Evaluative criteria for industrial arts programs in secondary schools

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EVALUATIVE CRITERIA FOR INDUSTRIAL ARTS PROGRAMS IN SECONDARY SCHOOLS

A Thesis Presented To the Faculty of the School of Education The University

of Southern California

In Partial Fulfillment of the Requirements for the Degree Master of Science in Education

by William Wallace Witt June 1950

UMI Number: EP56165

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£ ^ JS~0 LA)H U T h is thesisj w r i t t e n u n d e r the d ir e c t io n o f the C h a ir m a n o f the c a n d id a te Js G u id a n c e C o m m itte e a n d a p p r o v e d by a l l m em b ers o f the C o m m itte e , has been prese n te d to a n d acce p te d by the F a c u lt y o f the S c h o o l o f E d u c a t io n o f the U n iv e r s it y o f S o u th e rn C a l i f o r n i a in p a r t i a l f u l f i l l m e n t o f the r e q u ire m e n ts f o r the degree o f M a s t e r o f Science in E d u c a tio n .

Dean Guidance Committee

Chairman

___

TABLE OF CONTENTS PART I ORIENTATION OF STUDY CHAPTER I.

PAGE THE PROB L E M......................

1

The problem.............................

2

Statement of the p r o b l e m ............

2

.

Limitation of the problem ............

Importance of the study . . . . . . . . Definitions of terms used

.

2 3 7

Industrial arts • • • • . . • • • • • •

7

Organization

7

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

Subjectivity

...

7

Objectivity ..........................

7

Methodology

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

7

II. REVIEW OF LITERATURE AND ORGANIZATION OF REMAINDER OF T H E S I S ....................

9

Review of literature

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

9

Organization of remainder of thesis . . .

13

PART II DEVELOPMENT OF CRITERIA III.

ORGANIZATION

.....

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

Administration of Program Student enrollment

15

..........

15

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

15

iii CHAPTER

PAGE Grouping of students in courses . •

20

Teaching load •

21

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

Records • • • • .................

22

Administrative participants ..........

24

Student management

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

• • • • • • . . • •

24 25

..........

27

Student planning facilities ..........

29

Display facilities

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

31

THE C U R R I C U L U M ..........................

33

Reference facilities

. .

Industrial arts d e p a r t m e n t ......... . .

33

Basic philosophy and objectives . . . .

33

How instructional areas are taught

3#

••

Curriculum revision.................. Industrial arts courses Course objectives ♦ ........ Course planning

V.

19

Time a l l o t m e n t ...............

Administration of course

IV.

.•

43

........

44

.....

44

...........

47

The safety p r o g r a m ..................

51

Pupil e v a l u a t i o n .........

56

THE TEACHER.....................

60

The teacher in his c l a s s .............. Student interest and participation Developing student ability

••

..........

60 6l 63

iv CHAPTER

PAGE Conducting student experiences The teacher in his profession

VI.

. . . . .

64

..........

68

THE PLANT AMD EQUIPMENT . ..............

72

Location and size of p l a n t ..........

73

L i g h t i n g ........................... .

.

75

Ventilation.............

73

Painting

81

• . •

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

Equipment........ * ..................

83

Electricity..........................

86

Lavatory facilities ......................

88

Acoustics

38

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

Storage facilities

.....

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

89

PART III A CHECKLIST FOR EVALUATION VII.

THE CHECKLIST........................... .. The original checklist

94

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

96

Jurors1 rating of the checklist ..........

103

Question two

103

inPart I, A ..............

Question six inPart II, B

........

106

Question six inPart I V ..................

107

Question eight in Part IV . . . . . . . .

107

Other discrepancies in the ratings

.

....

The revised checklist ....................

108 120

V

CHAPTER

PAGE Answers to the checklist................

12$

PART IV CONCLUSIONS VIII. C O N C L U S I O N S ................................

133

BIBL I O G R A P H Y........................................135

LIST OF TABLES TABLE I.

PAGE Number and Percentage of Jurors Rating Respective Checklist Questions Necessary, Helpful, and Of Little V a l u e .............

II*

104

Comparison of the Numbers of Teachers and Supervisors Rating Respective Checklist Questions Necessary, Helpful, and Of Little Value . ............

III*

. . . . . . . .

109

Comparison According to Population of the Numbers of Jurors Rating Respective Checklist Questions Necessary, Helpful, and of Little V a l u e ...............

IV.

*

114

Comparison According to Geographic. Location of the Numbers of Jurors Rating Respective Checklist Questions Necessary, Helpful, and of Little Value

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

117

PART I ORIENTATION OF STUDY

CHAPTER I

THE PROBLEM One of the most important processes being conducted in our schools today is that of evaluation,.

If it is

objective in nature and carefully arrived at, it can per­ form major constructive functions in the betterment of the school program, ,fIt can provide a periodical check which gives direction to the continued improvement of the pro­ gram of the school or college; it can help to validate some of the important hypotheses upon which the program operates; it can furnish data about individual students essential to wise guidance; it can give a more satisfactory foundation for psychological security of the staff, of parents, and of students; and it can help both teachers and pupils to clarify their goals."I In order to achieve these functions, the evaluative program must be planned and instituted with thought. The two areas in which planned evaluation is a necess­ ity are the areas of educational environment and educational outcome.

The former consists of all things within the

school which influence the student; the latter is

the degree

to which the student has matured through their influence.

1 R. W. Tyler, "A General Statement of Evaluation," Journal of Educational Research. XXX {March, 1942), 492.

2 In all subjects of the secondary curriculum the educational environment is of major importance in producing desirable outcomes.

But even more so in industrial arts than in

subjects which may be taught more formally is this area of particular concern.

The freedom of pupil movement within

the class, the simultaneous use of many types of equipment and materials, and the great variety of student experiences offered in the program demand that constant attention be focussed upon the educational environment, and upon its evaluation and improvement. I* THE PROBLEM Statement of the problem.

The purpose of this study

has been to develop an evaluative instrument which may be used for the industrial arts program in secondary schools. The two areas of this problem are:

(1) to develop objective

criteria for industrial arts programs in secondary schools; and (2) to construct an objective checklist for the evaluation of industrial arts programs in secondary schools. Limitation of the problem.

The study has been limi­

ted to the presentation of material which may be rather objectively treated.

It would seem easier for persons of

limited background in industrial arts to arrive at valid

3 results through handling objective material than to work with material including a great deal of subjective reasoning. In addition, objective material, which prevents subjective thinking from entering into the evaluative process, is more dynamic in pointing out the shortcomings of an industrial arts program.

However, if - at the conclusion of an object­

ive analysis revealing a well instituted program - the results or end-products of this program do not satisfy the desired aims of the school, it is quite evident that a further study, requiring subjective evaluation by competent personnel, should be made of the various phases of the program. There has been no limitation in this study concerning the size of the school or the amount of financial support it may have.

The study has sought to develop standards

which should prevail equally in the planning of a program for a school of two hundred students or a school of two thousand students.

The extent to which this program is

elaborated upon, of course, will vary according to the size and financial means of a school, yet the standards upon which even the most minimum program is based should be the most desirable. Importance of the study.

There has been some con­

troversy in recent years over various phases of the indus-

4 trial arts program, namely, the courses offered, the inter­ pretation of industrial arts in the school, and some elements of the physical facilities.

Of course, the expression of

various philosophies or points of view is healthy and desirable for progress; but to which is the administrator to turn?

In

the light of the present interpretations of secondary educa-

p

tion in general , these conflicting philosophies have been reviewed, and from them conclusions drawn which may be used as desired goals for the industrial arts program in second­ ary schools.

2 Only within the past quarter-century have the interpretations of secondary education been directed toward the development of a program which educates students to analyze their social environment with the thought of helping to fulfill the aims of social progress. Although the found­ ations for this trend have long been established, they were not utilized until the shortcomings of the secondary school program caused students and educators alike to question the prevailing practice of dispersing knowledge as an end in itself. As a result of an appraisal of expe rimental practices in some selected high schools^, basic assumptions of second­ ary education are (1 ) that it should help the student to integrate various types of acquired knowledge so that he may apply them to the solution of new life problems; (2) that it should aid in maturing students through purposeful activi­ ties; and (3 ) that it should be unified with the social purposes in life in order to prepare students for intelli­ gent social participation.

3 J. W. Wrightstone, Appraisal of Experimental High School Practices (New York: Teachers College, Columbia Uni­ versity, Bureau of Publications, 193&), PP* 1S5-1&6, 194*

5 Evaluative material, in order to be of sound educa­ tional value to an administrator, must be inclusive in its coverage.

It is not always possible for the administrator

to give the amount of time required to insure proper

2 The trends in secondary education as viewed by Williams, an educator, show that (l) it has taken definite steps toward developing a program which meets student needs; (2) it advocates increased student participation directed toward constructive ends; (3) it seeks to aid youth in their adjustment to an ever-changing world; and (4 ) it maintains a balance between social and individual welfare, developing the student as a social and economic asset rather than a purely intellectual product.^* Stiles, a layman who has had extensive contact with many phases of secondary education has stated his inter­ pretations of the needs of high schools as being (1) the . capacity to prepare youth to enter an adult world; (2) the utilization of a broad general education (rather than a highly specialized background such as vocational training or college preparatory training) in order to transfer to each new generation their common heritage of culture, civil­ ization, and wisdom; and (3) providing an education which is a means to good citizenship, not an end in itself.^ Baker^ points out that the development of a conscious scheme of democratic social values and the ability to analyze the material with which students come in contact, is

4 L. A. Williams, Secondary Schools for American Youth. (Hew York: American Book Company, 1944), pp. 135, I4O-I42, 16$. Strayer, G. D., ed., American Education Series. 5 Dan Stiles, pseud., High Schools for Tomorrow (Hew York: Harper, 194&) , pp.- 21, 27, 2$.' 6 G. D. Baker, "How Hew Are the New Trends?", School Executive 6?:50-2, February, 194$*

6 coverage and correct interpretations of industrial arts. When he is unable to ferret out the truths himself through exhaustive research, he may set questionable standards on the basis of a limited survey.

A compact yet all-inclusive

tool for the evaluation of the secondary industrial arts program is therefore desirable. The usability of many evaluative instruments is hindered by their use of subjective terminology.

In order

to produce valid results, they must be handled only by school personnel trained in the area evaluated.

Many admin­

istrators with limited industrial arts background could unknowingly interpret such instruments in a manner not intended by the authors.

For these administrators there has

been a need for a concrete specific guide which may aid them in developing industrial arts programs.

2 not new. Bryson7 concurs with the interpretation of sec­ ondary education which maintains that it should enable students to mature, into individuals capable of solving the problems which will face them and the g enerations to develop in the future.

7 Lyman Bryson, "Education for Tomorrow’s Youth," National Association of Secondary S_ch.orql Principals.t Number 153, XXXII, March 194S, 46-50.

7 II.

DEFINITIONS OF TERMS USED

Industrial arts.

This term was used to designate

that part of general education which deals with the pro­ cesses, products and material changes performed in such representative industries as wood and metal fabrication, communication and transportation, graphic arts, tailoring, upholstery and drafting. Organization.

The use of this word was to desig­

nate the adminiatrational form of the program and the administration of the class by the teacher. Subjectivity.

This word was interpreted to mean a

manner of writing which allows various interpretations of certain statements by people with limited knowledge of the material dealt with. Objectivity.

This term refers to a way of stating

material so that its use by any individual will be inter­ preted in the same manner. III.

METHODOLOGY

Criteria were developed through an intensive examin ation of material written in the field of industrial arts within the last ten years.

The statements of various edu­

3 cators were reviewed.

They were arranged into what seemed

to be four logical areas within the program, namely: (l) the organization; (2) the curriculum; (3) the teacher; and (4 ) the plant and equipment.

Conclusions were drawn through

a final summarization of these statements in the light of 1

contemporary interpretations of secondary education. A checklist for evaluation of industrial arts pro­ grams in secondary schools was constructed, based on those areas in which criteria were developed.

Its purpose was to

provide questions which could discriminate between a good program in industrial arts and a poor one. The checklist was then submitted to a group of indus­ trial arts teachers and supervisors selected as representing a cross-section both of geographic location and school size. They were asked to rate each question according to its ability to differentiate between a good or a poor program. They were also urged to suggest any additional questions which might give fuller coverage to any of the areas, but which at the same time would not destroy to a great degree the specificity strived for in the checklist.

The results

of their ratings and suggestions were compiled and a new checklist was produced which according to their judgment would be more valid in measuring an industrial arts program.

CHAPTER I I

REVIEW OF LITERATURE AND ORGANIZATION OF REMAINDER OF THESIS I.

REVIEW OF LITERATURE

While it is possible to find material on evaluation of industrial arts programs, the majority of it has been written in the field of educational outcomes.

The material

which has been produced for the area of educational environ­ ment has generally been limited in its coverage or has been lacking in presentation of specific criteria for judgment. The publications reviewed here have more nearly achieved the coverage of the area desired by those working with eval­ uative instruments. In looking over the material presented in the Eval­ uative Criteria and Educational Temperaturest those wishing to make use of this instrument will find that it covers the entire field of a secondary school for evaluative purposes. It was developed for the whole of secondary education and with but few exceptions does not cover an individual course in any one of its sections.

Thus the administrator wishing

to answer the Board of Education’s inquiries into the justi­ fication of the industrial arts program because of its

1 Cooperative Study of Secondary School Standards, Evaluative Criteria and Educational Temperatures (Menasha, Wisconsin: George Banta Publishing Company, 1940)> 152pp.

10 apparent higher cost would have to employ most of the sec­ tions of the Evaluative Criteria in order to supply a com­ plete picture.

In stating criteria, such terms as "neces­

sary amount", "adequate", and "desirable" are not qualified and therefore the user must interpret them as he sees. Wahlquist^ has termed this work as leaning toward a realis­ tic view of education.

In reviewing the section dealing

with outcomes of the educational program, the part devoted to industrial arts effectively shows this tendency when it is asked in the evaluation:

"How great is the proficiency

shown by pupils in the use of tools and machines?"

Many

advocates of industrial arts education would contest this as being one of the primary measures of the outcomes of this course. Bonser3 has written a book to be used by school admin­ istrators in acquiring a background for the understanding of industrial arts and its application at the various levels of education.

In it he covers industrial arts in the elemen­

tary, junior high and senior high schools by giving certain

2 John F. Wahlquist, The Philosophy of American Edu­ cation (New York: The Ronald Press Company, 1942), 407PP* 3 Frederick G. Bonser, Industrial Arts for Public School Administrators (hew YorkTe'achers College, Columbia University,' T9J0Y9n 95pp•

11 generalities necessary for the establishment of a program. Designed to give administrators an idea of establishing suitable space and equipment, selecting qualified teachers, organizing courses in harmony with educational and community needs, and giving the proper supervision to the program, it serves such purposes but must be supplemented by more specific material to provide the more complete picture necessary for the establishment or evaluation of the present program• In an unpublished thesis,

Weber4

has set about con­

structing a score card which may be used in the evaluation, improvement, or construction of an industrial arts program in small rural or village junior high schools•

He has

divided the area into eight parts as follows: 1. Data concerning the teacher 2. Objectives of the industrial arts program 3» Activities in which pupils are permitted to participate 4 . Instructional methods and materials 5. Class organization 6. Areas of industrial arts laboratory 7 . Equipment in various industrial arts laboratories S. General condition of industrial arts laboratory The material presented under these headings is written in question form with a number of points .assigned respectively

4 J* Marshall Weber, "The Construction of a Score Card That May Be Used in Evaluating, Improving and Construct­ ing Industrial Arts Programs in Small Rural and Village Junior High Schools,” (unpublished Master’s thesis, Miami University, Oxford, Ohio, 1937), £2pp.

12 to the various possible answers.

Its usefulness to a

general administrator would undoubtedly be increased if such material as the terras "very good, average or poor lighting" or "dusts and gases disposed of properly", which allow for a variance of views, was more objectively treated. Also, in breaking the program down into eight parts, he has separated areas which should logically be treated together.

For example, "Part 3, Activities in which pupils

are permitted to participate" may be included as a section of "Part 4, Instructional methods and materials", and "Part 2, Objectives of the industrial arts program" would seem logically combined with "Part 6, Areas of industrial arts laboratory".

In doing this he has also allowed the

program to become more complicated than necessary and to take on the aspects of a much more complex organization than it need be. The evaluation of an industrial arts laboratory was set up by Sotzin.5

In it he has covered the areas of the

physical plant, the curriculum management, personnel and financial aspects, with a checklist that may be used by a

5 Herbert A. Sotzin, "Evaluating the School Shop Or Laboratory," Industrial Arts and Vocational Education. XXXIII (September, 1944), 300-302.

13 shop instructor or other qualified personnel in rating a laboratory.

Although it covers quite well the areas men­

tioned, in preparing it for trained industrial arts men Sotzin has imitted the needed standards that, with the exception of a few items, should be available if the check­ list is to be of use to persons with a limited knowledge of the needs of an industrial arts program.

There is no mention

made of the administrative features concerned with industrial arts, which would be of great interest to many carrying on the evaluative procedure. Mhile the material which has been reviewed here parallels this study, the shortcomings of each which this study has endeavored to correct are their lact of specific material and their limited coverage. II. ORGANIZATION OF REMAINDER OF THESIS Part II is concerned with the development of criteria to be used in evaluating an industrial arts program. divided into four chapters.

It is

Chapter III deals with develop­

ing criteria in the organizational and administrative phase of the program; Chapter IV evolves criteria for the curri­ culum; Chapter V develops standards for the industrial arts teacher; and in Chapter VI, criteria for the plant and equip­ ment are presented.

14 Part III, a checklist for evaluation, consists of the original checklist, tabulation and interpretation of the jury ratings on it, and the revised checklist produced as a result of the ratings.

The answers to the checklist provide

a brief summary of industrial arts criteria for secondary schools. Part IV deals with the conclusions to the study, with Chapter VIII discussing some findings developed through the progress of the study, and the final conclusions.

PART II DEVELOPMENT OF CRITERIA

15 CHAPTER III. I.

ORGANIZATION

ADMINISTRATION OF PROGRAM

In setting up the industrial arts curriculum, the role of the administrator is of the utmost importance.

No

less care should be taken in the scheduling and selection of students for eourses of an industrial arts nature than is considered necessary in the formulation of the academic curricula.

By reviewing certain phases of the administra­

tive program with regards to industrial arts it will be possible to arrive at accepted standards which may be used to set up the curriculum. Student enrollment.

Since the turn of the century

there has been a growing trend in the belief that industrial arts should be offered to all students in the secondary schools.

According to Bonserl the permanent values it

teaches, reaching through the many years beyond school life make industrial arts nothing less than of the highest curri­ cular importance.

wSo fundamental are the values derived

from the work that little progress in education can be expected until its content and method are recognized and

1 P. G. Bonser, Life Needs and Education (New York: Teachers College, Columbia University, Bureau of Publica­ tions, 1932), pp. 106.

16 included in the common education of our whole people.”^ Further substantiating the importance of industrial arts experience to all students rather than to a particular group, Siepert3 discusses a point put forth by Bobbitt, that shopwork can be the training for the unspecialized activi­ ties in which every normal adult engages to some degree. This is true, likewise, of shop work for girls; as Friese4 points out, it is important to them to have a working knowledge of electricity and mechanics, in addition to home planning, interior decoration, landscape gardening and craftwork.

Experiences of this sort gained in indus­

trial arts courses may prove valuable to every homemaker. There are those who feel that industrial arts courses should be offered to boys on the basis of low abil­ ity in academic work.

Smith and Roos reverse this philos­

ophy thus: ,fThe reason for putting a boy in an academic course is not that he lacks or possesses a low degree of social or mechanical intelligence, but

2 Bonser, loc. cit. 3 Albert F* Siepert, ^Methods of Teaching and Organiza­ tion of Subject Matter.” (In Bawden, W. T. and others, Indus­ trial Arts in Modern Education (Peoria, 111., Manual Arts Press, 193477 PP- $6-&7. 4 John F. Friese, Course Making in Industrial Educa­ tion (Peoria, 111., Manual Arts Press, 1946), p. 60.

17 because he has a high degree of abstract intelligence* Conversely, a boy should be encouraged to enter a school shop course, not because he is low in abstract intelligence, but because he is high in mechanical int elligenc e •11' London and Hostetler0 , in reviewing the findings of some nine hundred leaders in education and labor management from forty-eight states, reports that there is a strong feeling that industrial arts should be offered in all schools on the secondary level and that all students should be encouraged to take some industrial arts course.

Mays? concurs with

the opinion that industrial arts should be offered to all students.

He states that the personnel scheduling pupil

enrollment in the various curricula should be thoroughly informed of the purposes of industrial arts and should not be swayed by the time-worn philosophy of shop work for slow pupils and discipline cases. Another factor in the importance of industrial arts' being offered to all secondary students is that the nature of its instruction meets the basic needs of all maturing

5 A Guide to Guidance, p. 45, cited by David F. Jackey and Melvin L. Barlow, The Craftsman Prepares to Teach (New York: Macmillan, 1944), P* 139* 6 H. H. London and I. Hostetler, "Industrial Educa­ tion in the Years Ahead, "Industrial Arts and Vocational Ed­ ucation, XXXV (April, 194b), 147. 7 Arthur B. Mays and C. H. Casberg, School-Shop Administration (Milwaukee, Bruce Publishing Company, 1943), pp. l£0-l£l.

IB youth.

Wilber^ stresses the need of training young people

in critical thinking and problem solving; the industrial arts course as it is taught today is a direct answer to this need. He further points out that the nature of American culture, which educators wish to transmit to our youth in the schools, is today highly industrialized and technological; through industrial arts the students are oriented to this modern society.

Another need of the student is that of self-

assurance and a feeling of achievement.

Wilber9 notes that

in industrial arts, results are real and tangible.

Initial

success in industrial arts often results in substantial improvement in other courses. Industrial arts courses form an ideal situation for the analyzing and developing of students1 personalities.

By

observing a student in industrial arts it is possible to note what his instincts are, also his likes, dislikes, ideals, inhibitions, and other important guidance factors.

Due to

working with hands, mind and body, all in a creative enter­ prise, Waller^ states that here is a natural setting where

& Gordon 0. Wilber, Industrial Arts in General Educa­ tion. (Scranton, Pa., International Textbook Company, 194^), pp. 2S-29* 9 Ibid., pp. 40-41* 10 C. H. Waller, "Adjustment Through the Arts," Indus­ trial Arts and Vocational Education, XXX (December, 1941), 4 24*“26 .

19 the child may rediscover these creative instincts.

Indus­

trial arts serves as an excellent field for investigation of students1 personalities and helping to develop them to a more satisfactory social standard.

The informal organiza­

tion of the industrial arts class provides group projects and a training ground in group cooperation, give and take, leadership and followership which build attitudes essential to the preservation of our democratic culture.

The advan­

tages offered by participation in some form of industrial arts warrant the setting up of a program which can be entered into by all students. Grouping of students in courses. The values derived from industrial arts courses can be greatly hampered if care is not taken in the scheduling of the student.

Students

should not be grouped in industrial arts courses with the thought of facilitating administrative scheduling of acad­ emic subjects.

nIn many cases,tf states Ericson, "after care

has been exercised to keep everything regular for other teachers, the left-overs, scrambled in a great variety of ages, classification, deportment records, interest and abil­ ity, are sent to Ttake shop.1

He goes on to say that

11 Emanuel E. Ericson, Teaching the Industrial Arts (Peoria, 111., Manual Arts Press, 1946?), p. 231.

20 unnecessary mixing of pupils of various ages and grades increases the strain on the teacher’s energy, thus impairing his ability to plan his work and maintain his routine The individual differences of students is a factor accepted by educators today in grouping students.

Their

industrial arts experiences and mechanical aptitudes should be considered in order for the student to derive the most benefit from his studies. "The biggest single factor to be remembered is that individual differences should be recognized and each^ person assigned to work in the direction of his greatest ability. . . Teaching, and the school in which the teaching takes place, should enhance his possibilities, not hinder them.!f13 Time allotment.

Because much of industrial arts is

an activity program, sufficient time must be allowed for substantial daily progress.

In most cases, a double period

is considered necessary to allow students sufficient work time.

The time per week devoted to the industrial arts

course should not be less than four periods.

Bonser^

12 Ericson, loc. cit. 13 David F. Jackey and Melvin L. Barlow, The Crafts­ man Prepares to Teach (New York: Macmillan, 1944), p. 143* 14 F. G. Bonser, Life Needs and Education (New York: Teachers College, Columbia University, Bureau of Publica­ tions, 1932), pp. 62-63.

21 feels that four periods a week is necessary, inasmuch as a considerable amount of class time may be spent on related material, visits, excursions, and experiments.

He reminds

us that there is an abundance of subject matter in the indus­ trial arts course, which itself can no longer be regarded as an "unprepared subject." Teaching load.

The industrial arts teacher should be

given sufficient time during the school day to prepare materials, to keep the necessary records, and to prepare demonstrations• "Administrators and teachers of subjects other than industrial arts are inclined to feel that the industrial arts teaching load is relatively lighter than theirs. This feeling is usually based on the thought that industrial arts teachers don’t have classroom teaching preparation, don’t have written papers to correct, do not give written exams, can its work with a minimum of attention and To this Ericson adds the following considerations in dis­ cussing the teaching load: ”1. 2. 3. 4* 5* 6. 7. 3.

Humber of actual teaching hours per day Length of periods for this type of teaching Degree of homogeneity of students Size of classes Physical facilities for teaching Types of activity carried on Teaching methods and philosophy involved^ Extracurricular demands upon teachers."

15 Emanuel E. Ericson, Teaching the Industrial Arts (Peoria, Illinois: Manual Arts Press, 1945), p. 229* 16 Ibid., p. 230

22 These considerations when weighed as a whole will vary the teaching load according to the given situation.

Most educa-.

tors are of the opinion that the teacher should have at least one hour within the school day in which to prepare for classes and keep records, and that his extra-curricular activity be kept to a minimum to permit time outside school hours for necessary shop maintenance. Records.

Jackey and Barlow***? state that one of the

principal causes for the failure of a teacher is rfinadequately and poorly prepared reports;"

these are a source of annoy­

ance which often leads ultimately to his dismissal.

The *•

keeping of records is justified in several ways: the expense of the materials used demands that inventory be kept; records are a means of protection for the instructor in assigning grades; and the keeping of records insures coverage of instructional material in the span of the course.

Essential

records fall into three categories: administrative, instruct­ ional, and financial.

Wilber lists these as follows:

"administrative: attendance, test, final marks, inventory; instructional: progression chart, related lessons, demonstrations, projects; financial: money 17 David F. Jackey and Melvin L. Barlow, The Crafts­ man prepares to Teach (New York: Macmillan, 1944), p. 1&4

23 turned over to school, money paid out.1* Wilber‘S further asserts that records are likely to be effective and accurate to the extent to which they can be kept without an undue amount of time and effort; wthe number and character of records becomes a compromise between the ultimate of helpfulness and the number that can be kept effectively*tt2^

Ericson2-*- mentions the card file as a means

of convenient easy handling of equipment and supply records. Mays and Casberg

22

state that there is danger in an unduly

enlarging record system and suggest the redesigning of an old form to include a new item rather than adding a new form.

They are also of the opinion that it is rarely wise

to adopt the record system of another school as your own; rather, the administrator and staff should develop their own records to fit the needs of the school system in which they work.

1$ Gordon 0. Wilber, Industrial Arts in General Educa­ tion (Scranton, Pa.: International Textbook Company, 1948), " pp. 233 et seq. 19 Ibid., p. 24& 20 Loc. cit. 21 Emanuel E. Ericson, Teaching the Industrial Arts (Peoria, 111.: Manual Arts Press, 1946), p. 131. 22 A. B. Mays and C. H. Casberg, School-Shop Adminis­ tration (Milwaukee: Bruce Publishing Company, 1943), pp.102-03

24 The time required to keep records should not be cum­ bersome enough to promote inefficiency; ”one half to three quarters of an hour per day should be Administrative participants.

sufficient.

Smith

”^3

states that

democratic and cooperative processes when at their best are conceived in recognition of teacher and pupil needs by the administrator or supervisor.

They are characterized by

personal contacts and working relationships and must not become fixed but kept constantly changing.

They can be

achieved through inclusion of teacher and student committees along with the administrator in the solution of problems. II.

ADMINISTRATION OF COURSE

Within the course itself there are many areas which point out efficient and creative administration.

An analysis

of such objective areas as student management, planning areas, reference material, display areas will show to a great extent the degree to which efficient course management exists.

23 Wilber, loc. cit. 24 Homer J. Smith, "Administration and Supervision” in Bawden and others, Industrial Arts in Modern Education (Peoria, 111.: Manual Arts Press, 1934), p* ^7*

25 Student management.

Utilization of student manage­

ment in industrial arts courses can serve several functions both in the training of youth and in the efficiency of the program.

It is the means of providing experiences in coop­

erative undertakings and aiding the youth in understanding his responsibilities in the group. ". . . industrial arts work . . .

According to Ericson, is such that it offers

superior opportunities for developing qualities of individ­ ual responsibility and group leadership. "25

He points out

also that the degree and method of student participation will vary according to the ages of the students, types of work, and the ability of the teacher to make the plan work.26 "Adolescent boys and girls like organization and will respond readily." 27 Mays and Casberg give three reasons for the need of shop class organization, namely: (l) since the group con­ sists of immature persons, inexperienced with shop proced­ ures and curious and eager about the tools, without organ-

25 Emanuel E. Ericson, Teaching the Industrial Arts (Peoria, 111.: Manual Arts Press, 194°)> P« 102. 26 Ibid., p. 103 27 Loc. cit.

26 ization this could cause "confusion degenerating into a state of everyone for himself..."; (2) the shop is the boy’s first experience with organized work, and most like the work order of the factory, store, office and construction job; and (3) because of the physical work done in the shop, organization is necessary to accomplish anything constructive. Gilliland2^

says that the shop "personnel organization”

teaches responsibility, develops initiative, provides opport­ unities for self-expression and gives training to the stu­ dent not given elsewhere.

He suggests the use of an execu­

tive committee of students to elect job seekers to positions, and also suggests that the job holders receive compensation (a flat grade) for doing the job. Friese’s^O arguments for student management are that it prevents disciplinary problems from arising, relieves the teacher of routine detail, constitutes an aid to acci­ dent prevention, and promotes more and better teaching and learning. Ericsoh lists the following areas of student manage-

2$ Arthur B. Mays and C. H. Casberg, School-Shon Administration (Scranton, Pa.; International Textbook Com­ pany, 194$)>pp* 136-13$. 29 Lonnie Gilliland, "Personnel Organization for the School Shop," Industrial Arts and Vocational Educationr XIXV (September, 1946), 292-93• 30 John F. Friese, Course Making in Industrial Edu­ cation (Peoria* 111.: Manual Arts Press, 1946), p.

27 ment: roll call and personnel, tools, material, production, planning and reference material, safety, ventilation, fin­ ishing room, machinery maintenance, sanitation and clean-up, and public relations; "many other duties may be assigned, depending upon prevailing conditions, but these will indi­ cate the spread of possibilities for giving practice in carrying out the tasks in which the entire group is interested.,f31 Reference facilities*

The industrial arts are no

longer merely a "hammer and sawTt subject which may be taught from the knowledge of a master craftsman.

At the

same time, advances in scientific and technological fields are made too rapidly for any one industrial arts teacher to keep up-to-date on them all*

It is therefore necessary

that every shop or industrial arts department be equipped with an up-to-date and functioning library of related inform­ ation.

"Every industrial education department, whether it

be concerned primarily with industrial arts or chiefly with trade training, should have a shop library.

If the depart­

ment be only a one-teacher, one^-shop department, or a very

31 Emanuel E. Ericson, Teaching the Industrial Arts (Peoria, 111.: Manual Arts Press, 194©), PP* 102-03*

2#

large group of shops, the library is needed.”32 E r i c s o n ^

points out the value of the shop library and

usefulness of reference material for obtaining data of the related-information type or for solving problems*

However,

he cautions against the textbook’s taking the place of person­ al instruction by the teacher.34 Wilber sets up specific standards for the minimum in reference facilities for the three types of shop, as follows: ”Comprehensive general shop: should have at least ten books in each of areas represented (both project books and informational books) Unit shop: should have a minimum of thirty-five books in the area covered by the activity Limited general shop: should have at least thirtyfive books well distributed over various fields. However, he does state that nwhat books are selected depends on the type of shop, amount of money available, and the initiative of the teacher in keeping the library up-to-date.”3^

32 Arthur B. Mays and G. H. Casberg, School-Shop Admin­ istration (Milwaukee: Bruce Publishing Company, 1943),p. 16. 33 Emanuel E. Ericson, Teaching the Industrial Arts (Peoria, 111.: Manual Arts Press, 1946), p. 150. 34 Ibid.r p. 153 35 Gordon 0. Wilber, Industrial Arts in General Bducation (Scranton, Pa.: International Textbook Company, 194$), p. 1$3-S9* 36 Loc. cit.

29 The matter of the separate room near shop versus the area set aside within the shop as a library is discussed by Ericson;however, the matter is purely one of super­ vision.

Possibly a glass-enclosed area within the shop or

directly adjoining it would solve that problem. The library functions only insofar as it is planned and taken care of.

"Suitable cases should by all means be

provided for books and under no circumstances should careless handling of reference material be allowed.ff^

The

ably functioning library can be achieved through such media as student librarians, their offices rotating as others in the student management organization do; definite places for books, magazines, pamphlets and other material; and an attrac­ tive and well-lit room.

The reference materials in themselves

go beyond mere books, to include posters, mock-ups or models, films, periodicals, project files, photographic material, pamphlets, and film. Student planning facilities.

In conjunction with

the library, there should be an area set aside where stu­ dents may come and solve the various problems encountered

37 Emanuel E. Ericson, Teaching the Industrial Arts (Peoria, 111.: Manual Arts Press, 1946), p. 137* Loc. cit.

30 in the construction of their projects.

"Emphasis on plan­

ning as an important function of industrial arts focuses attention on the need for a place to carry on this activity. Experience seems to indicate that better results are obtained from planning, and that it is easier to encourage students to plan, when some definite area is set aside and properly equipped and organized for this work."39

Wilber

lists the advantages of a separate planning area (as opposed to a center within the shop) as (l) indicating the importance of planning; (2) provides a center for ideas; and (3) makes planning easier.^

He believes that the

planning area should be located so that it will be directly accessible to the shop library.^ An ample space is set aside in a floor-space diagram by Mewkirk, divided into three sections including a large planning room, a toolroom, and storeroom.

These areas, in

conjunction with one another, provide for "planning, read­ ing, storage of supplies, care of tools, drawing, prepara­ tion of materials, giving tests, finishing, and storage of

39 Gordon 0. Wilber, Industrial Arts in General Edu­ cation (Scranton, Pa.: International Textbook Company, 194$), p. 131. 40 Ibid.. p. 132-33. 41 Ibid., p. 133.

31 unfinished projects which are too long to go in lockers. This space may be separated from the rest of the shop by glazed walls. Display facilities. Displays in industrial arts, pertaining to the work at hand, are one of the first things an administrator notices in the shop.^3

Displays are an

effective means of creating interest in industrial arts and "selling” the program to students, parents and administra­ tors.

It is therefore most important that display facilities

are adequate. Types of display facilities include "bulletin board space in corridors, library and classroom which can be used to advantage.

Displays could be developed with the help of

the librarian."^

"In every shop, provision should be made

for at least one display cabinet; this if possible should be located in a corridor through which all students pass.

A

lighted cabinet outside the shop is also recommended, ,as well as supplementary display space within the shop."^5

42 Louis V. Newkirk, Organizing and Teaching the Gen­ eral Shop (Peoria, 111.: Manual Arts Press, 1947), PP750-82. 43 Maximilian Koraow, "The Principal Visits the School Shop," Industrial Arts and Vocational Education. XXXVI (May. 1947), 194. 44 Gordon 0. Wilber, Industrial Arts in General Edu­ cation (Scranton, Pa.: International Textbook Company, 194$), p. 222. 45 Ibid., p. 25$.

32 Wilber states that in a school building without ade­ quate show cases the teacher ”can improvise by securing permission to place ready-made glass cabinets in the corri­ dors...

The most attractive projects should be placed in

these and changed as frequently as new material is avail­ able.”^

Another phase of display facilities is keeping

an adequate file for storing large charts and pictures ”an essential part of every shopfs equipment.”^ Displays should be changed frequently. long, they will go unnoticed by students.

If left too

It should be

remembered, also, that all display is no display.

Illus­

trative material and other types of display should be arranged so as to provide focal points of interest in the shop rather than strewn with abandon all over the shop walls. Effectively treated and carefully maintained, the industrial arts display show visible evidence of what is going on in the shop and creates interest in industrial arts on the part of all onlookers.

46 Ibid.,

p. 223

47 Ibid.,

p. 190

CHAPTER I V .

I.

THE CURRICULUM

INDUSTRIAL ARTS DEPARTMENT

In discussing the industrial arts curriculum, this study has chosen those areas which when reviewed may serve as an index to whether or not the program as set up adheres to the standards set by educators. Basic philosophy and objectives.

It is vitally

important that the industrial arts department, like the secondary school and all education in general, develop a basic philosophy of its purposes and some clearly defined, justifiable and achievable objectives for its subjects. Without these, its courses degenerate into mere mases of unrelated subject matter and uncorrelated activities through which students wander aimlessly.

f,Iouth education, though

it should be made enjoyable, should be planned always to contribute to the development of individuals in their forty to sixty years of adulthood.

Aims should be vital to youth

and to adult life.w^ The philosophy and objectives of industrial arts are of necessity built out of the needs of the students.

1 John F. Friese, goflcaft M aying in Industrial iiQjn (Peoria, 111.: Manual Arts Press, 1946), p. 82.

34 Siepert bases his concept of the nature of the industrial arts in the secondary school on the types of students studying industrial arts on the high school level: "Those carrying on definite preparation for some occu­ pation, whose education ends with high school and who have had occupational guidance in junior high school; Those preparing for entrance to higher education with the idea of being in the engineering field or becoming industrial arts teachers; Those preparing for entrance to a college or univer­ sity, with some choice of a^profession or no choice of a career as yet." He believes that industrial arts should be exploratory in nature, covering a wide range of fields, and that for some v students vocational-training opportunities should be made available. Wilber’s concept of the industrial arts is defined "...those phases of general education which deal with industry - its organization, materials, occupa­ tions, processes and products - and with the prob­ lems resulting fronuthe industrial and technological nature of society."-^ He bases the objectives of industrial arts on desired behav ior changes in students:

2 Albert F ♦ ization of Subject Industrial Arts in Arts Press, 193417

Siepert, "Methods of Teaching and Organ­ Matter." (In W. T. Bawden and others, Modern Education (Peoriay 111.: Manual P» 97*

3 Gordon 0. Wilber, Industrial Arts in General Educa' tion (Scranton, Pa.: International Textbook Company, 194$), p. 2.

35 nl. To explore industry and American industrial civilization in terms of its organization, raw mater­ ials, processes and operations, products, and occu­ pations. (cooperation in personnel system in shop - as in industry; reading choices affected by their reading about industry; tentative choice of occupa­ tion; learning problems of labor; applying industrial methods in the shop) 2. To develop recreational and avocational activ­ ities. (read magazines, learn constructional hobbies, spend time in school or home shop, consult catalogs for hobby information, make friends on basis of int­ erest) 3. To increase an appreciation for good crafts­ manship and design, both in products of modern indus­ try and in artifacts from material cultures of the past. (Recognize good design and apply it, recognize and appreciate period pieces, learn to re-design pro­ jects to improve appearance and utility; avoid over­ decoration and poor design) 4. To increase consumer knowledge to a point where students can select, buy, use and maintain the products of industry intelligently. (Learn to judge value of articles, apply knowledge of materials to purchasing, know trade names, know how to maintain articles to prolong usefulness, know quality) 5. To provide information about, and - in so far as possible - experiences in, the basic processes of many industries, in order that students may be more competent to choose a future vocation. (Know requis­ ites, working conditions, wages of occupations; visit industries; talk with representatives; choose elect­ ive courses which provide more information about occu­ pations) 6. To encourage creative expression in terms of industrial materials. (Develop critical thinking, develop skill in use of materials, choose proper materials for projects, create new designs from ideas, learn to solve problems) 7* To develop desirable social relationships, such as cooperation, tolerance, leadership and follower­ ship, and tact. (Group spirit, cooperation in group programs, take over responsibilities through person­ nel organization, club activities, working with people of different creed and color) To develop a certain amount of skill in a num­ ber of basic industrial processes. (Perform tool processes with increasing accuracy, improve quality of

36 of workmanship, develop pride and self-assurance, practice difficult operations in order to perfect the skills)” ^ Stone gives an illustration of what he believes indus­ trial arts should be#

He states that in some schools

industrial arts education is conceived as service activities, to provide manufacturing and mechanical knowledge and skills for non-academic-minded pupils, and to obtain economic products needed by the school as a whole.

Of this he says:

"Clearly this is a hangover of traditional sub­ ject organization, exalting certain types of learn­ ing and learners, and debasing other types.” 5 Bonser^ feels that industrial arts should offer funda­ mental knowledge and skills for those going on into tech­ nological subjects or schools.

In light of the material

supplied by other authors, this reasoning would tend to take industrial arts away from its general educational values and fit it for the needs of one type of student only. Selvidge stresses the importance of industrial arts as a phase of general education contributing to the studentTs

4 Ibid., pp. 46 ff. 5 William H. Stone, "Recent History and Trends.” In W.T. Bawden and others, Industrial Arts in Modern Educa­ tion (Peoria, 111.: Manual Arts Press, 1934), p- 13 6 F. G. Bonser, Industrial Arts for Public School Administrators (New York: Teachers College, Columbia Univ­ ersity, Bureau of Publications, 1930)> P* 72

37 avocational life. "In this field we seek to give the youth the infor­ mation and experiences which will interest him in industrial life and enable him to do effectively the things that most boys and men are called upon to do without respect to their vocation.” 7 He adds that it is not necessary to train the youth to make the identical things he may be later called upon to make, but to give him "experiences capable of wide application” and develop in him ”a habit of orderly procedure and system­ atic work.”** Mays9 has stated future requirements of industrial arts as being a return to the emphasis on skills and knowledges as put forth by Dr. Woodward, and the development of the habit of analytical constructive thinking.

In answer to

Mays, WenrichlO says that the present trend is that the development of skills be emphasized as the means to an end and not as an end in itself. In the "jury” rankings reported in Professor Warner’s study of policies in industrial arts education, the rankings

7 R.W. Selvidge and V. C. Fryklund, Principles of Trade and Industrial Teaching (Peoria, 111.: Manual Arts Press, 1946), pp. 35-3"6". ** hoc, cit. 9 Arthur B. Mays, ”A New Industrial Arts for a New Day,” Industrial Arts a nd Vocational Education. XXXII (December, 1943), 402-404. 10 Ralph C. Wenrich, "Industrial Arts Program and the Secondary School Boy,” Industrial Arts and Vocational Educa­ tion, XXXV (September, 1949), 2^7-290.

3$ of the purposes for the senior high school a re as follows: r,l. Consumers’ knowledges and appreciations of the products of history 2. Formation of desirable personal and social habits and insights 3* Household mechanics; development of ’handy-man1 abilities about the home 4* Avocational opportunities for the development of hobbies or a side-line interest 5* Development of skill with tools or in pro­ cesses, commensurate with the ability of the pupil and incidental to the completion of a project having educational value 6. Exploratory or finding values relating to discovery or try-out of interests and abilities 7. General guidance, both educational and voca­ tional, gained through study of industrial occupations 3. Integration with other studies and interests both in and out of school 9. Vocational preparation for definite industrial occupations for those expecting to enter such voca­ tions on leaving school."H Friese

12

sees industrial arts as TTa great social

leveler", playing an essential part in the "complete social education of every boy in a dominantly industrial democracy", one of whose aims is to interpret industrial life broadly. How instructional areas are taught.

The thought behind

the choosing of instructional areas in industrial arts varies* A general picture of characteristics of and methods common to

11 W. E. Warner, Policies in Industrial Arts Education (Columbus, Ohio: Ohio State University Press, 1923), pp. 6970. 12 John F* Friese, Course Making in Industrial Educa­ tion (Peoria, 111.: Manual Arts Press, 1946), pp. 33 ff.

39 the two types of programs set up to cover the instructional areas is given by Wilber, as follows (omitting variations and exceptions): 1. 2. 3. 4* 5*

^General Shop Activities in two or more industrial areas Large number of industrial materials used Teacher versatile in many areas Equipment diversified rather than specialized Breadth of experiences considered more important than depth in any one field*1 13

**Unit Shop 1. Course of study likely to be based on trade anal­ ysis approach 2. Skill stressed more strongly than other objectives 3* Prevoeational values predominate 4. Uniform course of study for all students $. Set series of projects required of all students 6. Higher standard of workmanship (because teacher is usually an expert in his field) **14 Ericson gives arguments for both the unit and the general shop.

He describes the unit shop as the oldest

existing type of shop in industrial arts history, which may be either the only shop in a school or one of many unit shops. He lists reasons why unit shops are defended, by many: **(l) The teaching in the unit shop can be made more definite and purposeful; (2) students* efforts are kept at one subject long enough to reach maturity in processes and materials in the subject; (3) the

13 Gordon 0. Wilber, Industrial Arts in General Educa­ tion (Scranton, Pa.: International textbook Company, I94ST, p. 10S. 14 Ibid., p. 102

40 students are not distracted by a variety of activities; and (4 ) some degree of efficiency in handling tools and materials in one subject is better than a super­ ficial smattering of skills in many subjects * He goes on to describe the growth of the general shop prac­ tice as "the result of a feeling that unit shop work is too formal, excludes the chance of combining various shop and craft activities into the production of one article, and that in small schools where only one or two teachers and shops can be justified, students should not be limited to one or two craft a c t i v i t i e s H e divides the general shop into two categories: the comprehensive and the limited general shop.

Three types of comprehensive general shops are (l)

the general home mechanics shop (which places stress on a variety of experiences such as no-how on appliances, etc., much like a "handy-man" shop); (2) the general home mechanics shop (which is like a home-mechanics shop, emphasizing occu­ pational exploration, craft processes and sports projects); and (3 ) the laboratory of industries, or industrial arts laboratory (which stresses industrial information rather than ■'craft experience.

15 Smanuel E. Ericson, Teaching the Industrial Arts (Peoria, 111.: Manual Arts Press, 1946), PP* 302-303. 16 Ibid.. p. 303*

41 "The limited general shop may combine activities of two or more unit shops (such as a general metal shop), or may generalize the content of one unit shop (such as a graphic-arts shop, rather than the formal print shop.” 1 ' London and Hostetler would seem to favor the limited general shop, since they state: "Industrial education should be limited to job families, since few jobs require special­ ized training.” ^ Newkirk, citing from Proffitt, supports the general shop, whose country-wide growth is ” ... a single out-standing trend which will undoubtedly continue... The trend toward the general shop from of organization for the realization of present-day objectives for industrial arts is defin­ itely away from the practice of routing pupils through unit shops where so frequently the instruction in each shop is the first part of a trade course - which is neither vocational training nor industrial arts.” Newkirk concurs with the above statement of London and Hos­ tetler in his concept of the general shop: ”The content of the general shop is composed of large basic areas of instruction representative of groups in modern industry.” 20

17 Ibid., p. 306 18 H. H. London and Ivan Hostetler, "Industrial Educa­ tion in the Years Ahead,” Industrial Arts and Vocational Ed­ ucation. XXXV (April, 1946), 151. 19 Louis V. Newkirk, Organizing and Teaching the General Shop (Peoria, 111.: Manual Arts Press, 1947) PP* 16-18, citing Maris M. Proffitt, Trends in Industrial Arts (Washington: U. S. Government Printing Office, 1940), Pamph­ let 93, S. Office of Education. 20 Newkirk, p. 28.

42 Selvidge, on the question of "What type of shop or shops?” has this to say: "Instead of selecting a particular type of shop, we determine what we will do on the basis of what we wish to teach. When we examine the field from this standpoint, it will be found that any one of ..a great many activities may contribute almost equally well to these ends; but the activity must be chosen because of its positive and direct c o n t r i b u t i o n . ” 2 1 "One measure is to ask ourselves if this type of work will afford the best available opportunity to teach the things we wish to teach. If the type of work meets the test, the classification as to the type of shop is immaterial."*2 Whether a school offers its industrial arts courses through the means of unit shops or the general shops depends to a large extent on the financial standing of the community and the room allocated to industrial arts activities in the school building; however, London and Hostetler^ sum up what would seem to be a general consensus of opinion in saying that the large high school should offer many courses while the small one should offer one which has diversified activi­ ties.

Along with this, the high school should offer indust­

rial vocational training with its general education and

21 R. W. Selvidge and V. C. Fryklund, Principles of Trade and Industrial Teaching (Peoria, 111.: Manual Arts Press, 19407, p. 49* 22 Ibid., p. 52 23 H. H. London and Ivan Hostetler, "Industrial Educa­ tion in the years Ahead," Industrial Arts and Vocational Education, XXXV (April, 1946), 151.

43 should operate a diversified part-time job training program. Curriculum revision.

The importance of curriculum

revision is now widely recognized and accepted.

Revision

of the curriculum to meet present-day needs is f,one of the three particular viewpoints emphasized in the past quarter of a century."2^

ftA curriculum should leave room for

growth"^ while at the same time f,it must be constantly fitted to a changing civilization.”

These beliefs point

out the fallacy in the old line of reasoning that "what was good enough to teach us will be good enough for our chilren.n In present-day education, curriculum revision is participated in not only by the administrators (or super­ visors) and the teachers in the industrial arts department but also by the students taking courses within the realm of the department.

One factor of their participation in.

revision is student interest. "While the shifting interests of students may be dangerous as the controlling factor in selecting and organizing subject matter, it nevertheless is

24 Albert F. Siepert, "Methods of Teaching and Org­ anization of Subject Matter." (In W. T. Bawden and others, Industrial Arts in Modern Education (Peoria, 111.: Manual Arts Press, 1934)> P* 86. 25 Louis V. Hewkirk, Organizing and Teaching the General Shop (Peoria, III.: Manual Arts Press, 194?), p. 31* 26. Loc. cit.

44 true that subject matter measuring rod of student chance that it is or can alone should suggest its

should be tested by the interest, and if there is no become interesting this fact reorganization.

Williams also says that "students are encouraged to be active participants in the planning, executing, and evaluating of what may or should go on in class...11*'0 A most important factor of revision is the adherence of what is taught to the objectives of the school, which in themselves are constantly changing to fit our changing society. tf... the students themselves by their enthusiasm or apathy, singly or jointly with their friends and parents and the citizenry in general, help set the pattern of desired outcomes for the work of the schools. But if the students cannot be led to accept as desirable the objectives which are determined by all these other agencies (principles, department heads, supervisors) they will set up objectives of their own and the stated outcomes will be only so many words on paper. It is one duty of the school, certainly, to enlist student cooperation in efforts to arrive at acceptable goals of schooling.tf ' II.

INDUSTRIAL ARTS COURSES

Course objectives.

The starting point of any course

must be the formulation of the objectives or aims to be

27 Emanuel E. Ericson, Teaching the Industrial Arts (Peoria, 111.: Manual Arts Press, 1946), p. 290.

28 L. A. Williams, Secondary Schools for American Youth (New York: American Book Company, 194l)> P* 141* 29 Ibid., p. 167.

45 achieved in the course. tfAn objective represents what the learner should possess upon completion of the course in the way of skills, knowledges, attitudes, appreciations and ideals. An objective should be written in terms of outcomes for him,. An objective is an achievement set up in advance.11-* Jackey believes that besides listing skills, the teacher must indicate general knowledges and understandings related to the skills which must be developed; he cannot be too specific.

Into the

objectives dealing with appreciations

and ideals to be developed, the personality of the teacher is projected.

Appreciations can be safety consciousness,

cleanliness, good workmanship, accuracy, ete.^ The feeling-that most educators apparently have concerning industrial arts objectives is that they must dominate the selection of subject matter, while in turn the subject matter is important only as the means to achieving the objectives.

According to Sricson,

f,The examination of subject matter from the standpoint of its value with reference to. objectives or goals would probably eliminate much of the meaningless and traditional, not only in industrial arts, but throughout the entire curriculum in public schools.rt**^

30 D. F. Jackey and M. L. Barlow, The Craftsman Prepares to Teach (Mew York: Macmillan, 1944), P* 15* 31 Ibid.. pp. 15 ff. 32 Emanuel E. Ericson, Teaching the Industrial Arts (Peoria, 111.: Manual Arts Press, 1946), p. 276.

46 Jackey and Barlow share the same viewpoint: "Everything included in the content of the course must assist the learner in meeting the objective. ... Confusion will result if course content and^objectives are not coordinated at the same end.” Selvidge agrees and puts emphasis on the objectives as being the teacher’s program.

The teacher should feel under obliga­

tion to provide experiences which will make reasonable con­ tribution to the ends sought.34* Friese discusses the aims in a like manner, but in the light of pupil outcomes. "The pupil outcomes resulting from a combination of subject matters and teachers’ methods are classi­ fied as skills, knowledges, mental powers, apprecia­ tions, habits and attitudes. Industrial arts sub­ jects are vigorous and well-balanced because they can be made to contribute toward the achievement of a 11 of the above pupil outcomes if the subject matter and methods are carefully analyzed, correlated, and taught." 35 While the subject matter must be in keeping with course objectives, so must the objectives be in keeping with their greater counterparts. "The objectives of an industrial arts course must be in harmony with those of the industrial a rts department, the aims of the junior high school, the

33 D. F. Jackey and M. L. Barlow, The Craftsman Prepares to Teach (New York: Macmillan, 1944), P* 20. 34 Robert W. Selvidge, "The Teacher’s Objectives," in Bawden a nd others, Industrial Arts in Modern Education (Peoria, 111.: Manual Arts Press, 193277 P* 31 35 John F. Friese, Course Making in Industrial Educa tion (Peoria, 111. : Manual Arts Press, 1946), p. 12.

senior high school or secondary school as a whole; and finally the aims of secondary education must culminate as contributions to all organized educa­ tion.”^ Course planning.

The primary concern of course plan­

ning is that the subject matter or course content contrib­ ute to the realization of the course objectives. "Subject matter should be chosen or rejected exclusively on the basis of whether or not it con­ tributes toward meeting the specific objectives which the teacher or administrator has in mind for the particular group of s t u d e n t s . "37 Educators vary but slightly in discussing subject matter selection.

Friese^ stresses analysis of the entire course

content - weighing the value of everything - not only skills and information to be taught but the teaching devices, lesson plans, units of subject matter, aims, time, equipment, supplies, students, problems, etc. - before including them in the course.

Ericson39

would also analyze every phase of

subject matter. "Evaluating subject matter in the light of cour objectives will establish its value to the course."

36 Ibid., p.. 64* 37 Gordon 0. Wilber, Industrial Arts in General Educa­ tion (Scranton, Pa.: International Textbook Company, 194$), p. 5$. 3$ Friese, o£. cit., p. 110. 39 Emanuel E. Ericson, Teaching the Industrial Arts (Peoria, 111.: Manual Arts Press, 194o), p. 282.

4S He gives a list of "basic considerations in the analysis and selection of subject matter"^ which includes everything within the course, from such factors as scope of the course, student interest, and local sentiment to cost of installation, materials, time and teachers, Newkirk^ lists as factors in selecting course content: (l) the community survey (it is advantageous to make a study of the industrial arts needs of a community before deciding type of work); (2) postschool activities ( i t is important to know what the pupils do after they leave school); (3) school facilities and opportunities (the teacher should know the attitude of the community, school board and administrating officers in regard to the industrial arts program, the amount and kind of equipment, and financial prospects for additional space and equipment); and (4 ) teachers (whether they are full-time and whether their salaries are sufficient or not are considerations in selecting course content. In selecting subject matter, Friese says: "Weakness exists in course making when courses are based only on analysis of things as they are. A good method is to think in terms of the aims of all public school education, then go through the secondary school level and down to the individual departments, then to

41 Ibid.. pp. 267-69* 42 Louis V. Newkirk, Organizing and Teaching the Gen­ eral Shop (Peoria, 111.: Manual Arts Press, 1947), pp. 40-42.

49 the individual subjects. The mastery of the subject matter of ”content” type of aims can be measured objectively, but pupil-development cannot. The present life of the child must be considered but the needs of adult life are important.” 43 Of the two types of subject matter, which Wilber here clarifies ”l-manipulative: activities with tools and machine, with student’s project as the tangible result 2-related: lessons and concomitant learnings (all which cannot be classified as manipulative, i.e. names of tools, manufacture of lumber and steel, work of the loom tender, etc.)’1 44 the present-day trend tends to lessen the degree of importance formerly attributed to the manipulative type of subject matter.

Friese sums up this attitude very aptly when he

states: nIn the courses of study in industrial arts, the manipulative activities - the things made and done - are the means, not the ends.” 45 ’’Shopwork should be thought of as an interesting, effective way of attaining many objectives other than skills. Experiences in the use of tools ... etc. are so interesting that the things to learn are often neglected...These other objectives must be made a definite part,of the teaching plan or they will be neglected.” 46 43 John F. Friese, Course Making in Industrial Educa­ tion (Peoria, 111.: Manual Arts Press, 1946), p . 91." 44 Cordon 0. Wilber, Industrial Arts in General Educa­ tion (Scranton. Pa.: International Textbook Company, 1943), p. 53. 45 John F. Friese, ”Accepted Interpretations,” in W. T. Bawden and others, Industrial Arts for Modern Educa­ tion (Peoria, 111.: Manual Arts Press, 1934), p. 149* 46 Robert W. Selvidge, ”The Teacher’s Objectives”, in W. T. Bawden and others, Industrial Arts for Modern Educa­ tion (Peoria, 111.: Manual Arts Press, I934T, p. 34.

Friese gives a list showing the amount of* time he feels should be devoted to the aims of manipulative and related subject matter: "Manipulative % Exploratory and try-out experiences for guidance Handy skills Beginning vocational training for early drop-outs , Opportunity for boys to make and do things they enjoy TOTAL "Mental, information, appreciation Consumers1 industrial appreciations Social, economic and occupational problems of industry Occupations study for guidance Educational guidance Related subjects (science, math, drawing) Industrial and technical information

of time 19*2 11.2 6.5 12.4 49.3% 11.1 5.4 5*9 7*6 9*7 11.0

50^57

However, it would seem that the time percentages will vary depending on the nature of the group taking the course and on the course objectives of each group. It is obvious that the course of study is indispensable to course planning.

In organizing the course of study,

Ericson lists steps beginning with the determining of the course objectives and the analysis of manipulative and related information, and concluding with the setting down of the material into the course of study.

47 dohn F. Friese, Course Making in Industrial Educa­ tion (Peoria, 111.: Manual Arts Press, 1946), p. 91. 4$ Emanuel E. Ericson, Teaching the Industrial Arts (Peoria, 111.: Manual Arts Press, 1946), pp. 2S7-&7.

51

Friese^ speaks of the comprehensive course of study as a means for detecting weaknesses in any teaching activity. He states that comprehensive courses of study should include how the jobs of teaching and management are done as well as what is taught - such a course constitutes a complete set of plans and specifications including aims, subject-matter, methods, teaching aids, problems, shop management and pupil control. Another consideration of the utmost importance is that of constant revision of the course of study. tfNo phase of modern life is more dynamic and changing than industry. A course of study in indus­ trial arts, which reflects industry, is in need of constant revision. Industrial, economic, social, pedagogical, and even political changes demand changes in courses of study."?Q The safety program.

In planning the course of study,

particular significance should be paid to the inclusion of instructional material on safety in the shop.

The industrial

arts shop, says Ericson^l, offers superior opportunities for developing safety consciousness in students since the nature

49 John F. Friese, "Accepted Interpretations," in W. T. Bawden and others, Industrial Arts in Modern Education (Peoria, 111.: Manual Arts Press, 1934), p. 134* 5° I»oc. cit. 51 Emanuel E. Ericson, Teaching the Industrial Arts (Peoria, 111.: Manual Arts Press, 194o), p. 174*

52 of the work and the type of materials and equipment used more nearly parallel conditions in the home under which accidents occur*

Mays and

Casberg52

stress the importance of the safety

program inasmuch as shop work entails the ffeonstant use of tools and machines by immature boys and girls.”

They feel

that the public is most aware of and sensitive to accidents occurring in the shop - more so than on the athletic field or in the science lab. In carrying out the safety program, a number of shop safety practices are discussed by the various educators in industrial arts.

Mays and

Casberg53

list the duties of the

administrator and:teacher respectively in practicing safety. The administrator should: (l) plan safety programs; (2) for­ mulate regulations; (3) put them into effective practice; (4 ) secure the complete cooperations of the teachers in the shops; (5) make frequent inspections of shop practices. The teacher should: (1) carry through with the above; (2) secure the cooperation of pupils - convince them and hold them to full compliance with all safety rules.

Appointing

a "safety engineer” from the class is one means of furthering the safety program.

52 A. B. Mays and C. H. Casberg, School-Shop Adminis­ tration (Milwaukee: Bruce Publishing Company, 1943), P ♦ 114* 53 Ibid.. pp. 117-18.

*

53 According to Jackey54 ? most schools now require in­ struction in safety - passing a satisfactory test - before students are permitted to proceed with their work in a shop or laboratory*

Humble^ feels that a teacher should require

a pupil not only to pass an examination, but to pass it with a score of one hundred percent before being allowed to pro­ ceed*

He feels that not enough emphasis is presently put on

the safety factor in the shop. Written instructions are another safety measure. Humble,

in listing their advantages, points out that written

instructions are more brief and accurate than oral ones, they may be arranged in the most effective learning order, they are permanent in form, the responsibility for learning the material is placed on the students where it belongs, and the teacher who uses them has more time for oral instruction when it is needed.

54 D. F* Jackey and M. L* Barlow, The Craftsman Pre­ pares to Teach (New York: Macmillan, 1944), p» 159* 55 Milford K. Humble, Practices a nd Provisions for Protecting Pupils in School Shops (Columbia, M o .: University of Missouri Press, 1937), P- 45* 56 Ibid., p. 34, citing R. W. Selvidge and Verne C. Fryklund, Principles of Trade and Industrial Teaching, Chapter 6, p. 124*

54 On the practice of penalties, as a safety measure, Humble says: "The imposition of penalties on pupils who do not use machines properly is resorted to in a few shops* Some forms of penalties may be very effective, but the use of penalties which deprive the pupil of the use of the machines interferes with instruction. cd

Humble procedure.

describes what he believes is a very good

When an accident occurs in the shop, the pupils

are called together to observe treatment of the wound and then the accident - its cause and the way in which it might have been prevented - is discussed by the class.

The pupil

involved is required to write a report of the accident show­ ing how it might have been prevented before he is allowed to resume work in the shop.

"A boy who goes through this pro­

cedure seldom makes the same mistake twice, and the same type of accident rarely happens to other members of the same class."59 The practice of securing parents’ permission for stu­ dents to work in the shop is mentioned by Humble^ who sees

57 Ibid.. p. 67. 5& Ibid., p. 64, citing K. L. Dragoo, "Safety First Cards", Industrial Arts and Vocational Education. XXIII (Sept ember, 1934), 2^9-90. 59 Loc. cit. 60 Ibid.. p. 52.

55 it as one means of soliciting the parents* interests in and their recognition of the importance of safety* An additional aid to safety suggested by Humble^l is to be had in the safety first pledge to be signed by the pupils.

It could be a card either (a) signed by the pupil, saying he pledges to obey

all safety rules and if in doubt about any rule he will consult the instructor or reference lists, or (b) signed by both pupil and teacher, the pupil stating that the instructor has demonstrated the safe use of each machine and that the pupil has demonstrated his ability to use each machine, promising to obey all safety rules, teacher certifying on same card that above-named student has been given safety-first instruction and safety demonstrations on the machines and the tools in the particular shop the card is made out for. Upon signing the card, the pupil is eligible to use said machines. Another device Humble mentions is the student’s pro­ ficiency

card62

which is kept in a file by the teacher.

On

it are listed all the shop machines with the student’s name filled in.

The teacher’s initials are inserted after each

61 Ibid., p. 55 62 Ibid., p. 56

56 each machine, after the student has proved his proficiency in using each one* Safety in the industrial arts laboratory as in every­ day life is something which no one can afford to set aside* It should be considered in the planning of the course, in the teaching of every lesson, and in the work of every class period. Pupil evaluation*

According to Ericsonf^

too often

teachers grade students their final grades on general impres­ sions and find that their records are very meager; there­ fore, when students come back to learn the reasons for a low grade, the teacher is on the defensive* T?A good way to avoid later misunderstandings is to visualize, in advance, a possible interview with the inquiring student after the final grade has been given. He goes on to cite the grading scheme, if tactfully handled, as a device for creating and maintaining high interest.

An

efficient grading system has the following characteristics: it should consume a minimum of the teacherTs time; it should be based on a wide scope of student responses and attainment; it should be frequent; it should be based on a uniform

63 Emanuel E. Ericson, Teaching the Industrial Arts (Peoria, 111.2 Manual Arts Press, 194o), p. 1&9. 64 Ibid., pp. 139 ff.

57 standard; students should have access to their grades; and grades should be made permanent.

Ericson1s basic points for

grading are the quality of the work accomplished (accuracy and workmanship), the quantity of the work (speed), effort put forth, the knowledge acquired and applied, and the proper attitude.65 The importance of tests and examinations in the eval­ uating of pupils1 work in industrial arts cannot be over­ looked. nWe have emerged from the belief that there is Tnothing to measure’ in the shops, or that the learner is ’tested everyday’ by the teacher’s observation of ? the work. ... states Selvidge.

He believes that the results of teaching

in industrial arts subjects can be measured just as much as those in other subjects.

The attitude of doubt concerning

attempts at measurement is held by those who are unfamiliar with the aims and methods of industrial arts. Likewise, Newkirk says: ’’Studies show that shop and drafting teachers are no more reliable in assigning school marks than teachers in academic subjects. General shop teachers should use objective tests and rating scales to

65 Ericson, l&c. cit. 66 R. ¥♦ Selvidge and V. C, Fryklund, Principles of Trade and Industrial Teaching (Peoria, 111.: Manual Arts Press, 1946), p* 357.

5& assist them in assigning pupils1 marks that are mean­ ingful and reliable. Factors in general shop work which can be measured by reliable testing techniques are information about tools, materials and industry, ability in reading drawings, ability to use tools and machines, mechanical aptitude, intelligence, and personality traits. The more reliable information the general shop teacher has on the ability and achievement of each student the better he can evalu­ ate achievement and give helpful occupational coun­ seling. Another value of the testing program is the fact that tests and examinations may serve to improve and evaluate teaching by indicating to the instructor the extent to which he has taught, according to Jackey and B a r l o w . T h e examina­ tion should show the teacher whether or not he has stressed certain subject matter sufficiently, is expecting more from pupils than the material covered would warrant, and has been efficient in his teaching.

"Test outcomes are probably the

most valuable checks upon teaching which a good instructor can use." ^9 While testing is important, Wilber feels that test outcomes should not be considered as complete indications of pupil growth, inasmuch as, in its present form, it does

6?JBouis V. Newkirk, Organizing and Teaching the Gen­ eral Shop (Peoria, 111.: Manual Arts Press, 1947), p . 164. D. F. Jackey and M. L. Barlow, The Craftsman Pre­ pares to Teach (New York: Macmillan, 1944)> P* 166. 69 Ibid., p. I67.

59 not measure such things as group cooperation, responsibility in the use of materials, and application of acquired know­ ledge.

In his opinion, grades have been determined largely

on two types of evidence: namely, development of skills as indicated by the finished project; and acquisition of inform­ ation as shown in ability to pass a test. ffUnless one is to assume that growth in these two areg^s is & satisfactory index of desired achievements in all phases of industrial artsT then more compre­ hensive basis for evaluation must be found italics in the original *0

70 Gordon 0. Wilber, Industrial Arts in General Educa­ tion (Scranton, Pa.: International Textbook Company, 194$), p. 311.

CHAPTER ¥

THE TEACHER I*

THE TEACHER IN HIS CLASS

In the pupil-learning process the teacher is the most important factor.

The teacher’s physical well-being, his

personality, leadership qualities and his ability to convey information are all primary requisites of the good teacher. This study has not endeavored to set up standards on these general characteristics because the divergence of interpre­ tations of the terms "personality,” "leadership qualities," "health" and the like would not bring about any one objec­ tive standard.

Furthermore, teachers vary in their person­

alities and temperament - for example, some may be subdued, quiet and persistent, others dynamic and strong-willed, and so on - yet they can all be good teachers because they stim­ ulate in the students the outcomes desired by the adminis­ trator, the parent, and the community. This study, then, has attempted to derive standards for those situations over which the industrial arts teacher has control, which lead to or aid in the educational devel­ opment of the student.

The teacher’s control over student

interest, industrious shop atmosphere, pupil achievement commensurate with ability, and his teaching methodology are areas which point toward desired outcomes and reflect the

61 capable industrial arts teacher. Student interest and participation.

One of the first

things a principal looks for in a shop to appraise teaching abilities is whether or not the pupils are engaged in pro­ ductive activity.**-

According

learner interested, or wanting

to Selvidge,"keeping the to learn, or in a state of

readiness to learn, is probably the teacherfs greatest problem."2 Selvidge believes that interest is best accomplished by developing and maintaining in the student a very strong desire for some worthy objective, and showing him Tfthe road he must travel in order to attain

it.n>

"To create interest in the exacting tasksof the present, there must be a much desired objective and it must be made clear that doing these tasks contri­ butes directly to realizing the objective.”^ Selvidge also takes up another factor in creating interest: "Methods of securing interest obviously must vary as much as the abilities of individuals. The problem cannot be overcome by attempting to secure the inter­ est of a group, but rather by attempting to secure the

1 Maximilian Komow, "The Principal Visits the School Shop," Industrial Arts and Vocational Education. XXX.VI (May. 1947), 194. 2 R. W. Selvidge and V. C. Fryklund, Principles of Trade and Industrial Teaching (Peoria, 111.: Manual Arts Press,

1946), p. 320. 3 Loc. cit. 4 Ibid., p. 319

62 interest of individuals. This is one of the problems arising out of individual differences and one of the reasons for encouraging individual instruction."5 Jackey and Barlow list four factors in obtaining interest: (1) the teacher must know as much as possible about the interests of his students; (2) though the teacher gets attention through intensity and novelty, he must hold atten­ tion by appealing to some genuine interest, i.e. by providing skills and knowledges that fulfill the wants of the students; (3) be must obtain sustained interest by constantly shifting attention from one phase to the next phase in the development of a series of operations.

The good teacher "keeps ’pumping1

away at each new stage of learning with new attention devices"; (4) for continual attention, the teacher must elim­ inate such distraction aiders as poor ventilation, poor light­ ing, unnecessary disruptions, unnecessary noises, students talking to each other, and students congregating about a machine or bench.6 "The spirit of mischief, or of play, or of loafing has a hard time surviving in a shop that is saturated with the atmosphere of a real workshop."'

5 Ibid., p.323. 6 D. F. Jackey and M. L. Barlow, The Craftsman Pre pares to Teach (New York: Macmillan, 1944), pp. 131-32. 7 Emanuel E. Ericson, Teaching the Industrial Arts (Peoria, 111.: Manual Arts Press, 1946), p. 93*

63 According to Ericson, in an organization in which everyone has a job to do and is doing it, where no one has time to think of breaking rules and where there are few to break, where industry and effort are apparent on every hand - there need be little time in trying to catch up with offenders.^ Developing student ability.

Although it is easier to

measure individual differences in industrial or manipulative work, the differences are just as marked as in technical or academic subjects. "The fact that all students in a class have com­ pleted the same course is no assurance that they have acquired the same background of knowledge in the sub­ ject matter.*1 9 As in the academic subjects, a certain amount of general intelligence is expected of ail industrial arts students, with the degree of success in shop work depending upon the intelligence and efforts of the individual. MA dull pupil*s idea of success in planing may be in producing shavings, and through this he has satis­ fied the ideals as he knows them.- But this is not success from the teacher*s point of nor achieve ment according to general standards.

B Ericson, loc. cit. 9 D. F. Jackey and M. L. Barlow, The Craftsman Pre­ pares to Teach (New Xork: Macmillan, 1944T7 p. 141* 10 R. W. Belvidge and V. C. Fryklund, Principles of Trade and Industrial Teaching (Peoria. 111.: Manual Arts Press, 1946), pp. 294*

64 Although general intelligence to a certain extent is required for industrial arts work, individual differences must be recognized, and the shop teacher should no more expect each student to achieve success to the same degree in a project than the mathematics or English teacher can expect every student to do f!A TT work. Conducting student experiences.

The learning experi­

ences of the industrial arts student, which consist of mani­ pulative experiences, facts and knowledge, impressions, etc., are greatly enhanced by the teacher’s use of a number of media such as visual and audio-visual aids and such aids as visits to factories and talks by guest experts. Teaching aids are Ma physical means used by the teacher for the purpose of strengthening the instruction and making it e f f e c t i v e . S o m e contributions of visual aids to teaching are the following: (1} aid to exploration and orien­ tation (makes things real); (2) related information (motivates related studies); (3) teaching of skills; and (4) atmosphere (create stimulating environment). A greater variety of teaching methods must be used by

11 Emanuel E. Ericson, Teaching the Industrial Arts (Peoria, 111.: Manual Arts Press, 1946), p. 148. 12 Gordon 0. Wilber, Industrial Arts in General Educa­ tion (Scranton, Pa.: International Textbook Company, 1943), pp* 125 ff*

by the industrial arts teacher than formerly was necessary, due to the extension of subject matter into various inform­ ative fields.13

Friese-^ suggests that a general statement

of methods be made near the beginning of the course to avoid tiresome repetition throughout the course, but unusual methods should always be outlined in detail when employed. Visual instruction can be used extensively.

"The industrial

arts teacher must be a master of the techniques of classroom methods A series of talks by outstanding men in the field of occupations under consideration is a good type of approach, unless allowed to become commonplace.

"Care must be exer­

cised in selecting the persons who come to give talks; otherwise there might be a waste of time or unfortunate r e a c t i o n s . T h e teacher should impress speakers before­ hand with the purposes of the talk and the most effective procedure.

^Too many persons either feel they have come to

entertain, or else that they must attempt to induce every student to reject or accept the occupation they represent."-1*?

13 John F. Friese, Course Making in Industrial Educa­ tion (Peoria, 111.: Manual Arts Press, 1946"), p. 141. 14 Loc. cit. 15 Ibid.. p. 142 16 Emanuel E. Ericson, Teaching the Industrial Arts (Peoria, 111.: Manual Arts Press, 194o, p. 1B1.

66

The value of visits to industries is apparent to everyindustrial arts teacher.

In dealing with this phase of audio

visual education, Ericson^ says that the visits should be planned in advance.

The instructor should visit the plant

personally and note what phases of the work would be the most valuable; he should also make out a form for the s tudents to fill in with information gathered on their visit.

The class

should know beforehand what they should look for, otherwise the trip will be merely a holiday for them. Another approach is individual visitationl^

the stu­

dents go to various places and fill in the same forms. varied reports can be given to the class this way.

More

However,

it may not be possible for the instructor to make a prelim­ inary visit in each case. Wilber gives several reasons why the industrial arts teacher should go out of his way to make use of community resources:

(l) they bring closer relationships between the *

school and the community; (2) they bring the resources to the attention of the students; (3) they increase the educational efficiency of the students; and (4) they provide otherwise

Id Emanuel E. Ericson, Teaching the Industrial Arts . (Peoria, 111.: Manual Arts Press, 194o), p. ld2. 19 Loc. cit.

6?

unavailable materials.2^ nIf the work is being given in a large industrial community, or in a community having a dominant busi­ ness or industry, the home industries which have the greatest chance of influencing the lives of the pupils may be emphasized, but it would be narrowing the field too much to devote to local industries all the time available. ...pupils should be allowed to sample widely, and, in so doing, get beyond the boundaries of the local community.tr 2^* Another use of teaching aids is in that of furthering the shop safety program.

f,The extent to which industry

accepts visual aids as a means of teaching safety indicates their value. ... Schools, however, have been very slow to follow industry in the use of these teaching d e v i c e s . 22 Cartoons, posters, safety verses, and slogans (such as WA live wire may mean a dead man” and f,Safety counts; keep adding11 23) are aids in promoting an effective safety program. Because of the large amount of related information now being taught in the shop, the industrial arts teacher should avail himself of as many types of teaching aids as possible.

20 Gordon 0. Wilber, Industrial Arts in General Educa­ tion (Scranton, Pa.: International Textbook Company, 194371 p. 227. 21 Louis V. Newkirk, Organizing and Teaching the Gen­ eral Shop (Peoria, 111.: Manual Arts Press, 1947), p. 160 22 Milford K. Humble, Practices andProvisions for Pro tecting Pupils in School Shops (Columbia. Mo.: University of Missouri Press, 1937), p. 46. 23 Ibid.« p. 52, citing Max S. Henig3 Safety Educa- • tion in the Vocational School, Ch. p. 65.

63 II.

THE TEACHER IN HIS PROFESSION

f,The requirement in general education should be as high for teachers of senior high school indus­ trial arts as for teachers of any other subject. It will soon be possible to require the Master’s degree for industrial arts teachers, as it is in so many schools for other teachers.*’ 24 This statement is indicative of the advancement desired of teachers in the industrial arts area.

The time of

the craftsraan-teacher has passed; it is now necessary for those in the field to advance themselves beyond the basic training received in undergraduate work and in industrial experiences.

The field itself will develop only as rapidly

as there are professional men bettering it.

In the educa­

tional world there are many means through which the indus­ trial arts teacher may not only aid himself but advance his profession. Some advantages of self-improvement are here listed: 1. Teachers are rated largely upon the basis of schol­ astic attainment. 2. New teachers are more fully prepared (due to qual­ ifications of the profession being constantly raised; therefore, older teacher finds competi­ tion great unless he has improved himself pro­ fessionally) . 3. The shop teacher should be at par with other teachers (this includes educational refinement,

24 I'* 0- Bonser, Industrial Arts for Public School Administrators (New York: Teachers College, Columbia Univ ersity, Bureau of Publications, 1930), p. o3

69 use of language, appreciation of general values of educational procedure, understanding of en­ tire curriculum). 4. Personal contacts with instructors of other subjects are a valuable asset (since they broaden the teacher’s vision).2^ Various means of professional self-improvement for the teacher are discussed by industrial arts educators. Ericson^, while stating the fact that there are many objec­ tions among industrial arts teachers to attending convents ions, lists their benefits.

They provide general inspira­

tion for the teacher, help him become acquainted with leaders in his field and show him new methods.

He points out

that while one must make an effort to attend such gather­ ings, it is often a rewarding and profitable experience to him personally. "No instructor can expect to measure up to the greatest possibility of success without gradually acquiring a personal library."27 Of course its extensiveness depends on the type of work engaged in and the particular interests of the individual. Ericson lists professional magazines (which provide latest

25 Emanuel E. Ericson, Teaching the Industrial Arts (Peoria, 111.: Manual Arts Press, 194o), pp. 350-351* 26 Ibid., pp. 353-55* 27 Ibid., p. 354*

70 thoughts and mature judgment), trade journals (which review the latest in industry), popular magazines (which provide ideas, kinks for the shop, things of interest to boys and adults), and professional books.

One test of a teacher’s

efficiency is whether his mind is open to new ideas and sug­ gestions. ’’The spirit of experimentation keeps the shop instructor alive. ... Looking for the new in maga­ zines, books, industry, and in one’s own imagina­ tion is a professional duty, and the joy of members of the teaching profession.” 28 Bowers^^ likewise states that industrial arts teachers should investigate new materials, processes and methods of industry and apply them in accordance with the objectives set forth for industrial arts.

In addition, he should ”keep informed •

on studies dealing with his field made by educational assoc­ iations and committees.” 30 Schmidt,31 in dealing with inservice growth, stresses membership not only in industrial arts organizations but in general professional associations in order for the indus-

28 Ericson, p. 35b 29 Victor L. Bowers, ”Industrial Arts Teachers, Keep Step,” Texas Outlook. XXXII (December, 194&), 25. 30 Charles M. Herlihy, ’’Professional Development of Industrial Arts Teachers,” Industrial Arts and Vocational Edu­ cation, XXXII (December, 1943), 415* 31 Fred d. Schmidt, dr., ’’The Industrial Arts Teacher in a Pupil-Teacher Participation Program,” Industrial Arts and Vocational Education. XXXV. (May. 1946), 19^.

71 trial arts teacher to attain perspective and an overview of the whole educational program. "Many teachers who are doing outstanding and unique work go to their graves with their ’trade secrets.1 It should be an accepted duty to contri­ bute to others those problems and procedures which have originality and which have been found to be of special value. Such contributions can be made in the form of magazine articles, talks at teachers’ meetings, or in other w a y s . "32 While the above means of professional improvement are espec­ ially adaptable to industrial arts teachers, there are others of equal importance which the teacher will do well to con­ sider.

These include working toward a degree, taking pro­

fessional courses other than towards attaining a degree, attending institutes, serving on committees that are working on educational projects, and participating in community and civic organizations.

32 Emanuel E. Ericson, Teaching the Industrial Arts (Peoria, 111.: Manual Arts Press, 1945), p . 356.

CHAPTER V I

THE PLANT AND EQUIPMENT In industrial arts as in no other subject the physical plant is of utmost importance.

Because of its foundation on

the reshaping of materials by means of manipulation of var­ ious tools and equipment, the industrial arts laboratory must be designed after thorough investigation and consider­ ation.

While this study has, in effect, set up standards

which may not be immediately attainable, it should not be felt that they do not apply.

Schools, however small, can set

up an industrial arts plant which will serve their students’ needs through careful planning.

The utilization of the

general shop in schools with limited financial resources is perhaps the beast solution to setting up a worthwhile plant for industrial arts.^ In compiling criteria by which the industrial arts laboratory may be judged, it is realized that a school which does not meet all of the standards of equipment may neverthe­ less be carrying on a good program.

At the same time, every

good industrial arts program should be striving to achieve the accepted standards.

This study has set down criteria to

1 See p. 42, paragraph 4*

73 be used as goals in achieving the best possible industrial arts plant. Location and size of plant.

One of the first consider­

ations of shop planning is the location and size of the room or rooms to be used.

The f actors influencing the size of the

shop should be the enrollment of the largest class anticipated and the nature of shop activities.^

The minimum of allowance

of sixty square feet per student is fully adequate, says Wilber^, although some types of shops should have larger areas per student, i.e. if equipment is large, or, as in a carpentry shop, when provision must be made for construction of large projects.

In these cases, an allowance of seventy-five square

feet per student may be exceeded. According to Ericson^, the minimum should be fifty square feet per pupil for all shop activities with the possi­ ble exceptions of drafting. "William B. Ittner, the well-known school archi­ tect, writes, fAs to the number of square feet per student, this varies from the established minimum of fifty square feet to more than double that amount. Other variations for size of shops will come with the

2 Gordon 0. Wilber, Industrial Arts in General Educa­ tion (Scranton, Pa.: International Textbook Company, 194$), p. 253. 3 Ibid., p. 254. * 4 Emanuel E. Ericson, Teaching the Industrial Arts (Peoria, 111.: Manual Arts Press, 1946), p. 309.

74 number and size of machines and working apparatus,1"5 so state Mays and Casberg.

However, they go on to say:

"Fifty square feet per pupil should always be regarded as the minimum and never the ideal size for a shop, and for classes of twenty or less pupils the minimum should not fall below sixty or seventy square feet per pupil. Small, crowded shops not only hinder good work but they increase discipline problems and make effective safety practices very difficult." ® According to

Newkirk7,

the general shop should provide seventy

to one hundred square feet of floor space per student and have the relative proportion of one to two.

A room thirty-

five feet by seventy-five feet makes a suitable sized general shop to accommodate a class of twenty to twenty-five students. A factor determining the size of the class is the size and condition of the shop, states Ericson.^

It is

important that if class size must increase, there should be a corresponding remodeling of the shop.

It is not good to

put thirty-five pupils in a room equipped for twenty-four, inasmuch as it is necessary to have an assigned work station for each student in order to keep the class working in a

5 A. B. Mays and 0. H. Casberg, School-Shop Adminis­ tration (Milwaukee, Bruce Publishing Company, 1943), p. 9, citing William B. Ittner, "Planning the School Workshop from the Architect’s Viewpoint," Bruce’s School Shop Annual (Mil­ waukee: Bruce Publishing Company, 1932), p. 50. 6 A. B. Mays and C. H. Casberg, p. 10. 7 Louis V. Mewkirk, Organizing and Teaching the General Shop (Peoria, 111.: Manual Arts Press, 194?), P« 82. $ Emanuel E. Ericson, Teaching the Industrial Arts (Peoria, 111.: Manual Arts Press, 194&)> P* 233*

75 regular manner and to maintain continued interest. Lighting.

In establishing a room for the industrial

arts shop, careful consideration must be given to its light­ ing. ffThere is a direct relation between lighting and accident prevention," says Humble. "Competent obser­ vers state that at least fifteen percent of all industrial accidents are caused by poor lighting."9 He recommends eight to twelve foot candles of light for general lighting, and fifty to one hundred foot candles for dangerous machine areas.

Another safety feature is individ­

ual lights for power machines, when there is no natural light available• In addition to the connection b etween lighting and accidents, working in poor light may help to make a discipline case out of any type of student. The light source from natural means should adhere to certain conditions.

It is most desirable to have light come

from left side or from the front, according to Newkirk.

The

south light is most undesirable because of sun’s direct rays; likewise, the north and east windows admit the most desirable

9 Milford K. Humble, Practices and Provisions for Pro­ tecting Pupils in School Shops. (Columbia, Mo.: University of 10 Ericson, p. 91#

76 light.

When curtains- are-needed, Venetian blinds are pre­

ferred as light can thus be distributed to the ceiling and diffused throughout the room.

When roller curtains are used,

they should be mounted in pairs across the center of the windows so that they can be rolled up or down.^ Mays and Casberg concur on the preferability of adjustable Venetian blinds.

They also recommend types of

window glass which diffuse the light

r a y s .

12

There should

be one square foot of glass for every five square foot of shop floor space, with the tops of the windows placed at a distance above the floor which is equal to half the width of the room.

Windows should be uniformly spaced and should

extend as near to the ceiling as possible.

Factory type

steel frames are more desirable than conventional residence or office-building types of frames. In shop planning, Eriesonl3 recommends a long room rather than a square or nearly-square shop, in that it will have better lighting, unless skylights are available.

The

best proportion is probably from three-to-five to two-to-four.

11 Louis V. Newkirk, Organizing and Teaching the Gen­ eral Shoo (Peoria. 111.: Manual Arts Press, 1947)* P* 84* 12 A. B. Mays and C. H. Casberg, School-Shop Adminis­ tration (Milwaukee, Bruce Publishing Company, 1943/, pp. 22-23. 13 Emanuel E. Ericson, Teaching the Industrial Arts (Peoria, 111.: Manual Arts Press", I940T, p. 309.

77 In many existing structures, the aforementioned conditions may not always be practicable; however, care should be taken to correct those abuses of the natural light source which do not require major building changes, such as proper shades and glass*

The use of proper inter­

ior painting and the moving and changing of workbenches so that light falls in the proper way and from the proper angle will aid in deriving the most benefit from natural light. While the best possible use of natural lighting is made, it is still necessary to use artificial illumina­ tion to achieve sufficient candle power on some working surfaces and machines.

There should be a minimum of thirty

foot candles at bench height for all types of industrial arts work, with a minimum of forty-five to fifty foot candles for graphic arts, textiles and planning.^ Fluorescent lighting is recommended by Wilber^ and Newkirk‘S , since it approaches the condition of shadowless

14 Gordon 0. Wilber, Industrial Arts in General Edu­ cation (Scranton, Pa.: International Textbook Company, 194&), p. 288. 15 Ibid., p. 289* 16 Louis V. Newkirk, Organizing and Teaching the Gen­ eral Shop (Peoria, 111.: Manual Arts Press, 1 9 4 7 ) , p. $4*

7$

white light similar to good daylight better than any other method.

It prevents glare and lessens clear-cut shadows.

The reduction in "flicker" from fluorescent lighting has practically eliminated the danger of accidents due to strobo­ scopic e ffect. According to Mays and Casberg, "There is no economy in trying to save light costs by providing insufficient or improper illumination."*1'' Uncovered glaring lights or shaded droplights hanging low over a machine or workbench should be avoided.

Power machines

should be located so that the operator does not cast a shadow on the work.

Finally, every school should have available a

foot candle meter in order to maintain proper lighting condi­ tions • Ventilation.

Ventilation of the industrial arts labor­

atory is understandably important.

In general shops it is

even more significant since the dusts and gases pose a real problem when not properly controlled. Ventilation is a major factor to be considered in a general shop containing an auto mechanics division, says Newkirk.

The smoke and other gases from a forge may be

17 A. B. Mays and C. H. Casberg, School-Shop Adminis tration (Milwaukee: Bruce Publishing Company, 1943)> P* 22.

79 drawn away easily with a hood.

Introduction of cars and

tractors into the shop carries real danger from carbon mono­ xide gas; therefore it is absolutely essential that plenty of fresh air be constantly circulated.

In some modern shops,

mechanical means of ventilation are employed, but in the majority of shops ventilation sources are windows and doors. These windows and doors should be manipulated so as not to cause drafts on students. Ericson brings forth the connection between ventila­ tion and the problem of attention and concentration upon work. f,In the shop, where the working temperature should be lower than in the regular classroom, there is no reason for disregarding proper ventilation. fT^*9 One educator gives exact ventilation figures, thus: in a room providing 470 cubic feet of air space per person, there should be seven cubic feet a minute of fresh air to avoid bad effects from body odor; in a room with two hundred cubic feet or air space per person - sixteen cubic feet a minute; in a roopi with one hundred cubic feet per person, twenty-five cubic feet per minute per person.20

1# Louis V. Newkirk, Organizing and Teaching the Gen­ eral Shop (Peoria, 111.: Manual Arts Press, 1947), p. $3• 19 Emanuel E. Ericson, Teaching the Industrial Arts (Peoria, 111.: Manual Arts Press, 1946), p. 92. 20 A. B. Mays and C. H* Casberg, School-Shop Adminis­ tration (Milwaukee: Bruce Publishing Company, 1943), p • 26•

SO "The simples and most practical test of ventila­ tion conditions in a shop is to go into the outside fresh air for from five to ten minutes, then return to the shop and note whether the room seems 1stuffy. *"^1 Wherever possible, there should be some provision made for dust collection from woodworking machines. "Where a general dust-colleetion system is not practicable, most woodworking machines can now be purchased with individual collectors. These are highly recommended.”22 Mays and Casberg say that such a specially designed hood for each machine is

n e c e s s a r y . ^3

"Even when hoods are provided by the manufacturer of the machines, their design should be checked by a competent engineer. ... As few bends in pipes as possible should be permitted and it should be remem­ bered that elbows with large radii cut down the power required." ^4 Humble gives five precautions to be considered when installing and operating the exhaust system of the spraying cabinet: "1. Experiments show that the velocity of the wind at the worker’s place need not exceed 1.3 meters per second.

21 Mays and Casberg, loc. cit. 22 Cordon 0. Wilber, Industrial Arts in General Edu­ cation. (Scranton, Pa.: International Textbook Company,194$), p. 290. 23 Mays and Casberg, p. 61. 24 Ibid., p. 62.

81 2. The ducts should be made of iron to prevent fire spreading to other parts of the building. Paints should be cleaned from all fans, linings of the cabinet, and ducts in order to prevent choking or explosion. 4 . Exhaust ducts should not have sharp turns or pockets in them which might, obstruct the free passage or air. 5. The exhaust should continue working for several minutes after spraying has been finished to insure that all paint fumes are out of the spraying cabinet and air duets.n25 Painting.

The strides taken by industry in the

application of color to the problems of safety consciousness, increased production, and developing good employee morale are significant.

The application of color in the school

shop should be considered as. much a part of the plant as the equipment.

It is one factor in the setting up of a school

shop which does not often receive due consideration, yet the benefits derived warrant the study and utilization of color psychology in the shop. Wilber gives several recommendations for the use of various colors in the shop according to color

p s y c h o l o g y

.26

Leading paint manufacturers also provide information along this line.

25 Milford K. Humble, Practices and Provisions for Protecting Pupils in School Shops (Columbia. Mo;: University of Missouri Press, 193?)>~P* 24 26 Gordon 0. Wilber, Industrial Arts In General Educa­ tion (Scranton, Pa.: International Textbook Company, 194$)', p. 256.

£2 Mays and Casberg^7 recommend walls and ceilings painted light in color and repainted frequently to keep them bright and clean; in this way their light-reflecting quality can be kept as high as possible.

In the shop, contrasting colors

should be used on workbenches, machines and cabinets.

A

shop employing contrasting colors in a pleasing color scheme always gives a more orderly and attractive appearance than one in which there is ho uniformity of color. It is a good custom to mark working space for each machine on the floor in order to keep all students out of the area of the machine except for the operator.2d,29 may be painted red.

This

The use of red should be reserved for

danger, i.e. for safety lines along aisles, machine area markings, electric switches, and the like. Operating controls should be a bright color; walls should be light in order to reflect light, undersurfaces should be white.

Bright colors should be used in small

amounts in the right places, such as on the molding around a tool board or on the edges of benches.

Used correctly, it

27 A. B. Mays and G. H, Casberg, School-Shop Adminis­ tration (Milwaukee: Bruce Publishing Company, 1943), P* 67* 2& Emanuel E. Ericson, Teaching the Industrial Arts (Peoria, 111.: Manual Arts Press, 1946), p. 166. 29 Eouis V. Hewkirk, Organizing and Teaching the Gen­ eral Shop (Peoria, 111.: Manual Arts Press, 1947), p#

S3

can "set off” the shop and lift it from the ordinary.30 Equipment.

The equipment in the shop is one of the

foundations upon which the entire program is based.

Its

selection and location in the shop require the reviewing of a number of factors.

Some factors affecting the

selection of equipment are the following: (1) underlying purposes of the program; (2) type of shop organization (general or unit); (3) class size; (4 ) room size; and (5) funds available for equipment. 31 One author lists the determining factors in selecting equipment for the general shop, thus: (1) the aims and con­ tent of the course of study; (2) resources of the community; (3) instructional areas represented in the shop; and (4 ) the number of students taking the work at one

t i m e .

3^

Tools may be divided into two groups - hand tools and machine tools.

In selecting hand tools for purchase,

Wilber lists four factors: (1) buy standard-make tools by known reputable manufacturers; (2) buy tools to fit the

30 Gordon 0. Wilber, Industrial Arts in General Educa­ tion (Scranton, Pa.: International Textbook Company, 194$)V p. 256. 31 Ibid.. pp. 299-301. 32 Louis V. Newkirk, Organizing and Teaching the Gen­ eral Shop (Peoria, 111.: Manual Arts Press, 1947), p. 87.

$k students (not toys, but smaller saws and lighter hammers for young students); (3 ) buy only what is needed, by determining the largest number of students ordinarily using a given tool at any one time; and (4 ) buy diversified types and sizes, especially in general shops, to meet all requirements,33 In selecting and buying machine tools: (1) purchase on basis of purpose (heavy, production type machines for unit shop - light weight for general shop); (2) each tool should provide maximum of pupil participation - button-pressing alone defeats learning; (3) equipment must be bought with reference to. size, height, strength, mental development and experience of pupils using it; and (4) the factor of obsolescence must be reckoned with.

Periodic "re-tooling” will be necessary to

keep up with industry’s modern age.34 In listing considerations in the purchase of equipment, Ericson lists "satisfying objectives" as one.

"What are the

objectives of the course, and through what procedure is it proposed to satisfy or obtain those objectives?" he asks. The instructor should decide the purposes of the course (explo­ ratory, vocational, home-mechanics, etc.) and purchase accord-

33 Gordon 0. Wilber, Industrial Arts in General Educa­ tion (Scranton, Pa.: International Textbook Company, 194$), pp. 302-04* 34 Eoc. cit.

35 ingly.

Another important procedure is to investigate the

market thoroughly before buying, since new designs of more suitable tools are constantly being manufactured.

There is

”... too much tendency,” he goes on to say, ’’among instructors to order the type of machine which they happen to have used in industry, or in the teachers college where they obtained training, without investi­ gating all available sources of machines of the type under consideration.” 35 The general usefulness of the equipment must be considered, rather than the practice of buying a fancy tool because of the instructor’s special interest in a particular craft, or the practice of purchasing equipment appealing to him as a mechanic and not as a teacher.

The frequency of use of the

tool is a factor affecting its purchase.

This pertains

especially to items purchased in large numbers for the use of classes.

Ericson suggests, for example, that instead of

providing turning lathes for an entire class in woodturning, the teacher could supply lathes for one fourth of the class and then teach wood-turning as a part of a course in bench woodwork.

Thereby, the lathe is not required for each stu­

dent , yet it still offers progressive experience to all. Of course, the work must be organized to make this type of plan practicable.3^ The service rendered by equipment is materially

35 Emanuel E. Ericson, Teaching the Industrial Arts (Peoria, 111.: Manual Arts Press, 1946), p. 312. 36 Ibid., pp. 312-16

£6 reduced by poor placing.

In placing equipment, one should

consider the matters of safety, operating space, light con­ ditions, the routing of the work, and room for later addi­ tions

In placing bulky equipment, ways of avoiding the

waste of space should be kept in mind.

Some machines, such

as lathes, jointer and forge, can easily be put near the walls, but in the cases of machines which need space-on all sides, it may be best to place them in an a rea in the center of the room, while benches, tool cabinets and wiring panels are kept near the walls. The proper arrangement of the shop is of vital import­ ance in promoting safety.

Power machines should be arranged

with respect to the activities going on around them and so that the operation of these machines does not constitute a hazard to any one other than the operator.39 Electricity.

The industrial arts shop should have

plenty of electrical outlets.

According to Newkirk, there

should be 110-volt outlets every fifteen feet around the

37 Ericson, pp. 321-22. 33 Louis V. Newkirk, Organizing and Teaching the General Shop (Peoria, 111.: Manual Arts Press, 1947),

p. 84 • 39 Milford K. Humble, Practices and Provisions for Protecting Pupils in School Shops (Columbia, Mo.: Univer­ sity of Missouri Press, 193777 p7 25.

$7 shop, and 220-volt power outlets every ten feet around the wall and in the floor where needed for power machines such as lathes, handsaw and sharper.

He refers to this as

common

architectural p r a c t i c e . ^ Wilber says that there should be floor outlets for all floor type machines, with extra floor outlets of the flush type for additional equipment and flexibility.

He

prescribes duplex convenience outlets at ten-foot intervals on all walls, supplemented with special outlets for bench machines such as grinders and drill presses.

The accepted

height for these is forty-two inches from the floor.

There

should be switches with pilot light for such equipment as the glue pot, and at least one outlet for woodworking., benches, for use of portable machines.

All power circuits

should be controlled from a single switch, preferably the magnetic type, so that all machines can be stopped in an emergency.

It should be possible to lock the switch in the

"Off1* position.

40 Louis V. Mewkirk, Organizing and Teaching the General Shop (Peoria, 111.: Manual Arts Press, 1947), p. £6. 41 Gordon 0. Wilber, Industrial Arts in General Edu­ cation (Scranton, Pa.: International Textbook Company, 194$)1 p. 2S7.

33

Two other areas of 'the plant and equipment which the administrator should be aware of. are those of lavatory facil­ ities and acoustics.

The porcelain-lined washsink, four to

six feet in length and equipped with several outlets is very satisfactory and also inexpensive.

According to Newkirk it

is desirable to have showers, for work in auto mechanics, but he adds that only in ideal conditions will there be a special room for lavatories and showers.

Most shops eliminate

showers and put lavatories in the shop along the wall.

Many

shop teachers prefer this, since it keeps allactivities under the immediate supervision of the teacher.

"Good soap

and towels, obviously necessary, comprise a detail often overlooked." 42 "Wherever possible," says Wilber, "provision should be made for soundproofing the industrial arts room."

He

recommends acoustical plaster on both walls and ceiling; if this complete treatment is impracticable, there should be acoustical plaster on the ceiling at least.43 The two abovementioned areas take on increased import­ ance to the administrator in planning the new industrial arts shop or additions to the present plant.

42 Wilber, p. 36. 43 Ibid.. pp. 257-53.

39 Storage facilities.

In the industrial arts laboratory,

adequate storage facilities are a vital necessity.

Providing

them requires both careful planning in the newly constructed shop and ingenuity in space economy in the average shop. In storing tools, one educator recommends the centrals ized toolroom as a good method for both storage and care of tools.

In this room the hand tools would be arranged on a

panel and the students would exchange tool tag for the tool or tools needed. to work in

Each student should have an opportunity

the toolroom for a week or ten days; there he

learns how to adjust, clean and sharpen tools, as a funda­ mental part of his shop instruction.^ Another educator takes a different viewpoint entirely, stating that the present trends are away from having a separ­ ate tool room.

One or more tool panels are found more effi­

cient and easier for checking.

He recommends a general shop

tool board, consisting of a panel behind a sliding blackboard which can be locked up. "The assigning of a student to check tools in and out of a tool room," he adds, "can hardly be justi­ fied from an educational standpoint."^

44 Louis V. Newkirk, Organizing and Teaching the Gen­ eral Shop (Peoria, 111.: Manual Arts Press, 1947), P* 110. 45 Gordon 0. Wilber, Industrial Arts In General Bduca tion (Scranton, Pa.: International Textbook Company, 1943), p. 294* 46 Ibid., p. 295*

90 Ericson commends both the central toolroom, the tool panel, and other types of tool storage.

He sees the central

toolroom as a room serving several shops with individual tool rooms, each serving one shop.

The tool panel should be

an entirely open panel where tools are accessible at all times ,to persons in the shop.

The tool rack is like the

tool panel except that it is a stand on the floor, often on rollers so that it can be rolled into another room for safekeeping after classes or during vacation.

The individ­

ual tool kit he terms an "excellent practice;" there should be one for each student, containing a few most necessary tools for his own use.^? Glazner also favors the use of a centrally located spot which offers the least confusion for the return of tools, which offers safety in handling tools, and which may be used for additional expansion when necessary.

This central spot,

if not a room, may be one or more open tool cabinets.^ Another practice is the use of individual cabinets near the shop divisions where they are easily accessible. Tools are suspended in the cabinet and black outlines painted

47 Emanuel E. Ericson, Teaching the Industrial Arts (Peoria, 111.: Manual Arts Press, 194o), p. 113. 4& E. R. Glazner. "Tool Storage," Industrial Arts and Vocational Education. XXXVIII (March, 1949), 9$.

91 on the cabinet wall in back of each tool, to show its shape and location..

Each cabinet should have a lock and a number,

and every tool belonging in that cabinet should be numbered accordingly.

The advantages of this method are: (1) each

tool has a definite place and no matter where it is found in the shop, the number on the tool indicates its cabinet immed­ iately; (2) when not in use, the tools are locked in a clean tight place; (3) the tools are located close'to the work, saving time and confusion; and (4) this arrangement places responsibility directly upon individual

pupils.

Lockers are necessary for the safekeeping of partly finished projects, as well as to supply space for aprons and overalls.

They are most conveniently located in the corridor

just outside the shop.

If wall space within the shop 'is

used for lockers, there is a resultant lack of space for the regular shop equipment.

However, lockers may be arranged

under wall benches.5® Steinhoff stresses the use of storage space under benches also, as this space is generally wasted otherwise. If it is utilized for the storage of woodworking project

49 Louis V. Newkirk, Organizing and Teaching the Gen­ eral Shop (Peoria, 111.: Manual Arts Press, 1947), pp• 110-12. 50 Ibid., p. 35.

92 material, there should be supplementary space provided, such as in a separate room which, preferably, has a glass parti­ tion to provide visibility of the room by the teacher.

Stein

hoff says that movable compartments and balconies seem t o be unpopular as storage space.

Built-in lockers are most advis­

able .51 For lumber storage, Wilber recommends horizontal storage where the lumber can be properly piled with stickers between the lays.

However, he says:

"Horizontal storage requires considerable room and the shop must be large to afford the minimum of from forty-eight to sixty square feet of floor need."52

Some teacher compromise by using vertical storage for small amounts of lumber in the shop and provide outside horizontal storage for larger amounts.

The lumber rack should be placed

against a strong wall, as close as possible to the circular saw and woodworking

benches.

53

He gives two suggestions for metal storage, if a special stockroom is not available: (1) store the sheets

51 G. Lester Steinhoff, "Storing Woodworking Project Material." Industrial Arts and Vocational Education, XXXII (March, 1943), p p . 125-27. 52 Gordon 0. Wilber, Industrial Arts in General Educa­ tion (Scranton, Pa*: International Textbook Company, 194$), 53 hoc. cit*

93 either flat or on edge; if on edge, use a rack at the back or the end of a bench; and (2) bar stock may be stored in a vertical rack against the wall - this requires little floor space and provided easy

access.

54

"Many shops store such supplies (as brads, rivets, nails, screws and bolts) in glass jars which can be easily labeled, arranged, and have the added advan­ tage of revealing the quantity on hand at all times." 55 Other ways of storage are wood or metal cabinets with rows of small drawers, a set of revolving steel bins, and specially designed bins for waste and other bulky supplies. Metal should be used for bins where possible, because of the fire hazard, and storage rooms should be well lighted.56

54 Wilber, p. 277. 55 Arthur B. Mays and Carl H. Casberg, School-Shop Administration (Milwaukee, Bruce Publishing Company, 1943), p.' "16. 56 Ibid.. p. 76-7S.

PART III

A CHECKLIST FOR EVALUATION

CHAPTER VII

THE CHECKLIST The formulation of a checklist to be used in evalua­ ting industrial arts programs in secondary schools was a natural outcome of the development of the industrial arts criteria.

Its purpose, with regard to this study, was to

provide an expedient method whereby the administrator with little background in industrial arts could measure, as specifically as possible, the standing of the industrial arts program in his school according to the criteria. It was not the purpose of the checklist to rate the industrial arts program on a point basis, but rather to point out, in an excellent program as well as in an average or inferior one, those areas which do not meet established standards.

The checklist was not intended to exhaust all of

the numerous aspects of the organization, curriculum, teacher, plant and equipment, but rather to cover areas which may be more objectively treated and at the same time to include all questions which would, as a unit, serve as an efficient index to the nature and character of the program. The questions in the checklist were set down with the idea of covering those areas in which criteria had been developed.

They were so constructed as to make the

t

answers both easy to set down by the teacher or administrator

95 (by checking blanks) and also easily indicative of weakness or strength within the program* The checklist was submitted to an accredited jury of industrial arts teachers and supervisors representative of both large and small schools and of the various geographic locations of the country.

They were asked to rate each

question according to its ability to measure effectively that area in an industrial arts program with which it dealt* Their ratings were to be the following: (1) Necessary in making an evaluation; (2) Helpful in an evaluation;, and (3) Of little value.

Their replies were then tabulated in

four ways: (1) the ratings of the group as a whole; (2) the ratings of the supervisors as opposed to those of the teachers; (3) ratings of small school personnel as opposed to personnel of larger schools; and (4) ratings according to the major geographic areas of the United States.

The. reason for the

breakdown of the replies into the last three groupings was to find out whether some particular group, by reason of its position, financial resources, or location, might differ on certain questions with another group.

The questions

which seemed to be weak or of little value, according to the jury, were respectively revised or omitted*

The result of

the revisions and omissions was the final checklist.

96 The Original Checklist PART I.

ORGANIZATION

A. Administration of Program 1. Industrial arts courses are offered to college preparatory students commercial students general students technical students agricultural students industrial education students (other)_________

■

2. Pupils are grouped in the various industrial arts courses according to same amount of industrial arts experience grade level J_sex ____ ____ age______________ __(other) 3. The length of an industrial arts class is 45 minutes __lj hours 1 hour __(other) 4. The average teaching load for industrial arts teachers is (per week) 20 teaching pds. 26 teaching periods tt tt tt tt 21 __ 27 rt ft tt tt 22 28 tt it tt tt _29 - 2 3 tr tt tt tt __30 24 tr tt 125 There are .possible teaching periods per week, 5. The following record or records are kept: __progress charts attendance test scores __related lesson plans marks __demonstrations inventories __financial reports accident reports (other)_____________ How much time per day is required to keep records? J hour 1 hour 3/4 Hour __(other) ___________

97 6. In setting up administrative processes, the. following people participate: superintendent of schools teacher principal student supervisor of ind. arts [other)____________ B. Administration of course 1. Student management is utilized in the areas checked: roll call and personnel .tool maintenance issuing materials reference-material supervision safety ventilation .finishing-room supervision machinery maintenance sanitation and clean-up public relations "vother)______________ 2* Check type of types of storage locations used: in areas within the shop in an adjoining room in a separate room in the corridor 3. Is there a reference library available for students in the shops? yes no If so, check which of the following materials are available: books __pamphlets encyclopedias audio-visual material periodicals __(other)_______________ pamphlets 4. Is there a planning area in the shops for students1 use? ves_________________no 5* Is there a bulletin or display area in the shops? yes __no If so, displays are changed oncea week __once amonth .every 2weeks every 2 months

9#

The displays consist of .students’ projects industrial samples mock-ups PAET II.

models .pictorial and photographic materials CURRICULUM

A* Industrial arts department 1. The philosophy of the industrial arts department puts greatest emphasis on which one of the following: Industrial arts as an essential part of a broad education, stressing exploratory values, avocational interests, guidance, knowledge and appre­ ciation of industrial processes in many fields of industrial arts, as characteristic objectives. Industrial arts as an essential part of a broad general education, stressing exploratory values, avocational interests, guidance, knowledge and appreciation of industrial processes in a few selected unit shops, as characteristic objectives. Industrial arts as a preparation to enter industrial occupations, with specialized training, develop­ ment of salable skills, concern for quality of materials produced, as characteristic objectives. 2. The following areas of instruction are covered: wood fabrication crafts metal fabrication textiles .graphic arts ceramics transportation communication .(other)__________ 3* Course revision is instituted by which of the following (one or more): test results analysis of changes in industrial procedures semi-annual, annual, bi-annual review by administrative authorities 4. The following person or persons participate in general course planning or revision: supervisor teacher student

99 Industrial arts courses 1* Is there a planned course of study in use by the teacher in the individual course: yes no 2. Check one of the following provisions for giving students an understanding of course objectives: correlation of students’ own objectives with the course objectives through discussion statement of objectives by teacher with distribu­ tion of printed material elaborating on them, or listing them on bulletin board, etc« none (other)____________________________________________ How is instructional material chosen? by analysis of objectives on basis of community resources material established by its long standing in industrial arts courses 4. What percentage of total class time is spent on related information? — _15/» _25$

10$

__ 20$

_30$

5* How is the safety program handled in the course of study? as one unit in the course of study with relation to each unit in the course of study 6. Is there a file yes If so, do these established established

of testing materials available? no tests have the following: validity reliability

PART III.

THE TEACHER

The teacher in his class 1. Work conducted in the shop is evidenced by: "full employment" - students occupied with work of subject work of student management operating with minimum of friction shop atmosphere adhering to lighting and ventil­ ating needs

100

2. Does work produced in the shop show achievement commensurate with student ability? yes no 3. What media does the teacher avail himself of in presenting related subject matter? field trips .graphs, charts, diagrams and pictures projected materials (slides, movies, filmstrips) audio materials (recordings, radio programs) The teacher in his profession ("The teacher has had __ years of teaching experience.) 1. The teacher1s work toward improving himself and advancing his profession include, at the present, working towards a degree taking professional courses other than towards attaining a degree attending institutes and or conferences writing material for publication serving on committees that are working on educa­ tional projects building a professional library of his own participating in civic organizations being a member of professional organizations subscribing to a professional magazine (other)_________________ _______________ 2. Does the teacher make use of new processes and materials applicable to his instructional program? yes no PART IV.

THE PLANT AMD EQUIPMENT

1. Danger areas in the shop are treated in the ways checked: provided with operative guards labeled with signs cautioning workers spaced to prevent overlapping of danger.areas, with machine operator’s territory outlined with bright floor markings danger areas on machines painted a eolor symboli zing danger provided with specific lighting required for power machines 2. The appearance of the painted surfaces in the shop is: clean dirty

101

3* Noise-cutting acoustics are provided by: acoustical tile, on wall, on ceiling acoustical plaster, tT , n tf broken surfaces, ____ M ” Tt (other)______________________ _ _ 4* Ventilating facilities are provided by means checked: special exhausts on equipment artificial ventilation unit movable windows louvers in outside walls louvers in doors (other)_________ _________________ 5# The amount of air per pupil which is available is one of the following: 100 to 200 cubic feet 200 to 300 cubic feet 300 to 400 " ” 400 to 500 " » 6. What is the ratio of window area to floor area of the shop? 1 to 5____________ __1 to 10 __1 to 12 1 to g Are controls provided which prevent direct sunlight from striking working surfaces? yes no 7* Check the foot candles of light on working surface: (a) general illumination _ 5 to 10 __20 to 30 10 to 20 (other)________ ■ (b) specific illumination 10 to 20 __60 to SO 20 to 40 __g0 to 100 40 to 60 g. Check the spacing used around the shop for the following types of outlets: . (a) 110-volt circuit an outlet every 10 feet an outlet every 15 feet an outlet every 20 feet (b) 220-volt circuit an outlet every 10 feet an outlet every 15 feet an outlet every 20 feet

102

9* The shop is provided with gas compressed air steam water 10. What is the average area per pupil in the shops? 40 to 50 sq. ft# 60 to 70 sq. ft# 50 to 60 sq, ft. 70 tb &Q sq. ft. 11. Are there sufficient work stations to accommodate the largest class now enrolled? yes no 12. Check place or places where lavatories serving the shop are located: within the shop in adjoining room in separate room Number of students which may be served simultaneously by lavatories at end of period is __. The shop is set up for (number of) students. 13. Tn checking equipment, the following things are observed: if it is operative or not if it is in adjustment if the cutting edges are sharp _if the danger areas are visible if it is securely mounted 14. Machine operation is checked: daily __weekly semi-weekly_______ __(other) __________ Machine wear is checked: yearly __(other)_______________ beginning of each semester

103 Jurors1 ratings of the checklist*

In compiling the

ratings of the various questions on the original checklist, it was found that the jurors in general agreed that most of the questions were necessary in evaluating an industrial arts program*

On the questions where differences were evident,

the jurors were divided almost equally in their ratings of "necessary”-and "helpful.”

The number of jurors rating

questions ”of little value”, with but one exception, was not more than 7.2 per cent (see Table I). The checklist was revised on the basis of the jury ratings shown in Table I, since it represents the opinions of the group as a whole, irrespective of position, community size, or geographic location*

Tables II, III, and IV were

used to interpret the ratings in Table I and to direct the reasoning behind the changes made in questions which, accord­ ing to Table I, were in need of revision. The questions needing revision were the following: (1) Question Two in Part I, A; (2) Question Six in Part II, B; (3) Question Six in Part IV; and (4) Question Eight in Part IV. Question Two in Part I, A.

In Table II (page 109), the

variance between the supervisors’ rating of the question and that of the teachers can possibly be traced to the fact that the area discussed is of more importance to teachers due to their proximity to the situation of handling students in the

104 TABLE I NUMBER AND PERCENTAGE OF JURORS RATING RESPECTIVE CHECKLIST QUESTIONS NECESSARY, HELPFUL, AND OF LITTLE VALUE

Question

Part I A 1

Necessary No. %

Helpful No. fo

35

S3.3

7

16.7

2

19

45.2

22

52.4

3

37

55.1

5

11.9

4

32

76.2

10

23.5

3

31

73. 5

10

6

31

73.5

B 1

32

2

Of little value No. $

1

2«4

23.5

1

2.4

9

21.4

2

4.5

76.2

5

19.0

2

4.5

23

54.7

16

37.1

3

7.2

3

32

76.2

9

21.4

1

2.4

4

27

64.2

15

35.5

5 trt II A 1

26

61.B

16

37.1

37

55.1

5

11.9

2

36

53.7

6

14.3

3

25

66.5

11

26.2

3

7.2

4

2$

59.5

16

37.1

1

2.4

B 1

34

51.0

6

14.3

2

4.5

2

2*7

64.2

14

33.5

1

2.4

3

31

73.5

11

26.2

4

29

69.0

11

26.2

2

4*5

5

34

51.0

5

19.0

105 TABLE I (continued) NUMBER AND PERCENTAGE OF JURORS RATING RESPECTIVE CHECKLIST QUESTIONS NECESSARY, HELPFUL, AND OF LITTLE VALUE

*

o

test

°Jo

No . fo

No.

B 6 rt A 1

19

45.2

ia

42.a

5

1 2 .0

33

7a . 5

7

16.7

2

4.a

2

33

7 a. 5

6

14.3

3

7.2

3

31

73.a

10

23.a

1

2.4

B 1

34

ai.o

7

16.7

1

2.4

2 ,rt 1

34

ai.o

a

19.0

41

97.6

1

2.4

2

26

61. a

15

35.a

1

2.4

3

23

54.7

17

40.5

2

4. a

4

30

71.4

12

2a. 6

5

22

52.4

19

45.2

1

2.4

6

20

47.6

20

47.6

2

4.a

7

37

aa •1

4

9.5

1

2.4

a

21

50.0

ia

42.a

3

7.2

9

27

64.2

15

35.a

10

34

ai.o

a

19.0

11

3a

90.5

3

7.2

1

2.4

12

26

61.a

14

33.5

2

4. a

13

3a

90.5

4

9.5

14

34

ai.o

a

19.0

106

the class.

The value of this question in measuring programs

may be substantiated by the fact t hat only one of the jurors rated it Tlof little value”.

The rating of this question in

Table III (page 114) may be due to the fact that in the smaller communities the limitation of the industrial arts program would be more acute and therefore the grouping of students in the courses would raise more of a problem for the teacher because of a lack of homogeneity.

In Table IV (page 117) the

relative consistency of the ratings provides reasonable foundation for the assumption that this question is not dis­ criminating as far as geographic location is concerned. In reviewing these tables, then, it would seem that this question, while being rated "necessary” by the majority of the teachers and especially those in smaller communities, could be revised to be rated more essential by a greater majority of teachers in larger schools and also by the admin­ istrators of industrial arts. Question Six in Fart II, B.

The ratings as evidenced

in Table II (see page 110) seem to indicate that the wording of this question is ambiguous, causing the supervisors to view it in the light of standardized commercial tests.

In

rereading the question on the basis of the ratings, it was apparent that the area covered by it was too narrow to give any indication of the worth of the program.

In reviewing

107 -the results of Tables III and IV (pages 115 and 113) there is found to be general agreement by communities and geogra­ phic areas with the ratings in Table II* It was felt that by revising this question to cover more broadly the area of pupil evaluation, which was not done elsewhere, it would improve its quality. Question Six in Part IV*

The more general concurrence

of supervisors and teachers in Table II (see page 111) in rating this question "helpful,f or "of little value" would seem to indicate that the determination of the worth of an industrial arts program upon such factors in the physical plant as the window-floor ratio is not effective.

The major­

ity of schools are unable to alter the window area provided in their industrial arts rooms.

The variance that the large

cities have in rating this question "necessary" in Table III (see page 116) may possibly be due to the fact that these cities are able to correct window-floor-area deficiencies because of their greater financial status.

The ratings as

grouped in Table IV (see page 119) would substantiate the findings in Table II.

By changing this question to cover

controls over natural lighting, which most schools would have the ability to do, the question was improved. Question Bight in Part IV.

The rather equal division

between "necessary" and "helpful" of both supervisors and

xoa teachers in Table II (see page 111) would seem to show that the area has merit as an indicator of the quality of the industrial arts program, but that the question itself might have been rather limited in its scope.

Tables III and IV

(see pages 116 and 119) fairly closely follow the results in Table II.

By expanding the coverage of this question along

the lines of varied electrical items, rather than one, it was felt that the question would carry more weight in the evaluation program. Question Two in Part I, B was placed in Part IV in the revised checklist, inasmuch as it deals specifically with an aspect of the physical plant. Other discrepancies in the ratings.

In Table II,

Question Four in Part II, B shows a higher rating by the teachers than by the supervisors.

The almost even splitting

of supervisors in whether this question is necessary or helpful may be found in the interpretation of industrial arts by some older supervisors who hold to the theory of the manual training course.

It is more likely that among

the teachers there are more proponents of the theory of industrial arts as a part of general education.

In Question

Twelve, Part IV, which deals with the placing and adequacy of lavatory facilities, the proximity of the teachers to this particular situation may have caused them to give this

109 TABLE I I COMPARISON OF THE NUMBERS OF TEACHERS AND SUPERVISORS RATING RESPECTIVE CHECKLIST QUESTIONS NECESSARY, HELPFUL, AND OF L IT T L E VALUE

Supervisors and Teachers

Questions

Nee.

Hip.

0.1.v.

Part I, A 1.

S T

13 22

1 6

2.

S T

3 16

11 11

3.

S T

12 25

2 3

4*

S T

9 23

5 5

5.

S T

9 22

4 6

6.

S T

11 20

3 6

2

S T

12 20

2 6

2

2.

S T

10 13

3 13

1 2

3.

S T

10 22

3 6

1

4*

S T

9 IB

5 10

5.

S T

9 17

5 11

PartiI, A 1.

S T

13 24

1 4

2.

S T

13 23

1 5

B 1.

1

1

110 TABUS II (continued) COMPARISON OF THE NUMBERS OF TEACHERS AND SUIERVISORS RATING RESPECTIVE CHECKLIST QUESTIONS NECESSARY, HELPFUL, AND OF LITTLE VALUE

Supervisors and Teachers

Questions

Nec.

Hip.

0.1.v.

i

II, A 3.

S T

10 IB

3 B

1 2

4*

S T

11 14

3 13

1

B 1.

S T

13 21

1 5

2

2.

S T

9 IB

4 10

3.

S T

13 IB

1 10

4.

S T

7 22

6 5

5.

S T

13 21

1 7

6.

S T

4 15

9 9

1 4

Part III, A 1.

S T

11 22

2 5

1 1

2.

S T

13 20

1 5

3

3.

S T

12 19

2 B

1

i.

S T

13 21

1 6

1

Part

b

1

1 1

Ill TABLE II (continued) COMPARISON OF THE NUMBERS OF TEACHERS AND SUPERVISORS RATING RESPECTIVE CHECKLIST QUESTIONS NECESSARY, HELPFUL, AND OF LITTLE VALUE

Supervisors and Teachers

Questions

Nec.

Nip.

0.1.v.

Part III, B 2.

S T

12 22

2 6

Part

S T

14 27

1

S T

10 16

4 11

1

3.

S T

7 16

7 10

2

4*

S T

10 20

4

5.

S T

a

1

14

5 14

6*

S T

7 13

5 15

2

7.

S T

12 25

1 3

1

a.

S T

a 13

5 13

1 2

9.

S T

10 17

4 11

10.

S T

11 23

3 5

11.

S T

14 24

3

IV,

1. 2,

a

1

112 TABLE II (continued) COMPARISON OF THE NUMBERS OF TEACHERS AND SUPERVISORS RATING RESPECTIVE CHECKLIST QUESTIONS NECESSARY, HELPFUL, AND OF LITTLE VALUE Questions

Hip.

Supervisors and Teachers

Nec.

S T

6 20

7 7

13.

s T

13 25

1 3

14-•

S T

10 24

4 4

12.

0.1.v.

1 1

113 question a much higher rating than the supervisors did. In Table III, there is a discrepancy in the ratings of Question Two in Part II, B.

More of the jurors in the

small communities rate this question as helpful rather than necessary.

In small schools where the program is very limited,

there is a greater likelihood that the students’ objectives are lost sight of.

It is possible that a person teaching in

a town with a limited vocational environment may set his objectives to that environment and feel that he is meeting the students’ needs.

To him it perhaps would not be necessary

to acquaint the students with objectives which he feels they already realize; therefore, this question would, in this case, not be considered necessary. In Table IV, concerning Question Two in Part II, B, r

it may be possible that in the programs of the Midwest schools which contributed to the jury ratings, the students’ needs were more nearly met, which resulted in the differing question rating of this one geographic section, on the pro­ visions for giving students an understanding of course objectives. The fact that there are no discrepancies of major significance may aid in justifying the preliminary reason­ ing of this study that standards for industrial arts pro­ grams throughout the country can be uniform.

114 TABLE III COMPARISON ACCORDING TO POPULATION OF THE NUMBERS OF JURORS RATINE RESPECTIVE CHECKLIST QUESTIONS NECESSARY. HELPFUL. AND OF LITTLE VALUE

Question Part I A 1

2

3

4

3

6

B l

:

N

H

A B C D

13 9 & 5

5 1

A B C D

12 4 3

5 6 5 6

A B C D

16 9 .6 6

2 1 2

4

A B C D

15

3 2 2 3

5

A B C D

14

A B C D

12

A B C D

Popul’n

S 6 3

a 5 4

0

B 2

1

4 2 3 1

1

3

Part II A 1 1 1 1

7 4

5 1 1 2

13 7 7 5

4 2 1 1

1 1

a

Question

2

N

H

0

A B C D

7 6 7 3

10 3

1 1 1

A B C D

13 a 7 4

5 2 1 1

A B C D

10 7 7 3

a 3 i 3

A B C D

9 7 7 3

9 3 1 3

A B C D

15 9 7 6

3 1 1

A B C D

13 10 a 5

5

Popul fn

3

1

1

Note: The letters in Column 2 represent the following: A cities of up to 10,000; B - 10,000 to 20,000; C - 20,000 to 100,000; and D, 100,000 population and over.

115 TABLE III (continued) COMPARISON ACCORDING- TO POPULATION OF THE NUMBERS OF JURORS RATING RESPECTIVE CHECKLIST QUESTIONS NECESSARY, HELPFUL, AND OF LITTLE VALUE

Question A 3

4

B 1

2

3

4

5

H

Popul*n

N

A B C D

13 5 6 4

5 3 1 2

A B C D

a 6 7 4

9 4 1 2

A B C D

14 7 7 6

4 1 1

A B C D

a 7 6 6

10 3 1

A B C D

10

a

a

2 1

A B C D

13 7 4 5

A B C D

0

Question

N

H

0

A B C D

10 5 2 2

6 4 6 2

2 1

A B C D

14

3 2 2

1

A B C D

11 9 7 6

1

A B C D

12 6 7 6

6 3 1

1

A B C D

14 6

4 3

1

A B C D

13 9 6 6

5 1 2

A B C D

17 10

1

Pop-

ul’n

7 6

13

a

7 6

4 3 3 1 5 2 1

B 6 2 1 1

Part III A 1

2 2

3 1 B 1

1

2

1 Part IV 1

a

5 .6

a

5

6

a 6

2

1 2 1

116 TABLE III (continued) COMPARISON ACCORDING TO POPULATION OF THE NUMBERS OF JURORS RATING RESPECTIVE CHECKLIST QUESTIONS NECESSARY. HELPFUL. AND OF LITTLE VALUE

Question

2

3

4

3

6

7

a

N

H

A B C D

11 7 4 4

7 2 4 2

A B C D

10 5 3 3

3 3 3

A B C D

10 a 6 6

a

A B C D

a 7 3 2

10 3 2 4

A B C D

a

10 5 4 1

A B C D

16 9 6 6

2 1 1

A B C D

10 4 4 3

7 5 3 3

Populfn

4 3 3

0

Question

9 1

a

10 2

11

2 2 12 1 13 1 1 14 1 1 1 1

N

H

A B C D

10 7 3 3

a

A B C D

13

3 2 1 2

A B C D

13 10 7 6

1

A B C D

13 6 3 4

5 3 4 2

■A B C D

13 10

3

3

1

A B C D

13 9 6 4

3 1 2 2

Popul’n

a

7 4

0

3 3 1

2

a

1

1 1

117 TABLE IV COMPARISON ACCORDING TO GEOGRAPHIC LOCATION OF THE NUMBERS OF JURORS RATING RESPECTIVE CHECKLIST QUESTIONS NECESSARY, HELPFUL, AND OF LITTLE VALUE Question Part I A 1

2

Locn.

N

H

0

N

H

7

4

E S M W

V

E S M W

6 10

4

5

E S ■M W

9 6 10 10

2 1 2 2

B 2

E S M W

5 3 6 15

6 4 5 7

3

a

6 10 11

2 1 2 1

9 5 9 9

2 2 3 3

1

E S M\ W

4

E S M W

5

E S M W

9 5 9

2 2 3 3

E S M W

a 6 9

3 1 3 2

2

E S M W

7 7 10

3

1

2 3

1

B 1

Locn.

0

-

3

6

Question

a

a

a

Part II A 1 1 2

3

6 3

5 7

a

3

a

2 4

E S M W

5 6 7 9

6 1 5 3

E S M W

6 6 7 7

5 1 5 5

E S M W

9 7 10 11

2

E S M W

9 7 9 11

3 1

E S M W

9 5 7 7

2 1 5 3

1 2 1

2 1 2

1 2

Note: The letters in Column 2 represent the following: Ethe East; S - the South; M - the Midwest; and W - the West*

1 18

TABLE IV (continued) COMPARISON ACCORDING TO GEOGRAPHIC LOCATION OF THE NUMBERS OF JURORS RATING RESPECTIVE CHECKLIST QUESTIONS NECESSARY, HELPFUL, AND OF LITTLE VALUE Locn.

N

H

E S M W

9 5 5 6

2 2 6 6

E S M W

10 6 8 10

1 1 4

E S M W

7 5 4 11

4 1 8 1

3

E S M W

10 6 7 10

1 1 3 2

4

E S M W

9 5 7 8

2 1 4 4

E S M W

9 7 9 9

2 3 3

E S M W

5 2 6 6

5 4 6 3

E S M

9 6 8 6

2

Question A /j.

B 1

2

5

6

Part III A 1

W

3 3

0

Question

-

A 2

1 3 2 B 1 1

2

Part IV 1 1 1 2

1 1

3

3 4 1 1 3

Locn.

N.

H

0

E S M W

8 7 9 7

2

1

3 3

2

E S M W

9 7 9 6

E S M W

9 7 10 8

E S M W

8 3 6 1 12 8 ■ 4

E S M ¥

10 7 12 12

1

E S M W

5 5 9 7

6 2 3 4

1

E S M ¥

5 4 8 6

6 3 4 4

2

E S M W

8 6 9 7

3 1 3 5

2 3 5

1

2 2 3

1

119 TABLE IV (continued) COMPARISON ACCORDING TO GEOGRAPHIC LOCATION OF THE NUMBERS OF JURORS RATING RESPECTIVE CHECKLIST QUESTIONS NECESSARY, HELPFUL, AND OF LITTLE VALUE Questions 5

6

7

S

9

Locn.

N

H O

E S M W

6 4 5 5

5 2 7 7

E S M W

6 4 4 6

5 2 7 6

E S M W

3 6 XI 12

3 1

B S M ¥

5 4 6 6

6 2 5 3

E S M W

4 a 7

3 3 4 5

Question

Locn.

N

H

E S M W

9 7 9 9

2

E S M ¥

10 7 11 10

1

E M ¥

3 4 7 7

2 3 5 4

13

E S M ¥

11 6 11 10

1 1 2

14

E S M ¥

9 6 10 9

2 1 2 3

10 1

11 1 1 12

S

1

1 1 1

3 3

1 1

0

120 The Revised Checklist PART I .

ORGANIZATION

A. Administration of Program 1. Industrial arts courses are offered to college preparatory students commercial students general students technical students agricultural students industrial education students (other) 2.- The following considerations are used in placing students in industrial arts courses: previous experience in industrial arts deportment record results of tests in industrial arts material interests grade level 3- The length of an industrial arts class is 45 minutes __1 hour __(other);__________ 14 hours 4. The average teaching load for industrial arts teachers per week is 20 teaching pds. __26 teaching pds. 2 1 2 2

__ 2 3 2 4

__ 2

5

tt

ft

tt

it

tt

t»

tt

ti

tt

tt

2 7

28 ____ 2 9

__ 3

0

r»

tt

n

tt

tt

tt

tt

tt

There are ____ possible teaching periods per week. 5# The following record or records are kept: attendance __progress charts test scores ^.related lesson plans .marks __demonstrations inventories _mfinaneial reports accident reports (other)_______________ __ How much time per day is required to keep records? 4 hour____________ __1 hour 3 /4 Hour (other)__________________

121 6.

In setting up administrative processes, the following people participate: supt* of schools teacher principal student supervisor of ind* arts (other)_____________

B* Administration of course 1* Student management is utilized in the areas checked: roll call and personnel tool maintenance issuing materials reference-material supervision safety ventilation finishing room supervision machinery maintenance sanitation and clean-up public relations (other)______________________ 2* Is there a reference library available for students in the shops? yes no If so, check which oF the following materials are available: books___________ __audio-visual materials ^encyclopedias _(other)________________ periodicals pamphlets 3. Is there a planning area in the shops for students1 use? yes no 4* Is there a bulletin or display area in the shops? yes __no If so, displays are changed: once a week __once a month every 2 weeks __every 2 months The displays consist of: studentsf projects models industrial samples pictoral and photomock-ups graphic materials

122 PART II.

CURRICULUM

A. Industrial arts department 1. The philosophy of the industrial arts department puts greatest emphasis on which one of the following: ind. arts as an essential part of a broad general education, stressing exploratory values, avocational interests, guidance, knowledge and appre­ ciation of industrial processes in many fields of industrial arts, as characteristic objectives ind. arts as an essential part of a broad general education, stressing exploratory values, avocational interests, guidance, knowledge and appre­ ciation of industrial processes in a few selected unit shops, as characteristic objectives ind. arts as a preparation to enter industrial occupations, with specialized training, develop­ ment of salable skills, concern for quality of materials produces, as characteristic objectives 2. The following areas of instruction are covered: wood fabrication crafts petal fabrication textiles graphic arts __ceramics transportation __communication mechanical drawing (other)__________________ 3. Course revision is instituted by which of the following (one or more): test results analysis of changes in industrial procedures semi-annual, annual, or bi-annual review by administrative authorities 4. The following person or persons participate in general course planning and revision: supervisor teacher student Industrial arts courses 1. Check one of the following provisions for giving students an understanding of course objectives: correlation of students1 own objectives with the course objectives through discussion statement of objectives by teacher with distribu-

123 tion of printed material elaborating on them, or listing them on bulletin board none (other) ____________________________________ 2. Is there a planned course of study in use by the teacher in the individual course? yes no 3* How is instructional material chosen? by analysis of objectives on basis of community resources material established by its long s tanding in industrial arts courses A. What percentage of total class time is spent on related information? __15$ _25$ — 5/? 10% 20% 30% 5. How is the safety program handled in the course of study? as one unit in the course of study with relation to each unit in the course of study 6. Pupils are evaluated on the basis of: objective tests rating scales founded upon objective shop pro­ cedures instructor’s personal evaluation pupils’ participation in the shop over the amount of required time ( o t h e r ) ______________________________ PART III.

THE TEACHER

A* The teacher in his class 1. Work conducted in the shop is evidenced by: "full employment" - students occupied with work of subject work of student management operating with minimum of friction shop atmosphere adhering to lighting and ventil­ ating needs 2. Does work produced in the shop show achievement com­ mensurate with student ability? yes no

124 3. What media does the teacher avail himself of in presenting related subject matter? field trips graphs, charts, diagrams and pictures projected materials (slides, movies, filmstrips) audio materials (recordings, radio programs) qualified guest speakers £• The,teacher in his profession 1. (The teacher has had __ years of teaching experience.) The teacherfs work toward improving himself and ad­ vancing his profession include, at the present, working towards a degree taking professional courses other than towards attaining a degree attending institutes and or conferences writing material for publication serving on committees that are working on educa­ tional projects building a professional library of his own participating in civic organizations being a member of professional organizations subscribing to a professional magazine “ (other) — __________ 2. Does the teacher make use of new processes and materials applicable to his instructional program? yes no PART IV.

THE PLANT AND EQUIPMENT

1.

What is the average areaper pupil in the shops? 40 to 50 sq. ft. _60 to 70 sq. ft. 50 to 60 sq. ft. _70 to $0 sq. ft.

2.

Are there sufficient workstations the largest class now enrolled? yes __no

to accommodate

3* The majority of the shop windows face: __south or west north or east The following controls are used to prevent direct sunlight from striking working surfaces: Venetian blinds __roof overhang roller-shades __none special glass __location of benches and machinery

125 4« Check the foot candles of light on working surfaces: (a) general illumination _ 5 to 10 __20 to 30 10 to 20____________(other)_____________ (b) specific illumination 10 to 20 __60 to BO 20 to 40 __ BO to 100 40 to 60 5* The amount of air per pupil which is available is one of the following: 100 to 200 cubic feet 200 to 300 « ff 300 to 400 " " 400 to 500 Tl w 6. Ventilating facilities are provided by the means checked: special exhausts on equipment artificial ventilation unit movable windows louvers in outside walls louvers in doors (other)________________________ 7. The appearance of the painted surfaces in the shop is clean __dirty The type of painting done adheres to one of the following: application of color psychology use of traditional colors (gray, straw, tan)

B. The shop is provided with gas compressed air

steam water

9. In checking equipment, the following things are observed: if it is operative or not if it is in adjustment if the cutting edges are sharp if it is securely mounted if the danger areas are visible

126 10. Danger areas in the shop are treated in the ways checked: provided with operative guards labeled with signs cautioning workers spaced to prevent overlapping of danger areas, with machine operator’s territory outlined with bright floor markings danger areas on machines painted a color symbolizing danger provided with specific lighting required for power machines 11. Machine operation is checked: daily __weekly (other)_____________ semi-weekly_______ Machine wear is checked: yearly (other)___ _________ ^beginning of each semester 12. The electrical circuits in the shop have: 110 AC outlets every 10-15 feet around the wall 220 AC outlets every 10-15 feet around the wall master controls that can be locked in OFF position outlets for special bench equipment, such as grinder and glue pot floor outlets for heavy equipment 13 * Check place or places where lavatories serving the shop are located: within the shop in adjoining room in separate room Number of students which may be served simul­ taneously by lavatories at end of period is • The shop is set up for (number of) students• 14* Noise-cutting acoustics are provided by: acoustical tile, on walls, on ceiling acoustical plaster, w , __ " 11 broken surfaces, ___ tf, __ ,f *' (other)__________________________________

Check type or types of storage locations used: in areas within the shop in an adjoining room in a separate room in the corridor (other)_________________________

12a Answers to the Checklist PART I. ORGANIZATION A. Administration of Prograiq 1* All answers should be checked. The authorities reviewed in this study were of the opinion that industrial arts in some form should be available to all students on the secondary level. 2. Everything except "deportment record” should be consid­ ered in placing students in industrial arts classes. 3 . In order to accomplish a worthwhile amount of work, the industrial arts period should be at least one hour in length and should meet at least four times a week. 4* The industrial arts teacher should have at least one free period a day and as few extracurricular activ­ ities as possible in order to permit proper mainten­ ance in the shop and preparation for classes. If there are thirty periods a week, he should teach not more than twenty-five; if there are thirty-five; he should teach not more than thirty. 5. All records are necessary in a good program, but should be so organized that they require no more than ;one half to three quarters of an hour per day to keep. 6. All people listed should participate to some extent in setting up administrative processes in the school following democratic ideals. B. Administration of course 1. The more areas checked in student management, the greater is the worth of the course to the students. 2. The effective course in industrial arts requires a ref­ erence library containing all of the materials listed. 3. A planning area for students’ use is essential in the shop. 4» There should be at least one display area in the shop, with displays that change at least once every two

129 weeks♦ The displays should consist of all the mater­ ials listed. PART II. CURRICULUM A* Industrial arts department 1. The first item should be checked. Leaders in the field of industrial arts education feel that the more varied background a studentreceives, the better he will take his place in the adult world. While industrial arts and vocational education should not be confused, the former plays an important role both in providing some students with the experiences which may cause them to pursue further technical courses in special­ ized schools and in providing others with a general background helpful regardless of future pursuits. 2. Whether the school uses unit shops or a general shop, all areas should be covered in a well-rounded program. Courses should not be slanted specifically to local conditions since the majority of students seldom remain in the community in which they received their secondary training. 3* The constant analysis of changes in industrial procedure is the most important factor in instituting revision. It may be supplemented by test results and semi-annual or annual review by authorities, but the two latter means alone are not sufficient. 4* All of the persons listed should participate in general course planning and revision. B. Industrial arts courses 1. The first item only should be checked. 2. Every teacher should have a planned course of study. 3. By far the most important way of choosing instructional material is by analysis of objectives. While community resources are helpful in developing a course, they should not dominate the choice of instructional mater­ ial. Material long standing in industrial arts courses is probably out of date.

130 4*. Between twenty percent and twenty-five percent of total class time should be spent on related information. 5. The safety program should be an intrinsic part of each unit in the course of study. 6. Objective tests and rating scales should be checked. The instructor’s personal evaluation may be checked, but it should be subordinate to the first two items and should be relegated to such particulars as honesty, cooperation, and initiative. The last item should not be considered relevant to grading. PART III.

THE TEACHER

A. The teacher in his class 1. All items listed should be checked. 2. Work produced by a student should show achievement com­ mensurate with his ability. 3. An alert teacher should employ all the media listed in presenting related subject matter. The teacher in his profession^ 1. The greater the number of years of teaching experience, the more important it is to the teacher to keep aware of strides made in industrial arts education, not only through improving his teaching but through giving his services in some manner to the betterment of his pro­ fession. Professional growth will readily be evidenced by noting the items checked. 2. The teacher should avail himself always of new improved methods in industry. PART IV.

THE PLART M D EQUIPMENT

1. The minimum of fifty to sixty square feet per pupil in a shop should be exceeded if at all possible. 2. No industrial arts class should be conducted in which each student cannot be assigned an area in which to

131 carry on his work. 3* If the majority of shop windows face north or east, few and sometimes no controls are necessary to pre­ vent sunlight glare, except in cases where reflection from nearby buildings or objects produces an object­ ionable glare• 4« Twenty to thirty or a greater number of foot candles should be checked for general i11umination. Specific illumination (lighting on dangerous equipment) should be from eighty to one hundred foot candles. 5. Four hundred to five hundred cubic feet of air should be available per pupil. 6. The first two ventilating facilities should be checked, and either movable windows or louvers in outside walls should also be checked. Louvers in doors of the shop are not recommended since noise and dust will easily emanate from the shop into the corridors. 7. Painted surfaces should always be kept clean, and color psychology should definitely be applied. &. The shop should be provided with all listed items. 9. All items should be checked. 10. Everything except "labeled with signs cautioning workers" should be checked. Too many signs cautioning workers become commonplace and breed disregard. 11. Machine operation should be checked daily; a complete check of machine wear should be made at least every semester. 12. All items should be checked. 13♦ "Within the shop" or "in an adjoining room” are the most desirable locations for lavatories. Approximately one lavatory for every six students is the most desir­ able • 14. Acoustical tile on walls and ceiling is most desirable; acoustical plaster on walls and ceiling is desirable; broken surfaces on walls and ceiling are means of overcoming the lack of either of the former.

132 15* Areas within the shop are the most satisfactory storage locations as they give the teacher more complete control over the handling of lumber and supplies.

PART IV

CONCLUSIONS

133 CHAPTER

VIII

CONCLUSIONS This study has sought to enable the reader to draw criteria for the evaluation of a secondary school industrial arts program.

It has done this by reviewing the opinions of

the leading educators-in this field, by constructing a check­ list for evaluation, and by applying to the checklist the opinions of industrial arts men in secondary schools. With the development of this study, it has been found that it is possible to treat most phases of the industrial arts program rather objectively. Several areas of the study, it was found, contained a wealth of material.

However, it was realized that regard­

less of the amount of material, one question on this area in the checklist was sufficient to discriminate between the accepted criteria and the practices carried on in a poor program.

The philosophy and objectives of the industrial

arts program have been thoroughly discussed by many educators. It was possible through the concordance of the majority to establish a maxim which reflected its views.

Another area

on which much has been written was the safety program; how­ ever, the fact that a school carried safety into each unit of study and into the conduct

and the maintenance of the shop

134 would serve to show its adherence to accepted standards.

It

would possibly have defeated the purpose of producing a checklist which could be used expeditiously to have included in it all the many recommendations on each area made by educators. The revised checklist could be further validated by being submitted to a number of secondary schools, some of which are known to carry on exceptionally fine programs and some whose programs are in need of revision.

By comparing

the results of the checklist from these two groups of schools, its ability to differentiate between them would be markedly shown. data.

It could be further refined upon the basis of these

BIBLIOGRAPHY Barr, A. S., William H. Burton, and Leo J. Brueckner, Super­ vision# New York: D. Appleton-Century Company, 1938. 981pp. Bawden, William T. and others, Industrial Arts in Modern Education. Peoria, Illinois: The Manual Arts Press , 1934 • I58pp. Bonser, Frederick Gordon, Industrial Arts for Public School Administrators. New York: Bureau of Publications, Teachers College, Columbia University, 1930. 95pp« _____ , Life Needs and Education. New York: Bureau of Pub­ lications, Teachers College, Columbia University, 1932. 2$&pp. Cooperative Study of Secondary School Standards, Evaluative Criteria and Educational Temperatures. Menasha, Wis­ consin: George Banta Publishing Company, 1940* 152pp. Ericson, Emanuel E., Teaching the Industrial Arts. Illinois: The Manual Arts Press, 1946. 384pp*

Peoria,

Friese, John F., Course Making in Industrial Education. Peoria, Illinois: The Manual Arts Press, 1946. 297pp* Humble, Milford K., Practices and Provisions for Protecting Pupils in School Shops. Columbia, Missouri: University of Missouri Press, 1937* pp* Jackey, David F. and Melvin L. Barlow, The Craftsman Prepares to Teach. New York: Macmillan, 1944* l$4pp* Johnson, William H. and Isadore M. Fenn, Fundamentals of Industrial Arts and Vocational Education. Chicago: The Goodheart-Willcox Company, Inc., 1943* 136pp. Kahler, Alfred and Ernest Hamburger, Education for an Industrial* Age. Ithaca, New York: Cornell University Press, 1948. 334pp* Mays, Arthur B. and Carl H. Casberg, School-Shop Administra­ tion. Milwaukee, Wisconsin: The Bruce Publishing Com­ pany, 1943. 2l8pp.

136 Newkirk, Louis V., Organizing and Teaching the General Shop* Peoria, Illinois: The Manual Arts Press, 1947 • 200pp. Selvidge, R. W. and Verne C. Fryklund, Principles of Trade and Industrial Teaching. Second edition; Peoria, Illi­ nois: The Manual Arts Press, 1946. 395pp* Stiles, Dan, High Schools for Tomorrow. Brothers, 1946. 212pp.

New York: Harper and

Wahlquist, John F., The Philosophy of American Education. New York: The Ronald Press Company, 1942. 407pp. Warner, W. E., Policies in Industrial Arts Education. Colum­ bus, Ohio: Ohio State University Press, 1928. 90pp. Williams, L. A., Secondary Schools for American Youth. George Drafton Strayer, editor, American Educational Series. New York: American Book Company, 1944* 531pp« Wrightstone, J. W . , Appraisal of Experimental High School Practices. New York: Bureau of Publications, Teachers College, Columbia University, 1936. 194ppOTHER SOURCES Baker, G. D., !,How New Are the New Trends?Tf School Executive. 67:50-2, February, 1948. Bowers, Victor L., "Industrial Arts Teachers, Keep Step," Texas Outlook. 32:25, December, 1948. Bryson, Lyman, "Education for Tomorrow’s Youth," National Association of Secondary School Principals. No. 153. 32:46-50, March, 1948. Friese, John F., "Accepted Interpretations." Bibliography

See Bawden, in

Gilliland, Lonnie, "Personnel Organization for the School Shop," Industrial Arts and Vocational Education. 35: 292-93> September, 1946. Glazner, E. R . , "Tool Storage," Industrial Arts and Vocational Education. 38:98-99, March, 1949*

137 Herlihy, Charles, "Professional Development of the Industrial Arts Teacher." Industrial Arts and Vocational Education, 32:414-415, December, 1943. Komow, Maximilian, "The Principal Visits the School Shop," Industrial Arts and Vocational Education, 36:194-95, May, 1947. London, H. H. and Ivan Hostetler, "Industrial Education in the fears Ahead," Industrial Arts and Vocational Educa­ tion, 35:147-51, April, 1946. Mays, Arthur B., "A hew Industrial Arts for a New Day," Industrial Arts and Vocational Education, 32:402T404, December, 1943. Schmidt, Fred J., Jr., "The Industrial Arts Teacher in a Pupil Teacher Participation Program," Industrial Arts and Vocational Education. 35:195-98, May, 1946. Siepert, Albert F., "Methods of Teaching and Organization of Subject Matter," See Bawden, in Bibliography Selvidge, Robert W,, "The Teacherfs Objectives," in Bibliography :.

See Bawden,

Sotzin, Herbert A,, "Evaluating the School Shop or Laboratory," Industrial Arts and Vocational Education, 33:300-302, September, 1944* Steinhoff, 0, Lester, "Storing Woodworking Project Material," Industrial Arts and Vocational Education, 32:125-27, March, 1943• Smith, Homer J., "Administration and Supervision." Bawden, in Bibliography Stone, William H., "Recent History and Trends." in Bibliography

See

See Bawden,

Tyler, R. W., "A General Statement of Evaluation," Journal of Educational Research. 30:492-96, March, 1942. Waller, C. H., "Adjustment Through the Arts," Industrial Arts and Vocational Education. 30:424-26, December, 1941.

13d Weber, J. Marshall, ’’The Construction of a Score Card That May Be Used in Evaluating, Improving, and Constructing Industrial Arts Programs in Small Bural and Village Junior High Schools.11 Unpublished Master’s thesis, Miami University, Oxford, Ohio, 1937* d2pp. Wenrich, Ralph C., ’’The Industrial Arts Program and the Secondary School Boy,” Industrial Arts and Vocational Education. 35^2^7-290, September, 1949*