Correlated courses in woodwork and mechanical drawing

by Ira Samuel Griffith

(4) Since the design is to be made in wood and wood splits easily along the grain, we must be careful in making an outline not to get sharp points. Also, in making a decorative design we must avoid thin parts that will bring incised lines close together. Also, we must take into account in planning the members the facts of shrinkage or swelling and the strength of the wood. The grain on the vertical members must extend vertically and that of the horizontal member must extend from vertical member to vertical member. This to be illustrated by referring to some similar construction.

(5) In striving for pleasing outlines, or decorative forms either, strive to avoid a sameness made by using many lines or forms of the same size. “Large, medium and small” is a key that unlocks many a puzzle as to what causes unpleasant feelings in both outline and decoration. Long sweeping curves with short snappy ones, rather than a series made with a compass. Make a special point of the fact, which almost every boy overlooks, that the simple forms of outline are invariably the more pleasing. To the beginner design means making something unlike anything that was ever seen on the earth below or heaven above—hence the freakish, fussy forms that are usually offered. Try telling the class you are going to place an excellent form on the board then draw a well proportioned oblong and watch the expressions on their faces. Yet a well proportioned oblong with appropriate decorative form is one of the most pleasing of forms. There will be no need to urge them to make “unique” forms. Their inexperience and their zeal will produce a sufficient number. Rather urge, or insist that they postpone search for “unique” form until they have more information.

Illustrate with blackboard sketches as you go along each of these points. Keep the boys “playing” with outline forms until you have assured yourself they have done their best. With them, pick out three of the best and place these in permanent form for keeping—put them on another sheet of paper. Next, start them on the decoration. The development of a decorative form will come much harder than the outline. Here again the beginner will want to exhibit “unique” forms—unique only in that they are founded upon his ignorance. Unless the boy is not a beginner, it will be necessary in about twenty-four out of every twenty-five cases to insist that he start with the form you have placed upon the board for his use. If you were dealing with a few pupils, you might take his “original” form and step by step get him to work it into a good form. With large classes this is not possible, nor is it necessary. Simply insist that he place the form given him in his outline and in so doing he will acquire enough feeling for line and form to enable him to proceed of his own accord.

(6) Have the boy put on a supporting outline, that is, tell him to draw a line around his outline and parallel to it. Show the class on the blackboard how this is to be done.

(7) Put in the main mass and break it up explaining as you do so that you are seeking to get large, medium and small forms-proportion of parts. Call attention to the efforts made to keep the lines in harmony.

(8) Call attention to the center of interest you have created. It is unfortunate that lack of time forbids the boy’s placing colors on these designs. Very frequently a touch of color is used to create a center of interest, the form for this in black and white not giving the proper significance at all. A design which in outline seems to be fussy because of too many parts will, by a proper selection and placing of colors, be made most pleasing. On the other hand, a design in outline that seems agreeable may, when in color, not be agreeable because the colors make certain parts stand out too prominently. A study of the color plate in Projects in Beginning Woodwork and Mechanical Drawing will make this clear.

(9) If the form proposed happens to illustrate repetition, radiation, symmetry, or if some boy develops a form that does, take time to say a word about them. While you will not have time to “teach design” in the few lessons, a word here and there may serve to awaken further interest on the part of some boy.

After all is said, we recognize that the time is short, that not much can be done. On the other hand, what little can be done is worth doing and doing well; its possible significance can not be overestimated.

6. Shop Excursions.

In the grammar schools, and more especially in the high schools, plans should be made for several excursions to near by shops in which the pupils may get an insight into the workings of related industries. The saw-mill, lumber yards, planing mills, furniture factories, architectural or drafting-rooms and, in fact, anything relating to the industrial employment of men and machinery may be visited.