Newark School of Fine and Industrial Art - Fawcett Yearbook (Newark, NJ)

Text from Pages 1 - 110 of the 1927 volume:

= а а ӘЧЕ ce YEAR D эз оства 4 AN d = h = = МУ TE (1 FOREWORD DEDICA TION THOMAS L. RAYMOND A VOTE OF THANKS ouis C. Schwartz Thomas J. D. Smith Henry Young : acted! It has granted a munificent appropriation for a beautiful new ilding in which to install our beloved school. This new school will be unique among art schools throughout the country. We realize that the Board members, acting in their capacities as representa tives of the people, have shown great honor to us. They have manifested their great faith in us. They have shown the high valuation thev set on the worth of our school. In appreciation, therefore, we gratefully present this vote of thanks, in behalf of the present and future students of the Fawcett School of Industrial Arts. The Class of Nineteen Twenty-Seven. Fawcett's First Principal, Carl H. Rehmann Principal, 1882 to 1906 CARL H. КЕНМАММ НЕ idea of this school was my father's. It came to him as a young man, just as he was starting out in his profession, after his return from abroad where he had studied architecture at the University of Zurich. More- over, he kept up his interest in it all through his happy and successful years until his death. | It started as a free class with my father as volunteer instructor in he old Turn Hall. Then there were two classes in the old Commerce Street School. then more classes in the old Library Building on Market Street. After that a small uilding was rented, by the deserted canal on Washington Street. Now at length, wenty-one years after his death, the school is going to have a great building, mar- velously situated on Washington Park between the Museum and the Library. It has een capable of attracting an enthusiastic principal and of gathering a faculty of alented men and women. Newark, in the meantime, has become a great industrial center, alive to the fact that no center can long hold its position in the world trade without great artists and designers, and without a knowledge of how to make things, as nature herself makes them, purposeful in the noblest and fullest meaning of that word. Newark was not then much interested in art and New York was not the great art center that it is now, but my father never lost his faith in the great future of the school. I wish you could have known him as I did. He was a very fascinating com- panion. I wish you could have shared the fine imaginative atmosphere that he created in our home. He was a man of culture. He was a student of architecture, especially of the Italian Renaissance. He loved music and painting. He took an interest in sculpture and beautiful things. He loved to travel, especially in Italy and Greece. He used to visit the great industrial art schools abroad to study their theories of education. And he never lost his feeling nor his willingness to sacrifice his leisure for the young man or woman who after working all day is eager to spend the evenings in study. He, the first principal of Fawcett School, would appreciate your wishing to have him represented in your Year Book. He would be touched by your thought of him. He deserves to be remembered, however, and to be honored. It was his spirit as a young man that created the school. His perseverance and steadfastness kept it through all its early years. He carried on, as so many fine men and women have carried on in all pioneer ventures, quietly and without thought of self or of reward, for the sake of a big idea, that only years after they are gone comes to its full Íruition. ANTOINETTE PERRETT. March 5,1927. SARA А. FAWCETT persons who surpass in ch aracter, Such was Miss Sara A. Fawcett, teaching of Art in the publi lity, she laid a Every one who came in contact with Miss Fawcett was impressed by he: sterling qualities and will always remember her with veneration. As one of the first art supervisors, 1f not the very first in the United States, it was a fitting tribute that one of the first Public Drawing Schools in the country should bear her name, for both have brought great honor to Newark and have helped to make it the great city which it is todav. Mabel J. Chase, Former Supervisor of Art in Newark Public Schools. Bas-relief, executed by the children of the Saturday modelling class, to com- memorate the closing of the Morris Canal, 1926. When reproduced in bronze, it is intended to place it in one of the high schools. H | КЮ pp EVORA | | MARGUERITE She Came - She Saw AMI SHE ( SHE SAW ul new el uipment lents who wei SHE CONQUEI hnest teacl “LONG LIVE OUR MARQUART - She Conquered rest Corson, Superintendent “The overcrowded conditions at the school indi- cate that a new building is greatly needed one of the rooms meets the requirements of the t: of work taught in the school. . . . . The school is an important one, especially in view of its function in an industrial city. Recommended that a new building on a new site be provided.” Excerpts from the report of the Superintendent of Schools, David B. Corson, to the Board of Educa tion, 1921-22, of Newark Schools 4 ДЕЕ t WS š = = E P 2 - a E = EI = ES E x� E E ES БЕЈ з 111111111112 102212001 Design Problem—Ceramics Class A Group ot Tiles for a Wall Panel = = = O = ening School Instructors Some of our Ex Honor Students of the Saturday Morning Classes and their Instructors 1 Faculty Day Scho Some of the FACULTY SYCHOLOGISTS When your parents come , | They divine your thoughts, Гћеу present them with you, They thwart your plans, A FINE STUDENT Тћеу see through you, hey spare you their time, They feel ability ` Their education, Although Their energy, [t is not seen. Their lives; | | ес They give you something all the time— PHILOSOPHERS For nothing. They make the most of you, They are They smile at your work, OUR FACULTY And-— Untiring in their efforts— They even say Re-establishing hope, FAIR! : Faithful alway s— Гћеу tell you they see improvement, Achieving the impossible, OUR r 1 [ Тћеу finally become resigned То you Because Тћеу know You're no good! PHILANTHROPISTS They sit down and work for you- 'They give you a passing mark, Cultivating your talent, Unconsciously helping, Leading you onward- Teaching every minute, Yielding not to their own interests— Because of you- For all these things—We thank you!!! THE FACULTY OF FAWCETT MARGUERITE MARQUART, Principal Emile Alexay Walter C. Ames, Jr. Helen Axford John R. Barrett W. Wallace Beisheim Norman Brally John F. Brandt Howard V. Brown Pearl P. Brown Robert Castle Marianita Chalfin Gustave Cimiotti Jay W. Connelly Frank J. Davey Alfonso Del Guercio Jerome P. DeWitt Byron G. Dreifoos РншР M. WAGNER, Secretary Harvey L. Fassett Hilda Feldman George E. Fiedler Ernest H. Fougner Michael Geiger Gertrude M. Goehring Elizabeth H. Greene Bernard Gussow Genevieve Hamlin E. Grace Hanks Joseph 5. Harris William F. Hingel Archibald Hunter Vincent lannelli M. Grace Johnston Mildred Kaiser Gertrude King Edward P. Kirsch Alwin J. Kleinfeldt Charles E, Krahmer Charles J. Lauter Louis Ledonne Moritz Гоећег Y Emily MacEwan Maude Mason Jean T. Mitchell Alice Morse Katherine M. McGrath Mayetta Newman Henry W. Ођег Seumas O'Brien James V. Prior Edith Saxon D. Gann. SCHOOL Carl Schleusing Daniel H. Seaman Alfaretta D. Shirley Robert B. Shirley Owen Smith Joseph Streeter Franklin Strong Victor H. Strombach Clara Stroud Ida W. Stroud Ruth Taylor George F. Townley Margaret Webster Frederick P. West Charles J. Weyand Robert C, Ziessler CERAMICS The word Ceramics is derived from the Greek word “Keramos” meaning “burned stuff” and includes everything made from fusible clay and hardened by heat—such as pottery, porcelain and glass. The art of Ceramics is the oldest of the arts and furnishes our most ancient historic record —being the outgrowth of a necessity for receptacles for food, drink, and cooking. The particular phase of this art in which the Fawcett School is interested is the turning and building of pottery forms and overglaze decoration. The study of design and the application of art principles to the production of such objects of everyday use is invaluable to the art student. Our greatest inspiration is derived from the study of Museum collections especially the Persian and Chinese potteries. Our ideal is to create and decorate forms beautiful in proportion, line, design and color, which express individuality of thought. Such study we feel will be of especial value in the State of New Jersey, the home of the pottery industry. Maud Mason, Instructor. Excerpts from a communication to Newark Evening News in March, 1927, by JOHN COTTON DANA “For more than a quarter of a century your one public school of drawing and design, the one school that has served to search out those talents of our young people that, being caught and trained, do much to make more attractive and more easily marketed the products of our hundreds of shops and factories, has been housed in narrow and unpleasing quarters, in every way inadequate. These facts, as any care- ful observer will admit, have checked the school’s development and have prevented it from gaining that attention and approval of the general public which were justly its due, even as long ago as when Carl F. Rehmann gave to it, without reward, his time, energy and talent. At least it has promise of a home that shall present to Newark the work it has long done and is now doing as that work deserves to be presented. “A city, like an individual, grows in grace by virtue of its manner of clothing, adorning and conducting itself, not by virtue of its wealth. Newark is over- shadowed by its neighbor, the world’s greatest and richest city. So much is it shadowed by the overmastering aggregation next door that it thinks largely in terms of New York and not in terms of Newark. It long had the habit of asking itself, “Why try to make here on the Passaic a real city, a place with a soul, a friendly spot in which each citizen can take pleasure and of which it may be justly proud?” “No city in the country can profit more than can Newark from that quiet, indefinable and subtle growth of consciousness of city betterment that may be called “growth in grace.’ ” Overglaze Decoration of Tableware—Day and Evening Classes MODELLING Day student modelling from life Evening school architectural modelling problem AD o: Animals modelled in Saturday classes of children Figures modelled from life by day students A BUST OF BEETHOVEN SAT there on my high stool, and gazed—with wide-opened eyes at the bust of Beethoven. It was turned a little away from the window, but the rays of the dying afternoon sunlight fell clearly on the profile. There it was—the beauty of that noble high forehead—the strength of the closely knit eyebrows—the wan and weary lines of the sunken furrowed cheeks—the delicacy of the drooping lips, the firm set of the chin, and the everlasting unconscious youth which permeated the whole— till, although there was supreme agony in every part of the face, a strange beauty shone through—a beauty showing supremacy over physical pain—and mental anguish, over many disappointments and disillusions. I was almost moved to tears for Beethoven, the master of music, who was so misunderstood by the court, by his friends, by the ladies, but who was so full of human kindness that he could easily be won over to sympathize with his fellow-man's thoughts through his sensitiveness as an artist and his generosity as a man. And as I gazed, the sun began to disappear and the shadows gathered more thickly about the head of Beethoven, and seemed to say—“I suffer—but such is my fate!” Through art a great spirit has been made real. May the splendid work of Seumas O'Brien inspire us to greater artistic accomplishment. WE THANK MR. KRESGE It is the eve of our graduation, after which we shall face the world at large and endeavor to show our worth; when the world shall say to each one of us, “Just what can you do? Mr. Kresge has given us just that kind of opportunity during the year, in offering prizes for posters and modelling for real advertising purposes. These live problems have inspired our students mightily. МА few months ago, Mr. Kresge presented to the city one of the finest and largest architectural master pieces in Newark, in the form of Kresge Department Store. We feel complimented at his interest in our work. We hope to find in future years other philanthropists who will appreciate our ability as well as he. We take this opportunity of thanking Mr. Kresge for his generous patronage. Gladys Black. The great architect, Mr. Ralph Cram, said, “Architectural schools should also teach all the Arts and Crafts, and the Allied Arts, thus placing them at the service of constructural design. He claims the resulting course would be a well-rounded and essentially professional one. This and other telling points were stressed in his very brilliant lecture given under the auspices of the Newark Art Club in the Newark Museum. Fawcett students were given the privilege of attending this lecture. А large group, many of them from the Architectural Department, attended, thus proving their intense interest in all things “Art-full”. THE MAN WHO HEARD THE BLACKBIRD’ A Folk Story OD ELIM of the woods was both solitary and silent, and for all that was known about him, he might have been the wisest or the most foolish of men. Never a word was he known to waste in talk, as though he was saving all his thoughts for some reason or no reason at all—and as he had no faults, his friend Duric of the Bogs, who had as much curiosity as a cat and just as much patience, tried to find out if he had any virtues. Felim lived on the ridge of a hill in a house that was neither large nor small, but it had one door, four windows and a spacious hearth and that's plenty for any- one who knows the difference between too much and enough. There were no pic- tures on the walls, or distractions of any kind, because when you looked through the four windows you saw pictures greater than man ever painted and every day they changed, so that you never grew tired of looking at them. Now Duric loved Felim and the house as well and whenever he felt lonesome, and that was often, he used to call on his friend and through the dint of diligence he learned just enough to make him wish he could learn more. Felim, he dis- covered, not only knew the birds of the forest by their color, but by their songs as well. But there was one bird that he could only see and this was the bird of all birds that he wanted to hear. As far as Felim knew, no one ever had heard this songster. The name of the bird was Felim's secret and to find out the bird's name was the task that Duric set out to accomplish. Effort after effort was made by Duric to wring the secret from Felim and he was about to give up in despair, when it occurred to him that while there's life there's hope and he so old that he not only forgot his own age, but the age of Felim as well. So after a great stretch of years, he made another journey to the house on the hill, full of recent news and expectancy and found Felim seated by the hearth where faggote blazed and tried to engage him in conversation. “Patriac, the shepherd saint who banished the snakes, is dead,” said Duric. But Felim did not speak or show sign of joy or sorrow. “Oilean-Ur was discovered by a navigator out of Genoa,” said Duric. Felim kept gazing into the fire. “There was an unheard of upheaval and great slaughterings in the western world. Monarchs fell from their thrones and nations were torn asunder,” said Duric, rising like a man full of knowledge. Felim did not budge or move his lips. Duric walked towards the door, swung on his heel and said, “Felim of the woods,” said he, “the man who heard the blackbird was killed in the unholy war. Felim gazed in amazement at Duric for a moment, then dropped his head like one who could never speak again. Frances Ledwidge, the Irish poet who was killed in the world war. “Oilean-Ur” means America. Patriac is the old way of spelling St. Patrick. Seumas O'Brien. COSTUME DESIGN “Vanity, vanity, all is vanity.” What a furore that saying has always created! But today we freely assert that the woman who is well-dressed has a right to be vain. She must have taste and discrimi- nation, combined with an expert knowledge of color and design. The costume of today demands a highly-developed, selective ability. Materials, colors, and accessories must be so combined as to create a perfect ensemble. A knowledge of color and design as ap- plied to dress should be acquired by every woman as a highly im- portant part of her education. In line of professional costuming, the ability to portray an idea is of the greatest aid in working out a design. Sketching, rendering in color, and working in various mediums are a part of the training of the well-equipped professional dress-creator. TEXTILES Техше Design in preparation for commercial work FAWCETT BATIKS When Batiks hang upon the wall When all about the smoke doth blow, And Dick, the sheik, doth shine his nail, And coughing drowns Pop Davey's saw, And Hilda lingers in the hall, And tears that flowing downward go, And wax comes hardened white in pail; And Marian's nose looks red and raw; When brush is dipt and silk is spread, When dye be mixed and in the bowl- Then sprightly boils the hot bees-wax Then blighting rings the fire-drill bell, DeWitt! Ding it! From whom! A warning note! Dang it! A tragic note! While Mrs. Brown doth stir the pot. For Tailor then doth spill the pot! E. L. Martin (After Bill Shakespeare's Winter ) THE TRIUMVIRATE )esign (exulting): I am everywhere! I live in everything! the great spaces. I rule the Universe! Color (unperturbed) : Yes, but I rule you. Design: Away, away! Color: I would, but cannot. Design: Then I will go. Color: No use, | would only follow. Design: You shadow me, you dominate me, you try to destroy me, but I will The tiny corner, escape. Color: You cannot escape. Without me, you cannot be. When I go, your existence is done. | Design: Хо, it cannot ђе so! Color: Itisso! It is the truth! (Enter Beauty— distracted, wan). Beauty: Why will you renew this futile dispute? The great laws of the Universe will prevail. Color and Design: But we are parts of the Universe! Beauty: As such, you must obey its laws. O stupid ones! Be calm and hear me! Without Color, Design cannot be. How to show your beauties, your lovely forms, if light gleams not forth? When it fades, you, too, grow dim; when color is gone you, too, have vanishéd. Live in peace and harmony, otherwise you kill me. As you love me, control your selfish whims. Then we three will rule supreme. Esther L. Martin. MILLINERY Тће hat of today, although it appears to be simple, is really an extremely subtle combination of color, line and form. То build an attractive hat is an achievement. There are many necessary details to be mastered, but this foundation must be rounded out and enriched with a knowledge of the principles of color and design. The success of the millinery expert is measured by her skill in combining manual dexterity with artistic inspiration. M. H. Gervenak. Throughout the world there is a hunger for art, a desire within every human being to bring art into closer relationship with life, thus making more complete our appreciation of all that is beautiful. The desire for art in its relationship to the home is creating a great demand for arts and crafts classes. There the student works out his art interests in objects which have beauty and utility. Through his efforts to enrich his home with beauty, he enriches his own life, thus winning the artist's greatest reward. Nona Owens Campen, of the Arts and Crafts Class. — — THE SPIRIT SPEAKS WHY? Why Design? LILLIAN MILLER What the Museum Means to the School. PAULINE SWEENEY Why a Beautiful Newark? Jean Morris We Thank the Newark Art Club. Eısıe Кои, Why Poster? LYMAN CONGER Why Interior Decoration? Marie KisLinG Why Portrait? Georce Foy Why Attend Exhibits? Mary Ryan Why Study Figure? FREDERICK MAURER The Exhibition of the Museum. Marie Cuozzo Why Study Landscape? Lyman CoNGER WHY? WHY? In design we are taught the rudiments of composition, rhythm and symmetry. In fact the basis of all good work is “Design.” We go to the Museum for inspiration, to study the works of others and to do research work. Fawcett pupils are most fortu- nate in having such a splendid cooperation with the Newark Museum, for the officials are ever ready and willing to help the students in any possible way. A city creating a beautiful atmosphere for the life of its people is usually one which occupies a constructive place in the history of the world. Newark, to realize the ambition of из founders, must be beautiful not only in its parks and public buildings, but in every phase of its being. We art students are trying, in our little way, to make our city still more beautiful. Due to the benevolence of the Newark Art Club the students of our school have been able to attend excellent lectures given by renowned artists at a minimum cost. The Club has also furnished enthusiasm in the Poster classes by a tempting offer for a suitable poster for each lecture. To tell the wide world what it's all about. That's the poster idea. Poster is the two-fold job. It earns one person his bread and sells the other fellow's goods. It is the one means of joining the public and the merchant. We study interior decoration to learn the application of the prin- ciples of form and color, to the problems of making our homes more attractive. Why a portrait? To please our friends? To satisfy our vanity? To hand down to posterity the beaming likeness of ourselves? Perhaps to keep the proverbial wolf from an artist's door. Ask me another. To give us a better appreciation of the fine arts. To give us a better idea of design. To keep us in touch with the rest of the world of arts. To broaden our own viewpoints. What is so beautiful as the human figure? We who are ever striving for perfection must study God's masterpiece if we want to know anything about art. 'The Museum is indispensable to the art student because the mas- terpieces of the world's great artists аге to be found there. This year at the Newark Museum we had an architectural, water color, poster and rug exhibition which greatly helped to develop our knowledge of commercial art. Why do we study landscape? To give one a glimpse of nature's vastness and to reproduce on canvas her fleeting moods. Why Have We а Fourth Y ear? DorotHy GANN Why Study Fine Arts? Camp WEYAND Why Study Modelling? ARPAD STANEK We Thank the Library. SARAH Loro We Thank Newark. MARION OSTERMANN Why the “Ye Paint Pot”? Laurette WisserT Why the After School Life Class? Jean LAUER Why Call It Arts and Crafts? МОМА Ow ENS CAMPEN Why the Quick Sketch? R. Jona Why Study Antique? Евер W. DREBER Hats and Why? Ем� у Naco The Art of Dieing? RALPH KOEGEL Why Saturday Classes? E. L. MARTIN America’s Contribution to Art. Why Geometric Jewelry? Ертн GUSTAFSON To satisfy the urgent desires of an enthusiastic three-year day class, to further their knowledge of landscape, of poster, of cos tume or of interior decoration, to give the eligible students a teacher’s training course, is indeed reason enough for a fourth year. We study the Fine Arts so that we can understand and appreciate painting, sculpture and architecture and that we, too, may be- come artists and contribute to the world of beauty. We study modelling so that we can fashion with our fingers the designs we would like to execute in wood, marble or bronze. We take this means of thanking once more the Newark Public Library for throwing its doors open to our students at all times. We would also like to thank the librarians for the help they have always rendered us. We thank citizens of Newark for coming so ably to our assistance when we asked for their help in making this year book а súccess by giving us their ads. We day students have instituted the production of the yearly magazine called “Ye Paint Pot”. All the articles, all the designs used were executed by the students. We have after school classes so that the enthusiastic students may have a chance of continuing their study of the nude. Because articles combining both a practical and decorative value are made in the arts and crafts classes. The artist catches an illusive effect. He records an action with a few lines. Later on in his studio he dreams, daubs and develops his idea. Because it is the finest art of all time. All fundamental principles are found in these works of the old masters. Every conscientious student should study the antique. Hats on! That's where they belong. They must be comfortable, in style, and suit the personality of the wearer. To die or not to die. Be a die cutter if you are neat, patient, artis- tically inclined and keen of eye and mind. And if you want to. Night students become like owls prowling out after the sun has set, so now they are given an opportunity to enjoy working in daylight. The Set-back Law will bring forth from designers a new style of Architecture; a real contribution from America to Art. The geometric patterns, originated by the Greeks, have never been surpassed because they tend toward simplicity in which we find the greatest beauty. LANDSCAPE ‚ 4h wa NS gees. Sen me кз b. = EB === = Decorative Landscape Wall Panel— Tempera Paint Lyman Conger Old Mill—Oil Painting DECORATIVE FIGURE AND FIGURE Decorative Oil from Costume Model in Oil Decorative Tempera from Life The introduction of life drawing from the nude has added much interest to the allied subjects this year OF THE WEST Curlews are hi [n dark ocean caves. Swift ships are sailing [n from the sea, [he banshee is wailing Мо� е by the lea. Pull the blinds yonder, Close the door tight, Let no one wander From this house tonight. Turf for the fire, A pipe and a chair, ГИ smoke till I tire And conquer all fear. Qut of the west 'The cold winds blow, And there 15 no rest Wherever you go. Seumas O'Brien. FAWCETT SCHOOL FRATERNITY Back in the early part of 1921 there were nine students who conceived the idea of an association for the advancement of the interests of the student body and the welfare of the Fawcett School of Industrial Arts. A constitution was drafted and adopted at their first meeting, which was held March 16, 1921. At this meeting, which was attended by our former beloved principal, the late Hugo B. Froehlich, the first officers were elected as follows: President, William J. Roth; Vice-Presi- dent, William L. Heuser; Secretary, Vincent J. Wassell; Treasurer, Thomas Waldron. Other charter members besides these officers were Hugo B. Froehlich, Peter J. Vasselli, Edward Lewandoski, Nicholas Gervase, Joseph Beers and Michael Drogitch. It was decided at this meeting that the association would be known as “The Fawcett School Fraternity” and so came into being. As time went on other students were received into the Fraternity and on Friday, November 4, 1921, the Fraternity held their first dance in the auditorium of the Girls’ Vocational School, at which refreshments were served. This dance was held chiefly to promote good fellowship among the students and also to invite other students to join the Fraternity. This marked the beginning of recognition of the Fraternity by the student body as well as the faculty as an outstanding factor in the school. These dances and other activities have continued throughout the years, always bringing further success to the Fraternity, and an ever increasing member- ship, which is now nearing the 350 mark. These activities have gradually attracted interest throughout the school, where the student body and faculty alike look for- ward to receptions, particularly the famous Masque Ball, which is now an annual affair. Starting with a small group, full of determination, overcoming many mis- givings, it has steadily grown and grown until it has developed into the successful and still expanding organization. May it be with a guiding hand that will lead future students of the Fawcett School of Industrial Arts to a higher and brighter life of success, and as the years roll by, may it be an everlasting memory, cherished by all those who share in its Fame and Glory. Fraternity colors, jade green and white, and Fraternity pins have been adopted and a fast growing monthly news leafllet, The Fraternity News has been inaugu- rated, which has reached a monthly circulation of over 800 copies. With the steadfast backing of our worthy principal, Miss Marguerite Mar- quart, and all other faculty members, our Fraternity creates a general feeling of good fellowship among students and instructors. LONG LIFE and PROSPERITY be yours, Fawcett School Fraternity. Fred Ruppert, President. CARTOONS V | Wuunër N - Gr oW ч (№ || h š N š N N N š ] N N N MECHANICAL CLASS HE modern mechanic must have a highly specialized knowledge. It must comprise not only practical and manual ability, but technical and theoretical accuracy. Besides the basic fundamentals which underlie the study of mechanics, there are many allied subjects, a knowledge of which enables the trained man to take a commanding rank in his chosen field. In these days of concrete and steel construction, strength of materials is of vital importance. Factors of safety must be figured by the mechanic with mathematical precision and an accurate knowledge of the effects of specific conditions. When a rigorous training in higher mathematics and a comprehensive grasp of all mechanical problems have been acquired, the graduate steps out to find his position in the world, with the sound understanding and eager enthusiasm that come with the power of knowledge. MECHANICAL DRAWING aECHANICAL Drawing is the method by which the engineer con veys his ideas to the builder of machinery. It is the design which the pattern-maker and the mechanic must use. As far as possible all plan ning and experimentation are done on the drawing before the model is made. И must be executed with accuracy since measurements as fine as hundredths of an inch must be shown on it. The draftsman, having drawn the preliminary plans from a model, has them approved. He then proceeds to work up a set of tracings from which a final set of blue prints is obtained. These prints are then given to the pattern-maker. who рго- | | | I ceeds to make the model from them. Then the pattern is inspected and the engineer makes the necessary improvements on the tracing. Often the machined piece con- veys new ideas to the engineer, who will have it redesigned. Frequently the new model is changed considerably from the original model. Sometimes the pattern is right according to the blue print, butthe engineer who checks it finds an error due to some fault in tracing. To recheck a drawing in many instances means a saving of large sums of money to the producer. From this we see that the student must be, above all, accurate if he wishes to be a success in this field. Charles T. Brennan. OFFICERS OF THE CLASS OF 1927 GEORGE L. Foy President urers of Graduating Classes FRED -RUPPERT Vice-President JARTLEMAN Interior Decoration ALMA D. ELLISON Secretary UBERT ING General Art Este HARDY Treasurer А Irchitectural PEARL BROWN t : Mechanical Рни� р M. WAGNER Faculty Advisers JA Day Class MARGUERITE MARQUART RAGASSO Costume Design Picture Commit FLORENCE KEN Margaret Marshall Emil Mayz Marion Wirth Vincent Miller ngs and Pins FRANK WHITE, Chairman WILLIAM EL, Chairman Arthur Siegal Vincent Miller Arthur Siegal Fred Kaelber Emil Mayzel Howard Lee Emil Mayzel Гћеодоге Jurik YEAR BOOK STAFF CLASS OF 1927 1ssociate Editors Marie H. Cervenak Henry Hohman Ethel Bartleman Stephen Sisko Editor-in-Chief EsrHER L. MARTIN 1ssociate Editor D. DOROTHY GANN Faculty Adviser MARGUERITE MARQUART Charles T. Brennan Vincent Mille: Business Мај Harriet Falter Regina Manion Stanley Winget PuiLIP M. WAGNER The portraits in this book were done by Dallas Mallard and Frederick Maurer, students in the day portrait Class. In appreciation of their generous help, we wish to thank our class advisers and all those who so kindly assisted us in making our Year Book Editor-in-chief President the Year Book Class of 1927 MAN ) Design Don Studio on Fifth Avenue (Newark). ђе the f thought hast an awful ее.” Millinery Marte D. Cuozzo “Сиз” Costume Design Quiet, modest, and unassuming.” Her letterheads will read “MARIE, МО. DISTE.” Millinery EveLys Hack I Rıcnarn HENRY HoHMAN “Dick” elry He'll climb a moun tain peak and sce e quaint and sub vays to kill ] all his Designer of stage cos- heart's desires.” tumes (for Loew's). May Krespe “Mae” Costume Design “A sweet, attractive kind of grace.” Wants to start a Union for Costume Designers. GARET McLAREN “Peggy “Her face betokens things that are ood.’ Millinery His acti louder thar Mechanical engineer RWIN RENTSCHLER 'Rentschler” Quiet and industri ous. Advertising Where he is known as 'Horse Power Her man. ” Epwarp Ross: “Ed. Architectural Interior Decoration | “For him the world Prospects— A on would have no joys, vay ticket to Paris and - 1 it there were ne wither only boys. Costume O Heler Dress rm 'Zenkl, Lupo Spitz’ Apologies to Hart Schaffner Marx ARPAD STANEI ARCHITECTURE Of all the material contributions to the well-being of mankind, nothing strikes the incoming stranger to America more than the skyscrapers and massive bridges which characterize its large cities. Up to the present day, the tall buildings have been the experiment of any and every architect who has some originality, and the results have been sometimes gro tesque, indeed. But that period, we believe, is slowly passing, and there seems to be no doubt that the skyscrapers of the future will be as beautiful and as useful as were the ancient buildings of Babylon. By instituting an architectural course, the Faw cett School is contributing in making our country a land of beautiful buildings and palatial homes. What а different world it would be if everybody took a course in architecture and engineering. Whatsoever the branch of work one would specialize in, there would be none of the faults in construction that are so evident on the stage, the screen, in thé short story and many of the longer poems. It is, indeed, fortunate for us that our American architects and engineers are more interested in the welfare of mankind than they are in self-exploitation. If their creations were as faulty in con- struction as are some of the plays we see on Broadway, or the stories we read in our magazines, most of our important buildings would not withstand the shock of our first Thanksgiving wind storm. Vincent Miller, '27. í MUSEUM RESEARCH De Art students are constantly being trained to love fine things, —fine in their color, their proportion, their simplicity or subtlety of design and they know it 15 skill and taste, rather than money, which produces beautiful things. The museum collects such things from all over the world, in order that people coming here and enjoying them will learn to know and appreciate good design and good workman ship. The art school can adapt museum objects to practical designs, which may be applied to articles of everyday use and thus both institutions working together will help to bring enjoyment of beautiful things to the people of Newark. For the Newark Museum—Beatrice Winser. ARTS AND CRAFTS | A Јо = B r CLASS PROPHECY Пау hy: hool, 1927 ose genuine surprises—a warm, bright spring day in the middle of March. As I joyfully did my daily dozen, to the inspiring strains of the radio, I suddenly realized that the day was Tuesday, our landscape day, when we go out of doors to paint, so I snatched ту paintbox and hastened off. Within a few minutes, I was painting busily in one of Newark's n most charming, quiet road and Market Streets—when suddenly 1 dropped my brush, which rolled into the center of the street. I rushed to retrieve it when something gently bumped into me and I must have fainted, for upon awakening I found myself seated in front of a man dressed in armour and on horsebac k. [ squirmed around to see who had so rudely picked me up, when I gave a shout of surprise for the man who held me in his muscular grip was Harry Dragonetti! Why, Harry,” I exclaimed, “whatever happened to you, you've changed so. “Calm down now, Miss U. R. Temperamental, don't you know that the army makes a man out of anyone? he asked. | nodded my head and kept quiet, wondering about the change I was seeing since | awoke from my faint. Suddenly, however, our horse stumbled and kicked off one of his shoes. Harry angrily stopped his horse in front of a large establish ment—we alighted and entered. Rows of blacksmiths stood in front of electric anvils and shod horses which were seated comfortably in soft needlepoint armchairs. The master horseshoer came toward us and took our horse away and, while he was feeding the horse char- lotte russes, I saw something familiar about the shake of his head. “Why, Freddie Mauer, is it really you? Madame, do you realize this is the year 1940 and I am a prosperous horse- shoer? I do a flourishing business. “What became of automobiles? I asked. You remember a girl named Lillian Miller? Well, she bought up all the different automobile concerns, including the trifling one of Henry Ford, and invested the money in mining interests on the Sahara Desert. Within a year she lost all her automobiles so that the horse returned—and— here is yours. Goodbye. CLASS PROPHECY Harry and I jumped into the saddle and before we had gone very far I made ] 1 him stop, for the beautiful notes of a street org cache еагз. 1 pushed ту way through the tremendous crowd and 1 saw а tall, mannish-looking woman smok ing a long cigar while turning the crank of the organ. It was Marie Cuozzo. She always was a musician, | thought, as I returned to Harry. While we rode I asked him about his History repeats itself, you know. After all the marvelous ideas about ultra modern warfare, a master mind came along—one “Madame” Claire Weyand- and declared that medieval warfare was the best, so that we are forced to be canned according to her ideas. Ву the way, do you remember Lettie Wissert? She is ош mayor now—elected by unanimous vote of the student council. But do you see that woman passing by? She is Pete Fredericks, our head agitator for the Supremacy of man over matter. And so we talked on—passing many men wearing knee-length skirts and flowered silk socks—and some women all dressed like Pete. We passed many huge buildings— so high that no sky could be seen at All but electric lights hung from the roof of every building—and an aeroplane kept swoop ing down and lighting each one of these with a special attachment. “Who can that daring aviator be? I queried. Why, that's Gladys ack. jut see—that might interest you.” Harry pointed to a giant moving picture palace where huge posters exhibited a play starring May Klespe, the beautiíul blonde, second Mae Murray. I was thrilled, but we hurried on. We had passed a Chinese building an d I told Harry that it must be a laundry shop, but “no,” said he! “Thats an artists’ studio. The great Chinese realist, George Foy, lives there. He's had so many inquiries as to the origin of his name that he was forced to revert to his ancestors and grow a queue and long mustaches. Now Bobby, his son, has taken his father's cue and has become another great artist. But here we are at Kresge's department store—let's go in for a few minutes.” Standing at the broom counter was a stout woman with red hair showing from under her wide hat. “Hello, U. R.,” she said, as she thumped me on the back. “Don't you remem- ber me? I'm Marion Ostermann Niblick. I’m buying a new broom for my house. My husband insists on my doing my own housework. I've decided to buy a broom. For my house? Oh, no! For my husband! Which one did I marry? No— not that one—still another—no—another one—after that —and I could still hear her talk as I walked on over to a counter where Irene Maurer was selling a new hair-curling iron—her own hair being as straight as a stick, you know. CLASS РКОРНЕСУ On the second floor we found Pauline Sweeney giving advice to the lovelorn in her black and violet Persian room. She told me that Dorothy Gann had long since gone to Africa as a missionary. I remembered then that this must have been her chosen profession—for her father was a minister. At the other end of the floor Elsie Kull was hard at work teaching her class the rudiments of her famous cadenza laugh, which brought her so much fame on Loew's State Circuit. [n the housekeeping department, I found Jean Morris and Peg Kisling exponents of the Gold Dust Twins Cleaning Powder, and we also found Sally Lord in the store demonstrating her side-center back crawl with which she recently won the Trans-Atlantic race. We were a little late after leaving the store building but we stopped for one inute more to pick up a newspaper which told us all about the President of the United States, Lyman Conger— who was also President of the World Court and of the League of Nations. The paper stated that the president was now busily engaged in his trying duty of painting the portraits of all the members in his cabinet. [n the social column we found that Arpad Stanek, that most successful Spanish—Czecko Slavakian German— French painter and his wife, Jean Lauer, the lady who talks most in the whole world, returned from their cruise on the Mediterranean. We dropped the paper and hurried on—but we couldn't help noting a Wrig- ley's Chewing Gum Stand— where Mary Ryan was demonstrating the latest styles of chewing gum. A little later, we noticed a sign painter putting up a poster about “Dives Cure for Hives. It was Gertrude Flory. Another student had reached her goal. A few minutes later, we arrived at a beautiful white building and I was ushered into the Assembly Hall of the Fawcett School. We were told that the meet- ing of the Supreme Jury of the Student Council was called to determine whether fire drills should be held three or four times a week. Before the meeting started, we were entertained by Cleo Garis of the famous Vincent Lopez troupe, who pre- sented all the latest Black Bottom and Charleston dances in tantalizing fashion. As the president began to speak, I must have fallen asleep for, when I awakened, 1 found myself in the middle of Broad and Market Streets lying on top of my broken paint brush. I picked myself up, ran to my easel and, while walking to school, 1 congratulated myself heartily on the fact that all this had been but an absurd dream and I was glad to think how very different the reality would be. D. e SONGS SHADOWS FALI 1 Night of 1 REMEMBER í R GRADUATION With downcast eyes—we tread the halls, We take our smocks home every night, With voices pitched quite low, Our bags are taken, too, With shaking hands we touch the walls, We don't throw turps to left and right, We fear to graduate. We think we graduate. We listen to each heeding word, And we may say we're glad to part From teachers grown so dear, With our dear We take advice 'bout bee and bird, But We hopé to graduate. Fawcett School gratitude's in every heart, For we must graduate. COMPOSITION DRAW, DRAW, DRAW ` The embryo artist little realizes how very valuable is the study of saucepans, milk bottlés and soup strainers in his first years of struggle for the mastery of art; for these seemingly ridiculous objects teach him nevertheless to judge better pro- portion of line and mass and through continual changing and redrawing of these objects a fine structure is founded which will carry the artist through his whole сагеег. d “The student is horrified by the drawing of casts— but later ori he begins to smile with self-satisfaction on realization that his hieroglyphics are turning into definite reproductions of the casts. He sees Wagner, Adam, Dante, all coming out of the chaos of charcoal smudges on his paper. He sees that light and shade, oan be so manipulated as to become part of the composition at the sáme time, emphasizing the realistic qualities of the drawing. | In later years the artist comes to look back on these student days of training as the best ones of his life, for with the slogan of “Draw, draw, draw” alveays sounding in his ear, he has found the real secret of success. IN. м... AM N. = bb ¡A Oil Panel A decorative gros-point panel, in blue violet, blue green, green and yellow orange, to be used for a fire screen. The design worked out first in charcoal, then in water color and finally in needlepoint. STILL LIFE Water Color Sketch Decorative Water Color Elsie Kull POSTER CONTESTS A live pro blem! That's what we call it! A piece of work for the outside ! world! What an energy it awakens in us! We feel a dynamic force sweep the class. А competition has started. We have had wonderful opportunities for enthusiasm this year. The Newark Art Club offered several contests for posters, illustrating their various lectures. The subjects depicted in these problems were especially appealing to the young artists. A prize was awarded to the winner of the best poster for each lecture. George Foy and Lyman Conger won several of the prizes. The Kresge Department Store offered the school six competitions for posters illustratin g distinctive departments in the store. Three prizes and one honorable mention were given for each group. Dorothy Gann, George Foy and Lyman Conger were among the group of day students who won recognition. These poster contests have brought us into close contact with the commercial world. They have put a new vitality into our work. We feel the urge of creating for the uses of mankind. Among posters for the Architectural Exhibition held in the Newark Museum, the first prize was awarded to George Foy. The third year class submitted eight posters suitable for a cover to be used by the House Beautiful Magazine. Among the 135 covers chosen to go on a travelling exhibit throughout the country are the designs of Dorothy Gann, Marguerite Fredericks, Lyman Conger, George Foy and Fred Maurer. RENAISSANCE ART MODERN PAINTING P o ASS =“ P NEWARK MUSEUM POSTERS 49 WASIHNGTON ST NEWARK N7 ! UNDER nn of NEWARK E | VET MUSEUM NEWARK MVSF J M pets a JAN 15th- 29th 1927. | | LECTURE on SCULPTURE ` ву GUTZON BORGLUM о - NEWARK MUSEUM — yo } KA = ' IN H | ООП = cm 30 км. INTERIOR DECORATION Julia Hall It was one of those very cold days in the dead of winter. As I hurried through the gathering dusk, 1 became aware of a little cottage brightly lighted, a sure haven of rest to a weary soul out in a swirling snow storm. I girded my tired limbs and, stumbling to the house, 1 knocked loudly at the door. A quaintly dressed old woman who had just left her spinning wheel greeted me cordially and invited me to take a seat by the hearth where a log fire burned brightly. As I sat there listening to the whirl of the wheel as it made harmony with our conversation, Í learned my first real lesson in interior decoration. The fireplace, itself a thing of beauty, occupied most of the wall that faced the door. On the other walls hung pictures in keeping with the surroundings. А round table, covered with a colored damask cloth, occupied the center of the floor. On the center of the table stood a large copper bowl which reflected the leaping flames on the hearth. Dainty chintz curtains covered the snow-clad windows and seemed to hum faintly with self-importance at being so well chosen and so artistically hung. The chairs harmonized with the table and the floor was covered with rag rugs. Of course, there is reason for everything, and the reason why there is so much charm in American homes today, from the cottage hidden in some sunken vale at the foot of the sheltering mountains to the great imposing residences on the broad highways of our country, is because we take such an interest in Interior Decoration. Ethel Bartleman, '27. ILLUSTRATION Illustration by Dallas Mallard CAST DRAWING Use your little goo-goo eyes and Then you'll surely see, That instead of noses big, a mouth 'There sure should be. Sharpen up your charcoal there, Some artist you will make; You should much better give this up And become an undertake. Now, Kadie girl, what have you there? А man without a head, You'd better next start from the top Like I have always said. Now we'll start here between the eyes And go straight down a bit; What do you think that you find there? A NOSE is what you hit. For forty years he's taught these things, Some students have grown old, And they have learned to draw with skill Зу doing what they're told. And if you all want a good time And learn something—say You just attend the Kleinfeldt class In cast every day. JEWELR Y Upper Panel Evening Jewelry Work. Lower Panel Day Craft Jewelry. JEWELR У DESIGN STONE SETTING Be ENGRAVING POSTER CONTESTS Corrine Nosher Rose Сехе1 THE STRAIGHT PATH TO THINNESS! How we keep thin? It's simply We go to Fawcett School. We work all дау, We never play, We keep to every rule. We eat some lunch—not very much Some crackers and a nut, A bit of cake, For goodness sake! | 1 А� apple thinly cut. Museum calls us after We sketch until it's dark, We get home tired, Ambition fired ! We're thin! It's quite a lark! D. D. G. n Ostermann erte Geschke ‘Iron rusts from disuse, even so d sap the vigor of the mind and one’s talent who do not understand themsel › artistic Calling s irom ven to serve as a diversion to th ho ехет It postulates and exacts life and know! and work, for art is a form of life, forth by the imagination, } BL. ol piritual life, brought bound and delineated by the work he hands for the advancement of mankind. Leonardo Da Vinci (1452-1519) every one that hath used his talents shall š a š : riven and he shall have abundance, but from nto be him that hath not used them, even that which he Matthew X XV :29. hath, shall be taken away. POEMS PANSIES THERE IS NO SYSTEM He stalks into the office With cigarette alight, With nostrils wide distended, He looks right in and cries “There is no system.” The students talk too loudly, Much more than they do work, II tell you, and not proudly, I’m 'fraid they sometimes shirk— “There is no system.” [ looked out of my window, Such a sight 1 saw! Walking in my garden; Old ladies by the score. They all wore velvet bonnets, Colored blue and gold, Some appeared in purple; Twas lovely to behold. They're putting blue on green now, And also black on white; Their left arms they are using Instead of using right, “For there is no system. Their faces were so tiny, I could scarcely see Their quaint little features; Whoever could they be? He teaches us with system, To work when we are in; When we are out its different, We work with gust and vim, “For there is no system. Now, Mr. Cimiotti, Why not start up there? And skip around the classroom Instead of at each chair? I think “There is no system.” The wind was softly blowing To and fro that day, Making them all curt'sy In an old-fashioned way. [ ran out to my garden, But when I got there, I found only pansies— And all they did was stare! Now if you will reform, sir, The school will change its way, And you will have no earthly need To ever, ever say Nona O«vens Campen. “There is no system.” -Á pem GOOD-BYE, DEAR OLD FAWCETT Words and Music written by Eugene A. Burkes and DEDICATED TO THE PRINCIPAL AND FACULTY of the Fawcett School of Industrial Arts Newark, New Jersey Fawcett, dear Fawcett, Oh! how we love thy name, Through storms and sunshine, Some day we'll bring Thee fame, You righted every wrong, Now you cheer us with a song, So good-bye old Fawcett, Remember that we love Thee so long. Fawcett, dear Fawcett, Painted in every heart, Brilliant in colors, Craven to never part, Aiming to reach the sky, As we leave we breathe a sigh, So good-bye old Fawcett our dearest friend, God bless you, Good-bye. THE SATURDAY CLASSES They stream in on Saturday morning, the babies of our school; faces aglow, eyes alight with the flair of ardor; restless, impatient to start the fascinating work which has lured them away from their play. They rush to their chosen work with the zest of the real enthusiast. Whether 1t be still-life, freehand drawing, modelling or any of the other branches, the same intensity is shown. Fortunate children! Ever making progress, they soon qualify for entrance into the advanced classes, and become Master-craftsmen. E. L. M. AND SO—WE TEACH! Big boys, big girls—little boys, little girls are all helping to pack our Saturday morning classes so full that the walls have actually been seen to bulge several time s this past winter. Indeed, it is quite impossible for the instructors to handle these groups adequately—and our graduation class was called upon for help. About ten girls nobly responded to the call and Miss Marquart installed two girls with each large group—to assist the very capable teachers. What splendid training we are receiving and what really helpful hints our co-teachers give us. We are entering the sacred halls of teacherdom—and a little of the wonder and joy of helping children to see the “beautiful” is recompense indeed. 12.19, С. THE SATURDAY AFTERNOON OIL PAINTING CLASS There is real cause for rejoicing among the all-around artists of Fawcett A Saturday Afternoon Oil Painting Class has been formed. Here adult students may work under the guidance of the dear Prof who Knows! Truth to tell, this new class is a bit big. It is getting positively unwieldy. It is so popular that one becomes convinced that Saturday afternoon cannot be a holiday aíter all. It must be a regular work-day. No? Well, just look at them work! It's not work? Weil, then, Saturday must be a holiday. Hurrah for holidays when we can work on our hobbies. ORIGINAL DESIGNS [WE ЕУ ` CUTAND PRINTEDIN FOR WOOD CUTS ЮЕШ — ASATURDAY CLASS “Art Alone Enduring Stays 1 his tribute to the works of the masters is a deserved one. But 1t is not altogether accurate. ' forever, but there со is the other side of human endeavor to be considered. Nothing lives longer than the memory and influence of a со� - scientious father or mother. To have been either, successfully, is an achievement of which to be proud, even if it 1s no more than a duty. And this obligation goes beyond providing for one's dependents £ 8. during one’s life. It requires that provision be made to carry on such care should a great emergency call one away. Posterity never forgets such generosity. It lrves forever. Che Prudential Insurance Company of America Epwarp D. DurrieLD, President Home Office - Newark, New Jersey M. С. RICHARDS School of Modern Ballroom Dancing Classes Private Lessons Social Dances Day and Evening Send for Booklet Telephone Mkt. 1800 571 Broad Street at Central Ave. NEWARK, N. J. FOURTH YEAR WETTLIN Photographer Y P y ч y NOT EXPENSIVE But Mighty Good While our prices are most reasonable, our work has that indefinable quality which the people term style and which is so hard to obtain except at much expense. 97 BROAD STREET opp. CITY HALL phone Market 3168 ARCHITECTURAL VICTOR STROMBACH, nstructor Amlicke, Joseph Braverman, Rubin Cassini, Joseph Greengrove, Lester Hechtel, George Homlish, John Kabis, Leo Lundberg, John Martinelli, Martin McGall, Andrew Palmieri, Andrew Pashkow, John A. Ravenitz, Ben Sierchio, Fred Sturdevant, John Swirin, Sam Tobia, Peter Van Dorn, William Distinctive y Be š e Framing Compliments Service - - We give each picture en- of the trusted to us individual care and attention, with a view to combining JEWELRY appropriateness and prac- ticality. C LA S S E S Old woodcuts and new 2 pictures of all kinds framed artistically - - by specialists. SHENK PICTURE GALLERIES 32 Halsey Street, Newark, М. Ј. УУМ. F. HINGEL Instructor “Security: The state of being so strong or well made as to render loss or failure impossible.” —Funk © Wagnalls Dictionary A word that stands for protection, shelter, safety, certainty— a word that is truly descriptive of this reliable bank, which stands ready to help you with counsel, security and 4% inter- est, compounded quarterly on amounts from $1 to $10,000. Future comfort and prosperity will live and grow in the sav- ings account you start now and freshen up each week with another deposit. Security Savings Bank of the City of Newark 738 Broad Street cor. of Commerce St. Opp. Post Office Open Monday nights till 8 THE FAWCETT SCHOOL FRATERNITY F xlends heir Best Wishes to the Graduates of 1927 4 May tf be де� A guidt f 4 , 7 f г� аг еа i ever” will attain the highest and lofttest aspiration in life Officers Elizabeth Hayward, Recording Sec” y Franklin Appel, Financial Sec’ y Cyril Hill, Treasurer Fred Rupert, President William Dragnett, 7ce- Pres. Faculty Advisors Marguerite Marquart Pearl P. Brown Philip M. Wagner ARTAMO FIRST YEAR MECHANICAL DRAWING CLASSES GROUPS A and B JOSEPH H. HARRIS = — rc A Noy AV (ell) d TEXTI ARTAMO А revelation in tex- tile painting; drys immediately ; washes indefinately ; and can be used on light and dark materials. Made in 16 colors, put in bottles, as illus- trated, or in box sets of six assorted colors. To add a radiantly beautiful touch to your work, use AR- ТАМО PLASTIC for embossed and bronze metallic and bead effects. [n tubes, as illustrated or in box sets com- plete with assortment of 9 dusting metals, brush, and 2 special tips for fine and heavy raised lines. G. Reis Bros., Inc. 894-990 Broadway New York Instructor GROUP A Arlet, A. Bonscher, A. J. Campbell, J, Di Giovanni, E. Dwyer, E. J. Fallock, B. Friedli, E. Geanfrancisco, E. Hodecker, E. F. Keogh, F. N. Kirk, M. Lamagna, F. Major, F. P. Meyer, J. Miller, W. J. Paul, A. Sloan, H. Spackman, V. H. Williams, A. GROUP B Burger, E. Clark, W. F. Dorflinger, S. G. Fasting, H. M. Groner, L. Horechny, L. Jones, W. Kolody, J. Leonard, W. J. Markowitz, S. A. McGuire, L. F. Miller, W.5D. Napolis, J. Е. O'Connell, E. Rummel, G. R. Schachtele, J. L. Stauber, H. H. Taylor, P. H. Tommasso, А. Voros, 5. А. Winget, E. Wright, W. O. Phone Bigelow 3 JAMES V. PRIOR Carv and Kennv MODELOR AND DESIGNER J KS n š ERE OOKING Gl Memorial Tablets | PICTURE FRAMES Portrait Bust tla Х egilding а� а Кера Portrait Меда Р i Scale Models for Building ( d 0 7777 74) 771 71 ES ( | FIRST YEAR INTERIOR DECORATION CLASSES Groups A and B Robert Castle, Instructor COMMERCIAI WALLS ESSEX SIGN COMPANY D HERTLER, MGR o EQ Alfonso Del Guercio H 6 Y Civil Engineer and Architect 482 BROAD ST., NEWARK, N. J. MITCHELL 3372 Merchants! Building BULLETINS FACTORY STRIPS | 156 MARKET SI., NEWARK, N. J I NORBERT BERTL JEWELER DIAMOND EXPERT Serving four generations of sat- ished customers and ready for you. +6 Springfield Ave. Newark, М. Ј. ве = AND TRIANGLE СО | Жайы. РАТ. OFF Wish to announce they are doing business at the same address 203-205 Market Street - Cor. Beaver Specializing 11 ARTISTS’ MATERIALS PHOTOSTATS BLUE PRINTING Full line of KEUFFEL ESSER DRAWING MATERIALS CANVAS STRETCHERS BRUSHES Phones - Market 5120 - 5121 Connecting all Departments Compliments of the Evening Arts Crafts Classes Moritz Loeffler —n Joseph Streeter Instructors Best Wishes Advanced Interior Decorating Class Mayetta Newman, Instructor Open Until 8:30 P. M. Telephone Mkt 6590 KARL KNIEP LOUIS KNIEP, Proprietor If you are planning a party or dance, come to see us as we specialize in party goods and novelties. We also carry a full line of toys and Stationery. 3 SOUTH ORANGE AVENUE NEWARK, NEW JERSEY Wholesale Retail Telephone al Humboldt WILLIAM B. ADAM Choice Meats, Fruits and Vegetables 310 BELLEVILLE AVENUE Newark, N. J. Phone Market 4313 S. C. Rothrock CUSTOM TAILOR Dress Suits to hire for all occasions 53 Academy Street Newark, N. Ј. Phone Mitchell 2480 Sherrill’s Exclusive Shop Gowns and Wraps Special Line of Dresses at $13.75 and $15.00 Mme. G. Lipschutz Prop. 27 Branford Place Newark, N. J. L. BEYER THE ACADEMY LUNCH Hot Lunch ROOM All - Day 51 ACADEMY ST., NEWARK, N. J. First Year Mechanical Class C Robert B. Shirley John Barfell Carl Bauell Joseph J. Bellina Harry A. Boom Emil Brandt Thomas Campbell Charles Detrick William Detrick Vincent Gruziano Alfred Hasell Norman Haun G. L. Haushalter Joseph F. Keenan Jack S. Koelsch Instructor Edward Lee L. Lothian Elmer McElhose Alex. McGregor George Maxwell Mike Mauriello Henry Morawski H. D. Oderman William Rieber Arthur Sauer Lester Van Deusen W. Wachenhuth Roy Woodruff НАККУ С. BRADSHAW COLLEGE JEWELER Class Rines and Pins Fraternity and Sorority Jewelrv Medals Cups - Trophies Ribbons-Banners-Pennants Engravine and Stationery 54 Clinton St., Newark, N. J. Phone Market 2919 TYPEWRITERS 07 Reminetons Royals Washington Say it with Flowers | ? Underwoods Smiths Street M C [) O N O U P li 2 S | Rebuilt—Guaranteed TH l'el. | | e _ А Миђе� RER, e | We have your favorite мо� а 376-386 Belleville Ave. rebuilt—guaranteed—at | Р р | real money saving prices. N ewal ке М CW J CTSCY You will be surprised at how R easy you can buy or rent one. Avenue TELEPHONI k Come in, phone or write (132 Tel. BRANCH BROOK) Di AMERICAN WRITING |...) Brook I 53 MACHINE CO. ç 4 Phone Mud. 1847 Best Wishes from the IDEA] x 4 2298 o ARE A.S. LUPO | pins YEAR EVENING | MILLINERY TAILOR l SHOPPE Dane aed die | COSTUME DESIGN CLAN A qo 7 7, о Fasihonable I T, + Styl МАТЕ Ol б. Clothes for Men M. Grace Johnson Vincent lannelli Wedding Veils a Specialty 144 Ferry St., | Instructors 167 Ferry Street Newark, N. J. _ Cor. Jackson St. Phone Market 3910 Newark, N. J. UL Successful Artists Use Only the Best Mediums. When vou are graduated and are beginning art work in the big field of Industry, Commerce, or the Fine Arts, you will want your art mediums to express exactly what you have planned them to do. Here are some mediums you will wish to use: “ Crayola’ Wax Crayons for quick color sketches “ Perma” Pressed Crayons for layout, design work, costume, interiors, nature work and finished sketches. (Used in the Newark Schools ) “ Artista Water Colors for sketches and decorative renderings. “ Artista Tempera (Opaque Water Color) pronounced by professionals as the finest decorative medium in the U. S. A., for Magazine Covers, Box Tops, Posters, Greeting Cards, Costumes and Interiors. White and Colored Chalk Crayons for figure sketch and portraits. Lecturers’ Colored Chalks for Chalk Talks and demonstrations, as well as for large color layouts. Our Art Service Bureau, whose services are gratis, will gladly answer your queries on how to use these materials for Commercial or Fine Art problems. BINNEY SMITH СО. 41 EAST 42nd 57. NEW YORK JR ха | SECOND YEAR MECHANICAL CLASS ( MES NSTRU( OR LOUIS SAMUEL RUMFORD | WATCH MAKER Mulberry- 0627 THIRD YEAR GENERAL ART Howard Brown, Instructor WASHINGTON Work Done While - U - Wait FLORIST BAKE I Con fection à 4 WW 5 Š SHOE REPAIR SERVICE High Grade S} Are yers ho Repa TING e y À ; [ce Cream Opposite New Prudential Entrance I SUMMER Ave 51 Academy St., Newark, N. J. COR. SECOND AVE. Т Year Costume Design students A! [, year we ve worked together---the 4 Third Year and Fourtl | and 16 is with a feeling of - š | i | � the Fourth | seniors, be able ut our work in ! as splendid a way our fellow graduates of this year s class. the Costume Ji 4 10 71 Gri uates 0] 192, THIRD YEAR EVENING COSTUME DESIGN CLASS W | the Graduates of the 1927 ( ostume Design Class, wish to express our feel- ing of sincere gratitude for the happy associa- tion which we have had with the Third Year Class. We also wish to thank our instructors for their help and encouragement. FOURTH YEAR EVENING COSTUME DESIGN CLASS Pearl P. Brown Jerome Р. DeWitt [NSERC TORS DESIGN - Keramic Studio A Monthly Magazine for teachers and students, designers and Craftsmen Send for our lists of back numbers, color studies and books zé ZPS Ve tie мо� OMS 7 Eleven ISSUES 17 ІЛЕ yed? J 6. Ol Valuable Reproductions in d Master portfolios a These beautiful French y decorators. The color work is admir publication was made in this country. s and contair Each plate measures about 9 by 6 Japanese Silks, 38 plates, 144 motifs Hindoo Embroideries, 38 plates, 114 motifs Printed Fabrics of Persia and India, 36 plates, 102 (Persia and Asia Minor 1 's, 314 motifs Oriental Ceramics Coptic Fabrics, 4 Chinese Embroideries, 36 plates, 95 motif Egyptian Decoration, 36 plates, 293 motif Czecho-Slovachian Embroideries, 34 plates, Russian Embroideries, 40 plates, 191 motifs 103 motif Each portfolio weighs about 4 Ibs. Portfo motifs , 40 plates, 2 42 Add to above prices lios Ar of D а� а ‹ e sions n material for Schools s which could not be notif postage, acc As these books are imported, the filling of some orders may have to be delayed from abroad. KERAMIC STUDIO PUBLISHING CO. Syracuse, М. У. FIRST YEAR ARCHITECTURAL CLASS А Alphonso Del Guercio, Instructor Robert Bernhard K. Braakensiek Edward F. Campbell Ben Damiani John B. Everet oseph Ferrara p Thomas Foy Harry R. Gould Jr. James Hinchcliffe Joseph Menza Andrew Monaghan John E. Pinto Eugene S. Powers Son, Inc. Consulting Architectural Engineers Newark and Philadelphia Donald Polker Frank Reilly Leonard Reinhard M. Renna Bernard Schmidt Aloysius Sharo Henry Steinbrecher Donald Sutherland Warren A. Wheeler David Worden William Schulman Tel. 8709 Market A. Mezzaluna, Prop. THE STAR ITALIAN RESTAURANT First Class Cooking Regular Dinner and Service and Service a La Carte Hall for Banquets and Parties 85 BANK ST., NEWARK, N. ]. Betaveen Plane and Washington Street: New Building Е = CITY OF GARFIELD Population 2 ` H ) ) ) Telephone - Market 5000 - 2001 Bos a 25000 BENJAMIN MYER Board of Trade COMPANY | : 1 JOHN J. BALDINO Vice-President Builders Art Hardware The Largest Municipality in the County 468-470 Broad St. Newark, N.]. On the Erie Railroad And on the Passaic River Best Washes FIRST YEAR ARCHITECTURAL CLASS B Jay W. Connelly Dr. Frank J. Davey Instructors MODELLING CLASS JAMES V. PRIOR, Instructor Charles Auth Victor Flores Sam Ness Allen Bauble Alfred Forte Harry Nowasky Wilfred Benson Edwin Geils Allen Praine William Berardi Joseph Goldman Chris Puopolo Edward Bortironio John Garmegno Sam Ragonese Morris Chossenoff Marie Hankin Ernest Ruppe Clarence De Carlo Julius Holdt Herbert Schill William Digirolomo Albert Kleinsorgen Albert Schulsteadt Ella Engel Albert Lutz Antoinette Williams Joseph Ferri S. M. McCarthy Stanley Winget Harry Finkel Joseph Naselli Rudolph Wollgraff AAA IES THE WEBER DUO-ART | REPRODUCING PIANO Aet us be known ` by tbe quality of tbe pianos we sell сы. A NV LS e 4 ERAN OS AS) ас KH | | FIRST AND SECOND YEAR GENERAL ART CLASSES Bernard Gussow, zs£ructor Ball, E. A. Blaschke, C. Brady, J. Campanile, A. Carter, G. Cassidy, J. Coats, D. A. Cochrane, W. Cornfeld, S. Devecka, J. B. Herpich, W. Hurbert, J. Hummer, H. Johnson, W. Karnaugh, М. Kelly, I. R. Kirschman, J. Kline, J. 1. Labadics H. M. McFadden, A. Quinn, W. J. Rehling, N. Sager, M. Sanders, T. Scheffel, H. Schill, H. Snyder, D. Stockton, J. R. Thompson, A. Toop, N. T. Dobson, H. Maleck, J. Venosa, P. Freedman, S. Marks, L. Vickers, H. A. Gorsky, A. Mather, L. Webb, G. A. Grant, E. R. Morgan, А., Jr. Wisely, J. Halsey, H. G. Pielage, J. Yotta, L. Probst, G. DEPENDABLE TOOLS Jor ARTS AND CRAFTS AND METAL WORKERS N old quotation preserved in the writings of Thomas Carlyle reads 7 { 2 like this:- “The tools to him that can handle them.) For many years the House of Dixon has not only been furnishing metal working tools “to him that can handle them ! but also to him that ts LEARNING to handle them. And Dixon Tools are always GOOD Tools, MODERN Tools--- Tools you can depend upon. WILLIAM DIXON, INC. 32 EAST KINNEY STREET, NEWARK, N. J. Telephone Market 3867 Pnone Mulberry 2724 M. CORTESE IRONBOUND GROCERY СО., Inc. MEAT POULTRY MARKET We specialize in Italien Cheese Olive Oils, also in Imported 47 Ferry St., . Newark, N. J. and Domestic Goods Residence 33 Union Street 134 Ferry St., Newark, М. ] Compliments of tbe FIRST YEAR EVENING COSTUME DESIGN CLASSES B and С Eizabeth H. Green Alwin J. Klienfeldt Jerome P. DeWitt Instructors John J. Farrel Charles W. Hodge SHARPE BROTHERS CO. Stained Glass For Churches and Residences Memorial Windows - Emblems Signs in Glass Telephone Market 6492 41 Hill Street, Newark, N. J. | SECOND YEAR The Saturday Classes | GENERAL ART CLASS - ` : Nouart Dz. Koshkarian of Children генна Albert Sotok Не� гу Ма� � 7; A E John Stypula Matilda F. Callan Wish to express appreciation of the hiar Coni pee Zeie privilege of contributing to the Ralph Gould LeVina S. Harrison Pipe Year Book Thomas Hanlon Evelyn Tankoos aweett Year Боо Charles Naylor William Schopfer Carl Eck SECOND YEAR GENERAL ARTI CLASS - B Best Wishes Evening Ceramics izabeth штети nn Moore red Hamburger ettie Salmon CV tobert Kennedy � � Sheppard A ASS 12 | | Jeri ( € Arry � уает FIRST YEAR N GENERAL ART d ILL CLASS E D BUILDING С? LOAN АЕН CLA TIS Byron C. Dreifoos, Instructor Rose Bavosa Gemma Locatelli A Series Wilber C. Brower Gorden F. McCarthy Ethel Coners rad Melon р f x%ays Open Joseph Graco Francis McPoland | Matures 17 e L Cars John Elcam p, Jr. Emil Oelkers Gustave А. Faas Katharine Page Cecil B. Fowler Fredeick Palazzi Meets the fourth Tuesday Edwin Gottschlick Thomas Persico Grace Halbig Stella Pietrucha at 679 Mt. Prospect Ave. Raymond Jordan Ann M. Weis Louise Kraemer Bee Wooby |. Tells А; Prod Pres. Зесу. Compliments ој the Second Year Architectural Classes Groups B C George F. Townley - Dr. Frank ]. Davey Harvey L. Fassett JS DX LN A TIK WORK WOOD CARVING TOOLED LEATHER DAY SCHOOL LINOLEUM BLOCK FACULTY SOME OF THE CUTTING MORITZ LOEFFLER 99 Liberty St., Bloomheld, N. J SECOND AND THIRD YEAR CLASS The third year day class appreciate very much having had a part in the Year Book and the second year class 1s looking forward го the time when they can contribute to the Fawcett Year 3ook FOURTH YEAR GENERAL АКТ Howard Brown, Instructor Adelman, M. Folmer, T. McGinness, A. Anderson, A. J. Hankin, Marie McKay, Douglas Brown, G. Hayward, Josephine E. Miller, Clara Carlin, ]. Heidt, J. Fred Reutschler, E. David, Chester Heidrich, George Roth, Charles Donatello, G. Kap lan, I. Salzgerber, A. Ellison, Alma D. Long, H. Tailor, Monte Elinsky, D. L. Manfredi, C. Winget, Stanley School and College Diplomas Telephone : Mul. 3156 a Specialty Eugene Lefevre ART DEALER Painting Restorer Peckham, Little Co. School College Supplies PICTURES Printing of Every Description Framing and Guilding Antiques Repaired 57 59 East 11th St. NEW YORK CITY 971 BROAD STREET Telephone - Stuyvesant - 2453 - 2454 NEWARK, N. J. FIRST GENERAL ART G and OIL Henrietta Basters Carl Bergstrom Eugene Bichler Margaret Botti Arthur Blair John Brundle Ralph J. Bullard Ruth Calhound Orville Clinard Hattie Crosby Richard Furst Anthony Gaspard Dorothy Geller Artists’ Oils - Water Colors Brushes, Pastels, etc. Carl Instructor Materials A complete line of Show Card Colors 47 ACADEMY STREET NEWARK, N. J. Few doors from Fawcett School PAINTING CLASSES Schleusing Jack Gieson Michael McAleavy Paul Miller George Milne Jr. Helen Murawski Helen Proff Dorothea Ridler Emil Schuh Jean Schweizer Anthony Skell Frederick ]. Vickers Albert Wartmann Raymond Watts POOR MR. SUTTA А pencil, please -- Mr. Sutta.”” “An eraser--if you don't mind.”” “A blotter, please--Mr. Sutta.” “And a pen can you please find?” “A jar of paint--Mr. Sutta.” T']] be there--you'll have to wait. “А few pastels--Mr. Sutta!” “They aren't open. There's the crate. “А telephone call--Mr. Sutta?” “It's raised to seven cents. This tube of paint-- Mr. Sutta” “Its sides are full of dents.” Two hundred calls for Sutta, For pencils, pens, and paint, But no sound reached poor Sutta, He'd fallen in a faint. Open Evenings То The Fawcett School of Industrial Arts W ith appreciation of the fine work your school is doing and of the impor- tant place youare filling in contributing to the art need of a great industrial community. A friend of the Fawcett School ARES CRAFTS DAY Moritz Loeffler, Instructor | Bucchler, М. Jefferies, S. Campen, N ex Konweiser, L. Coey, E. Lange, J. Cornell, M. McCall, K. Craig, E. О” Toole, J. Gibson, L. Park, A. Goldfinger, H. Peckham, L. Gordon, S. Petrie, A. Gronheit, S. Rich, S. Guillow, B. Rubine, P. Halsey, H. Sutphan, A. Hasler, E. Taylor, F. Hixson, I. Ward, F. Hoot, S. Zacks, E. Best Wishes SECOND YEAR ARCHITECTURAL CLASS A Louis Ledonne Alfonso Del Guercio Instructors Compliments of Guilbert Betelle ARCHITECTS Evening COMMERCIAL CLASSES FIRST and SECOND YEAR Michael A.Geiger Owen E.Smith Edward P. Kirsch Instructors yA y f А yA Y LAAF MALT A y Thus adver u “ cuted by 2' students GOOD LUCK and BEST WISHES to the GLASS GE J 5 EE From A Friend Fine Ol Colors f UE № D iccesri Artists’ Water Colors V. E d Adde as P oster C O | ors k. У д Pelican Eilido Water Colors In 22 extremely harmonious shades ed brillia PELICAN Works z Guntur R WAGNER 34 East 23d Street New York City Awarded 42 Prize Medals Die Cutting Class Charles Weyand, Instructor and Engraving Class Harry Ober Instructor THE FIFTH YEAR ARCHITECTURAL and the FIFTH YEAR MECHANICAL CLASSES Wish through this advertisement to show their appreciation of the helpful spirit which has been ever present through their entire five years in school. Dr. Frank J. Davey ) Frederick P. West INSTRUCTORS Daniel H. Seaman John Baldino James Berkley Charles Brennan G. Cangialosi Herman Pfadenhauer Thomas F. Connolly Edward Rossi Гћео. Jurick Fred Ruppert Fred Kaelber Arthur Siegel Howard A. Lee Frank White William Yuengel Vincent Miller Ewald Olson Cadmus Parrillo Leo Matzner Emil Mayzel A. M. Siegel, ргор. Phone Mulberry EST. 1875 3199 0395 ISADORE SIEGEL Jobber in Paints AND Wallpaper 8 10 Charlton Street at Springfield Ave. NEWARK, N. J. NOW ON SALE SE: PR ENT--POT š Se VOTRE 25c pon жир е cur new building ae A М А с А 7, [ N Е will be in position to supply you with ` с mr full line of Artistic Materials at rock OF DESIGN WITH pe LINOLEUM CUTS Published by the day classes ој Headquarters for the Fawcett School of Industrial Arts Grumbacher Brushes FIRST YEAR GENERAL АКТ ALWIN KLEINFELDT, Instructor GROUP A Anderson, Ruth Baldwin, Howard Benatre, Ernest Carmer, Westly Connolly, William Cunningham, Albert Goldman, Rose Hess, Ervin F. Johnson, Patrick E. Kasas, Louis Kline, John A. Levy, Julius Mango, Anthony Miller, George C. Munn, Lida Jane Pasquale, Anna E. Pechersky, Bernard Riedel, Ruth Roselle, Carmine Rubinstein, Maurice А. Runyon, Elemendorf S. Sheridan, Joseph F. Spiegal, Lillian Zimmerman, Jay GROUP B Bennett, Stephen Bulger, Francis A. Carus, Thomas Clark, Frank Crystal, Morris Davenport, Thomas Dixon, John J. Gasser, Henry Geary, Howard Geils, Edwin Geller, Dorothy Groo, Violet Hesselgren, Gerard Koch, John Naylor, Peter R. J. Owens, Daniel Pollard, Rose Russ, Erwin Skell, Anton Stachler, Helen Thompson, George White, Marie Winn, Arthur G. Compliment of the FIRST YEAR ARCHITECTURAL CLASS G John F. Brandt Franklin Strong Dr. Frank J. Davey Instructors Telephone: Mulberry 2438 “The Confectioner's Lunch” A Soup - A Sandwich - A Desert H. FINN Stmin 127 Washington St., Newark, N. J. x Her eg 845 BROAD STREET] China - Glass - Watercolor Painting --Opposite Central Railroad-- Firing Daily A Roman Gold-Hand Painted China FTER THE Color - Brushes - Etc. Sa For Sale HOW eod cold soda or an ue cream delicacy China Mending of Every Discription is always acceptable Orders taken for Hand Painted China CANDY — BAKE GOODS — LUNCH Compliments of the See Afternoon Oil Painting Class Compliments of the Evening Applied Design Classes Jean T. Mitchell, Instructor Lydia Arace George Jeffrey Dante Arace Frieda Hecht Paul Benson Betty Freedman Ruth Berman Hillis Partington Hazel Evertz Dorothy Burger Helen Feder Bertha Cohn Marjorie Miller Anna Czernicke Mabel Noyes Evelyn Harth Grace Robertson Estelle Marsh Lena Steinmetz Kathryn Meisel Ann Sheppard Emily Rich Eva Stanford Madison Grant Rowe Helen Trolan William Schmalzriedt Florence Wilkinson Nina Wick Ellen Cloves Robert Zuber John Galway Celia Kanster Gwendolyn O'Connor Augusta Rosenberg Theckla Swenson Minnie Rabinowitz Regina Manion Gertrude Colin Dorothy Zapieka BEN'S SANDWICH SHOPPE NOON LUNCHES SERVED Special Attention for Picnics and Parties 211 Washington Street Phone - Mitchell 9695 MILLINERY FIRST an4 ADVANCED CLASSES -EMiLy Mac Ewan - INsrRucroR Bamberger, Dorothy James, Lillian Robinson, Theresa Camparo, Lillian McCarthy, Agnes Rogers, Miriam Caplin, Marion McCool, Marie Romondelli, Julia Carberry, Margaret McEnroe, Mrs. James Raymond, Etta Cerveriack, Marie McKinnel, Mary Rothwell, Virginia Cole, Martha McLaren, Margaret Sidserf, Elizabeth Conklin, Ann Nalio, Emily Simons, Ellen Crowther, Elizabeth Pape, Anna Smith, Mrs. S. Czernicki, Mattie Pingino, Mary Smith, Mrs. À. W. Ferguson, Eva Piniazik, Elizabeth Stanley, Althea Hardy, Elsie Rabe, Edna Sullivan, Mary Horby, A. K. Ralston, Ada Telfer, Jessie Heaton, Claire Riker, May Washkam, Katherine Kennedy, L. Robinson, Andrew Welsh, Elizabeth FIRST YEAR First Year General Art Groups E and F Vincent lannelli, Instructor Architectural D”” Class ARCHIBALD HUNTER | INSTRUCTORS Adler, Ben Knof, Stanley FRANKLIN STRONG j Apner, Sam Levit, Lillian Beller, Mathilde Logue, Edmund Backal, Meyer Loveaire, Milton Beller, Pauline McGuinness, Vernita Canefield, Howard Macintosh, Stanley Jr. Brown, William Meeker, Charles : : d De Nault, Ernest Melillo, Joseph Colandria, Carmine Mazen, Aaron Diana, Holdsworth Oswitt, Sidney Deyo, Edward Mason, Albert Diebold, Fred Panzer, Viola Donkersloot, John Nagel, Edward Ebert, Dorothy Potter, John Esslinger, John Pitts, Clifford Feldman, А� � а Sandor, Ánton Feeney, William Rizzolo, Anthony Figliuolo, Florence Shanefield, Hannah Knowller, Leo Rizzolo, James Fitzpatrick, Frank Simon, Dora Kill Harold Goslar аф Geller, Benjamin Smith, Charles MOS, aro aries, Herbert Glucklick, Silvia Smith, William Levy, Hyman Shmurak, Sam Habig, Anna Suchow, Beatrice Liebman, Edward Simpson, Raymond Hanson, Emily Tantum, Florence London, Abe Kaplan, Fannie Turley, Evelyn Kiseljack, Charles Wilkich, John Quality E. С. RUEHLE CO. 3532 CLINTON NIE NEWARK, N. J. Blue Prints Photostats 72 | Mechanical Drawing outfits as adapted for the Newark Drawing Schools THIRD YEAR MECHANICAL CLASS Robert Shirley, � structor Annunziata, Joseph A. Lowenbach, Ernest Brower, Elmore Miller, George Farrington, Frank Miraglia, Michael Grubel, Edward ° Petrillo, George Insinger, Alfred Saccardi, John Schulti, Robert Jones, John l'heirolf, George Klumpp, Ferdinand | OA EROS Pran {Tempera A Vetter wcard Color “PRANG” ТЕМРЕКА COLORS Y ellow Yellow-Green Green Blue-Green Blue Blue-Violet Violet Red-Violet Red Red-Orange Orange Y ellow-Orange White, Black, Brown Neutral Gray ‘PRANG pera Colors are admirable Jor posters Z Z John ON fem OS FT HERE is scarcely a more authoritative figure | in the field of School Art than Mr. JoHN T. LEMOS. Keenly interested in the develop- ment of poster work, he wrote us a letter that aptly hits the mark. “The ideal medium for poster work `, Mr. Lemos wrote, ''is a tempera paint. ‘Prang’ Tempera Colors are admirable for such a purpose. They come in a splendid range of colors, tuned to the color circle, and $o on with a smooth velvety texture that is very gratifying. With ‘Prang’ Tempera Colors the pupils can paint a light color over a dark one. This is a big help in making posters and produces rapid results. Some tempera colors do not have the rich color found in ‘Prang’. 'Pran$' Colors contain the maximum color pigment.” Then Mr. Lemos proceeded to describe a practi- cal method of poster procedure for teachers and art instructors with their classes - including a series of seven Dos and Don’ts’’ to develop more simplicity and originality. This Method of Procedure we will gladly send you upon request. Referring to ‘‘Prang’’ colors, make sure that the name “Prang'' appears on the jar - otherwise it is not Drang ''Prang$ Water Colors and Cray- ons are manufactured and owned only by The American Crayon Company. It alone is the original source of supply. “he CAN €PAYON COMPANY NEW YORK DALLAS SAN FRANCISCO .E OFFICE 126 HAYES AVENUE МӨ; FACTORIES SANDUSKY OHIO Printed by the Anderson Office Equipment Со., 462 Broad St., Newark, N. J. The advertisement layouts were made by the students of the evening commercial art classes, under the direction of Mr. Michael Geiger. The retouching of the photographs was done by Nicholas Cacio and Nick Cioffe, students of Mr. Howard V. Brown's evening classes.