Central Middle School - Ceejay Yearbook (Kansas City, MO)

Page 113 text:

4 '3P'l 'Il 'I4'?lFlWI' n u na.. I . , .... ..., f... LJ Home Economies in Korea FRANCES BROWNELL, '25 The Home Economics laboratory in the Myang Girls' Academy in Korea, is quite different from that in Central Junior High School. There, the food laboratory room was made just as much like the girls' own homes as possible, with a few improvements, because they did not want the girls to become dissatisfied with their surroundings. In order to make the Home Economics very practical, the laboratory was placed in the dormitory. There are four kitchens with dirt floors, without plumbing, and heated by a stove that is underground, the flue coming up through the floor. In each of these kitchens are four smaller rooms which accommodate four or more girls. Here with their rice pots, they cooked their meals under the management of an older girl. Last winter the teacher found that the girls were undernourished. The three most typical foods of Korea are rice with pepper sauce, millet, and a pickle very hot with red pepper. A favorite salt sauce is made of beans. However these particular girls were found eating rice almost altogether. The teacher than planned to change the menu and added meat once a week, fish twice a week, eggs once, and bean curd twice. The result was very satisfactory. The girls gained in weight, had more pep , were not sleepy and all passed in their work. Here in Central Junior High School, we have a much better and more sanitary arrangement. We have a large, light, airy room with a cement floor and convenient equipment. The system we use is called the open square . It is formed of a line of desks. One girl works at a desk, where a stove, a sink, and a neat cupboard are combined. In the cupboards there are the necessary utensils. There is also a large sink on one side of the room and various cupboards on another. The open square system is going to be changed to a table system in the new Junior High, and this arrangement will be much better. Just from this one story wc can see that not only American Home Economics, but American education is far superior to that of Korea, and as American girls, we have much to be thankful for. Gleanings From the Sewing CRcom LOUISE MORGAN. '25 The pretty bright colored silk dresses are not all dyed, but the silk worms are educated these days and taught to spin different colored silks by feeding them mul- berry leaves chemically treated. This education has been carried on to such an extent that eighteen colors have been produced, so, girls, you can take your choice from a wide range of colors. The cochineal dyes are made of poor little dead insects. It takes about seventy thousand of them to make a pound of dye. Isn't it too bad that so many of these little insects should die to make a pound of dye? Do you know that fat women should never wear horizontal stripes? Do you know that blonds should never wear bright colors such as red and yellow, but dainty pale flower colors so as to bring out their blond type? Do you know that stockings were once made from a straight piece of material? The clocks down the sides are the survival of the seam that made a fit possible. I llEllffifff'ZIIRZEZLIHCKEHi!Fiiillillillililizilill.SHED?Il!Ziifiifllf?li!!!ZS!lglilililliifll15515IlfiiE551EHSLEZFliI3iIHI1i:!lIf'l I . ls- n Page Ninvl 1 he

Page 112 text:

I fX I llQ32IliillISE!IiE!liiSliHlWlii!iQ3lESI!lHiE!liiF- if Orfhographic Cproj ecftion ROLLIN OATES, '25 Orthographic projection or a working drawing is a method of drawing used in Mechanical Drawing. It is a drawing that can be put in the hands of the Workman as a guide in making the article the drawing represents. It must give the information that is needed, and give it correctly, clearly and unmistakably. A picture drawing, such as a perspective drawing is a distorted view of an object and is not a suitable drawing to give exact information. We therefore use the ortho- graphic views. These are Hat drawings or views that represent the object as if it were projected on, or pressed against a plane surfaceg these views all appearing in a single plane. The horizontal view is hinged to the top of the front view and the end view is hinged on the right side of the front view. These when unfolded into the plane with the front view show the arrangement of views shown in the sketch. me . - 4 In making such views for a working drawing I bl the observer is' assumed to be looking perpendi- ' ,A cular to the surface to be drawn, not along di- NW verging lines as in the case of a picture drawing. Ji. yf N Q. Views of an object thus drawn can show only two general dimensions, or distances in two directions only. Distances away from the observer, that is, 'H no those measured from front to back, cannot be I .im shown in a view from the front, but can be shown ' from above or at the side. Thus in the front view only length and height are showng another view, drawn to show the width. fr-My I-1-1' . --- -.-. BLOCK wflw CUII5 Meena such as the top or end view, must be The three views in the sketch represent the little block shown in the upper right- hand corner of the illustration. The front view represents the object when viewed along the perpendicular line marked UA . This view is placed in the lower left-hand corner of the paper. Directly above the front view is the top view seen when looking along the line marked UB . To the right of the front view, and on the same level, is the end view as seen when looking along the line marked C , These views, which result from looking along perpendicular lines, give a drawing the same size as the object, unless drawn to a reduced scale or enlarged, and represent the true relationship between the various parts. When an view is made This is called After all jection, there object has irregular surfaces not shown on the three general views, a of that surface on a plane that is imagined as parallel to the surface. Auxiliary Projection, getting its name from auxiliary, meaning helping. sides or surfaces of an object are clearly drawn in orthographic pro- remains one other thing to be done to make the drawing complete so that any person could construct the object. That is the dimensions. For a draftsman to put on just the proper dimensions and only those necessary, he must know shop prac- tices so that the information he gives can be worked out in the shop. The drawing is called properly a working drawing when it is shown in orthographic and dimensioned. To be able to make a good working drawing requires the correlating of the drafts- man's mind and hand, which is the great educational value of Mechanical Drawing. a:11:zaaa::as:es:a2:ramenwasasms:are:Iszais:Iseize:aQ'mai:es1:rasmuwars:amssanaezslLFi:aa'':'eza:i::'a'sl's:ii:!z: ' lr :limi-uln Page Ninety-four

Page 114 text:

K . fX mil. H U - llSEIIiii5551llE!liiliEiiQnliiilif?3fiHlligiElgin. l ' CJV1anual Training ALFRED WEGENER, '25 Manual training teaches the theory and use of tools, the nature of common ma- terials, and the elementary processes in the more common industrial arts, such as carpentering, wood-carving, forging, and machine shop practices. The Hrst manual training school in the United States was opened in Saint Louis, in 1880, under the direction of Doctor Calvin M. WVoodward, as a department of Wash- ington University. The introduction into the elementary schools began in 1882 in the Dwight school of Boston. Progress, however, was not very good. Many of the patrons of the school opposed this work because they believed the time of the school should be devoted to the study of books. In 1903, a committee was appointed to investigate the feasibility of such a move- ment and to prepare plans for carrying it out, provided the work was found feasible. This committee made its report in 1905 and recommended the introduction of these lines of work into all rural high schools and into consolidated common schools in which there were several grades. The weight of the best educational thought upon this subject is that manual train- ing should be introduced at the very beginning of the elementary school work, and that it should be continued through the high school period, that the work should not be confined to a single material and the tools necessary in the treatment of that material but that it should cover a wide range in the use of tools and materials. The purposes of manual training are: flj to enable the child to enlarge his powers of expression, through the action of the hand, guided and controlled by the action of the mind, 121 to make him acquainted with the nature and use of the most common materials, such as clay, wood, iron, and textiles, 131 to lead him to develop a certain degree of skill in the use of tools, Q47 to develop his originality, and 15D to connect the work of the school with the affairs of everyday life. To these ends, in the ele- mentary schools, the work in drawing, modeling, and nature study is closely identified with manual training. The work in manual training varies widely in different school systems, as might be expected in the early stages of its development, but the educational values of exer- cises with different tools and materials are being carefully studied, and this study is resulting in a more definite and rational organization year by year. Varnish EDWIN COLLINS. '25 Varnish. is a fluid preparation which, when sp1'ead out in thin layers, dries either by evaporation or by chemical action into a hard, transparent, and glossy film. The-chief essentials of good varnish are that it forms a firm layer on the surface over which it spreads, that it dries hard, yet with suificient elasticity and tenacity, not to crack with changes of temperature, and that it dries quickly. The materials which form the permanent body of varnish are copals, lac, dammar, eleml, amber, sandarac, mastic, and rosin. U Ordinary kinds of varnish are divided into three classes: flj spirit, C21 turpen- tme,-and.f3J oil tvarnishes. Spirit varnishes dry with great rapidity, but the film is deficient in tenacity, cracking and scaling readily on exposure. 4 Turpentine varnish is principally used for making fine varnishes for all paintings. 011 varnishes differ fromlthe other classes in the circumstance that the principal solvent is not volatile and is dissipated on exposure. Varnish dries into coatings of remarkable tenacity, durability, and lustre. , I II1615535551IEIIZIZEIIQKEIIEGIHilEZIKHIIEEIIEIIiii!IE521I!E55IIQiE!-!lIS!Il5lE2iHIif2lIIE!HlEii!5Iii5i5?il1iiliH2iEllSlii!IlQl I ugc Nimfty-six