njects, and other phases of the work, the true teacher will have become thor-\\noughly informed by actual experience mainly, for no manual or text book\\nexists or can be written that will take the place of the knowledge the teacher\\nwill acquire by actually doing all branches of the work.\\nIt is of great importance that the course should contain exercises in\\nmaking the principal typical forms. Don t attempt too many forms, or\\namateur or freak forms, a weakness in other methods. This error is\\ncaused by an undue desire to show finished product and useful articles.\\nWhile this is an important factor, it should not dominate the desire of ob-\\ntaining the greatest amount of skill and training.\\nEach pupil should be provided with a note book and sketch book, in\\nwhich he should write descriptions of the tools and their uses, and also make\\nrough drawings and an isometrical view of each exercise.\\nThe Simpler Exercises* After learning the manipulation of the\\nmost important tools and appliances, the pupil is ready to construct\\nthe simpler forms of joints first, the plain butt, miter, half and slip\\njoints, later the varieties of these. These exercises are all very valuable and\\nthey are ideal forms at this stage. It is not necessary that each pupil\\nshould make a graded series or even one of each of these, but he should get\\na thorough understanding of them all. It will be sufficient if he makes", "height": "3316", "width": "2423", "jp2-path": "newmethodsineduc02tadd_0341.jp2"}, "340": {"fulltext": "Plate Twenty-seven\\nSimple and Complex Geometric Models\\nThese are models which may be used to aood advantaa:e in geometry and drawing- for light and shade,\\nand in mechanical drawing, in teaching intersections, sections surface development, etc. They may be\\nJeproduced in wood by hand work, as exercises in manual training.\\n(326)", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0342.jp2"}, "341": {"fulltext": "Constfttction and Mechanical Drawingf\\n327\\nthree or four of the joints in tliis way the class may easily ])e treated in-\\ndividually.\\nAnother feature of value is the construction of geometric forms, such\\nas cuhes, prisms, cylinders, cones, etc. (Illus. 386.) The simplest of these\\nIllustration 3^6\\nWood Working\u00e2\u0080\u0094 Geometric Forms\\nThese g-eometric forms have been made hy hand by the boys without lathes. They are made to\\nscale. The cone is made in several sections and fits together, showing the conic sections.\\nforms are taken the cube, the various prisms, the cylinder and the frus-\\ntrums. These forms are especially valuable as exercises, because they require\\nlogical thinking and render necessary various consecutive steps in their\\nconstruction, as well as yielding unusual manual skill. It is not necessary\\nthat the pupils should make all the geometric forms a few of the type\\nforms made to accurate scale will be suf^cient.\\nAfter this pattern making may be taken up. Beginning with a thor-", "height": "3316", "width": "2385", "jp2-path": "newmethodsineduc02tadd_0343.jp2"}, "342": {"fulltext": "328\\nVarious Applications\\noiigh discussion of the subject, the pupil is then ready to construct some\\nsimple pattern, such as wrench, crank, sledge hammer, head, brace, etc.,\\na few samples of which are shown in the initial letter on page 305\\nBy this time each pupil is thoroughly acquainted with all the tools and\\nIllustration 387\\nA Lesson in Perspective\\nA series of frames are made and used in the class rooms for demonstrating perspective in varioiis ways.\\nThe object, with ground plan picture plane on glass, vanishing lines, point of sight, etc., are shown in\\nvarious positions. The teacher explaining parts.\\nprocesses, and has some genei al experience. At various stages of the\\ncourse, attention should be given to shai-pening tools. Pupils should\\nmaster this work, without which the best tools soon become useless.\\nAdvanced Work* Pupils are now ready to take up the more ad-\\nvanced exeixises, and very accurate and fine work may reasonably be ex-", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0344.jp2"}, "343": {"fulltext": "Construction and Mechanical Drawings\\n329\\npected. Next in order may be taken the various complex joints, snch as\\nthe mortise, dovetail, brace joints, the scarfs, and varieties of these. Then\\nadvanced geometric forms may l)e taken pyramids, cones, grooved cylin-\\nders, cone in sections, etc. (Page 326.) Advanced patterns come next,\\nsuch as model for weight, cast-iron bracket, fly wheel, and parts of ma-\\nchinery (Illus. 388),\\nIllustration 388\\nWood Working-\\nThese are forms and patterns in wood cut by hand tools entirely by high school boys. The cone shows the\\nconic sections, ani is doweled so that it comes apart.\\nIn these more advanced exercises the work may be carried on in-\\ndividually. Since some pupils will have acquired unusual skill, they ought\\nto make elaborate exercises. Those who have not developed so readily\\nshould be given exercises best suited to their stage.\\nThe greatest skill is typified in advanced construction. This em-\\nbraces frames, cabinets, furniture, sashes, doors, roof trusses, etc. Some-\\ntimes it is well for an advanced class to combine in constructing some large\\nproject, such as a frame house (page 309), or a large piece of furniture, simi-\\nlar to a vestment case (page 282), or case of closets for museum, or book-\\ncases, etc., anything suitable for school purposes.\\nIt is not necessary that every piece or part of the work should be made\\nby the boys. Duplicate parts can be cut out at the mill, turned work, if", "height": "3316", "width": "2385", "jp2-path": "newmethodsineduc02tadd_0345.jp2"}, "344": {"fulltext": "Plate Twenty-eight\\nniTRE JOINT\\nN\\n\u00e2\u0096\u00a0o\\nMODEL F0!3.\\nC /V5T-IE0N WEIGHT\\nFULL JIZE\\nWOOD-WOaK EXEaCl5E5\\nDrawings for Wood Working-\\nworking drawings of typical exercises, one-fourth actual size. Each pupil makes a drawing of the object or a\\nsketch thereof In his note-book. The model for cast-Iron weight Is to be cut entirely by hand. The test-tube rack, to\\nbe used In the chemistry class with other apparatus, Is made by the boys. The advanced geometric forms, shown at\\nbottom to the right, are to be made to scale without the use of machinery or lathe. The complex joint drawing\\nshows the principle of the mitre.\\n(330)", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0346.jp2"}, "345": {"fulltext": "Construction and Mechanical Drawing-\\n33J\\nrequired, can be ordered; doors and sashes can be framed by machinery\\nat the mill, but all the draughting, detail drawings, filling and constructing\\nIllustrations 389-394\\nComplex Mortise and Tenon Joint\\nComplex Mortise and Tenon Joint\\nMortise Slip Joint\\nDovetail Joint\\nMortise and Tenon\\nHalved Dovetail\\ncan readily be done by the boys in a class of this kind. Nearly all the\\nelaborate apparatus in wood used in teaching physics can be made by the\\nboys in a class of this character, and also many useful things required in\\nlaboratories.", "height": "3316", "width": "2385", "jp2-path": "newmethodsineduc02tadd_0347.jp2"}, "346": {"fulltext": "332 Various Applications\\nWOOD-WORKING COURSE.\\nI. Use of tools and methods.\\nTools Rip saw, cross-cnt saw, Jack plane, smooth plane, Try square,\\ngauge.\\nSquaring to right dimensions.\\nWorking with scribe knife, block plane, back saw.\\nBeveling with plane.\\nvSandpapering.\\n2. Simple joints.\\nButt joint, miter joint, half joint, slip joint, varieties.\\nLaying out work Gluing and clamping.\\nUse of bevels, chisels and chalk.\\n3. Sharpening tools.\\nGrinding, slip stones, shellac, alcohol, glue, varnish.\\n4. Simple geometric forms.\\nCube, square prism, hexagonal prism, octagonal prism, cylinder.\\nUse of compasses, planing round, etc.\\n5. Simple constructions.\\nFrame, wall bracket, brace, box, etc.\\nBrace and bit, nailing, firmer gauges, scraper.\\n6. Easy exercises in pattern making.\\nSledge hammer, wrench, crank, bracket, quoit, grate and other sim-\\nple exercises.\\n7. Complex joints.\\nMortise joint, dovetail joint, brace joint, varieties of these.\\n8. Advanced geometric forms.\\nPyramids, square hexagonal and octagonal, cone and frustrum.\\nCylinder with grooves, cone in sections.\\n9. Pattern making.\\nFly wheel, weights, cams. Details of machinery.\\n10. Advanced constructions.\\nBrace, roof trusses, bridges, doors, frames, frame house, furniture.", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0348.jp2"}, "347": {"fulltext": "Plate Twenty-nine\\noq a- 3\\n2.H\\nre cu\\nIT.\\nsr3\\nS 3\\n(11 i-^\\nC7\\nCO\\nrt\\n\u00e2\u0080\u00a2IK\\nH\\nIE\\n?d\\no\\nTV\\nt", "height": "3316", "width": "2385", "jp2-path": "newmethodsineduc02tadd_0349.jp2"}, "348": {"fulltext": "334\\nVariotts Applications\\nToots for Wood-Working Department* Equipment for a class of\\ntwenty pupils:\\n20 benclies\\n20 iron smooth planes\\n20 wooden jack planes\\n20 iron block planes\\n20 back saws\\n20 nail hammers\\n20 try scjuares\\n20 marking gauges\\n20 scribe knives\\n20 bevels,\\n20 screw- drivers\\n20 mallets\\n20 oil-stones\\n20 steel oilers\\n20 rules\\n20 bench hooks\\n20 dust brushes\\n2 cross-cut saws\\n2 rip saws\\n2 turning saw- frames\\n2 keyhole sav^-- pads\\n-J doz. turning saws\\ndoz. keyhole saws\\ndoz. firmer chisels, to i inch\\n-J doz. firmer gauges, to i inch\\n4^ doz. spoke shaves\\ndoz. rabbet planes\\n4 doz. carpenter s pincers\\n2 doz. saw files\\ndoz. compasses\\n1 combination plane\\n2 bit braces\\n2 auger bits, each 5, f -J, f inch\\nI doz. German bits\\ndoz. center bits\\n3 doz. rose countersinks\\nLarge iron scjuare\\nI grindstone\\nI set slip stones\\nI panel gauge\\nI trammel\\nI doz. files\\n-J doz. cabinet scrapers\\nI hatchet\\n\u00e2\u0080\u00a2J doz. brad avv ls and nail punches\\nGlue pot and furnace\\nShellac and alcohol\\nLamp black\\nSperm oil\\nChalk\\nPaint brushes\\nSandpaper\\nFour trusses\\nBlackboards\\nClosets\\n3 doz. handscrews\\nWoods: White pine, poplar, cher-\\nry, mahogany, pear, walnut.", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0350.jp2"}, "349": {"fulltext": "-0", "height": "3316", "width": "2439", "jp2-path": "newmethodsineduc02tadd_0351.jp2"}, "350": {"fulltext": "336\\nVarious Applications\\nCOURSE IN MECHANICAL DRAWING.\\nScales, T and set squares used in constructing simple geometric ornaments\\nor frets later the compasses. Inking and drawing. Erasing and\\ncleaning:.\\nI Use of tools\\nII Geometric problems\\nIII Working drawings\\nIV Isometric drawings\\nV Projections\\nVI Penetrations\\nVII Sections\\nVIII Developments\\nIX Screws, cams, gears, etc\\nX Tracing and blue printing\\nXI Shades and shadows\\nXII Parallel perspective\\nXIII Angular perspective\\nXIV Architecture\\nEQUIPMENT REQUIRED\\nTwenty sets of instruments, including divider with pen, pencil, and\\nneedle-point parts and lengthening bar, a plain divider, steel bow pencils and\\nsteel bow pen, ruling pen with joint, box with leads.\\n20 adjustable drawing tables\\n20 drawing boards, 20x26\\n20 T squares\\n20 set squares, 45 deg. 7 inches\\n20 set squares, 60 deg. 9 inches\\n20 triangular scales\\n20 bottles India ink. black\\n20 bottles India ink. blue\\n20 bottles India ink, red\\nPortfolios, frames, water colors, etc.\\n40 tinting saucers\\n40 brushes\\n20 note books\\nPencils, grade H. H.\\nDrawing paper, 17x24\\n20 dusting brushes\\nThumb tacks\\nPencil and ink rubbers\\nTracing cloth, blue printing outfit\\nExercises in Metal Work are prominent in some manual-training\\nschools. Usually these exercises consist for a few terms of portions\\nof the work of machine shop and the blacksmith shop a little chipping,\\nfiling and fitting; molding and casting, forging and welding, ornamental\\nIronwork and tinsmithing and perhaps plumbing. Later on the opera-\\ntions consists of machine-tool practice. With the exception of wrought-\\niron work, which readilv lends itself to ornamental and artistic treatment,", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0352.jp2"}, "351": {"fulltext": "Construction and Mechanical Drawing 337\\nsuch work is entirely mechanical. No artistic work is attempted, the aes-\\nthetic idea is entirely wanting. Carefully graded forms are used, and the\\npatterns and exercises of one manual-training school can usually be found in\\nalmost every other. Even the forms made in tinsmithing are nearly all alike.\\nExperience with a variety of these operations leads me to believe that\\nthe proper place for most of such work in metal is in the trade schools.\\nAt most of the manual-training schools the authorities themselves will state\\nthat no trades are taught. Why then give portions of trade operations\\nwhen fundamentals should or could be taught? If the work is given for\\nits educational value, this should be done. A large part of the educational\\nvalue is secured in the construction course just given in brief. The opera-\\ntions that are not thus covered are mainly of a trade character, rather than\\neducational in their function. In many manual-training schools the present\\ntendency is to build steam engines, dynamos, bicycles, etc. Too many boys\\nare spoiled and too much energy is thus wasted. I have known all indi-\\nvidual and educational efforts of pupils and teachers of an entire school to\\nbe wasted for a term this way. Much more attention should be given in\\nmanual-training schools to the artistic use of various metals, in wrought-iron,\\nin brass, in molding and casting, in forging and hammered work.\\n22", "height": "3316", "width": "2439", "jp2-path": "newmethodsineduc02tadd_0353.jp2"}, "352": {"fulltext": "IN CONCLUSION\\nThe author extends his sincere thanks to a number of pupils\\nin his schools and several friends who have aided him, directly and\\nindirectly. Special appreciation and recognition are due the following\\nMr Herbert Myrick, for valuable aid, advice and assistance\\nthroughout the entire work.\\nProf W. S. Long, in nature study.\\nMr Bernard Uhle, in the carving.\\nRoman Steiner, for various drawings and help in chapter on construction.\\n(338)", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0354.jp2"}, "353": {"fulltext": "INDEX\\nAbstract work energy wasted by 50, geometric forms\\n226, should come naturally 174\\nAbstruse ideas should become familiar 316\\nAcanthus leaf molding 294, 295\\nAccuracy after facility Si, SS, 9S, 122, 126, 140; exercises\\nto compel 124, 01 perceptive powers created 25\\nAmbidextrous -work anthemion used for practice in\\nloi, 102; blackboard designing in 66, 136; co-\\nordination in 70, defense for 4S, educates indi-\\nvidual 47, especial care to left hand 79, So, 137\\nleft hand trained for educational value 48, 51;\\nloop forms good practice in S3 Meissonier s\\nopinion on 51, old education neglected both\\nhands 50, produces sympathetic influence of all\\nsets of muscles 47\\nAngelo, Michael eye, not hand, for instruments ot\\nprecision 9, essentialities first 93, 14S\\nAngelo s Dying Slave, painting from 40S\\nAngelo s Sybil 404\\nAnimal forms (see also Bird forms and Fish forms)\\nadvice to teachers 249, Barye casts for schoolroom\\nuse 1S2, 249; Barye casts illustrated 213, 246;\\ndirections for modeling 199, 204, 247; drawing\\njjigs from life 414, drawing the horse 413, en-\\nlarging in wax 260, frequent sketching recom-\\nmended 415, general form first 249, illustrations\\nof iSi, 213, 246; individual taste ol pupils con-\\nsulted 247, modeling from 415, modeling from\\nbirds 250, model for each pupil 24S, model the\\nbest teacher 249, sketching from cattle 416, tool\\nmarks vs. smoothness 249, work by grammar\\npupils 251, \u00e2\u0096\u00a0working on, illustrated 1S6, 247\\nAntefix of Parthenon 104\\nAnthemion ambidextrous practice in 102, antefix of\\nParthenon 104, basis of most beautiful art forms\\n103, combined with scroll loj, 107; directions for\\ncarving 2S5, directions for modeling 241, funda-\\nmental Greek form 102, graded curves in 102,\\nideal form, not imitation 104, illustration of\\ncarved form 2S7, love of Greeks for 104, modeled\\nform illustrated 241, tangential curvature in 104,\\nvarious arrangements of 242\\nAntique forms plaster models from 105, vs. natural\\nforms for schoolroom 20S, working on illustrated\\n223\\nAntonius on the divine power in nature 345\\nApple, directions for modeling 209, 212\\nArchitectural forms for drawing five styles repre-\\nsented 1S2, illustrations of 1S3, 1S4; memory\\ndrawing of makes good practice 103, practical\\napplication 1S4, styles learned by drawing them\\n342\\nArchitecture aim to understand styles 323, archi-\\ntectural models indispensable 323, original plans\\nand original ideas 323, typical forms and princi-\\nples first 323, unnecessary detail should be\\navoided 323\\nAristotle bodily health and moral character first i,\\nhand instrument of instruments 22, true education\\nexalts and expands mind i, utility alone of little\\nvalue I\\nArmour institute s methods 54\\nArt (see also Drawmg, Manual-training drawing and\\nArt students, suggestions to), art and mechanical\\nsides taught both together 325, art in handicraft\\nvery rare 30, artist s views of instruction desired\\n67, art methods make knowledge automatic 59,\\natmosphere of in school room 20S, bad use of art\\nwork in schools 52, compels observation, reflec-\\ntion, action 45, 340; divorced from commercial\\nsystems 44, d_rill and designing necessary ad-\\njuncts 46, emotions aroused by 360, forms alone\\ncannot elevate mind 3S5, good art requires good\\nideas 57, imitative work at schools 56, lack of\\ntraining in common schools 36, need of in funda-\\nmental work 44, Philadelphia school of industrial\\n19, 27, 33, 92, 192, 22S, 256, 262, 270; preliminary\\nstep to manual training 44, required in all pur-\\nsuits 46, should precede mechanical work 317,\\nsymbolism in explained 17S, iSo; true meaning\\nand use of 44, vital part in many pursuits 45,\\nwork under name of 41, wrong methods often\\nengender dislike for3S6\\nArt methods compel reflection and action 45, co-\\nordinate memories and ideas 339, correlation with\\nschool work 339, 357 make knowledge auto,\\nmatic 59, unify and solidify ideas 339, various ap-\\nplications of 303\\nArt, Philadelphia school of industrial clay modeling\\nclass illustrated 27, cost of manual training\\nplant 33, drawing and painting class illustrated 92,\\nmodeling room illustrated 192, samples of gram-\\nmar grade work 22S, wax designs by pupils 256,\\nwood carving class illustrated 19, 262; wood\\ncarving examples 270\\nArt students, suggestions for carving in the round\\nillustrated 396, characteristic of best illustrators\\n407, charcoal drawing 405, 407; charcoal sketch\\nillustrated 406, don t follow one style407, drawing\\nfrom the nude illustrated 406, drawing the horse\\nillustrated 413, fitting for minor arts 405, good\\nartisans vs. good artists 402, landscape painting\\nand drawing in the Adirondacks 403, life work\\n409, methods of art schools criticised 500, Michael\\n(339)", "height": "3316", "width": "2439", "jp2-path": "newmethodsineduc02tadd_0355.jp2"}, "354": {"fulltext": "340\\nIndex\\nAngelo even designed ink bottles 402, modeling a\\nvase illustrated 399, modeling from animal forms\\n415, modeling from life illustrated 410, 411,412;\\nmodeling from the figure 412, normal class carv-\\ning illustrated 397, painting in water color from\\ncasts 40S, painting Angelo s Dying Slave illus-\\ntrated 40S, preparing for fine art work 402,\\nRaphael s study for the Madonna del Cardellino\\n417, Rembrandt s elephant illustrated and ex-\\nplained 39S, schools greatest fault 399, sketrhing\\nfrom life illustrated 409, study sketches of old\\nmasters 406, summer art work 413, superficial\\nvs. real art training 399, teachers needn t be gen-\\niuses in art 402, when it is right to specialize 403\\nArtists (see also Art students, suggestions for)\\ncarving part of education of old masters 300, give\\ncai-e and pains to seemingly trifling details 407,\\ngood artists sketch constantly 143, great artists\\nsimplify things 149, greatest could model 1S7,\\njudgment of should be sought 6S\\nArts, fine see Art students, suggestions for\\nArts, fitting for the minor 405\\nBackward pupils can best learn by doing 3S9,\\nhumanitarian object 3S9, nascent period of 390,\\noften especially apt in art methods 3S9\\nBalliet, Dr no true distinction between hand and brain\\nw^ork iS\\nBanana, dii-ections for modeling 214\\nBarye casts\u00e2\u0080\u0094 children s love for 249, illustrations of\\n213, 246; use of preferred in schoolroom 1S2, 249\\nBasket, directions for modeling 206\\nBeauty\u00e2\u0080\u0094 as rendered by pagans 153, a universal\\nhunger 254, common heritage of 254, appreciation\\nof how best taught 60, contented mind through\\nknowledge of 6, drawing creates knowledge ot 19\\nhow acted 39, goodness and truth examples of 254,\\nhuman responsiveness to 254, joy of perceiving\\n3, 340; knowledge of makes contented mind even\\nin drudgery 6, 310; love for in nature cultivated\\n60, 20S; moral influence of 6, organic impressions\\nof produced 6, jierception of developed 7, recog-\\nnized in common things 62, science of 3, sense of\\nhow educated 254, standard of is absolute 7\\nBell, Sir Charles greatest source of happiness 65,\\nhand governed by sensibility 51, hand the instru-\\nment for perfecting the senses 261\\nBench work illustration of 16, should correlate with\\nother studies 319\\nP. ird forms color learned from 163, conventionalized\\n172, decorative 173, directions for modeling 207,\\n250; 252; drawing and painting from life illustra-\\nted 49, drawing illustrated 351, essential features\\nshould be first grasped 172, memory drawings\\nillustrated 161, modeling from life illustrated 207,\\n250; models of for drawing, painting, modeling\\n179, object lesson in 162, pi-imary ^vork illustrated\\n160, simple form should become automatic 159,\\nsuggestions on drawing 159\\nBird s nest, directions for modeling 205\\nBlackboard\u00e2\u0080\u0094 design and drill work illustrated 121, 13S;\\ndesigning on (suggestions) 135, 13S; exercises\\nfor6S, 69, 70, 71, 72, 9S, 134, 136, 13S; nigritschool\\nwork on, illustrated 37; shell exercises on 15S,\\nvalue of blackboard work 10, work on made\\nmuch of in woodwork construction 324\\nBodily life comprehended in mental action 340\\nBook learning book-bred people indisposed to action\\n20, memory overtaxed 16, vitality consumed by\\n17, words studied at expense of ideas 21\\nBorders acanthus leaf 295, beaded surface 292, carved\\nwork illustrated 292, 295 exercises in drawing 123\\nfor schoolroom decoration 3S5, models in plaster\\nillustrated 227, plain curved 293, suggestions on\\ncarving 291, 295 suggestions on drawing 122,123;\\ntongue and dart 292, 293\\nBotanical drawing 165, 167; daisy lesson illustrated\\n165, dandelion lesson 167, drawing from fruit il-\\nlustrated 166, horse-chestnut leaf embodies many\\nlaws 165, leaf lesson illustrated 167, technical\\nnames easily learned 166, useful for school work\\n164, 33S\\nBotany, drawing as aid to 165, 167 33S\\nBrain as an organized register of experiences 224\\nBrush work (see Color and brush work)\\nBud forms iii\\nBuilding constructions illustrated 309, iii, 313\\nCalipers best kind for curved surfaces 292, marking\\nout mouldings with 293, 294, 295 use in rosettes\\n2S6\\nCapacity for drawing inherent 64\\nCarpenter work, previous training required for 305\\nCarrot, directions for modeling 21S\\nCarving see Wood carving\\nCarving on curved surfaces arms for settee and chair\\n301, borders 292, 295 dolphin easy to cut 301, flat\\nsurface practice first29!,suggestionson spoiled\\nwork 292, work in illustrated 291, 302\\nCasts (see also Plaster models) Barye 1S2, 213, 246;\\nfish forms make good 254, leaf forms 215, of wax\\nmodels how made 259, teacher should make 1S2\\nChair forms drawings from memory illustrated 176,\\n177; examples of carved work 290, 297; sugges-\\ntions on drawing 177\\nCharacter and capacity improved by doing 341\\nCharcoal drawing don t stay too long at407, equip-\\nment and cost 405, first of art processes 405, get\\nform, light and shade through 407, light and\\nshade gradations with few touches 406, Raphael s\\nMadonna del Cardellino 417, Rembrandt s ele-\\nphant 39S, sketching the human figure 406, study\\nsketches of old masters 406, too much sketchy\\nwork 407\\nChart-making for school use 354, 357\\nChild study, danger of wrong- methods 40\\nChisel acute vs flat 273, best practice at first with 272,\\nbeveling outer edge 274, curved form on round\\nsurface 294, 295; cutting around curve 273, 274:\\nfeeling form with 273, few kinds needed 263, flat\\nform on curved surface 292, mallet used with 271,\\nposition tor holding- 271, 273; touch of guided by\\nintelligence 2S0\\nCircle, the combinations of 122, directions for draw-\\ning 77, 78; directions for modeling 196, first exer-\\ncise 77, meaning of in symbolism 17S, practice\\nfor freehand movements 41, six-movement exer-\\ncises 79", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0356.jp2"}, "355": {"fulltext": "Index\\n341\\nClay (see also Modeling and clay modeling) box for\\n191, care of 192, cavities in how avoided 24S, cost\\nof iSS, manipulation of 193, 251 shrinkage ot\\nin modeling 250, suggestions on using 190\\nClay modeling\u00e2\u0080\u0094 aid to drawing S6, 154; animal forms\\n1S6, 199 204, 247^255; basket 206, bird forms\\n207, bird s nest 205, circular form, illustrated 196,\\nelementary courses in 193\u00e2\u0080\u0094 20S; elementary forms,\\ndirections for making 194 207 elementary forms\\nillustrated 1S9, 191, 192, 193, 194, 195, 196, 197, 19S,\\n200, 202, 203, 204, 206, 231 first exercises, illustra-\\nted i9S,fish form 202, 253;for grammar grades 229\\n245 frog 203, fruit and vegetable forms 209 226\\ngeometric forms 221 227; leaf forms 11 2, 115, 195;\\nlizard 203, modeled iorms illustrated 1S6, 1S9, 19S,\\n211; inouse 204, natural forms should be more\\nused 252, natural objects 203, reason for elemen-\\ntary forms 207, shoe 205, small forms 1S9, snake\\n202, spiral 194, suggestions on natural forms 352,\\ntile 206, tree stump 205, turtle 203, vessel forms\\n204, work in illustrated 27, 209\\nColor good example of in bird 164, light and shade\\nafter form 177, not best taught by tinted paper 48\\nColor and brush work freehand brush work 133, good\\nbrush handling iinportant 132, materials for 132,\\npainting from nature 141, warning to teachers 141\\nCommon things made beautiful 62, j^erfect lessons\\nfrom 39, pleading to be understood 62\\nCone, directions for modeling 226\\nConstruction in woodwork, see Wood vvork construc-\\ntion\\nConstruction in woodwork and mechanical drawing\\n305\u00e2\u0080\u0094314\\nConstructive work, see Woodwork construction\\nCo-ordination, physical ambidextrous work creates\\n48, drawing-, designing, carving makes 5, of\\nmotor centers 103, of hand, eve, brain 30, train-\\ning ot forms sense connections 39\\nCorrelation of drawing with other school work 52 57,\\n339\u00e2\u0080\u0094 3S7\\nCrattsmanship now vs. the past 307\\nCrocket, the combined with scroll as model 239,\\ndirections for modeling 239, single and double\\ncurved as drawing exercises 94 95\\nCube, directions for modeling 222\\nCupid s head carved 299, 300\\nCuriosit) value of in children 39\\nCurvature, tangential\u00e2\u0080\u0094 anthemion example of 104, horse-\\nchestnut leaf 165, how become organic 99, neces-\\nsit} of in designing 99, shells show 15S\\nCurved surface, see Carving on curved surfaces\\nCylinder, directions for modeling 224\\nDaisy drawing lesson 165\\nDandelion dra\\\\ving lesson 167\\nDecorative work (see also Designing) anthemion in\\n103, bird forms for 172, 173; defense for 45, fish\\nforms in 152\u00e2\u0080\u0094153\\nDesign, carving elementary units of anthemion, how\\ncarved 2S5, conventionalized shell forms 2S9,\\ndesigning the form to carve 266 26S fluted forms,\\ntiovr carved 2SS, rosettes, how carved 2S6, scroll,\\nhow carved 2S3, 2S4; simple leaf, how carved\\n2S4, spiral with crockets, how carved 2S5, three\\nstages in work 2S3, 2S4; work by public school\\nchildi-en 131\\nDesigner, nature the best 155\\nDesigning (drawing)\u00e2\u0080\u0094 alter work as little as possible\\n137, blackboard 135, 136; both hands used 136,\\ncenter of pattern first 137, color and brush work\\n132, combinations of units 97, elementary units\\nS7\u00e2\u0080\u0094 100; elements of 95, fish forms in 15J, har-\\nmony in arrangement 100, object of teacher 137,\\noriginality of arrangement 95, original pattern\\n10, 51 practical application of 96, 13S; rosette in\\n93, 98; ruler, use of 132, secret of strength in\\n100, see form as whole 20, sketching compared\\nwith 57, spiral used in 93\\nDesigning on wood (see also Wood carving) avoid\\nartificial means 266 design should be of use and\\nvalue 266, free curves needed in 272, hard wood\\npreferred 266, outline made perinanent 266, scor-\\ning the background 26S, simple freehand pattern\\nfii-st 266\\nDevelopment, natural foundation of 5, importance of\\n12, H IS\\nDiagonals, exercises on 79\\nDisposition or bent, natural ii, 15; common lack of\\ndevelopment in 12, inspiration through discovery\\nof 15, manual training methods find out 12\\nDivine energy bend to, in nature 63, 254; build on, in\\nchildren 145, education should develop 164, flow\\nwith, not thwart 254, in each one 145, in natural\\nthings 345, magnetic, energizing power of 254\\nDivinity of things, how learned 7\\nDolphin conventional designs of 169, 170; fish forms\\nfirst 170, suggestions for using 170, use in carv-\\ning 301, wax design 259\\nDrawing (see also Manual-training drawing. Design-\\ning and Art students) abstract forms disap-\\nproved 174, absurdities of commercial systems\\n44, anthemion 102 107; application the aim in\\ndesigning 96, artificial aids opposed SS, attention\\nto position, movement, etc. 76, automatic move-\\nments desired 84, beauty taught by 19, botanical\\n165 167; bud forms 111, capacity for inherent 64,\\ncircle 77 79; channel for vivid and permanent\\nimpression 340, children suffer by wrong methods\\n36, combinations of units and styles 97, 101 120;\\ncompared with writing 76, 146; conventional\\nforms first 91, correlation with other school work\\n52\u00e2\u0080\u009457, 339\u00e2\u0080\u0094357; creative capacity developed 93,\\ncrudity corrected by habit 76, double loop 80 S4;\\ndrill and design forms 121 131 drill for magni-\\ntudes 127, drill work important 125, elementary\\nunits 87 100; elements of design 95; energy de-\\nstroyed by definitions 145, enlarging 11, 162, 164;\\nfacility then accuracy 98, facts learned by illus-\\ntrating their meaning 339\u00e2\u0080\u0094341 first exercises 72,\\nfirst experiments 9, foolish statements 43, free-\\nhand for young children 73, fruit 167, fundamental\\nmethods 9, futility of present methods 56, general\\nlack of training 35, 36; kindergarten fault 91,\\nlanguage of truth 56, language study correlated\\nwith 342, leading lines 98, leaf forms loS\u00e2\u0080\u0094 no; life\\n139 154; lining in opposed 76, 77; love of nature\\ntaught by 53, makes mind 33, materials 73, 74;", "height": "3316", "width": "2439", "jp2-path": "newmethodsineduc02tadd_0357.jp2"}, "356": {"fulltext": "342\\nIndex\\nMelssonier on teaching 50, memory 139 16S;\\nmental im.age vs. pencil lines 127,128; methods\\ncriticised 43, Michael Angelo s maxim 9, misuse\\nof type forms 43, mode of thought expression 19,\\n40, 45, 56, 64, 117, 146,339; Moorish units iiS 120;\\nmoving models, drawing from i6i, natural\\nmethod SS, natural vs. type forms 43, nature 155\\n16S; nature study drawing 6, 345; not mere ac-\\n\u00e2\u0080\u00a2complishment 52, object 173, 176; originality in\\narranging forms 95, outlay required small 44, per-\\nception trained by 39, performance the test of\\nteachers 45, perspective naturally acquired 174,\\npreliminary manual-training drawing 67 74;\\nprimary work 160, province of, properly taught\\n20, 32; reason for consecutive movements 79, re-\\ninforces knowledge 70, sizes of units suggested\\n91, speaking through finger tips 146, spiral 84 85,\\n93; steps toward better methods 7 r, solids 127\u00e2\u0080\u0094129;\\nstraight lines 76, 79 So; suited to the dull and\\nbackward 52, supplemented by modeling and\\ncarving 86, supplement to nature study 70, sys-\\ntems in common use 36, 44; teachers should be\\ntested 45, technical and hard words learned by\\ndrawing 342 344; technical terms and instruc-\\ntions opposed S9, tangential curvature 99, teachers\\nand supervisors should draw 42, teaches begin-\\nning of wisdom 53, union of thought and action\\nby 40, universal tongue 33, 146; value as manual\\ntraining 71, vital study 52, weakness of old\\nmethods 41, wrong and right way of teaching\\n52 53 zoology aided by 343\\nDrawing as mode of expression 19,40,45,56,64,117,\\n146, I S3\\nDrawing materials manila paper for practice work\\n73, ordinary lead pencils 74, paper 73, pencils 74,\\nreason for no rubber 74\\nDrexel institute methods 54\\nDrill forms (see also Forms and Clay modeling) anthe-\\nmion loi 107; automatic facility in 70, 76; bird\\nforms 159 163, 172\u00e2\u0080\u0094173, 179; circle 77 79,122;\\ncombinations of units and styles 97, :oi 120;\\ndouble loop So 84; drill forms and designs 121\\n13S; elementary 75 100; ellipse 126, fish forms\\n143 153; leading lines 98, leaf iorms loS, loop\\nform 82, 83, 90, loi meanings enhance enjoy-\\nment 123, set forms opposed 72, spiral 80,84\u00e2\u0080\u009485,\\n93; straight lines 79 So; strap work 124, vessel\\ntorms 127 129\\nDrill work, importance of 125\\nDuty as a desire, not sacrifice 254, beauty of should be\\nmore dwelt on 254\\nEducation (see also Education in art and manual\\ntraining) abstract work consumes energy 50\\nall channels should be used 22, book-bred people\\nindisposed to action 20, common idea of 157, com-\\nmon things made beautiful 62, common nature-\\nstudy method criticised 58, correlate drawing with\\nother school work 52, drawing and manual train-\\ning in 32, Emerson on 4, emotions and aspirations\\nmust be appealed to 360, energy from right\\nmethods 61, eye troubles, cause of 10, 21 facts not\\nwords iS, familiarity not knowledge 59, finding\\nnatural bent one aim of 12, first step to higher\\nthought studies 54, health damaged by improper\\nmethods 62, knowledge means ability to use 18,\\n340; learning facts by illustrating their meaning\\n339, 341 loss of energy through unessential\\nthings 40, Maudslcy on 340, memory overtaxed by\\npresent modes 16, mental and bodily vigor by\\nunionof study and doing 341, modeling human\\nmind 227, motor centers trained 59, object of, real\\n4, old methods faulty 21, 340; one problem of the\\nnew 341, perfect lessons from common things 39,\\nprogress requires persistence 142, schoolroom\\ndecoration 3S5 3S7; special experts opposed\\n38, steps to character building 362, systematic\\ntraining of senses through 38,teacher s mission\\n15, teacher s personality recognized 34, traditional\\nerrors overcome 32, true education expands\\nmind i,true teacher draws out energy 145, 150,\\n164; union of study and doing 341, unites\\nthought and action 32, value of direct knowledge\\nof environment 54, value of few things well\\nlearned 34S, visual memory important 20, vitality\\nconsumed by book learning 17, words too often\\nstudied at expense of ideas 21\\nEducation in art and manual training (see also Edu-\\ncation, and Art students, suggestions for) am-\\nbidextrous work 47 51; art and manual training\\nin special schools 359 3S3; beauty, perception\\nof developed 7, combinations of units and styles\\nloi 120; contact with things forms ideas 16\u00e2\u0080\u009423;\\nconventional and symbolic forms 169 184 cor-\\nrelation of drawing with other studies 339 358;\\ndevelopment oi natural organism 4, drawing\\ncorrelated with other studies 52 57, 339 357;\\ndrill forms and designs 121 13S; elementary drill\\nforms 75 86; elementary units 87 100; elemen-\\ntary work outlined 4 5; ideas first necessary 17,\\nimpressions assimilated through all senses 23,\\ninspiration of natural method 17, intelligence\\nfrom hand skill 39, life and memory drawing\\nJ39 154; manual dexterity, value of 233, me-\\nchanical drawing 319 323 mechanical methods\\nuseless 9, mediums for shaping ideas 5, modeling\\nanimal forms 347 255; modeling lor grammar\\ngrades 229 245; modeling geometric forms 221\\n227; modeling, preliminary 1S5\u00e2\u0080\u0094 230; modeling\\nin wax 257 260; natural capacity discovered\\n5, 12; nature and memory drawing 155 16S;\\nnature studies 58 64; object of new method 34,\\norganic memories developed 5, physical co-ordi-\\nnations 5, preliminary manual-training drawing\\n67 74; real drawing needed 35 46, rectifying\\nexercises 4, repetition and force of habit iS, ro-\\ntation of work 5, school equipm.ent 33, school-\\nroom decoration 385 387; teachers not plants\\nneeded 34, teachers should be examined 45, teach-\\ners vs. imitators and copyists 45, 325; tool-using\\nalone makes machines 4, tool work not the end\\nbut the means 317, true and false manual train-\\ning 24 34; union of head, hand, heart :S, utili-\\ntarian idea overdone 26, 41 visual memory in 20,\\nwood carving 261 302; woodwork construction\\n30s\u00e2\u0080\u0094 337\\nElementary carving, instructions for acute and flat\\nchisels, use of 273, beveling off outer edge 274,\\ncutting form around edge 273, cutting oak", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0358.jp2"}, "357": {"fulltext": "Index\\n343\\nsplendid discipline 271, encourage the pupil 275,\\ngradually increase grooves 272, how to carve 271,\\npushing chisel through wood 272, raised surface\\nhow carved 273, swing chisel with both hands 273\\nElementary courses in clay modeling 193\u00e2\u0080\u0094208\\nElementary forms, directions for modeling 194 207\\nEllipse\u00e2\u0080\u0094 compels balance 126, exercises for automatic\\nuse 126, use in design 126, vessel forms 126 129\\nEmerson common things pleading to be understood\\n62, good thoughts valueless unless executed 185,\\nreal object of education 4, thought ripened by\\naction 1S5, what education is and should be 4\\nEmotion art arouses 360, touch children s 164, value\\nof, through generous acts 254\\nEnergy abstract work consumes 50, 67,; bend to divine\\nin nature 63, build on divine in childi en 145, con-\\nsei-ved by nature knowledge 17, dissipated by\\nmere book learning 17, divine in each one 145, 254;\\nhow lost during maturity 362, in children must\\nhave some outlet 360, loss of through unessential\\nthings 40, necessity of for success 14, pleasing\\nforms help create 247, right education creates\\n61, 300; saved by this method 10\\nEssentialities first 93, 143, 14S, 178,201\\nEsthetic training (see also Beauty) essential to com-\\nplete culture 39, influence of beauty 6, necessary\\nin education 3, practical use of 3, 59\\nExperience the mother of ideas 1 1\\nExpression drawing a mode of 19, 40, 45, 56, 64, 117,\\n146; modeling a mode of iSS, 255\\nEye troubles, one cause of 10, 21\\nFacility automatic use of 76, before accuracy Si, 88,\\n98, 122, 126, 140\\nFamiliarity not knowledge 59\\nFarari, sample ol carving by 298\\nFeeble-minded and insane, best education for 390\\nFine art work, preparing for 403\\nFine arts, the see Art students, suggestions for\\nFinger tips, speaking through 146\\nFish forms (see also Drawing) angel fish 144, caran-\\ngoid 144, color examples in 144, combined with\\nother forms 152, directions for modeling 202,\\n254; dra^ving creates knowledge of 151, 153; gen-\\neralizing 147, general remarks on 153, idealizing\\n146, in design 152, mackerel 143, memory dra^\\\\\\ning of 148, 151 modeled in clay 1S5, sea bass 150,\\nsheepshead 145, subjects for study 143, typical\\n145, use of for plaster casts 254\\nFluted forms, how carve 288\\nForm feeling form in wood 273, first considered 177,\\nimpression of best secured 86, 207; learned\\nthrough modeling 177, 187; wood carving teaches\\nreal form 263, 300\\nForms (see also Drill torms and Clay modeling) \u00e2\u0080\u0094ani-\\nmal forms in modeling 199 204,247 255; archi-\\ntectural 183 1S4; botanical 164 167; chair 176,\\n177; conventional and symbolic 169 1S4; con-\\nventionalized bird forms 172, decorative and\\nconventional 45, dolphin 169 170; forms suitable\\nfor carving 296 300; fruit and vegetable forms\\nin modeling 209 220, geometric in wood con-\\nstruction 326, 327 geometric too much used in\\ndrawing 56, idealized animal 171, natural before\\ntype 43. natural should be more used in school-\\nroom 2^2, natural vs. idealized 153, vessel shapes\\n129\\nForms suitable for elementary carving\u00e2\u0080\u0094 chairs 297, for\\nsmall work 29S, frames 396\\nFrazier, Mr. ^V. W.\u00e2\u0080\u0094 authority on vacation and night\\nschools 379\\nFrog, directions for modeling 202\\nFruit forms, modeling from\u00e2\u0080\u0094 apple 209\u00e2\u0080\u0094212; banana\\n214, fruit tile 214, hints to teachers 212, modeling\\nfrom nature 217, pear 212, texture easily imitated\\n212, use of tool 210, 212\\nFruit, drawing from 167\\nFruit tile, directions for modeling2i4 217\\nFurniture and other advanced work carving on\u00e2\u0080\u0094\\nacanthus leaf molding 294, 295; arms for chairs\\nand settees 300, 301 beaded surface border 292,\\ncalipers sometimes necessary 2S6, 292, 295; chair\\nback piece 296, chair examples 297, curved sur-\\nface, how carve on 291, forms suitable for carving\\n296\u00e2\u0080\u0094300; illustrations 291-301; picture frames\\n296, plain curved molding 293, 294; shell and leaf\\nforms for 295, tongue and dart molding 392, work\\nin illustrated 291\\nGalpin, Sir Thomas development of human faculty 20,\\nvisualization 20\\nGeometric forms, modeling from cone 235, cube 222,\\ncylinder 224, general remarks 226, size best to use\\n221, sphere 223, square prism 225, too much used\\n56, 221, 224\\nGoodness and truth examples of beauty 254\\nGouge\u00e2\u0080\u0094 cutting channel around design 271, for remov-\\ning background 272, position of in carving 279,\\nselect according to curve 273, scooping out\\ninside curve 373\\nGreek art, learning to appreciate 208\\nGriflins- freehand designs 13S, original design 255,\\nsuggestions on drawing 172, winged form in\\ncarved furniture 301\\nHabits vs. principles 214\\nHailmann, Dr. W. N. acknowledgment to 16, clothe\\nutility with beauty 33. Dr. Hailmann s address\\nat the graduating exercises of the Public School\\nof Industrial Art, and his comment upon tnis\\nbook, are in the prefatory pages.\\nHall, Stanley nature the source of education and\\nreligion 23\\nHalleck, Prof. Reuben acts vs. ideas 20, motor action\\nneeds cultivation 20, motor paralysis of book\\nabsorbers 20\\nHand, the Aristotle on 23, capacity for skill in 11, in-\\nstrument for perfecting other senses 261, instru-\\nment of instruments 22, intelligence from hand\\nskill 39, leit-hand training needed 48\u00e2\u0080\u009451, 79, So;\\nMeissonier on left-hand work 51, obedient to will\\n22, 76, 91, 276; power of to find texture in wood\\n271, 273; right and left-hand work 47 ji; sen-\\nsibility governs the 51, Sir Charles Bell on 51,\\n261 skilled hand vs. fluent tongue 23, variouis\\nmediums for 6\\nHappiness in spite of drudgery 6, 310\\nHarris, Dr. W. T. art influence 360", "height": "3316", "width": "2439", "jp2-path": "newmethodsineduc02tadd_0359.jp2"}, "358": {"fulltext": "344\\nIndex\\nHealth first consideration i, improper educational\\nnietliods injure 62\\nHobby, value of tliis system as 13\\nHorse-cliestnut leai embodies many laws 165\\nHuman form studies charcoal drawings 406, methods\\nof modeling- 412, modeling and drawing from\\nlife 401, modeling head from life 410, modeling the\\nfisjure 411, 412; Raphael s Madonna del Car-\\ndellino 417, sketching model in costume 409\\nIdeas\u00e2\u0080\u0094 ability to revive 57, as images of sensory im-\\npressions 207, basis of originality 30, develop-\\nment of 16, iS; disintegration of how prevented\\n392, getting and giving first hand 32, good art\\nrequires 57, growth of 57, sense impressions\\ncreate 16, 19; separate mental existence 57, sym-\\nbols of things cannot create 17, thought fabric\\nbuilt by expressing 17, union of head, hand,\\nheart necessary iS, words made valuable by 16\\nImitation tendency ot art schools toward 149\\nImpressions more time for dwelling on needed 57,\\npermanent and vivid through art channels 340\\nIndividuality recognized in pupils 322, 329; recog-\\nnized in teacher 34\\nInsane and feeble-minded institutions art and indus-\\ntrial training adapted for 390, disposition should\\nbe studied and interest awakened 391, Dr. Kirk-\\nbride s experience 390, impoi-tance ot pleasing\\noccupation 390, not all in institutions 392, pottery\\nforms modeled by the insane 301, suggestions\\n391 things of beauty and value produced by 390\\nInspiration\u00e2\u0080\u0094 at first hand 53, conserved by knowledge\\nthrough nature 17, cultivation of 174, discovery of\\nnatural disposition creates ig, energy to act\\ncreated by 62, first understanding of 57, in\\nnatural forms 253, manual training creates 15,\\nperformance ot deeds causes 15, 20; teachers\\nneed of ij\\nIntelligence through hand skill 39, 2S0\\nIsometrical di^awing and its use 322\\nJacobi on perception and memory 1S5\\nJoints complex forms named 329, first exercises 325,\\nillustrations 314, 331 simpler forms first 325\\nKeene, Bishop stairway to God 63\\nKirkbride, Dr., on adaptability of these methods to the\\nfeeble-minded and insane 390\\nKnowledge (see also Education) means ability to use\\niS, 340; not familiarity 59, 340; of environment\\nnecessary 54\\nLeading lines 9S, 100\\nLeaf, the complex forms loS no; combinations of\\nleal and scroll 116 117; conventional forms first\\n91, curved leat how modeled 242, directions for\\ncarving 20S, 2S4; directions lor drawing S7, direc-\\ntions for modeling 195, 215, 237, 242; drilHvork 90,\\nforms modeled in clay 112, 115, 208, 215, 237, 243;\\nidealized forms 113, illustrations of 88,89; series\\nof forms III 116; simple forms 87 93; three-\\ntipped leaf and variations 89 90; iinnecessary\\ntechnical terms 89\\nLeft hand see Ambidextrous work\\nLettering and design 175\\nLite drawing (see also Drawing, and Art students,\\nsuggestions for)-get new impressions from object\\n140, human form studies 409 412; illustrations\\n139, 141, 143, 144, 14s, 146, 150, 154; living fish\\nshould be studied 144, 149, 150; memory of form\\nmust be fixed 140, mounted forms, use of 142,\\nmoving models, drawing from 161, power regis-\\ntered by practice 140, simplicity, importance of\\n148, suggestions on 139\\nLite ivork, fitted for by true manual training 32\\nLight and shade (see also Color and Charcoal drawing)\\nafter form 177, learned by modeling 177\\nLines, leading\u00e2\u0080\u0094 fundamental lines in patterns 9S,\\nsoiral the basis 98, suggestions on use of 100\\nLining-in opposed 76, 77\\nLizard, directions for modeling 203\\nLoop, the double\u00e2\u0080\u0094 application of 82, directions for\\nmaking 80, exercises on Si 84; reason for vari-\\nous movements 82\\nMachinery and power misused in technical schools 310\\nMachine-shop methods, limitations of 306\\nMachine-shop practice has its place 310\\nMagnetic influence in nature 254\\nMagnitudes drill for 127, must be grasped mentally\\n129\\nMallet aid to chisel or g-ouge264, hand used as, illus-\\ntrated 277, position of illustrated 276, right and\\nleft hand with 273, use of with chisel 271, 273\\nManual training, the true (see also Manual-training\\ndrawing and Education in art and manual train-\\ning) adapted to all grades and ages 9, balanced\\nhuman organism by 4, contact with real things\\nimportant 16, co-ordination of hand, eye, brain\\n30, basis of all education 22, benchwork 16, 319;\\ncapacity and energy through 10, 12, 14; drawing\\nthe first essential 6, 9 drawing supplement to 29,\\ndull and backward pupils adapted to 52, 389; ed-\\nucates to enjoy life even in drudgery 310, elemen-\\ntary precedes special work 5, 29; feeble minded\\nand insane educated by 390, first experiments 9,\\nfirst principles i 64; good-will of educators for\\n10, hand obedient to will 76, hand skill makes\\nintelligence 39, inspiration through 15, knowledge\\nreinforced by 70, love of nature from 23, mind\\nand character developed 31, mode of thought ex-\\npression 30, muscle and mind in harmony 31, old\\nmethods insufficient 41, old system of carpenter\\nwork illustrated 335, perspective powers trained\\n24, 40; province of 32, reformatory institutions\\nbenefited by 393, school for not a machine shop\\n309, self-reliance taught by 39, senses trained 38,\\nsmallest school can teach 34, sloyd, cooking,\\netc., not included 38, thought and action united\\n24, 40; tools first needed 4, tools required inex-\\npensive 33, trade processes compared with 32,\\ntruant schools should teach 393 394; true dis-\\ntinguished from false 31, wood-working opera-\\ntions 29, -work of life fitted for 32\\nManual-training drawing (see also Drawing and De-\\nsigning) construction lines not allowed 88,\\ncontact with things important 16, drill forms 72,\\n75 86; drill work for fundamental skill 69, ele-\\nmentary units 87 100; freehand manual and\\nmemory 13, modeling and carving supplements\\nto 85, nature study with 70, paper for 73, plan of\\nexercises 71, preliminary considerations 67 74\\nManual-training school not a machine shop 309", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0360.jp2"}, "359": {"fulltext": "Index\\n345\\nMaudsley education and what it consists of 340,\\ngrowth of ideation 57, ideas as images of sensory\\nimpressions 207, nerve experiences, registering\\nof 143, physical basis of memory 4S, unconscious\\ndevelopment of visual sensations 65\\nMeanings of things better than meanings of words 34S\\nMechanical draughting, previous training required\\nfor 30s\\nMechanical drawing artistic beauty of how lost 321,\\nclass room illustrated 304, course should include\\nwhat 336, different drawings, same principle 322,\\ndraughting and when properly taught 305, draw-\\nings for wood working 330, equipment required\\n336, Ireehand perspective illustrated 323, freehand\\nprojections illustrated 315, individuality of pupils\\nalways considered 322, instrument discussion\\nbegins course 322, isometrical drawing and its use\\n322, isometric drawing lesson illustrated 316,\\nmachines should not be too much discussed 319,\\nmechanical units 322, parallel and angular per-\\nspective of educational value 320, 323 perspective\\nand architectural design included 320, practical\\nexperience at machine shops desired 322, pupils\\nwork illustrated 333, real manual training first\\n306, rotation w^ith wood-working 315, screw princi-\\nple illustrated 321, tracing and blue printing im-\\nportant 322, the previous training required\\n30s. 321\\nMeissonier ambidexterity 51, drawing a basis of\\nprimary education 56, drawing expresses all\\nthings 56, language of truth 56\\nMemory (see also Memory drawing) basis of 4S, cor-\\nrect use of 3S, mind expanded by drawing from\\n143, physiological condition of 143, strengthened\\nby drawing 39, visual 20\\nMemory drawing (see also Drawing) ability formed\\nto think pictures 143, assimilate impressions\\nirom real things 163, bird forms for 159, botanical\\nforms 164 16S; fish forms good practice 143,\\ngood artists constantly refresh memory 143, illus-\\ntrations 14S, 151, 153, 155, 156, 160, 161, 162, 164;\\nnot enough insisted on 143, 149; persistence re-\\nquired 142, primary work by little children 160,\\ntype forms must be fixed 146\\nMental and bodily vigor by union of study and\\ndoing 341\\nMental fabric, building of iS, 22,48,50,57,60,150,344\\nMental image vs. pencil lines 127, 13S\\nMental inertia, resultof S\\nMental functions, development of 4S\\nMetal, carved patterns for 302\\nMetal work esthetic idea usually lacking 337, art in\\n394, designs 394, entirely mechanical funda-\\nmentals before trade operations 337, illustration\\n394, plaque illustrated 3S5, proper place in trade\\nschools 337, repousse and hammered work 395,\\nworking in illustrated 395\\nMethods in manual training (see also Manual training)\\ncost of equipments contrasted 33, distinction\\nbetween true and false 24 34; false methods con-\\nsume energy and inspiration 29, methods ad-\\nvocated and criticised 4, old methods found\\nivanting 9, 305 stupid claims for slovd 25\\nModeling (see also Clay modeling and Wax modeling)\\n\u00e2\u0080\u0094aid to drawing S6, 154; animal forms 247-255;\\nbefore carving 252, elementary courses in 193\u00e2\u0080\u0094\\n20S feeling form 235, for grammar grades 229\\n\u00e2\u0080\u0094245; form taught by 1S7, fruit and vegetable\\nforms 209\u00e2\u0080\u0094 220; geometric forms 231\u00e2\u0080\u0094227; hints\\nto the teacher 196, mode of expression 1S8, 255;\\nplant required iSS, 190; preliminary instructions\\n1S7\u00e2\u0080\u0094 192; props, use of 251, 253; suggestions on\\n1S7 iSS; wax modeling 257 360\\nModeling animal forms\u00e2\u0080\u0094 advice to teachers 349, Barye\\ncasts for school use 1S2, 349; Barye casts Ulus-\\ntrated 213, 246; directions for modelin-g 199\u00e2\u0080\u0094 304,\\n2-t7-2SS; general form first 249, individual taste\\nof pupils consulted 247, modeling from birds 250,\\nmodel for each pupil 34S, model the best teacher\\n2^9, tool marks vs. smoothness 249, woi k by\\ngrammar pupils 251, work in, illustrated 1S6, 247\\nModeling and carving (see also Modeling and Carving)\\nability inherent 64, aids to drawing 86\\nModeling for grammar grades\u00e2\u0080\u0094 anthemion 241, curved\\nleaf 242, leaf tile illustrated 237, leaf units 237,\\nMoresque form 23S, rosette 234, scroll 230, scroll\\nand crocket 239, scroll and leaflets 340, simple\\nshell forms 243, suggestions 229\\nModeling, forms for see Clay modeling\\nModeling fruit and vegetable forms 209\u00e2\u0080\u0094220 (see also\\nFruit forms and Vegetable forms, modeling\\nfrom)\\nMolding\u00e2\u0080\u0094 acanthus leaf 294, 295; plain curved 293, 294;\\ntongue and dart 292, 203\\nMoorish units\u00e2\u0080\u0094 directions for drawing 119, directions\\nfor modeling 338, Moresque designs 118, 119;\\nMoresque unit illustrated 23S\\nMorality embodied in nature 7\\nMoral training (see also Night schools)\u00e2\u0080\u0094 activities and\\nindividual faculties the aids to 6, 7; beauty part of\\ngoodness not enough taught 254, before intel-\\nlectual I, character developed by manual train-\\ning 31, 233, 242; divine energy a splendid aid 254,\\nduty should be a desire not a sacrifice 254, habits\\nbefore principles 278, knowledge of beauty an\\nimportant aid 6, morality embodied in nature 7,\\npreference for good how best developed 7, skilled\\nhands develop 23, 33\\nMotor centers co-ordination of 103, lack of active use\\nfrequent 59\\nMouse, directions for modeling 204\\nMoxom, Dr. Philip S., on moral habits 27S\\nNascent period, best results at 29\\nNatural disposition, common lack of development in ;3\\nNatural forms inspiration in 253, schoolroom use\\nof 253\\nNature best designer 155, drawing from 61, looking\\nat things not enough 58, love for cultivated 60,\\nmanual training teaches love for 39, morality em-\\nbodied in 7, painting from 141, touch of 64\\nNature and memory drawing 155 16S (see also Nature\\ndrawing and Memory draw^ing)\\nNature drawing (see also Drawing) bird forms 159,\\n161, 163; blackboard work 158, botanical 164 167:\\ngeneral form fi st aim 162, object drawing illus-\\ntrated 156, shell forms 155 15S", "height": "3316", "width": "2439", "jp2-path": "newmethodsineduc02tadd_0361.jp2"}, "360": {"fulltext": "346\\nIndex\\nNature study and memory drawing 155\u00e2\u0080\u0094163; common\\nmethod criticised 58, 60, 61 drawing as supple-\\nment to 70, 73; drawing used in 6, 345; example of\\n153,154; familiarity not knowledge 50, organic\\nimpressions in 60, right methods 5S 64\\nNatui-e-study drawing, use of 6\\nNight schools\u00e2\u0080\u0094 application and plant required 364\u00e2\u0080\u0094\\n366; character and energy how naturally de-\\nveloped 359\u00e2\u0080\u0094364; encourage the pupils 372,\\nmaterials needed 366\u00e2\u0080\u0094 36S; plan of exercises 36S,\\nprinciples and methods and their practical work-\\ning 359\u00e2\u0080\u0094 364; pupils often injured by goody-goody\\npeople 362, rewards or prizes 374, 377; scenes in\\n358,361,365, 367, 371, 373, 375; street arabs 374,\\nsuggestions for controlling pupils 369, sugges-\\ntions to teachers 370\u00e2\u0080\u0094 372; teachers needed 36S,\\nvalue and use of manual-training methods 359,\\nwood carving in 375 377; work illustrated\\n369^ 374\\nNormal schools necessity for these methods being\\ntaught 3S0, public demands the new education 3S0,\\nteachers can easily prepare themselves to teach\\ntrue manual training 3S0\\nNude, drawing from the 406\\nOak chiseling around curve difficult 271, cutting in,\\nsplendid discipline 271, experience with is the\\nbest teacher 271\\nObjects of woodwork instruction 316\\nOriginality, ideas basis of 30\\nPainting See Color and brush work\\nPaper for drawing 74\\nParents, a word to can teach your own children from\\nthis book 396, parents are enthusiastic advocates\\nof these methods 397, will gain pleasure and use\\nby learning and teaching manual-training 397\\nParthenon, antefix of 104\\nPattern making after geometric forms 327\\nPatterns in woodwork construction 305, 327, 329\\nPear, dii-ections for modeling 212\\nPerception accuracy of created 25, modeling an aid to\\n219, foundation of reasoning and imagination\\n20S, memory associated with 1S5\\nPerspective architectural design included with 320,\\nlesson illustrated 32S, naturally acquired 174,\\nparallel and angular 320, 323\\nPlaster models animal forms iSi, 213, 246; antique\\n105, architectural models 1S3 1S4; Bai-ye casts\\nfor schoolroom 1S3, 1S6; borders 327, capitals 221,\\ncasts vs. nature iSo, Iruit forms 181, model for\\ndrawing, modeling and carving 187,240; panels\\n222, shield 220, teachers should make 182, vs.\\nclay models for schools 252\\nPotato, directions for modeling 217\\nPottery forms illustrated 3S7\\nPratt institute methods 54\\nProcesses best for all pursuits first3i6\\nRadical feature of real manual-training methods 306\\nRaphael s Cardellino illustrated 417\\nReformatory institutions character reformed by pleas-\\ning work 393, cheaper methods for society 393, ex-\\nperience with art methods in 393, respectable\\nlivelihood may be earned 393\\nRembrandt s elephant illustrated and explained 398\\nRepousse and hammered work 395\\nRighteousness, second-hand vs. first hand methods 363\\nRoof construction 311, 313\\nRosette, the directions for carving 2S6, 2S8; direc-\\ntions f(U- modeling 234, drawing exercises on 97\\n98; Gothic form illustrated 345, illustrations of\\ncarved forms 2S7, modeled form 234, modeling ex-\\nercises on 19S, models for drawing, modeling and\\ncarving 99, round and square forms of illustrated\\n2S7, various designs 96, with leaf form no\\nSchoolroom decoration aquarium 386, borders of\\nsimple pattern 3S5, charts give business air 386,\\ndesigns and pictures 3S6, flowers 386, great art\\nworks undesirable 3S6, natural forms 385, shelves\\nof interesting objects 3S5, simple art works easily\\nunderstood 3S5, teacher s personality in 387,\\nworks of art alone no education 3S8, wrong\\nmethods may engender dislike for art forms 386\\nSchool work aided by drawing biology 345, blackboard\\nwork 34S, botany 346 -352 chart making 354\\n357; chemistry 352, elementary chemistry 347, ele-\\nmentary science 346, entomology 352, language\\nstudy 342, learning hard words 339, mineral-\\nogy 352, natural history 353, nature study 345,\\nqualifying names 344, technical terms 343,\\nzoology 343\\nScroll, the combined with anthemlon 105 107; com-\\nbined with crocket 239, combined with leaflets\\n240, designing form to carve 2S3, directions for\\ndrawing and modeling 230, 239; modeled form 230,\\n241; modeled line 230, modeling lesson on,\\nillustrated 233, three stages in carving 2S4\\nSelf-relia.ice taught by manual training 39, 340\\nSense impressions assimilation of 38, complexity of\\nbrain cells from 50,- concrete ideas from 19, co-\\nordination for individual harmony 48, cultivation\\nof 63, importance of various 16, organized 59, re-\\nproduced through finger tips 146, sense channels\\nhow impressed 56, systematic training of 38\\nSenses brain co-ordination forms connection between\\n39, distinct yet connected iS, mind developed\\nthrough 207, practiced use of prevents accidents\\n261, systematic training of 38\\nShakespeare on learning from nature 62\\nShell forms\u00e2\u0080\u0094 blackboard work 15S, carvings of conven-\\ntionalized 289, directions for modeling 243, from\\nmemory 155\u00e2\u0080\u0094 15S; from object 1^6 158; modeled\\nform 229, models illustrated 158, 244\\nSimplicity\u00e2\u0080\u0094 characteristic of great artists 149, im-\\nportance of 147, one aim sought in drawing 149\\nSketch and note books in woodwork construction 325\\nSketching constantly practiced by good artists 143\\nSketching vs. designing 57\\nSloyd method busy work but not educational 28, not\\nreal manual training 38, original reason for 26,\\nselected for criticism 28, stupid claims for 25\\nSmiles, on habits vs. principles 214\\nSnake, how to model 202\\nSolids\u00e2\u0080\u0094 cups and saucers 12S, drill for magnitudes 127,\\nmental image vs. pencil lines 128, principle\\nof Greek vessel forms 128, vessel forms for prac-\\ntice 129\\nSpencer\u00e2\u0080\u0094 brain the register of experiences 224, educa-", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0362.jp2"}, "361": {"fulltext": "Index\\n347\\nted senses and muscles needed in accidents 261,\\nmeaning of things vs. meaning of words 34S\\nSphere, directions for modeling 222\\nSpiral, the directions for carving spiral crockets 2S5,\\ndirections for drawing S4 S5 directions for\\nmodeling 194^ drill forms So, frequent form in\\nart 84, modeling 194, units of design based on 93\\nSpoiled work vs. spoiled pupil 275\\nStraight lines directions for making 79, exercises on\\ndiagonals 79\\nStrap work exercises for accuracy 124 125; interlac-\\ning exercises 125\\nStreet arabs and what can be done with them 374\\nStrength in designing, secret of 100\\nStudy and doing should go together 341\\nSummer schools these methods adapted to 3S2, work\\nat illustrated 3S2, 3S3\\nSwiss or Swedish carving 3SS\\nSymbolic forms\u00e2\u0080\u0094 circle iSo, cross iSo, hieroglyphics\\niSo, nimbus iSo, passion flower iSo\\nSymbolism explanation of 17S, forms in described iSo\\nTactual impressions produce seeing power iSS,\\nvalue of portraying 147, 160\\nTangential curvature see Curvature\\nTeacher great field for 400, inspiration needed by 15,\\nmission of 15, 227; personality recognized 34,\\ntrue teacher draws out energy 14S, 150, 164; vs\\nimitators and copyists 45\\nTeachers, great field for 400\\nTechnical terms learned by drawing their meaning 343\\nThings vs. symbols 16 23\\nThought drawing as mode of expression 19,40, 45, 56,\\n64, 117, 146, 339; modeling as mode of expres-\\nsion iSS, 255; ripened by action into truth 1S5,\\nthought should be put into work instead of into\\ntools 317, valueless unless executed 1S5\\nThought and action imited by true manual training\\n24, 40\\nThought fabric see Mental fabric\\nThought studies, first step to higher 54\\nTools calipers 2S6, 292, 293, 294, 295 carving set\\nillustrated 265, chisel 263, 271, 272, 273, 274, 292,\\n294, 295; clamps 263, clamps and mallet illus-\\ntrated 264, fewer lools, better workmen 263, 264;\\nfirst ones needed 4, gouge 263, 271, 272,273, 293;\\nmallet 263, 271, 273; marks of on Venus of Milo\\n264, natural vs. artificial 4, 2S6; not end but\\nmeans 317, parting tool 293, ruler 132, 2S6; sharp-\\nening 32S, simplicity of in Greek art 264, posi-\\ntion in modeling illustrated 233, 235; position of\\nmodeling tool described 236, sculptors best 243,\\nset of carving, illustrated 265, use of in elementary\\nmodeling 210, 212; use of in grammar grade\\nmodeling 230 245 wood-working tools required\\nfor 20 pupils 334, work with should become auto-\\nmatic 317\\nTool work not the end but the means 317\\nTomato, directions for modeling 21S\\nTongue drawing the universal 33, 146; vs. skilled 23\\nTongue and dart molding 292, 293\\nTouch\u00e2\u0080\u0094 master sense iSS, mind and jvidgment trained\\nby iSS, sculptor s power in iSS\\nTrade (see also Manual training, the true) hand skill\\nprecedes trade learning 29, 32; hand of shown in\\ncommon art methods 41, mercantile ideas over-\\ndone 8, 13; old-fashioned ideas unavailable 13,\\ntrade processes vs. manual training 32, 2S0; trade\\nschool s real irse 32, true handicraft trains eye,\\nhand, brain 30, teaching of not beneficial 7,\\nweakness of old method in teaching 32\\nTrade processes vs. real manual training 32\\nTrade school s real use 32\\nTruant schools, etc\u00e2\u0080\u0094 art methods always liked 393, en-\\nthusiasm awakened 394, even vicious boys like\\nwork 394, forcing methods a failure 393, good\\nword for pupils in 394, rebellion and hate vs. en-\\nthusiasm 393\\nTruth, the language of 56\\nUtility\u00e2\u0080\u0094 alone does not educate 54, clothed with beauty\\n33, idea of overdone 26, 41 insufficient alone i\\nVacation and night schools, authority on 379\\nVacation schools false vs. right methods 380, Mr. W.\\nW. Frazier, authority on 379, too much experi-\\nmenting with 3S0, valuable results obtained 379\\nVaulting principle illustrated 324\\nVegetable forms, modeling from carrot 21S, potato 217\\nremarks on 218, tomato 21S, turnip 219\\nVenus of Milo, tool marks on 264\\nVessel shapes 129\\nVisual image best workmen have 20, designer has\\n137, necessary in designing 20, pleasure of use\\n21, unconscious development of 65, universal\\nneed of 21\\nVitality consumed by mere book learning 17\\nVital force how acquired 57\\nVoluntary action, Wundt on 89\\nWater-color painting from casts best position for\\nmodel 40S, materials 40S, painting Angelo s Dy-\\ning Slave 408\\nWax\u00e2\u0080\u0094 cleaned by melting 259, colors of 258, compared\\nwith clay for modeling 257, cost and cai-e of\\n257, 25S good substitutes for 257\\nWax modeling designs 256, 257, 25S, 259; directions\\nfor making casts of wax models 259, drawing\\nand lining in for 257, enlarging animal forms\\n260, rough-texture wood best for 25S\\nWomen and girls, hand training adapted to 31, 264\\nWood hard vs. soft in carving 265 266; practical use\\nof hard 266, texture learned by experience 271, 275\\nWood carving age for learning 264, avoid too deep\\ncutting 273, background first removed 273, best\\nwork from the start 264, 265 beveling outer edge\\nof design 274, borders 292 295; carved patterns\\nfor metal \u00e2\u0096\u00a0work 302, 305; carver s grip necessary\\n280, carving on a curved surface 291 296, 300\\n301; carving on furniture and other advanced\\nwork 291 302; carving the elementar} units of\\ndesign 2S3\u00e2\u0080\u0094 290; chairs 297, continuous clean cut\\n273, Cupid s head in four stages 299, 300; cutting\\naround curve 273, 274; design, carving elementary,\\nunits of 2S3 290; designing form for carving\\n266; discipline and training value of 27S, educa\\ntional value of 233, 263, 275 2S1 encourage the\\npupil 27s, energetic disposition fostered by 300,\\nequipment, simplicity of 262, feeling the form in\\nwood 273, finished work how used 277, finishing\\nthe carving 2S0, first steps in 266, 271 iSi\\nframes 296, free curves needed in designing 27", "height": "3316", "width": "2439", "jp2-path": "newmethodsineduc02tadd_0363.jp2"}, "362": {"fulltext": "348\\nIndex\\nfurniture and other advanced work 291 301;\\ngoug ing channel around design 271, graded work\\nin 26S, grooves slight at first 272, hard vs. soft\\nwood 265, hard wood pi-eferred 265, illustrations\\nof examples of 2, 3, 65, 15S, 1S5, 261, 263, 26S 271,\\n2S1, 2S2, 2S3, 290, 291, 297, 29S, 299; instructions\\nfor elementary work 271 2S1 knowledge of form\\nrequired 263, line of drawing not considered by\\nexpert carvers 273, muscular exercise for torpid\\nmuscles 279, panel illustrated 317, 389; position\\nof hands 267, practical use of hard wood 255,\\nraised surface how carved 273, scooping out inside\\ncurve 273, scored background illustrated 26S,\\nscoring the background 26S, should be taught\\nwith clay modeling 317, should precede cabinet\\nmaking 317, spoiled panel vs. spoiled boy 275,\\nspoiled work made good 292, stupid pupils make\\nskilled workmen 275, Swiss or Swedish carving\\n3SS, teaching of not common enough 299, texture\\nof wood learned by experience 271, 275; tools re-\\nquired 263, 264, 255, 273; tracing is cheating 26S,\\ntransfer instruments not used 266, 267 wood work\\ndistinct from 317, working in, illustrated 19, 262,\\n272, 274, 276, 277, 279, 291 wood to practice in 265\\nWoodwork construction abstruse ideas should be-\\ncome familiar 316. advanced construction 32S, ap-\\nparatus for school purposes illustrated 320, archi-\\ntecture 323, architectural column illustrated 314,\\nart and mechanical sides both taught 325, art\\nwork before mechanical work 317, bench work\\nshould correlate with other studies 319, black-\\nboard work made much of 324, building construc-\\ntions illustrated 309, iii 313; carpenter work,\\nwhere it should he taught 305, comprehensive\\nrather than detailed training 316, difference be-\\ntween the important and tlie trivial must be dis-\\ncerned 317, door model 317, drawings for -wood\\nworking 330, duplicate parts may be turned work\\n329, education in requires no machinery 310, 312;\\nequipment inexpensive 313, fallacy of ordinary\\nmethods 305, geometric modtls 326, 327; good\\nteacher better than good tools 31S, individ-\\nuality of pupils recognized 329, joints for first ex-\\nercises 325, joints illustrated 314, 331; machine-\\nshop practice has its place 310, manual-training\\nschool not a machine shop 309, mechanical side\\nhow best taught 325, -nisuse of power and ma-\\nchinery in technical sciiools 310, note and sketch\\nbooks required 325, objects of instruction 316, pat-\\nterns for advanced ^vork 329, patterns illustrated\\n305, pattern iriaking after geometric form\\n327, perspective lesson llkistrated 32S, pre-\\nliminary training required 305, present vs. old-\\ntime craftsmanship 307, processes the best lor all\\npursuits first 316, radical feature ct this method\\n306, real manual training first 306, root construc-\\ntion 311, 313; sawing lesson illustrated 306, simple\\nexercises for beginners 325, skilled mechanic\\nalone not best teacher 31S, teacher s best qualifi-\\ncations 325, thought should be put into work, not\\ninto tools 317, tools required for woodworking de-\\npartment 334, tools not end but means 317, tool\\nwork should become automatic 317, typical forms\\nmost important at first 325, use of head work in\\n315, vaulting principle illustrated 324, wood carv-\\ning distinct from 317, wood \u00e2\u0096\u00a0working course and\\nwhat it includes 332, wood working illustrated\\n306, 307, 308,312,319, 363; wood-working samples\\nillustrated 305, 309, 311. 313, 314, 317, 320, 326, 327,\\n329; wood-working tools for 20 pupils 334\\nWood-working course and what it includes 332\\nWriting, compared with draw^ing 76, 146\\nTHE PUBLISHERS WORD\\nThis book has been primarily a labor of love with the American publishers. It describes methods that have\\nbeen successfully applied with many thousands of pupils and teachers in public, parochial and private schools, art\\nclasses, reformatory institutions, etc. At the World s Columbian Exposition, Mr. Tadd s working display- of his\\nmethods was awarded the only medal for excellence and unique method of teaching drawing and its application to\\nclay and wood. The judges were Russian experts in industrial education and manual training. It is further sig-\\nnificant of true merit, that a different set of judges should have awarded another gold medal to this work as exhibited\\nby the Roman Catholic high school of Philadelphia in another and distant department of the exposition. The report\\nof the United States Commissioner of Education for 1894 says the exhibit of this school was a surprise, and de-\\nvotes more space to it than to all the Philadelphia art schools and colleges combined.\\nThis school also received the lion s share of space and commendation in the voluminous i-eport to the Swiss\\ngovernment by its accredited delegate, Mr. Leon Genoud, director of the Museum of Industry and the Pedagog ium,\\nFribour?-. Mr. Tadd was invited to explain his methods to the British Association for the Advancement of Science in\\n1S95, and an institution for teaching these methods has since been sviccessfuUy inaugurated at Liverpool, while it is\\nrapidly spreading thi oughout the United States. In consequence of these and other indorsements, much inquiry for\\nthe natural education has come from leading educational bodies, not only in the United States, but in Norway\\nSweden, Switzerland, Belgium, France, Germany, the United Kingdom and Australia. The present work is partly to\\nsatisfy these and similar inquiries.\\nThe American publishers offer their services to families, institutions, superintendents or teachers who may wish\\nto adopt Mr. Tadd s methods in whole or in pai-t. Correspondence is invited regarding competent instructors in art,\\nreal manual training and nature study, concerning opportunities for the training of teachers in this method, or about\\nthe simple and inexpensive equipment and supplies required for these natural methods in the new education. We\\nwill cheerfully co-operate to any reasonable extent in promoting the universal use of these new methods in education\\nthat are so full of promise or the j outh of the world.", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0364.jp2"}, "363": {"fulltext": "LIST OF ILLUSTRATIONS\\nFull Page Plates\\nFrontispiece ii\\n1 Charcoal drawings from casts vi\\n2 Children s work, grammar grade, Philadelphia public schools 2\\n3 Work in clay modeling, Public School of Industrial Art 27\\n4 Blackboard work in a night school 37\\n5 Unfinished charcoal sketch, showing how artists draw xii\\n6 Drawing and painting birds from life 49\\n7 Correlation of drawing with elementary natural science\u00e2\u0080\u0094 entomology 55\\n8 Ambidextrous designing 66\\n9 Drawing and painting class, Public School of Industrial Art 92\\n10 Painting in color form butterflies 141\\n11 Drawing dog form life 154\\n12 Bird form models for children to work from 179\\n13 Girl modeling a lion 186\\n14 180 small forms modeled in clay 189\\n15 Some of the Barye casts 213\\n16 A collection of pupils work, Public School of Industrial Art 228\\n17 Forms suitable for elementary schools 231\\n18 Various positions of tool in modeling rosette and shell 285\\n19 Modeling a lion 246\\n20 Original designs modeled in wax 256\\n21 Wood-carving room, Public School of Industrial Art 262\\n22 Examples of wood carving 270\\n23 Vestment case of R C high school pupils 282\\n24 Mechanical drawing ^^4\\n25 Part of wood-working room ^68\\n26 Illustrating roof construction 311\\n27 Simple and complex geometric models 326\\n28 Drawings for wood working ^^0\\n29 Mechanical drawings by pupils ^33\\n30 Carpenter work\u00e2\u0080\u0094 the old system of manual training 335\\n31 Botany\u00e2\u0080\u0094 application of drawing to elementary science work 338\\n32 Elementary chemistry and drawing\\n33 Drawing birds from nature\\n(349)", "height": "3316", "width": "2439", "jp2-path": "newmethodsineduc02tadd_0365.jp2"}, "364": {"fulltext": "350\\nList of Illustrations\\n34 St. James Boys Guild, night school class\\n35 Boys carving furniture in night school\\n36 Summer class in Adirondacks at work\\n37 Elementary mineralogy with drawing\\n38 Rembrandt s study of an elephant\\n39 Modeling and drawing from life\\n40 Angelo s Sybil\\n41 Drawing pigs, Adirondacks\\n42 Sketching from cattle, summer school\\n358\\n371\\n378\\n384\\n398\\n401\\n404\\n414\\n416\\nPrincipal Pictures, Arranged by Subjects\\nDRAWING\\nPupil working on original blackboard design lo,\\nIS- 3S. 46, 134\\nEnlarging sketchbook drawings 11, 162\\nFreehand manual and memory work by little\\nchildren 13\\nBlackboard work in a night school 37\\nTeachers practicing freehand circle 41\\nLittle child drawing circles 47\\nClass drawing and painting birds from life 49\\nFreehand designing, Germantown public school\\nCorrelation of drawing with elementary natural\\nsciences entomology 55\\nBoy making freehand chart 5S\\nDrawing poultry from nature 61, 139\\nOriginal designs by grammar-grade children 65\\nAmbidextrous blackboard designing by class of\\nboys 66\\nSome primary exercises 67, 6S, 73\\nGrammar grade practice 69\\nAmbidextrous co-ordinations in four directions 70\\nGrammar grade pupils making original designs\\n7\\nFirst exercises, primary school, colored children\\n72\\nLoop forms for drill work 75, Si, 82, 84\\nFreehand exercises in straight lines 76\\nCircle form for drill work 78\\nStraight-line form for drill work 79\\nChildren making drill movements and spirals So\\nMaking loop forms with both hands, primary\\nchildren 83\\nSpiral forms for drill work 84, 85, S6\\nDrawing bird forms trom memory 87\\nLeaf forms for drill work 88, 89, 108, 109\\nno, 113, 113, 1 14\\nPracticing leaf forms and loops 90\\nDrawing and painting class, Public School of\\nIndustrial Art 92\\nUnits of designs based on the spiral 93\\nCrocket forms for drill work 94\\nUnits ot design based on spiral and crocket 9?\\nPupil practicing scroll and crockets 95\\nRosettes of various designs 96\\nCombinations of units for drill work 97\\nBlackboard exercises\u00e2\u0080\u0094 drawing rosettes gS\\nRosette models 99\\nPractice work for leading lines 99, 100\\nTeachers practicing drill forms 101\\nAnthemion forms for drill work 102, 104, 106, i(yj\\nCo-ordination of motor centers illustrated 10}\\nPracticing the anthemion and scroll 107\\nBud forms for drill 11 1\\nCombinations of leaf and scroll 116, 117\\nMoresque designs 118, 119\\nColored pupils making blackboard designs 121\\nCombinations of circle for practice work 122\\nExercise in drawing borders 123\\nPupil making strap work 124\\nEllipse forms for practice 126\\nMemorizing magnitudes and making solids 127\\nMaking vessel forms 129\\nDrill forms and designs 130\\nDesign tor stained glass window 131\\nDesigns by public school children 131\\nFreehand brush play 133\\nClass of teachers, designing on blackboard 136\\nFreehand design with griffins 13S\\nPainting in color from nature 141\\nCommon mackerel 143\\nThe carangoid fish 144\\nAngel fish 144\\nSheepshead 145\\nThe silver moonfish 146\\nChildren drawing fish forms from memory 148,\\nThe sea bass 150\\nFish forms in design 152\\nNature study offish form 153\\nShells drawn from memory 155", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0366.jp2"}, "365": {"fulltext": "List of Illustrations\\n351\\nDrawing from the object and memory drawing-\\nLesson from the shells 157, 15S\\nChildren drawing animals from memory 160\\nMemory drawings of birds 161\\nBird s wing and feather 163\\nDaisy drawing lesson 165\\nWoiiving from Irnit and branch 166\\nThe dandelion in its different stages 167\\nBotanical drawing of leaves 167\\nSwans 16S\\nDolphin forms in conventional design 169, 170\\nIdealized animal forms 171\\nDecorative birds 173\\nExercises in lettering and design 175\\nDrawing from objects in various positions 176\\nFreehand drawing of chairs 177\\nBird forms for model j 173\\nArchitectural forms from memory 1S3\\nApplication of drawing to botany 33S\\nLearning hard words by illustrating their mean-\\ning 339\\nLearning tacts by drawing them 341\\nArchitectural styles and how learned 342\\nDrawing correlated with zoology 343\\nBiology and drawing 345\\nElementary chemistry 347\\nMemory drawing of elementary botany 349\\nBirds from nature 351\\nCorrelation with natural history 353\\nPainting charts 355\\nInstrumental and cast drawing, night school 373\\nSummer class in Adirondacks 37S\\nElementary mineralogy 3S4\\nNature study 393\\nRembrandt s elephant 39S\\nLandscape painting- and drawing 403\\nAngelo s Sybil 404\\nCharcoal sketching from life 405\\nPainting in water color from cast 403\\nSketching human model from life 409\\nDrawing the horse 413\\nLesson from the pig 414\\nCattle sketching 416\\nRaphael s Madonna del Cardellino 417\\nSmall decorative pieces\u00e2\u0080\u0094 Panel i, 34, 74, 261, 3S1,\\n303; Animal forms 4, 26; Bird forms 5, 8,\\n21, 30, 40, 45, 54, 60; Fish 6, 32, 43 Rosette\\n23; Leaf forms 57, 62; Spoon shapes 59;\\nFeather 63, Shells 64\\nMODELING\\nWork in clay modeling. Public School of Indus-\\ntrial Art 27\\nGirl modeling fruit forms from natui e 53\\nModels of leaf forms 65, icg, 112, 115, 20S\\nRosette forms 99\\nPlaster models from the antique 105\\nLeaf forms in design 115\\nBird forms as models 179\\nFruit forms iSi\\nAnimal forms in plaster iSi\\nPlaster casts of architectural styles 1S4\\nFish forms 185\\nPupil modeling animal forms 1S6\\nPlaster models for drawing, modeling and carv-\\ning 187, 240\\nSmall forms suitable for children 1S9\\nMaking geometric and bird forms 191\\nFirst exercises in modeling 191, 197, 19S\\nPortion of modeling room, Public School of\\nIndustrial Art 192\\nMaking a ball of clay 193\\nForming the spiral 194\\nLeaf forms exercise for manipulation of clay 195\\nMolding a circular form 196\\nElementary forms in clay 200\\nModeling the snake 202\\nModeling various natural objects 203\\nElementary modeling of animal forms 204\\nA modeled tile 206\\nThe real bird and its clay model 207, 250\\nClass working on a curved surface 209\\nFruit and vegetable casts 2n\\nSome of the Barye casts 213\\nCasts of leaf forms 215\\nMaking fruit forms from nature 217\\nBranch and fruit 219\\nPlaster model of shield zzo\\nModels of plaster capitals 221\\nPilaster panels, Italian renascence 222\\nReducing acanthus leaf forms 223\\nModeling a head 225\\nVarious borders 227\\nCollection of pupils work, Public School of In-\\ndustrial Art 22S\\nShell form to work from 229\\nThe scroll in clay 230\\nForms suitable for elementary schools 231\\nPosition for tool while turning a scroll 233\\nComplex rosette 234\\nPosition of tool in modeling rosette and shell 335\\nA leaf tile 237\\nThe Moresque unit 23S\\nScroll and crocket 239\\nScroll and leaflet 241\\nAnthemion in clay 241\\nVarious arrangements of anthemion 242\\nThe curved leaf 243\\nReal shells for models 244\\nGothic rosettes 245\\nModeling a lion 246\\nClass in advanced clay work 247\\nCasts of animal forms 24S\\nAnimal forms, grammar grade work 351\\nMaking fish forms 253\\nGriffin, original design 255\\nOriginal designs m wax 256\\nPupil modeling in wax 257\\nOriginal wax panel 25S\\nMaking a dolphin in wax 259\\nEnlarging animal forms in wax 260", "height": "3316", "width": "2439", "jp2-path": "newmethodsineduc02tadd_0367.jp2"}, "366": {"fulltext": "352\\nList of Illustrations\\nNight school at work 35S, 361, 365, 367, 375\\nChildren modeling vase forms 3S2\\nModeling the dog from life 3S3\\nUnderglaze pottery forms 3S5, 3S7\\nPottery forms by the insane 391\\nMolding a vase 399\\nModeling and drawing from life 401\\nModeling head from life 410\\nMaking the human figure 411, 412\\nCARVING\\nChildren s work, grammar grade, Philadelphia\\npublic schools 2\\nClock, designed, drawn and carved by high\\nschool boys 3\\nWood-carving class. Public School of Industrial\\nArt 19\\nChair 24, 290\\nRoselte models 99\\nWood carving by school boy 1S5, 263, 269, 2S3\\nClass at work, Public School of Industrial Art\\n262\\nClamps and mallet for wood carding 264\\nSet of carving tools 265\\nPositions of hands and tools in carving 267, 272,\\n274, 276, 277, 279\\nBackground marked over for cutting out 26S\\nExamples of wood carving 270\\nChest carved by pupils 271\\nVestment case, pupils work 2S2\\nScroll and leaf forms, three stages 2S4\\nSpiral with crocket, three steps 2S5\\nAnthemion and rosettes 287\\nFluted forms 2SS\\nConventionalized shell forms 2S9\\nCarving on a curved surface 291\\nBorders and moldings 292, 293, 294, 295\\nPiece for chair back 296\\nFrames b} night school pupils 296\\nChairs by public school pupils 297\\nItalian renascence carving 29S\\nCupid s head, in four stages 299\\nArms for settee and chair 391\\nCarved patterns for metal 302, 305\\nNight school class 361, 371\\nSome night school work 369\\nPanel by night school pupil 374\\nChairs by normal class 376\\nDesk panel, two stages 3S1\\nSwiss or Swedish carving 38S\\nCarved panel by teacher 3S9\\nArt metal work 394, 395\\nCarving in the round 396\\nStand, normal class work 397\\nWOODWORKING AND MECHANICAL DRAWING\\nBoy at bench work 16\\nClass in mechanical drawing 304\\nA lesson in sawing 306\\nMaking joints 307\\nPart of wood-working room 30S\\nBuilding construction 3C9\\nIllustrating roof construction 311\\nCutting dovetail and sharpening chisel 313\\nQiieen post roof truss 313\\nForms of joints 314, 331\\nPupil drawing projections freehand 315\\nIsometric drawing lesson 316\\nModel of door 317\\nHouse building\u00e2\u0080\u0094 lesson on stairs 31S\\nApplying try square to planed surface 329\\nApparatus for school purposes 320\\nDemonstrating principle ot screw 321\\nDrawing freehand perspective 323\\nConstruction demonstrating vaulting 324\\nSimple and complex geometric models 326\\nGeometric forms, made without lathes 327\\nLesson in perspective 32S\\nForms and patterns, pupils work 329\\nDrawings for wood working 330\\nMechanical drawings, applying principles\\nlearned 333\\nCarpenter work, old system 335\\nPainting chart of mechanical forms 357\\nSUGGESTIONS TO ART STUDENTS\\nHigh school wood-working department 363\\nCharcoal drawings from casts 6\\nUnfinished charcoal sketch trom the nude 12\\nRembrandt s study of an elephant 39S\\nModeling and drawing from life 401\\nLandscape painting and drawing in the Adiron-\\ndacks 403\\nAngelo s Sybil fresco from Sistine chapel 404\\nFirst stage of charcoal sketch from life 40^\\nDrawing from the nude 405\\nPainting Angelo s Dying Slave from cast 40S\\nSketching from life\u00e2\u0080\u0094 model in costume 409\\nModeling a head from life 410\\nModeling the figure\u00e2\u0080\u0094 first view 41 1\\nModeling the figure\u00e2\u0080\u0094 second view 412\\nRaphael s study for the Madonna del Cardel-\\nlino 417", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0368.jp2"}, "367": {"fulltext": "Mar. 12 1901", "height": "3316", "width": "2439", "jp2-path": "newmethodsineduc02tadd_0369.jp2"}, "368": {"fulltext": "FEB 12 1901", "height": "3339", "width": "2388", "jp2-path": "newmethodsineduc02tadd_0370.jp2"}, "369": {"fulltext": "", "height": "3316", "width": "2439", "jp2-path": "newmethodsineduc02tadd_0371.jp2"}, "370": {"fulltext": "i,S.^^y. CONGRESS\\n-1^", "height": "3453", "width": "2393", "jp2-path": "newmethodsineduc02tadd_0372.jp2"}}