A program of recreational art for the high school

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A PROGRAM OP RECREATIONAL ART FOR THE HIGH SCHOOL

A P ro je c t P re se n te d to th e F a c u l t y o f t h e S c h o o l o f E d u c a tio n The U n i v e r s i t y o f S o u th e r n C a l i f o r n i a

In P a r t i a l F u lfillm e n t o f t h e R e q u ir e m e n ts f o r t h e D egree M a s te r o f S c ie n c e i n E d u c a tio n

by D o ro th e a E* K ee fe A u g u st 1 , 1950

UMI Number: EP46400

All rights re se rv e d INFORMATION TO ALL U S E R S T h e quality of this reproduction is d e p e n d e n t upon th e quality of th e copy subm itted. In th e unlikely e v e n t th a t th e a u th o r did not s e n d a co m p le te m anuscript an d th e re a re m issing p a g e s , th e s e will b e noted. Also, if m aterial h ad to b e rem oved, a n o te will indicate th e deletion.

Dissertation PuMistang

UMI E P 46400 P u b lish ed by P ro Q u e st LLC (2014). Copyright in th e D issertation held by th e Author. Microform Edition © P ro Q u e st LLC. All rights re se rv e d . This w ork is p ro tected a g a in s t un au th o rized copying u n d e r Title 17, United S ta te s C o d e

P ro Q u e st LLC. 789 E a s t E isen h o w er P arkw ay P.O . Box 1346 Ann Arbor, Ml 4 8 1 0 6 - 1346

' jr /

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rir^ •

This p r o je c t r epo rt , w ri tt en un der the direction of the candidate's advi ser and a p p r o v e d by h i m , has been p r es e nt e d to and a c ce pt e d by the F a cu lt y of the S c h o o l of E d u c a ti o n in p a r ti a l fulf ill me nt of the requirements f o r the de gre e of M a s t e r of Science in E ducation.

Date.

-/fS-O

Adviser

Dean

ii

PREFACE A p ro g ra m f o r r e c r e a t i o n a l a r t I s a p l a n f o r d e v e l o p i n g good w o rk m an sh ip , t a s t e , and ju d g m en t o f man-made t h i n g s , an d an i n t e r e s t w h ich w i l l s t i m u l a t e l e i s u r e a c t i v i t i e s and l a t e r a d u lt a v o c a tio n s, - E v ery b o d y w is h e s t o be a b l e t o e x p r e s s h i m s e l f i n some w ay.

I t i s n o t p o s s i b l e f o r a l l t o be g r e a t m u s i c i a n s ,

s t a t e s m e n , o r s o l d i e r s ; b u t ea c h one c a n f i n d some p h a s e o f a r t w h ich w i l l g iv e him a r i c h e r and more s a t i s f y i n g l i f e . The r e c r e a t i o n a l a r t c o u r s e i s a n a t t e m p t t o m eet th e needs o f s e lf - e x p r e s s io n .

H ere a r e p r o v i d e d v a r i e d t y p e s

o f a r t a c t i v i t i e s , r a n g i n g fro m f i n e a r t s t o h a n d c r a f t s . The o b j e c t i v e s o f t h i s c o u r s e a r e ;

(1 ) To d e v e lo p an

a p p r e c i a t i o n o f f i n e a r t , an a w a r e n e s s o f good c o m p o s i t i o n , t e c h n i q u e s o f p a i n t i n g , and th e im p o r ta n c e o f c o l o r ,

A

s tu d y o f th e f in e a r t s s e rv e s a f u n c tio n a l purpose i n th e s e l e c t i o n o f c o l o r i n c l o t h i n g , i n t h e home, an d th e c h o ic e o f good p a i n t i n g s t o en h a n ce t h e home,

(2 ) To c r e a t e a r t i ­

c l e s w h ich a r e b o th u s e f u l an d d e c o r a t i v e . h a n d c r a f t s d e v e l o p s many v a r i e d s k i l l s ,

W orking w i t h

s t i m u l a t e s good

p l a n n i n g , t h o u g h t f u l o r g a n i z a t i o n o f m a t e r i a l , c a r e f u l w ork­ m a n s h ip , r e s p e c t f o r t o o l s and t h e work done by o t h e r p e o p l e . The r e w a r d s o f a p ro g ra m o f r e c r e a t i o n a l a r t a r e n o t o n l y r i c h an d v a r i e d , b u t a l s o t a n g i b l e .

P ro g ress i s c le a rly

v i s i b l e , and th e r e s u l t s can be e a s i l y c h e c k e d and e v a l u a t e d . H ere i s a u s e f u l r e c r e a t i o n where s t u d e n t s can l e a r n to c u l t i v a t e s k i l l s u s i n g b o th t h e i r m inds and h a n d s .

iv

TABLE OP CONTENTS CHAPTER

PACE PART I .

DRAWING

HOW TO DRAW 1.

PEOPLE:

HOW TODRAW PEOPLE .

1,

EQUIPMENTS

2.

THE RIGHT SIZEs

3,

How t o

. . ....................................... .

2

s e le c t m a te ria ls . . . . . . .

2

How t o d raw p e o p l e i n

c o rre c t p ro p o rtio n

•

3

CAUGHT IN THE ACTs

How t o make a c t i o n

fig u re s 4. 2.

3

HEADLINESs

COMPOSITIONS

How t o d raw h e a d s ...............................................4

HOW TO MAKE GOOD COMPOSITIONS, . . . .

1.

EQUIPMENTS How t o

2.

WITHIN THE PICTURES

s e le c t m a te ria ls

NEAR AND PARS p ic tu re s

4*

.................... . . . 13

How t o o b t a i n d i s t a n c e i n

. . . . . • . . • . . . . . . . . . . .1 5

BY- LINESs m onotony

.......................13

How t o draw good

c o m p o s iti o n • • • • • • • • • • • 3.

13

How t o a c h ie v e u n i t y w i t h o u t • • « « < PART I I .

15 PAINTING

HOW TO PAINT PICTURES 3.

WATER COLORS

HOW TO MAKE GOOD WATER COLORS

21

V CHAPTER

1.

PAGE

EQUIPMENT:

How t o s e l e c t . t h e p r o p e r

m a t e r i a l s • • • • . ................... 2.

PREPARATIONS

3.

LAYOUT:

4.

How t o p r e p a r e p a p e r f o r u s e

How t o s k e t c h i n y o u r p i c t u r e

COLOR VALUE:

6.

• 22

y o u r e q u ip m e n t

• • • • • • • • • • • • • • • • • 2 3

PRESERVING THE PIECE:

How t o p r e s e r v e y o u r

HOW TO PAINT WITH OILS .

MATERIALS:

• • * • • •

............................ 28

................................ * . * . • • • 2 8 How t o p r e p a r e y o u r own

• • • • • • • • • • • • • • • • • • • • • 3 0

3.

LAYOUT:

4.

PREPARATION:

How t o p r e p a r e p a i n t s f o r u s e

5.

APPLICATION:

How t o a p p l y o i l p a i n t t o

canvas

How t o d raw on c a n v a s

• • •

CLEAN-UP:

. .

• • • • • • • • • • • •

. . • . •.3 0

• •

* • • 31

• • • 31

How t o k e e p y o u r e q u ip m e n t i n good

co n d itio n • • * • 7*

24

How t o s e l e c t t h e n e c e s s a r y

CANVAS CONFERENCE: canvas

6.

23

How t o g e t th e m o st o u t o f

eq u ip m e n t • • • • 2*

• • • •

SOAP AND SUDS:

OIL PAINTINGS 1«

• 22

* • • ....................• • • • • • • •

good w a t e r c o l o r s • • • • • • • • • • 4.

• •

How t o c r e a t e e x c i t i n g c o l o r

in your p ic tu re s 5.

• • • • . . • • • • 2 1

PRESERVATION:

• •

• • • •

• • • • • •*

■

w • • 32

How t o p r o t e c t y o u r o i l

p a in tin g s • • • • • • • • • • • • • • • • • • • • 3 2

vi CHAPTER

PAGE

PART I I I .

CRAFTS

HOW TO MAKE HANDCRAFTS 5.

CLAY:

HOW TO SCULPTURE FIG U RINES................................. How t o s e l e c t

37

1.

EQUIPMENT:

m a te ria ls . . . . . . .

37

2.

CLAY CAUTIONS: How t o p r e p a r e c l a y . . . . . . . 3 8

3.

ALL SIDES OF THE QUESTION:

How t o d raw

f i g u r e s t o be m od eled ...... ................ . . . . . . . . . 3 8 4*

WIRE WE HERE:

How t o make an a r m a tu r e

. . . . .

38

5.

CLAY CAPERS:

How t o a p p l y c l a y t o a r m a t u r e . . .

39

6.

NO VISIBLE MEANS;

How t o b u i l d f i g u r i n e s

w i t h o u t an a r m a t u r e • • • • . • . • • • • • • . . 3 9 7.

THE FINISH:

How t o a p p l y t h o s e f i n i s h i n g

to u c h e s • • • • • • • ....................... 8.

6.

FIRED FIGURES:

How t o p a i n t f i g u r e s w h ich

have been f i r e d

• • • • • • • • • • • • • • • • • 4 1

SOAP:

HOW TO CARVE SMALL FIGURES . . ♦ •

1.

EQUIPMENT:

2.

I T ' S A DRAWING CARD:

3.

A GUIDING HAND:

4.

SOAP CHIPS: so a p c a r v i n g

5.

• • ■'. • ft • 39

. . . . .

How t o s e l e c t m a t e r i a l s .......................

44 . 44

How t o a p p l y t h e d e s i g n . . 44

How t o c a rv e so a p

. . . . . . .

45

How t o c o r r e c t e r r o r s made i n ............................. • • • • • • • • • • • 4 7

COLORFUL FIGURES:

How to p a i n t so a p s c u l p t u r e

• 47

v ii

PAGE

CHAPTER

6*

OLD IVORY:

How t o p o l i s h u n p a i n t e d so ap

sc u lp tu re 7.

LEATHER:

HOW TO MAKE LEATHER ARTICLES

1,

GOOD HIDING:

2,

TOOLS RUSH IN:

. . . . . . .

How t o cho ose good l e a t h e r

50

• • • • 50

How t o ch o o se p r o p e r w o rk in g

to o ls • • • • • • • • • • • • • • • • • • • • • • 5 0 3,

DESIGNED FOR YOU:

How t o make a good d e s i g n

4«

LEATHER YOU KNOW IT OR NOT:

• • 51

How t o p r e p a r e

le a th e r fo r use • • • • • • • • • • • • • • • • • 5,

PUT A TRACER ON IT :

How t o t r a n s f e r t h e

d e sig n to your a r t i c l e 6*

MAKING YOUR TOOLS WORK:

7.

I T ’ S JOIN TO BE EASY: to g e th e r

• • • • •

51

• • • • • • • • • • • • • 5 2 How t o t o o l l e a t h e r

. . 52

How t o p u t l e a t h e r

........................

• • • • • • • • • 5 2

v ili LIST OP ILLUSTRATIONS FIGURE

PAGE ............................. . .

5

1.

STICK FIGURE SHOWING MEASUREMENTS

2.

OVALS ILLUSTRATING PROPORTION

3.

STICK FIGURES IN A C T I O N .......................

4.

OVAL FIGURES IN ACTION

5.

DRAWING A HEAD......................................................................

10

6.

PLACING YOUR COMPOSITION............................

14

7.

P E R S P E C T IV E ...............................................

17

8.

PRESERVED WATER C O L O R ......................................................................26

9.

OIL PAINTING MATERIALS . . . . . . . . . . . . . . .

. . . . . . . . . . . . .

................................

........................................... .... ................................. ....

6 7 8

29

10.

ARMATURE

. 40

11.

DRAWING PLACED ON S O A P ..........................................

46

12.

LEATHERCRAFT TOOLS.............................................................

53

PART I .

DRAWING

HOW TO DRAW

J u s t a s t h e b ack bo ne o f a c o u n t r y i s i t s p e o p l e , so th e b ackbone o f a good p i e c e o f a r t i s i t s d r a w in g .

C a re ­

f u l d r a w i n g , good p r o p o r t i o n , and c o r r e c t p e r s p e c t i v e a r e e s s e n t i a l t o good a r t .

An e x c e l l e n t p a i n t i n g te c h n i q u e o r

a f i n e c a r v i n g s k i l l w i l l go u n n o t i c e d i f th e d r a w in g i s poor.

Your f i r s t s t e p t o s u c c e s s i n a r t l i e s i n l e a r n i n g

t h e f u n d a m e n ta ls o f t h i s u n i t .

CHAPTER 1 .

PEOPLE

HOW TO DRAW PEOPLE

A* MOTIVATIONS 1.

R ew ards

d e r i v e d fro m d r a w in g good f i g u r e s .

BETTER PICTURES:

You w i l l be a b l e t o ad d w e l l

draw n f i g u r e s t o th e c o m p o s iti o n s yo u draw* 2.

PERMANENT RECORDS:

You can make q u ic k a c t i o n

s k e t c h e s o f i n t e r e s t i n g g ro u p s o f p e o p le * 3.

PASTIME PLEASURE:

Y our f r i e n d s w i l l l i k e t o have

p o r t r a i t s you draw o f th e m . 4.

FASHION DESIGN:You can d e s i g n y o u r own c l o t h i n g .

5*

GOOD GROOMING:

You c a n d e s i g n c l o t h e s f o r y o u r

frie n d s. 6.

GREETING CARDS:

You w i l l be a b l e t o d raw a p p r o p r i ­

a t e f i g u r e s on g r e e t i n g c a r d s f o r h o l i d a y s an d o th e r o cc asio n s. B* DIRECTIONS:

S u g g e s t i o n s t o h e l p you draw c o r r e c t

fig u re s. EQUIPMENT:

How t o s e l e c t m a t e r i a l s *

a*

S e l e c t m a n ila p a p e r o r n e w s p r i n t .

b.

S e l e c t F o r HB p e n c i l s .

c*

Choose a n e i g h t c o l o r c r a y o n b o x .

d.

S e l e c t a s m a l l box o f w a t e r c o l o r s

e.

Choose s e v e r a l b r u s h e s .

f.

S e l e c t an a r t gum e r a s e r .

g.

A c q u ir e a d r a w in g b o a r d on w hich t o t a c k p a p e r*

THE RIGHT SIZEs

How t o draw p e o p l e I n c o r r e c t

p ro p o rtio n * a*

D iv id e p a p e r i n t o s e v e n an d a h a l f heads*

b*

S k e tc h i n body p r o p o r t i o n s , u s i n g s t i c k f i g u r e . (S ee F i g u r e 1 . )

c*

S k e tc h i n b od y m e a s u re m e n ts , u s i n g o v a l s . (S ee F i g u r e 2 . )

d*

Make s h o u l d e r s one and one h a l f h e a d s wide*

e*

M easure down two and one h a l f h e a d s t o mark w a ist*

f.

Mark o f f f i v e h e a d s t o t h e k n e e s ,

g*

P l a c e t h e a n k l e s a t s e v e n h e a d s*

h.

P l a c e elbo w s two an d one h a l f h e a d s down, e v e n w i t h th e w a i s t *

i*

Mark f i n g e r t i p s midway b e tw e e n t h i g h and knee*

CAUGHT IN THE ACT:

How t o make a c t i o n f i g u r e s .

(See F i g u r e s 3 , 4 . ) a.

O b serve movement o f b o d i e s a s p e o p l e p e r f o r m v a rie d a c tio n s ,

b*

Make s k e t c h e s o f p e o p le p o s i n g , u s i n g s t i c k f i g u r e s an d o v a l s ,

c.

Mark d i r e c t i o n s o f t h e a c t i o n by h o l d i n g a p e n ­ c i l o u t s t r e t c h e d and t u r n i n g i t i n v a r i o u s d i r e c t i o n s fo llo w in g th e l i n e o f a c t i o n o f th e

body. d.

Note th e r e l a t i o n s h i p o f b e n t arms and l e g s by o b s e r v i n g t h e s i z e o f t r i a n g l e s fo rm e d b e tw e e n * t h e s e lim b s an d t h e body*

e.

Make t h e t i p o f t h e c h i n a lw a y s i n a s t r a i g h t l i n e w i t h t h e f o o t b a l a n c i n g t h e w e ig h t o f t h e fig u re •

f*

S k e tc h i n th e w hole f i g u r e q u i c k l y , r a t h e r t h a n f i r s t d r a w in g t h e h ea d i n d e t a i l .

HEADLINES: a*

How t o d raw h e a d s .

(See F ig u r e 5 . )

Make a n eg g sh ap e o v a l w i t h n a rro w end a t b o tto m .

b.

D iv id e h ead

v e r t i c a l l y down t h e m i d d l e .

c.

D iv id e h e a d

h o r i z o n t a l l y in th e m id d le .

d.

D iv id e u p p e r h a l f o f h ea d h o r i z o n t a l l y i n t h e m id d le •

e.

D iv id e lo w e r h a l f o f h e a d h o r i z o n t a l l y i n t o t h r e e ev e n p a r t s .

f.

P l a c e h a i r l i n e o n f i r s t h o r i z o n t a l l i n e down f ro m to p o f o v a l .

g.

P la c e two e y e s , s p a c e d one ey e a p a r t , on t h e m id d le h o r i z o n t a l l i n e .

h.

P l a c e n o se on f i r s t h o r i z o n t a l l i n e below m id d le l i n e .

i.

E x te n d c o r n e r s o f m outh h o r i z o n t a l l y u n t i l t h e y

I hoi.

FIGURE

STICK

FI GURE

I

S H o w / N G - M t A S U ^ E . H E HXS

6

f IGURE JL GWii-S J U - U S T R A T ING- 'P R O P O R T IO N

flQrUKE

3

S 7 \ C K F l G r U R t S IM ACT I ON ■»

■Fl&UR’E 4

OVAL F I G U R E S IN ACT ION

a r e i n l i n e w i t h th e p u p i l s o f t h e e y e s ,

5.

j.

P l a c e mouth on l i n e b elo w n o se l i n e ,

k.

P l a c e e a r s v e r t i c a l l y fro m e y e s down t o n o s e .

SOURCES FOR THIS CHAPTER;

Where t o g e t f u r t h e r

in fo rm a tio n . a.

K a m in s k i, Edward B . ;

How t o Draw.

M cG raw -H ill

Book Company, I n c . , New Y o rk , 1 9 4 8 . b.

P e ra rd , V ic to r;

How t o D raw .

P itm a n P u b l i s h ­

i n g C o r p o r a t i o n , New Y o rk , 1 9 4 9 . C.

ACTIVITY ASSIGNMENTS;

P r o j e c t s f o r d r a w in g p e o p l e .

1.

S k e tc h w i t h c r a y o n , a page o f d a n c i n g s t i c k f i g u r e s

2.

Draw a s t a n d i n g f i g u r e o f a p e r s o n , u s i n g th e c o r r e c t m e a s u r e m e n ts .

S.

Make s e v e r a l t h r e e m in u te w a t e r c o l o r s k e t c h e s o f s t i c k f i g u r e s fro m p o s i n g c l a s s m a t e s .

4.

S k e tc h a n a c t i o n g ro u p o f t h r e e p e o p le u s i n g s t i c k fig u re s.

5.

P a i n t an im a g in a r y g ro u p o f a c t i o n f i g u r e s , u s i n g o v a ls.

6.

Make s t i c k f i g u r e s k e t c h e s u s i n g c r a y o n , fro m t h r e e d i f f e r e n t a n g l e s o f th e same p o s e .

7. D.

Make a q u i c k s k e t c h o f a h e a d , d r a w in g fro m a m odel

EVALUATION;

S am ples t o t e s t s t o c h e c k f u n d a m e n ta ls o f

f i g u r e d ra w in g .

FIGURE S DRAWfMG* A

HEAD

T R U E -F A L S E j

P l a c e a n X I n th e c o r r e c t s p a c e f o r

tru e or fa ls e * T

F

a . ( )(

) I t i s w ise t o d raw t h e h e a d i n d e t a i l b efo re s k e tc h in g In th e r e s t o f th e fig u re •

U* ( )(

) You s h o u ld s k e t c h i n t h e whole f i g u r e q u ic k ly *

BEST ANSWER:

P l a c e t h e num ber o f t h e b e s t a n s w e r

in th e p a re n th e se s* a* ( ) You s h o u ld make t h e a v e r a g e f i g u r e : Seven h e a d s t a l l . heads t a l l .

(1 )

( 2 ) S ev en and a h a l f

(3) E ig h t heads t a l l .

( 4 ) S even

and t h r e e q u a r t e r h e a d s t a l l . b . ( ) When d r a w in g a f r o n t - v i e w , n o n - a c t i o n f i g u r e , i t is b e s t to : q u ic k ly . fu lly .

( 1 ) S k e tc h i n t h e f i g u r e

(2 ) Draw t h e f a c i a l f e a t u r e s c a r e ­ ( 3 ) Draw t h e c o r r e c t num ber o f h e a d s .

( 4 ) S k e tc h i n t h e o u t l i n e o f t h e f i g u r e . RATING SCALE:

P l a c e an X i n t h e s p a c e s f o r w hich

t h e work q u a l i f i e s . a. (

) C o r r e c t number o f h e a d s i n f i g u r e .

b. (

) R e l a t i o n o f v a r i o u s s e c t i o n s o f body i n good p r o p o r t i o n t o ea ch o t h e r .

c . ( ) A c tio n o f f ig u r e i s c o r r e c t .

12

d* ( ) Ghin i s i n p r o p e r r e l a t i o n s h i p t o f o o t b a l a n c i n g w e ig h t* e* { ) F i g u r e shows a n u n d e r s t a n d i n g o f t h e a c t i o n movements o f t h e body* (

) T o ta l.

CHAPTER 2 .

COMPOSITION

HOW TO MAKE GOOD COMPOSITIONS A#

MOTIVATIONS

Rew ards d e r i v e d fro m m aking good com posi­

tio n s . 1*

A SELLING POINTS P i c t u r e s w i t h good c o m p o s iti o n se ll.

2.

AUDIENCE APPEAL; The c o m p o s iti o n o f p i c t u r e s had more a p p e a l t o th e v ie w e r t h a n a c t u a l p a i n t i n g te c h n iq u e s.

3.

QUALITY OP WORKMANSHIP:

Good c o m p o s iti o n i s t h e

s i g n o f a good a r t i s t . 4.

BETTER PICTURES; Good c o m p o s iti o n i s a p r e r e q u i s i t e t o good p a i n t i n g .

B.

DIRECTIONS;

S u g g e s t i o n s t o h e l p you make good com posi­

tio n s . 1.

2.

EQUIPMENT;

How t o s e l e c t m a t e r i a l s .

a.

Choose m a n ila d r a w in g p a p e r o r n e w s p r i n t .

b.

S e l e c t a n P o r HB d r a w in g p e n c i l .

c.

Choose a n a r t gum e r a s e r .

d.

S e l e c t d r a w in g b o a r d on w h ich t o t a c k p a p e r .

WITHIN THE PICTURE; a.

How t o d raw good c o m p o s i t i o n .

N ev e r d i v i d e t h e p a p e r v e r t i c a l l y o r h o r i z o n t a ll y i n th e m id d le .

b.

(S ee F i g u r e 6 . )

P l a c e o b j e c t s e i t h e r j u s t above o r b elo w c e n t e r .

14

P oor

BETTER

co m po sitio n

COMPOSITION

FtGrURe RAWlKlGr P l_ A C e j>

if

ON S O A P

SOAP CHIPS;

How t o c o r r e c t e r r o r s made I n s o a p

c a r v in g * a*

Wet b r o k e n s u r f a c e o f c l a y and p r e s s two p i e c e s f ir m ly to g e th e r*

b*

L e t s c u l p t u r e d r y c o m p le te ly *

c*

R e p a i r e d b r e a k s h o u l d n o t be o b v io u s i f t h e so a p h a s b e e n p u t t o g e t h e r c a r e f u l l y *

COLORFUL FIGURES;

How t o p a i n t so a p s c u l p t u r e *

a*

S e l e c t a p a i n t w h ich w i l l d r y q u ic k ly *

b*

S e l e c t a p a i n t w h ich w i l l n o t s o a k i n t o t h e soap*

c.

Choose a p a i n t w h ic h w i l l l e a v e a sm ooth t e x t u r e o n t h e soap*

d*

Use a s m a l l b r u s h f o r p a i n t i n g d e t a i l s i n t h e f a c e , h a i r , and c l o t h i n g *

e*

Use a l a r g e r b r u s h f o r p a i n t i n g a r m s , l e g s , an d c lo th in g ,

OLD IVORY: a.

How t o p o l i s h u n p a i n t e d so a p s c u l p t u r e *

A llo w m odel t o (fry f o r a d a y a f t e r th e e a r y i n g h a s b e e n co m p le te d *

b*

Rub i t o v e r c a r e f u l l y w i t h a s o f t p a p e r n a p k in *

c*

Use c a u t i o n on p r o j e c t i o n s w hich m ig h t b r e a k o ff.

d.

Rub g e n t l y w i t h y o u r f i n g e r t i p s a n d p a lm o f y o u r h and t o p r o d u c e th e s o f t y e l l o w t i n t o f

o ld Iv o ry . 7.

SOURCES FOR THIS CHAPTER:

Where t o g e t f a r t h e r

a ssista n c e . a.

G aba, L e s t e r :

Soap C a r v i n g .

The S t u d i o Pub­

l i c a t i o n s , I n c ., 1940. b.

S t i e r l , E m anuele:

The Book o f I n d o o r H o b b ie s .

M cG raw -H ill Book Company, I n c . , 1 9 3 9 .

Pp. 341-

358. C.

I>.

ACTIVITY ASSIGNMENTS:

P r o j e c t s t o make w i t h s o a p .

1.

Carve a f i g u r e o f a s m a l l c h i l d .

2.

Carve a s m a l l f i g u r e t o be g i v e n t o a

3.

Carve a f i g u r e o f a c h a r a c t e r f r o m a f a v o r i t e s t o r y .

4.

Carve a b a s k e t b a l l p l a y e r .

5.

Carve a s o a p c i r c u s .

EVALUATION:

sm a ll c h i l d .

S am ples o f e v a l u a t i o n i n s t r u m e n t s f o r

r a t i n g soap s c u l p t u r e . 1.

TRUE-FALSE:

P la c e an X in th e c o r r e c t space f o r

tru e o r f a l s e . T

F

a . ( )( ) You s h o u l d a lw a y s c u t s o a p away fro m y o u . b . ( )( ) I t i s w ise t o r e p a i r b r o k e n

so a p m odels

by g l u e i n g t h e p i e c e s t o g e t h e r .

ft

c . ( )( ) I t i s b e s t t o t r a n s f e r th e d r a w in g t o t h e soap b efo re c a rv in g .

BEST ANSWER:

P l a c e th e number o f t h e ‘c o r r e c t

answ er i n th e p a r e n t h e s e s . a.

( ) The b e s t way t o c a r v e s o a p i s : s o a p away fro m y o u . you.

( 1 ) To c u t

( 2 ) To c u t so a p to w a r d s

( 3 ) To c u t s o a p i n l a r g e p i e c e s .

( 4 ) To c u t so a p q u i c k l y . RATING SCALE:

P l a c e a n X i n t h e s p a c e s f o r w hich

t h e work q u a l i f i e s . a.

( ) F ig u re has been c a r e f u l l y p la c e d on

b.

( ) P r o p o r tio n i s good.

e.

( ) F i g u r e shows s k i l l i n h a n d l i n g t h e k n i f e .

d.

( ) S c u lp tu re c a r e f u l ly p a in te d .

e.

( ) F ig u re has been w e ll p o l i s h e d .

(

) T o ta l.

soap.

50 CHAPTER 7 .

LEATHER

HOW TO MAKE LEATHER ARTICLES

A.

DIRECTIONS; 1.

S u g g e s t i o n s t o h e l p you make l e a t h e r g o o d s .

GOOD HIDINGS a.

How t o ch o ose good l e a t h e r *

S e l e c t t o o l i n g c a l f s k i n t o make b i l l f o l d s ,

co in

p u r s e s an d o t h e r s m a l l a r t i c l e s . b.

S e l e c t h ea v y c a l f f o r h a n d b a g s .

c.

Choose su e d e s h e e p s k i n f o r b ag l i n i n g s .

d.

S e l e c t s h e e p s k i n s k i v e r f o r l i n i n g when stre n g th is not n e c essary .

e.

Choose g o a t s k i n m o ro cc o f o r l i n i n g w a l l e t s and b illfo ld s.

2.

f*

Choose sm o o th , s t r o n g , g o a t s k i n f o r l a c i n g .

g.

S e l e c t cow hide s h o u l d e r f o r b e l t s .

TOOLS RUSH INs

How t o ch oo se p r o p e r w o rk in g t o o l s .

a.

S e le c t a clo se g ra in e d c u ttin g b o ard .

b.

Choose a m e t a l r u l e r w h ich s e r v e s t h e

tw o -fo ld

p u r p o s e o f m e a s u r in g an d s e r v i n g a s a s t r a i g h t ­ edge. c.

S e l e c t a s p e c i a l ty p e o f s h a r p - p o i n t e d k n i f e *

d.

S e l e c t a g o o d , f a s t - c u t t i n g w h e ts to n e

on w hich

t o s h a r p e n th e k n i f e . e.

S e l e c t a l e a t h e r s t r o p f o r re m o v in g t h e w ir e edge l e f t by t h e w h e ts to n e and sm o o th in g t h e

c u t t i n g edge o f t h e k n i f e . f.

Choose a c o n t a i n e r t o h o ld t h e w a te r w i t h w hich th e l e a t h e r i s m o i s t e n e d .

g.

S e l e c t a s m a l l spo ng e f o r a p p l y i n g w a t e r t o th e s u rfa c e o f th e l e a t h e r .

h .

S e l e c t d i f f e r e n t sh a p e d m o d e le r s f o r t o o l i n g th e l e a t h e r .

1.

(S ee F i g u r e 1 2 . )

Choose a t r a c e r f o r t r a n s f e r r i n g t h e d e s i g n fro m th e p a p e r p a t t e r n t o th e l e a t h e r .

j.

S e l e c t a d e e r f o o t f o r f l a t m o d e lin g .

k.

Choose a s p a d e p o i n t f o r e m b o s s in g .

1.

Choose a s t i p p l e t o o l f o r p u t t i n g i n b a c k g ro u n d .

m.

Choose a s ta m p in g a n v i l o r a m a l l e t f o r

s ta m p in g

on y o u r d e s i g n . DESIGNED FOR YOU: a.

How t o make a good d e s i g n .

D e v e lo p d e s i g n i n d e t a i l on a p i e c e o f d u r a b l e p a p e r t o t h e e x a c t s i z e w a n te d .

b.

Show e v e r y d e t a i l i n th e o r i g i n a l p a t t e r n . (When th e p a t t e r n i s t r a n s f e r r e d t o t h e l e a t h e r , i t w i l l p r e s e n t a co m p le te g u id e f o r t h e t o o l ­ in g .)

c.

Make t h e p a t t e r n w i t h a n F o r HB d r a w in g p e n c i l .

LEATHER YOU KNOW IT OR NOT:

How t o p r e p a r e l e a t h e r

fo r use. a.

S o f t e n t h e l e a t h e r by a p p l y i n g w a t e r w i t h a

sponge* b.

S o f t e n t h e l e a t h e r u n t i l i t w i l l t a k e a n im­ p r i n t when a r e a s o n a b l e am ount o f p r e s s u r e i s a p p lie d to i t *

c*

Do n o t m o i s t e n l e a t h e r t o o much, a s i t w i l l n o t h o ld th e d e s ig n .

PUT A TRACER OK ITs

How t o t r a n s f e r t h e d e s i g n t o

your a r tic le * a.

F a s te n p a t t e r n to l e a t h e r w ith

c lip s.

b.

Make t h e i m p r i n t o f t h e d e s i g n

on

th e l e a t h e r

w ith a t r a c e r . c.

P r e s s f i r m l y on th e t r a c e r t o make t h e i m p r i n t c le a r.

MAKING YOUR TOOLS WORK; a*

How t o t o o l l e a t h e r .

Make a r e l i e f d e s i g n by r a i s i n g i t above t h e su rface.

b.

Work th e r e l i e f d e s i g n u p fro m t h e u n d e r s i d e .

c.

Work a r o u n d th e r a i s e d p a r t s o f t h e l e a t h e r , w i t h a m o d e lin g t o o l t o b r i n g th e b a c k g ro u n d back to a l e v e l s u r f a c e .

d.

Stamp d e s i g n on w i t h a m a l l e t .

e.

Do n o t p r e s s h a r d on m a l l e t a s i t w i l l

c u t th e

le a th e r. I T ’ S JOIN TO BE EAST: a.

How t o p u t l e a t h e r t o g e t h e r .

S k iv e t h e e d g e s o f p i e c e s o f l e a t h e r w h ich a r e

53

PlG-URE \zl LEATHER CRAFT TOOLS

54

t o be p u t t o g e t h e r t o r e d u c e th e t h i c k n e s s o f th e e d g e s . b.

P la c e th e l e a t h e r on t h e c u t t i n g b o ard*

c*

Cut b a c k fro m t h e edge o f th e l e a t h e r t o th e d e sire d p o in t.

d.

Keep th e s k i v i n g k n i f e s h a r p .

e.

Cement t h e e d g e s w i t h l e a t h e r cem ent t o h o ld y o u r l i n i n g i n p l a c e d u r i n g th e l a c i n g p r o c e s s .

f.

Gut l i n i n g s l i g h t l y l a r g e r t h a n th e a r t i c l e you are lin in g .

g.

P l a c e l i n i n g on ce m en ted l e a t h e r and r u b i n a l l d i r e c t i o n s t o remove w r i n k l e s .

h.

Use a d i v i d e r t o sp a c e t h e h o l e s f o r l a c i n g .

1.

Punch t h e h o l e s w i t h an a w l .

j.

Use a r e v o l v i n g pu nch f o r w id e r l a c i n g *

k.

L ace to w a rd y o u r s e l f .

1.

Make ev en s t i c h e s by r e g u l a t i n g t h e t e n s i o n ,

m.

J o i n two p i e c e s o f l e a t h e r by s k i v i n g and c e ­ m e n tin g .

n*

Use t h i s same p r o c e d u r e f o r c o m p le tin g t h e la c in g .

8.

SOURCES FOR THIS CHAPTERj

Where you may f i n d f u r ­

th e r in fo rm a tio n . a.

C r a m l e t , R oss C.s

F u n d a m e n ta ls o f L e a t h e r c r a f t .

The B ruce P u b l i s h i n g Company, M ilw au k ee, 1 93 9 .

b.

H o e f e r , L o u is e C .t

L e a th e ro ra ft In s tr u c tio n s ,

L o u is e C. H o e f e r , G l e n d a l e , C a l i f o r n i a , 1 9 3 5 , c.

S t i e r i , Exnanuele:

The Book o f I n d o o r H o b b le s .

M cG raw -H ill Book Company, I n c * , New Y o rk , 1939* P p . 2 2 8 -2 7 5 .

C.

D.

ACTIVITY ASSIGNMENTS;

P r o j e c t s t o make i n l e a t h e r .

1.

Make a c o i n p u r s e .

2.

Make a b i l l f o l d .

3.

Stamp a d e s i g n on a b i l l f o l d .

4.

Make a b e l t .

5.

Make and t o o l a n o te b o o k c o v e r

6.

Make and t o o l a h a n d b a g .

EVALUATION:

S am ples o f e v a l u a t i o n p r o c e d u r e s t o be

used in e v a lu a tin g l e a t h e r c r a f t . 1.

TRUE-FALSE:

P l a c e an X i n t h e c o r r e c t sp a c e f o r

tru e or f a l s e . T a . ( )(

F ) I t i s b e s t to use g o a ts k in f o r la c in g le a th e r a r tic le s .

b . ( )(

) You s h o u ld u s e a s k i v i n g k n i f e t o t o o l le a th e r.

c* ( )(

) I t i s w ise t o u s e a t r a c e r f o r t r a n s ­ f e r r in g your d e sig n to le a th e r .

2.

BEST ANSWER:

P l a c e t h e num ber o f t h e b e s t an sw e r

in th e p a r e n th e s e s . a . ( ) To l i n e a l e a t h e r a r t i c l e w here s t r e n g t h i s n o t needed, i t i s b e s t to u se : sk in .

(2 ) S h e e p sk in s k i v e r .

sh e e p sk in .

(1) C a lf (3 ) Suede

( 4 ) Cowhide s h o u ld e r *

b . ( ) To s h a r p e n k n i v e s u s e d i n l e a t h e r c r a f t , you sh o u ld uses edge.

(1 ) A s k iv e r .

(3) A l e a t h e r s t r o p .

(2) A s t r a i g h t ­ (4) A c u t t i n g

bo ard • RATING SCALE:

P l a c e an X i n th e s p a c e f o r w h ich

t h e work q u a l i f i e s . a . ( ) L e a t h e r w e l l c h o s e n f o r p u rp o s e f o r w hich i t was t o o l e d . b . ( ) L e a th e r p r o p e r ly p re p a re d f o r t o o l i n g . c . ( ) B e s ig n w e l l c h o s e n . d.

( ) D e s ig n p r o p e r l y a p p l i e d t o l e a t h e r .

e . ( ) L e a th e r to o le d c o r r e c tly . f. (

( ) A rtic le put to g e th e r c a re fu lly . ) T o ta l.

57

BIBLIOGRAPHY

58

BIBLIOGRAPHY 1*

C r a m l e t , R o ss C*:

F u n d a m e n ta ls o f L e a t h e r c r a f t ,

The

Bruce P u b l i s h i n g Company, M ilw a u k ee , 1 9 3 9 , 2,

Dow, A r t h u r W esleys

C o m p o s itio n ,

D o u b le d a y , Page and

Company, G arden C i t y , New Y o rk , 1 9 1 6 , 3,

H o e f e r , L o u is e C*s

L e a th e rc ra ft In s tru c tio n s ,

L o u is e

C, H o e f e r , G l e n d a l e , C a l i f o r n i a , 1 9 3 5 , 4,

K a m in s k i, Edward B ,:

How t o Draw,

M cG raw -H ill Book

Company, I n c , , New Y o rk , 1 9 4 9 , 5,

M ayer, R a lp h : T e c h n iq u e s,

6*

The A r t i s t s Handbook o f M a t e r i a l s and The V ik in g P r e s s , New Y o rk , 1 9 4 0 ,

M ayer, R a lp h :

The P a i n t e r ' s C r a f t ,

D, Van N o s tr a n d

Company, I n c , , New Y o rk , 1 9 4 8 , 7,

M i n t e r , D av id e C.s

Modern Home C r a f t s ,

B la c k ie and

S o n, L i m i t e d , T o r o n t o , 1 9 3 4 , 8,

P a r k h u rs t, D a n ie l B u rle ig h :

The P a i n t e r i n O i l ,

L o t h r o p , Lee an d S h e p a rd C o ,, B o s to n , 1 9 3 0 , 9,

P e ra rd , V ic to r:

How t o D raw ,

P itm a n P u b l i s h i n g

C o r p o r a t i o n , New Y o rk , 1 9 4 9 , 10,

P e r r y , Evadna K r a u s :

C ra fts f o r Fun,

W illia m Morrow

an d Company, New Y o rk , 1 9 4 0 , 11,

P o o r e , H, R , :

P i c t o r i a l C o m p o s itio n ,

G, P . Putnam *s

S o n s , New Y o rk , 1 9 0 3 , 12,

R a n d a l l , R u th H,s

C eram ic S c u l p t u r e ,

W a tso n -G u p till

59

P u b l i c a t i o n s , I n c * , New Y o rk , 1948* 13.

S t i e r i , E m anu ele:

The Book o f I n d o o r H o b b ie s .

M cG raw -H ill Book Company, I n c . , New Y o rk , 1939* 14.

T aubes, F re d e r ic :

O i l P a i n t i n g f o r th e B e g i n n e r .

W a t s o n - G u p t i l l P u b l i c a t i o n s , I n c . , New Y o rk , 1 9 4 4 . 15.

T aubes, F r e d e r ic :

The A m ateur P a i n t e r Vs H andbook.

Dodd, Mead an d Company, New Y o rk , 1 9 4 7 . 16.

T aubes, F r e d e r ic : Book.

The P a i n t e r ^ Q u e s t i o n and Answer

W a t s o n - G u p t i l l P u b l i c a t i o n s , I n c . , New Y o rk ,

1948. 17.

T aubes, F r e d e r ic :

The T e c h n iq u e o f O i l P a i n t i n g .

Dodd, Mead and Company, New Y o rk , 1 9 4 2 . 18.

Z a id e n b e rg , A rth u r;

Anyone Can P a i n t .

t i o n s , New Y o rk , 1 9 4 2 .

'U n i v e r s i t y o f S o u t h e r n CaM fM W ls USMWR

Crown P u b l i c a ­