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FOR THE
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DEC 8 1941
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VI
CRAFTS TRADE CRAFTS
WPA ADULT EDUCATION
PROGRAM
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/MA
UTAH STAtE DEPT. Of PUBLIC INSTRUCTION
528
INSTTWCTI C>" OF TEE ADULT BLITO
General Foreword
This ¥ork Book, representing the four najor fields of education for the
adult blind; i.e., Braille, Handicrafts, Music, and Trade Crafts, is the
cumulative result of six weeks of summer school training given the thirteen blind
and two seeing teachers on the WPA project for the adult blind. It is under¬
stood that the book is a manual for teachers in these subjects only, and that
it takes no account of other and equally important divisions of work for the
blind such as sight conservation, social case work, public welfare assistance, and
and vocational guidance* Since the adult education division of WPA confines
itself to Instruction in seme form, the workers on the project for the blind
must carry cm these other services as a gratuitous contribution in their spare
time* The devotion of these teachers to their students and to the needs of the
blind inspires thoo with the feeling that they have not performed their complete
duty until they have closed for their students all those doors that lead into
the dark and opened all those that admit to the warm, living world*
It is the part of adult education to fit the grown-up to meet q startling
today and a problematic tomorrow* With the blind, tho task is two-fold: they
must not only faco a new situation but cope with it with now-trained faculties*
For them, as for all other men, life has swung into a modern tempo. They must
learn to take tho longer stride as others do and march heads up and face front
as though thoy could see each next step.
Tho nature of our students is our first problem. Dr. David Levy pointed ■
out that blindness does not affect one psychologically but that there may be a
personality disturbance. If neglected too long, habits of idleness, introvers¬
ion, and mental inertia may bo formed. The teacher must build up in such cases
c doslro for locrnlng and a prldo in self-development. On the other hand, there
aro those who prnsp oagerly at any sort of instruction that will fit them bet¬
ter for efficient living or that will while nwiy the todium of idle hours.
Many of these solicit instruction on their own account. The teacher, then, is
confronted with varying dogrces of studont interest from actual repulsion
against training up through indifference, mild interest, end rcceptivcnoss to
an insatiablo hunger for learning of : ny useful kind.
In the nature of this work, there can be few group classes organized. The
student must be sought in the home and taught there at the kitchen table or on
the couch in the living-roam. This individual method and the atmosphere of
home (often with members of the family hovering about) robs the situation of
its formal school-room spirit. The leisureleness and relaxation of this type
of leader-learner relationship has its advantages. Often the alow pupils is
sensitive about his backwardness. In class work, where others are progressing
more rapidly, ha is likely to beccmo discouraged and drop out through shame.
Often the tension of Braille or handicraft, in which new nerve connections and
new sensory-motor functions must be developed, so great that the beginner is quid-
quickly fatigued and recovery is slow. On this account, regular rest periods
should bo introduced into each lesson and no lesson should extend over one hour.
Economically, this short visit is a seeming loss, especially if the teacher has
had to travel many miles to make the contact. However, it is the only feasible
way in which tho adult blind may be taught...xn r rural state like Utch where
towns are small and distances botween are groat. In urban centers, like Salt
Lako City, Ogden, and Provo, classes may be organized to advantage in Braille,
handicrafts, music, and trade crafts. The group method has tho value of rivalry
stimulus end of interchange of ideas. The type of student assigned to such
classes should bo carefully studied.
528
If he is likely to be worn down by the attrition, he should have home
instruction. If he will probably benefit by the socialization and the com¬
petition, he should be brought into the group at all costs.
Tbe work has three objectives (as contained in this hand book) the
education of the blind of mature years for the sake of culture and avocation,
the training for useful and gainful pursuits, and the enrichment of personality.
The study of Braille is particularly effective as a means of enlightenment and
profitable pastime. It has perhaps no monetary value to its student except in
the rare cases where it is used for ccranercial work or for paid transcribing.
Avocations have the seme benefits as Braille both as a substitute for reading
with those who are not literarily inclined and es a supplement to it among those
who need a respite frcm long hours with their books. Likewise, music may be
used as tr. interest in itsolf or es a relaxation for nerves that are drawn tight
from too much work or too much lack of it. Trade crafts have their own peculiar
piece in this general scheme. They have the advantage of a possible cash re¬
turn. The man who makes a basket and sells it at a profit finds in its making
the joy of ertistic workmanship, the senso of achievement, and the power of
crcetlvo ability. He discovers in the money that comes to his hands a symbol of
his usefulness and a sign of his value to himself and society. Ho is no longer
a pauper or a dependent. Ha is ?• self-sufficient wegt—errner. It is out of
such things that personality is made strong and manhood is set upon sure found¬
ations.
WPA-S-528-U
NO RES PROGRESS ADMINISTRATION OF UTAH
DIVISION CF EDUCATION AND RZCREATION
State Department of Public Instruction, Sponsor
I
BRAILLE SECTION
Division of Education for the Blind
Prepared in
WPA Work Conference (1938)
University of Utah Campus
C, L. vanderBie, Direotor
Published by
Utah Works Progress Administration
Darrell J» Greenwell, Director
Division of Education and Recreation
Mack Nicolaysen, Director
Salt Lake City, Utah
1938
528
-1-
1. Foreword
The adult individual does not enter into educational pursuits because he
is required to do so, but because he seeks the satisfaction of certain needs or
has definite motive§» His experiences in the situations of life have presented
these needs,-«d"tlfough he cannot always clearly see the means through which they
may be met. Thus, it is with the newly blind adult who i3 meeting a crisis in
his life, for he is brought face to face with the necessity of adjusting his
physical movements, his thinking and attitudes and his emotional life to a situa¬
tion in which the visual sense can no longer play its part. He must find a new
way by which he can read his compass and keep steadily on his course.
It is the teacher*s privilege to indicate this new way and in doing so,
she must take advantage of every possible means of motivation; for, although the
student has very urgent needs, he may have an entire lack of confidence in his
own ability to meet them or may not even be conscious of them.
As is the case with most adults, the blind individual is usually eager to
learn. It is only a timidity or lack of confidence in himself because if this
handicap that necessitates such motivation. The very fact that he has lost one
of his precious faculties leaves the blind person in a dilemna.
Braille can become one of the steadying forces which will help him to re¬
gain confidence in his own ability and bring him back in touch with the world
of reality, progress, and development. It may be the first step in his rehabil¬
itation. It should became a new avenue and an open door to self-realization or
fulfillment.
Braille meets very definite needs. Not only does it supply a means for
further education, but it actually provides a tool for financial betterment. It
can became a contributing factor to independence.
In view of thi3 fact that Braille can help o person to find himself again,
it is moat Important that the teacher be well informed and trained to present
the subject in cn understanding and masterful manner.
In Lrnillc as in other subjects, a teacher should have a definite plan and
take advantage of the boat methods of procedure. Adults are entitled to this
consideration for those methods which have been developed through yeers of ex¬
perience and ct reful study, arc- bound to yield the best results.
There are units of study, rules and methods of presentation of which the
teacher should take advantage and incorporate into her work. Although in the
beginning we may not see the necessity of being insistant upon the best perform¬
ance, yet in the end the student will be very grateful for the increased ease
which correct methods will assist him to attain.
Although the time element and the skill which the student acquires is de¬
pendent upon the learner, yet the teacher should organize an orderly plan of
study directed teward definite objectives and continually augment the subject
matter and improve her techniques of Instruction.
I'o:-t instructors of the blind recognize that the teaching of Braille or
any other subject to the blind provides a splendid opportunity for service to
mankind. In lifting up the individual the teacher not only brings more joy to
that individual, but she helps to make him a more valuable member of society.
Society Is a composite of individuals and only by strengthening
the thread of individual life can be build up and preserve a durable and lasting
social fabric.
528
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II. I:T3<ODUCIICK—
The purpose of this section on Braille is to present to present to the
II. INTRDDOCTIC!;—
The purpose of this section on Braille is to present to the teachers a
record of their pooled information and conclusions gleaned from their years of
teaching experience in the special field of education of the adult blind. It
should &3s1st them to gein a clearer conception of the objectives, scope and
potentialities of the teeching of Braille and give specific suggestions for
procedure, orgar.ization, and planning of units of study. We also earnestly
vjojv that it will inspire further research and study on the part of our Utah
teachers so that they may became ever nore efficient in the rendering of the
highest type of service to those who look to them for guidance and help.
This section has been prepared by a Braille committee of five members
appointed by the supervisor of home teachers for the adult blind. This work
was performed during a sumner institute for adult education teachers and
loaders held at the University of Utah.
General discussion meetings of the entire group of home teachers as well
as committee discussions and invididual contributions of committee members
form the basis of this report.
Members of the committee on Braille:
(Mrs) Kathryn A. Thompson
Einar R. Magdiel, Chairman
Iliff C. Jeffery
W. Dewell Whoe-ler, ar.d
Mrs. June Weaver, Secretary
To provide the blind individual with a neans of self expression and
an emotional outlet through personal participation in the cultural
as well as the practical pursuits of life. Once the blind adult has
learned to read Braille, there is available reading matter in all
fields by mfthns of which there may be obtained an emotional outlet
as well as contact with cultural material. The Braille will also
be useful in practical ways such as in keeping records, marking
games, etc*
To aid in the adjustment of the blind by restoring to them an in¬
dependent means of contact with literature* The feeling of depend-
dncy which is forced upon an individual when sight is lost is indeed
crushing to the personality* To be able to regain independent access
to literature, whether it be current, religious or otherwise, helps
greatly in many^|pr ,s to rehabilitate the blind adult.
To promote a personal independent attitude toward self-achievement.
Braille, being only one of several subjects taught to the blind, may
be capitalized upon as an aid to develop an increasing amount of
independence in all activities such as doing chores about the home,
handicrafts, etc.
To provide a tool for e more constructive and satisfying use of
leisure time.
The newly blind adult finds himself with a great deal of time to
waste. When Braille is taught to such a person, many pleasurable
hours may be spent in reading any type of literature which appeals
to the fancies of the reader. The individual may also spend much
time either in writings of his own, if so inclined, or carrying on
correspondence with other blind people.
To provide e vehicle for continuous education.
Through the printed word has learning been preserved, and much of
such learning has been transcribed into Braille, thus making it
possible to continue study clone. There are correspondence courses
available in which both reading and writing are involved, A Third
use is note taking, etc., in any formal educational program.
To provide a socializing agent to counteract the tendency toward
excessive introversion.
Granting that the blind adult has learned to read Braille, it is
then the responsibility of the teacher to encourage end direct the
reading of the student in such a way that the student will be eble
to join discussions, conversetion, etc. The student must be made to
feel that he is expected to give, not just receive. The teecher
must always guard against th. students* use of Broille as a retreat,
thus avoiding social contacts.
IV SUBJECT MATTER
GENERAL OUTLDS —
(1) Scope Extent of the Course— The teaching of Braille can con¬
veniently be divided into four general units which are:
1. Grade One, which consists of symbols representing the letters of
the alphabet and also marks of punctuation, and the numeral sign;
2. Grade One and a Half, which consists of, in addition to all the
characters of grade one, seven part-word contractions, ten con¬
tractions that may be either whole or part-word and twenty three
purely whole-word contractions;
3. Grade Two, which consists of many contractions and abbreviations
divided into four general groups, namely, lower sign contractions,
initial contractions, final contractions, and abbreviations;
4. The Fourth Unit consists of writing Braille with the slate and
stylus. This, however, does not mean that writing should be taught
last. 3fhen writing should be introduced to the pupil depends upon
many factors; and, because of insufficient time for proper consider¬
ation, your cocmittee loaves this decision up to the good judgment
of each teacher. In addition to the above mentioned general units,
there is also grade three Braillo and Braille
shorthand which are special skills that need only to bo taught in
special cases and hence are not discussed here*
Each of the larger general units can be broken down into many smal¬
ler units which simplyfy and clarify the study of Braille.
TYPICAL UNITS —
The larger units of grades of Braille can most conveniently be
broken down into smaller ones consisting of ten-symbol groups. These
smaller groups have been carefully worked out by experts of the Uniform
Type Commission and should be used not only in the teaching of the al-
phabit but should be the basis of the letter group method in teaching all
grades of Braille.
To illustrate how the teacher might break up her subject matter into
units, a typical unit is developed below. There are four steps in the
development of a unit. They ere: preparation, presentation, application,
and achievement of skill.
As our typical unit we will consider a ten-symbol group which may be
used as a unit in teaching Grade IS The unit is composed of the first
ten letters of the alphabet with dot "6" added to each letter thus form¬
ing a group of contractions. There are however, two symbols in this
group which properly belong to other gredes. Namely, n«w with dot "6" is
u "i-ade 2 contraction and j with dot "6" is a Grade one symbol.
528
-5-
II. Orientation
By orientation is :oesnt the teaching of the student to find and keep his
place, to foil"* the lines and to get a clear picture of the Braille page
by developing a sense of location and direction.
a. Have the student handle the book.
The teacher should explain to the beginner the contents, out¬
line, and plan of primer.
b. Encourage independence in finding the page.
Use the page number as soon as numbers are learned.
c. Have the student keep place with the left hand by holding
the left index finger on the first letter of the line so
the right hand need not be drawn back along the line from
right to left.
d. Have student pass fingers across line finding each new line
without actual reading. An entire page may be novered in this
way. This has two advantages. It teaches the student to find
new lines and to fllow them. Posture and position are important
aids to orientation.
III. Helpful Suggestions for Early Procedure
a. Posture and Position
1. Assume a relaxed position.
2. Have student sit at a low table as it promotes relaxation.
If the student holds the book on the lap, he has the two¬
fold task of holding on to the book and moving as well as
reading it. This restricts the movement of the arms and
necessitates stiffness.
3. Rest arms comfortably on the table.
4. Position of the hands.
The hands should be open with the ends of the fingers
resting upon the page. They should be held in a natural
position with no attempt to hold the fingers perpendicular
to the line. The most natural position of the fingers is
really on an angle with the Braille line.
5. Reud with the cushion of index finger.
Caution against pricking dots with the fingernail.
b. Trial Touch Tests to Discover;
1. Degree of students tactual sense before actually beginning
to teach letters.
2. Discovery of whether students tactual sense la developing.
3. Discovery of whether difficulties are due to sensory or other
causes.
•e can now suggest only two devices for such tests*
1. The first five letters of the alphabit may be felt
to see if the student can determine how many dots
there are in each letter; whether they are vertical,
horizontal or on the slant. If the student can tell
any of this, he has a pretty good possibility of
learning Braille. Some readers recognize certain
letters as continuous lines rather than a combination
of dots. The *D' for instance may be a right angle
rather than three distinct dots.
2. The compass has been used to determine the individual's
ability to distinguish the number of points and their
spacing* This compass test has not been tried by
teachers but is merely suggested.
Right Hand Reading
1. The teacher should not be too ready to permit students
to learn to read with the loft hand. Very few people
are extremely left handed. It has been proved that
the cautions against having a left-handed person de¬
velop skills with the right hand have been overdone
and, therefore, loft-handed reading should only bo
permitted when the right hand is incapacitated or the
pupil is so extremely left-handed that reading with
his right hand causes undue nervous strain, awkward¬
ness or confusion.
2. Braille is written or printed for right-handed roaders,
and the mcchenics of reading is greatly simplified if
the right hand is used.
Discourage following tho line from right to left, except in the
ceao of left-handed r- adc-r.
1. If the student keeps his place with the left hand,
there is no need to drag the right hand back across
the line. It slows up reading and wears down the
Breille.
Use hard finished cardboard imnediately under the page. This
tends to make the Braille stand up in sharper relief making it
easier to feel when students wear down dots.
All letters up to and including £ contain dot 1. This explanation
helps many students keep from confusing e_ and h and
Take advantage of period when student is in doors. During the
winter months students generally have fewer outdoor activities
to detract their interest away from Braille.
528
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h. Units.
1* The ten-symbols unit. Most teachers use the letters from to
^ as a basis of other letters in the alphabet; but it is help¬
ful to use this system throughout the teaching of all grades of
Braille. It is worthy of emphasis to advise teachers to ex¬
plain to pupils how the signs through grade l£ and 2 are built
up from these first ten symbols. It helps the student remember
the forms simplifies the teaching of all Braille. We
recommend for this the manual on "STANDARD ENGLISH BRAILLE*
GRADES 1 and 2", published by the American Printing House for
the Blind, Louisville, Kentucky, price 50tf.
£• Three Line Alphabet Method.
While most teachers show the student how the rest of the let¬
ters in the alphabet are made up from the first ten, they often
neglect to write out the alphabet in three lines. The letters
from a to inclusive, on the first; the letters from k to t
on the second; and the letters from u to z on the third, with k
directly under ti, u under k, 1 under b^, v^ under JL, etc.
i• Reduce complex letters to simple components.
An example of this would be to explain to the student that z_ is
plus dots 3 and 6, or n is d, plus dot 3, etc.
J. Special drill with difficult or similar letters.
For the student who confuses £ and <1, an example of this would be
for the teacher to write out a whole" line of £•s with only Id, a
whole line of d's with only 1 £, and a line o? 17s with 2 or 3 d's,
etc., having the student pick The ji out of the Tine of £*s or the £
out of the lino of d/s.
IV. Xdechanlcal appliances found by the teachers to bo helpful in building a
clearer mental picture of Braille coll and symbols.
a. Blocks with removable pegs arranged in the position of Braille cell
(block may contain one cell or more). Such blocks as these have
been found to be the most helpful mechanical aid in assisting the
the student to construct a mental picture of the Braille cell and
Braille symbols. Round headed rivets that can be removed and re¬
arranged in various holes have been found to be the best pegs, and
many students can develop an interest in constructing various let¬
ters. If the block consists of several cells, seme perceptible
dividing lino should be provided, but on such blocks students can
spell out simple words. These blocks not only give a clear picture
of the Braille symbols simply and quickly, but they eld in motiva¬
ting the student by giving him interesting activity.
b. Giant Braille.
For same students who have difficulty in feeling standard sized
Braille cheructcrs. Giant Braille can be used as a device for build¬
ing the student's confidence in his own ability to read by touch.
However, teachers agree that there is a danger in permitting stu¬
dents to becooe attached to Giant Braille by too prolonged use of it.
Students should be gives standard Br-ille as ecrly as possible.
528
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c. Letters written on
1. Henry paper
2. Cardboard
3. Celluloid
U. Metal
These devices are helpful for students who have such difficulty in
feeling ordinary Braille that they rub it down before they learn
the characters. Letters written on such materials as these will
usually stand up until the student le»rns their forms or his 6ense
of touch develops*
Y, Development and Adjustment of Sensitivity.
a. Moontypc
Some students whose sense of touch is not sufficiently keen to
feel Braille, can learn aoontype. In the process of learning
moontype and with some practice in reading it, the student's
*sense of touch Is so exercised and developed that it is then pos¬
sible for him to feel Braille* In such cases moontype is used as
a means of developing the tactual sense*
b. Means of Softening Fingers*
There is some question as to whether or not the inability to feel
Braille characters is due to the hardness or toughness of the skin
on the cushion of the finger. Some teachers have found that ap¬
plying some kind of bland oil (olive oil) or lotion to the skin
on the finger improves the student's ability to feel. A small
cloth soaked in oil may be wrapped around the end of the finger
and left on for several hours daily. This Committee would appre¬
ciate reports from teachers as to whether or not they meet with
any success in doing this.
c. Means of Toughening Fingers.
Sometimes the teacher encounters a pupil whose fingers are so
sensitive that feeling Braille characters for any length of time
is painful and may even cause the fingers to bleed. It has been
suggested that dipping the finger tips in rubbing alcohol may
harden or toughen the skin. This has been used by some musicians
for toughening the fingers to play string instruments. Some
students with such delicate skin and super-sensitivity have found
it helpful to protect the finger by wrapping it in cloth or by
using some sort of finger stall.
d. Dusting the Page Lightly with Talcum Powder.
While, strictly speaking, this is not a device for developing the
tactual sense, several people have found that it makes the whole
process of Braille reading easier. It causes the fingers to slide
over the characters with more ease and seems to make them easier to
perceive. It also eliminates difficulties arising out of perspira¬
tion or moisture on the hands and, in such cases, protects the
Braille*
METHODS
GENERAL METHODS C? TEACHING THE BLIND
I. Uniformity
While we cannot be rigid or do&aatic about uniformity among travel¬
ing heme teachers for the adult blind, since such teaching must be
done on an individual case-work basis, yet we can point out the
importance of uniformity in standards of teaching, aims, and
objectives, and strict adherence to the rules and regulations set
up by the Uniform Type Conmission.
II. Individual Instruction
There are two main reasons why Braille is generally taught by the
individual method. First, there is more than an academic problem
of teaching a subject involved. There is a case-work problem of
adjustment to a serious physical loss with its resulting physical,
mental, emotional and social implications and problems. Secondly,
for most blind adults, locomotion is extremely difficult and usually
involves a shlghted guide. Many blind adults cannot be induced to
leave their homes because of timidity and other emotional reasons.
In many cases distance, physical conditon, and financial consider¬
ations prohibit group instruction. Consequently, most of the fol¬
lowing material is presented with a view toward individual in¬
struction.
III. Croup Instruction
Wherever conditions and object matter permit, group instruction of
blind edults is desirable because of the stimulus of rivalry, ex¬
change of opinions, and r.ost of all, the social contacts. Group
instruction in Braille has been tried and found possible when the
pupil has been given an individual start or foundation. Whether or
not group instruction is practical depends on specific conditions.
Instruction by Correspondence
It has been found possible to teach Braille by correspondence,
particularly if the student has had a start with personal instruc¬
tion by the teacher. Teaching by correspondence is particularly
practicable and economical in cases where the student lives a
considerable distance from teacher headquarters. Our correspon¬
dence division can be a device for motivation, about which more will
be said under that heading. The value and success of Braille cor¬
respondence teaching la dependent upon cooperation between the
visiting teacher and the correspondence teacher.
-10-
7. Word Method of Teaching Braille
To our knowledge, the word method of teaching Braille has not been
tried very extensively on our project; but we recoomend that teachers
try it,
Catherine Maxfield, Research Psychologist of the American Foundation
For the Blind, in her book, "The Blind Child and His Reading", says
"The writer found that the word method, pluss encouragement, before
these children had really formed reading habits, were the two
forces responsible for the average third grade boy's reading with
the left hand before finishing the printed line with the right hand.
The boys who had been taught to read by the word method rarely
stopped to decipher the parts of the word. They showed very little
up and down movement of the fingers. In fact, it was difficult to
detect any movement in the fingers of the two best readers." Tuls
was an experimental class taught at the Parkins Institute,
This method seeks to teach the pupil to recognize whole words as
units without learning individual letters. The only way this can
be accomplished is by repetition end drill. We reconmend teachers
consult the section on Materials of Instruction and study further
the Teaching Braille by the Word Method.
VI• Letter Croup Method of Teaching Braille.
Most teachers ere using this method now. It is in most general
use among our own teachers. It will be discussed in detail under
the section, 9ubjeot Matter, and broken down into units. Most
teachers use a combination of the letter-group method and word
method. The pupils combine the letters into words as they learn
them, using the letter-word method in the beginning to stress the
words as the essential factor in reading, thus relegating the let¬
ter to a secondary position as a necessary mochanlcal device for
building up tho words on the printed page.
SPECIAL TECHNIQUES, DEVICES AND PROCEDURES
I. Motivation
a. Appeal to previous literary interests.
b. Rewards.
Very often the students can be encouraged to take up the
study of Braille and the teacher can build up the pupil's
self-confidence by the simple device of rewards. These
usually consist of encouragement and appreciation of their
ecc amplishments.
c. Appeal to religious interests.
d. Provide suitable reading material.
e. Point out tho practical uses of Braille, such as keeping
business records and accounts, writing recoipts, making
notos, description of patterns, writing and reading, par¬
ticipating in games such as cards, otc., labeling articles
as aid to further learning, etc.
f. Means of occupying the monotonous hours.
g. Appeal to current litcrrturo.
W.P.A. Newsletter for the Blind, Messenger to the Sightless.
Readers Digest end Zlugler Magazine. Some of these are
purely news magazines, such as tho Newsletters; others ap¬
peal specifically to the interests of tho blind.
Jl. Eplnt out that Brr llle offers c mens of independent ror.d-
-11-
(1) PREPARATION — The first step in the development of the unit
preparation, would consist of explaining to the student what the unit, how
it is constructed and how it fits into the general plan or system of teach¬
ing the whole subject of braille in all its grades# It would involve build¬
ing frata the known to the unknown, from what braille the student already
knows of braille to new symbols. In the unit given, the teacher would ex¬
plain that dot six is added to each of the ten characters which the student
already knows and that by doing this, we make a new symbol of each. These
are grade one and a half contractions with the exception of A and J. Any
other explanation necessary to prepare the student to learn the unit should
be given before the material is presented to him.
(2) PRESENTATION. Presentation would consist of showing the student the
characters, actually letting tim feel them not with the intention of memoriz¬
ing them but just to aid him in understanding the explanation*
(3) APPLICATION. With application, the teacher should have the pupil
start to learn each of the new symbols with its meaning. For example.. B with
dot six stands for "gh", "c" with dot six stands for "shn, "dn with dot six
Is "th", etc. When the student has learned to recognize each symbol and to
know its meaning, the teacher should proceed to the fourth step*
(4) ACHIEVEMENT OF SKILL. This step consists of exercises and drills as
usually given in primers* Sometimes the teacher may have to write out her
own lesson shoots with exercises and drills where the various symbols are
mixed up, repeated, used In words and used in sentences* The flnel exercise in
the achievement of skill should be having the student read and write material
in which tho symbols ore usod.
In a similar way, writing can be taught as a unit. Explaining and de¬
scribing the slate end stylus to the student, explaining that Braille is
written from right to left, that dots one, two, and throe are on the side
nearest the boginning of the line end any other necessary preliminary ex¬
planation would constitute preparation.
Having tho student tckc tho slrte and stylus in his hands, fool, handle
and manipulate them...showing him how the paper is put on the paper,...nil,
would constitute presentation.
Application would be having the student, himself, write. This assumes
that he has learned enough Braille to know what he is attempting to reproduce.
In this stege, the student should learn to find the notches of the cell and
learn to select and punch whatever dot or dots he thinks should go into the
letter ha is trying to make.
After the pupil has learned to handle the slate and stylus the teacher
should proceed to the fourth step and ettempt to teach him to develop skill.
Between the four stops in developing a unit there will often be overlapping
but this does not detract from the importance of teaching by units.
Teaching by units is teaching with a plan. It is important in all kinds
of instruction. Tho success of the teecher depends upon her ebility to work
out good units.
-12-
Materlals of Instruction
Manu&ls, Primers, Pamphlets, Reference Books in Braille and Publications
in print.
Manuals in Braille for the Teacher.
I. Standard English Braille Grede One and Two Revised and edited jointly
by the British Bational Uniform Type Committee and the American Com¬
mittee on Grade 2 representing the American Association of Instruc¬
tors of the Blind. The American Association of Workers for the Blind,
printed by the American Printing House for the Blind, Louisville,
Kentucky, 1932* Braille edition 90#*
Purpose and Contents
This booklet is a teacher's handbook and guide, containing
rules and regulations.
a. Handbook for Home Teachers
Explanatory of "Standard Braille Teachers" Illinois
School for the Blind, Jacksonville, 111., 193^*
Primers in Braille
I. Kate Foils: Primer Grade 1_
The letters of the alphabet are taken up in two ten letter
groups followed by the six letter group.
Contents:
Stories in Grade 1 whereby students obtain practice in reading
preparatory to taking up Grade 2.
Can be obtained by contacting the Utah Commission for the
Adult Blind*
II. Standard Braille Series Book I.
a. Progressive Lessons through Grade 1
b. Progressive Lessons through Grade l£
c. Progressive Lessons through Grade 2
Edited by the Illinois Braille Committee, 1933*
Embossed at Illinois School for the Blind,
Jacksonville, Illinois, I93U.
Ill, Alphabetic Index to Grade II with simplified rules, punctuation
marks, and accented letters.
Illinois School for the Blind, Jacksonville,
Illinois, I93U.
-13-
IT. A Grade 2 Primer for Adults
Compiled and arranged tgr Kathryn A. Thompson, July, 1937*
The thirteen lessons are divided into brief sections visx A list
of contractions! aeaory tests, example words, and study sentences,
V. Primer for Adults, by E. R. Latimer
Xxercises taking up sections of the alphabet in five letter
groups. Braille numbers, and punctuation marks*
Signs of Grade l£ are presented in short stories and problems.
May be obtained by applying to the Utah Commission for the
Adult Blind.
71. Grade 2 Chart
Tables of contractions, abbreviations, words, simplified rules,
punctuation marks, accented letters,
Illinois School for the Blind, Jacksonville, 111#, 193^*
Pamphlets in Braille used for Reference
1, A pamphlet containing all contractions and aborevlatione of Grade 2,
Supplied by Braille Institute of America,
7*1 North Vermont St., Los Angeles, Cal,
II, Contractions of Standard English Braille, Grade 2.
Armanged for reference purposes by Alice K Smith,
American foundation for the Blind,
III. Alphabet Guide to Grade 2.
Contents: List of 800 characteristic and problem words.
Contact Utah Commission for the Adult Blind,
Publications of the American Foundation for the Blind Inc. in Print,
15 Vest l6th Street, Hew York City
I. Adaptation of Educations^. Tests for the use of the Blind Pupils
By Kathryn I. Maxfleld, 75/.
II. Reading Lists on Phases of the Education and Psychology of the Blind,
Compiled by Helga Lende — Free
III, Suggestions for Motivating Primary Braille Reading.
By Frelda Klefer Marry, Ph. D. 25/,
528
-14-
Otber Sources of Information
I. Tor a thorough history of Braille consult the book "From Homer
to Helen Keller" by Richard St&yton French.
Obtained in Braille from almost any circulating library.
II. In article on the History of Reading Methods for the Blind, written
by C. L. Lind
May be obtained from the Utah Commission for the idult Blind.
III. A brief sketch of the History of Braille which aopeared in the
V. P. A. Hews Letter for the Blind.
May be obtained at 138 South 2nd East St.,
Salt Lake City, Utah
▼II. METHODS OF EVALUATING THE INSTRUCTION —
There is a tendency to lean on the laurels of work for the blind
in general and not to be critical enough of ourselves and our teaching.
This oomes about because of the nature of work for the blind, the ex¬
cellent reputation of that work in this state and the wide Individual
differences between blind adults. It is also due to the fact that home
teaching of the adult blind in Utah, under the W. P. A. educational
project, is done primarily by individual instruction.
To the knowledge of this committee, there are no accepted, standard-
Iced tests of ability, progress, achievement, intelligence, aptitude,
temperment, or personality for the blind. But to the sincere, earnest
home teacher, this fact should stand as a challenge to be sure that her
teaching would measure up to such tests if they were available rather
than an excuse for anything less than her best. There is being prepared,
by the Utah Commission for the Blind, a rating system for students, which
will be available shortly.
When we consider evaluating the instruction in terms of benefit to
the individual and in terms of achievement of alms and objectives, we
have a definite basla for our evaluation, though it may not be a cate¬
gorical or standardised test which can be used as a yardstick with which
to measure our teaching. If we are critical in our Judgements as to
whether or not the particular pupil has been made more social, more
Independent, more confident, more happy, more useful, more neerly normal,
and more skillful in the reading end writing of Braille as a result of
our relations with him, it is possible to evaluate our teaching with a fair
degree of accuracy.
WPA-E-530-U
WORKS PROGRESS ADMINISTRATION OF UTAH
DIVISION OF EDUCATION AND RECREATION
State Department of Public Instruction, Sponsor
II
HANDICRAFT SECTION
Division of Education for the Blind
Prepared in
WPA Work Conference (1938)
University of Utah Campus
C. L. vanderBle, Director
Published by
Utah Works Progress Administration
Darrell J. Greenwell, Director
Division of Education and Recreation
Hack Nicolaysen, Director
Salt Lake City, Utah
1938
530
-1-
FDREVJORD
Handwork is one of the most effective means of beginning con¬
structive and creative work for the Adult Blind. It helps to
change their wrong concept of life, which all too often is one of
helplessness and uselessness. It is often weeks after the first
contact of the social worker before the blind adult is able to
take up anything in the way of re—education. Even the simplest tasks
fill him with fear. During this pre-learning period the student
*
must be led slowly and gently to a feeling of security in himself
before he is able to undertake even a very simple task. Here hand¬
work may be introduced to begin the magical work of reestablishing the
lost self-confidence which is so important to the well being of man.
Handwork helps to provide an opportunity for the better adjustment
to the situation in which the blind adult finds himself.
It broadens his interests and provides a release of energy. Handicraft
creates an opportunity for him to improve himself socially and econom¬
ically, thereby greatly enriching his life. This book is written in order
that readers rv.y recognize the importance of avocational handicrafts for
tin- blind. Avocational handicraft has great possibilities in the re¬
habilitation of the adult blind, and it is with the hopo of the wider
use of it thet the committee present this manual.
530
-2-
IFTRODUCTION
The material in this manual has been assembled for the purpose of
giving instruction and guidance to tc-achers. It has been designed for
use ir. the har.dicraft division of education for the adult blind.
The pamphlet will undoubtly be used extensively by the teachers on such
projects. The material in these pag.s has beon gathered together in the
hope that a careful study of it by the teachers will open fields of
activity to those blind people who have heretofore been inactive and
that it will Increase the happiness of those who are active.
The material for this manual has been gathered from various sources
and has been carefully considered far its value to both the teacher and
the studont.
The most prominent sources of information hevo been the 1938 Summer-
School art class at the University of Utah, books assigned as collateral
reading for this course, and group discussions of the teachors for the
adult blind of Utah.
The discussion by the teachers which were held during the institute,
have been a vr.lucble aid in assembling the material, as many methods of
teaching crcfta were discussed, and mcny practical articles for use by
the blind wt.ro considered. The caersittoe compiling this material were
Wary Elmor, Hazel leyne, Zella Fessetto, end Esther Elr.vr,
330
-3-
C^.TARISDS OF r.CUlVUAL AND CLASS ROCK 7EACEINS
Much of the teaching on the project for the Adult Blind is home,
or individual teaching.
This is particularly true in the teaching of braille and avo-
catlonal handiwork. Therefore we on the committee thought it not
amies to include a few paragraphs on the problems arising in individual
teaching compared with class teaching.
In class teaching the group comes voluntarily to the place assign¬
ed. The teacher is there with a more or less prescribed outline of the
course.
In Individual teaching this is not so. The teacher must go to
the pupil, get acquainted with his need, his problem, his ability, his
desires.
The approach to individual teaching then is very definitely the
case work attitude. The teacher must understand the individual and his
needs. She must make a differential approach as no two clients are
alike either in his personality or in his attitude toward his blindness.
Again we do not have the common incentives found in group or
class work. Yet incentives there must to. The student must become in¬
terested in his own rehabilitation. However, this objective must not
stick out like a 3ore thumb; as that would only tend to drive the
blind client further into himself. Here again the understanding case
work approach will gradually establish incentives to the~client to de¬
sire something to load him out of the isolation his darkness has oc¬
casioned.
As in all teaching class or individual, we rely heavily on the job
of achievement on the part if the student to provide stimulation.
538
-4-
Wlth the blind adult this means much. He finds he can still function,
can create, can live.
Beside the above which is the greatest stimulation, perhaps, the
teacher must be aware of other stimulations. One nan pest seventy learned
Braille so that he could read his church literature. In handiwork
there is a possibility of sales or of gifts.
Every individual teacher has to be an "A" teacher as defined by
this institute. "He has to be on his toes all the time,"
As in class room teaching; more so in individual teaching the
personality of the teacher is pesanount. It goes deeper than tech¬
niques or devices.
Good manners; good English; neat appearance; personal daintiness,
and above all an understanding heart, and a love for humanity are
necessary equipment in the personality of the individual teacher.
Prepared and submitted by Hazel Layne.
- 4 -
530
-5-
an: aj"d objectives i:: teaching avocatiokal handicraft
To build up in the blind adult an awareness that blindness does not
mean helplessness.
To train the blind adult to do things without sight.
To train the blind adult to do old crafts, or new, by a different medium
than sight.
To provide a medium for building self-confidence.
To provide a common interest between the blind person and his sighted
friends.
To provide for the blind adult a means for the worthy use of leisure
time.
To provide training for muscular coordination.
•5—
SUBJECT MATTER
Unit I
A Few General Tipa and Rules for Art and Design
Unit II
Detailed Description of Units of Work
Unit III
General Methods
Unit IV
Tricks of the Trade
53C
-7-
A FEW GEvEPAl TIPS AND RULES FOR ART AND DESIGN.
Psrhaps toe cost important part of designing construction, or
even landscape gardening, is to understand the use of various types
of lilies. It is important to know the contribution of each type of
line, in order that any undertaking, whether large or small will
achieve the desired effect. With this in view, a few fundamentals
for art designing and art appreciation are now given.
Formal balance means symmetrical balance, and is used perhaps
most of all in architecture to give a feeling of stability. Formal
balance means that both sides of an object are alike.
Informal balance is when both sides of an object are not ex¬
actly alike, or when irregular parts balance or harmonize, which
gives certain amount of relaxation.
A straight vertical line givoa a feeling of formality, height,
and narrowing, and can be used in many instances to achieve this
effect. The low coilinged room may be made to appear higher through
the use of a general vortical design. An inverted vertical line or
curvod vortical lino, is oxpressive of plant life and gives a feeling
of naturalness, ease, and grace. It should be carefully considered
in forming flower designs, therefore, it has its place in all things
which dopend for their success on naturalness, -r.se, and grace.
Horizontal linos give a feeling of solidarity and width. They
aro evident in architecture, interior decorating, and in same land¬
scape gard ningu Thi^ line his many other uses, too numerous to men¬
tion.
Undulating horizontal lines, or horizontal curves, provide rest-
fulness end relaxation, therefore, their use i6 self-explanatory.
:tlique lines rive the feeling of speed. The modern motor
car for exnr;le is a combination of oblique lines and horizontal
curves, this giving one both the impression of speed and relaxation.
Broken lines give a feeling of confusion and disintegration.
Their chief value lies in reproducing scenes of distress and confusion.
Spyral curve produces a feeling of richness, fullness, and plenty.
Hand in hand with the use of lines is the understanding of color and
color ccmbinations. A color wheel is probably the best method of at¬
taining a knowledge of color combination and color blending. A color
wheel may be easily made by following the directions given in almost
all leading books or magazines on art.
All art designing is done to produce an emotional reaction. It
is for this reason that color combinations, space relationship, line,
end many other fundamental art principals should be given due consider¬
ation in the planning of any place of work. Food cartons, for example,
through interesting, attractive shapes, space, relationship, and attrac¬
tive oolors stimulate the imagination. Modem cars aro designed to bring
about the emotional reaction of speed and luxury. The home, if designed
correctly, should produce a sense of quietness and relaxation.
It might be well to mention here that all art must have rhythm.
Rhythm me in a repetition. Minor rhythm is the same design repeetod
again and again, while major rhythm is n variety in repetition. For
oxemple in a roan where brown is used as the color scheme,
all shadi s of brown or many shcdc-s 't least, should be used, such an
arrangement is cl- sacd : s major rhythm. In such a color scheme, a bit of
some other color mui-t be added to give variety. An example would be to have
an oconn scono picture, which would be balcncod ty another blue or green
object in aomo other part of the roam, this is known ae subordinate
53 0
-9-
spotting, and should be considered in all designing.
A few more important fundamentals are a careful consideration of
the use to be made of an article, which determines the material to be
used, which in turn, if given thought, should produce the proper de¬
sign for the article. All designing should be done in a way to carry
the eye easily and naturally over the entire surface. This is accomplish¬
ed through the proper use of line end space relationship.
-10-
FIVE ARTICLES WHICH DELIGHT CHILDREN
Paper sack masks. Directions. Use paper sack large enough to fit
child's head. Cut holes large enough, for eyes, nose and mouth. Paint the
face in any way desired, punch holes around the bottom, through which a draw
string is threaded*
Wrapping Paper Scrap Books* Directions. If wrapping paper is wrinkled,
press out placing a slightly dampened cloth on paper and iron with warm iron*
Cut in desired size for pages, and sew the back with brightly colored yarn.
The child's name or Initials may be put on the cover with crayon or water
color.
Sock dolls. Directions. Materials needed, one pair men's work socks,
and a little yarn of harmonizing color. Cut the foot off of one of the socks.
Measuring from the toe of the sock the cut would be made just before reaching
the white part of the heel, put sock apart, and refold so that the vertical
creases are in the center Instead of on the sides. Along the crease cut the
top only, turn and sew. Fill, and draw together at the top. This forms the
legs and body of the doll* Slip the other sock over, and pull down until
the heel of the sock comes in the proper place for the face* Fold the
foot of the sock down to form a cap, roll the top of the sock, which forms
the bottom of the jacket* Put card buttons on jacket and yarn tassel on
cap* Paint or embroider the face. The arms are made from the remainder of
the sock, which is also folded so that the creasing is in a vertical line
down the center* Yarn is also tied around the wrists, feet and neck*
Leather Animals. Directions. These may be made with leather scraps
which sometimes can be obtained at the relief offices. The leether scraps
are givon only to project Instructors. Cut any animal desired. Tho cutting
suet be duplicated in order that we have two sides for the animal* Sew the
two sides together with a straight piece of leather about one and one half
inches wide. Stuff, work face, and add ears. Manes or tails may be made
with yarn* Animals may also be made with cloth or inner tubes.
Papier 14ache Animals. Directions. Make a wire frame of any animal
desired, being very careful to avoid strait lines. Cover the frame with
Papier Mache which has been colored appropriately with calcimine or show
card color. Manes or tails may be glued on after Mache has set.
SUGGESTIONS FOP PARTY FAVORS
Bride doll. Directions. Use one clothes pin for each doll. Clothes
pin must not b<. the pinch variety. Cut v piece of crepe paper about eight
Inches long or long enough to allow fullness around the clothes pin. The
width of the paper should be detorr-.inod by the length of the pin. Flute the
bottom edge of the paper. Tie a string around the top end of paper where
clothes pin narrows in. Cut another piece of paper about four inches long
and two Inches wide. Paste one end on the head of clothes pin, being sure
to leave a small edge to flute and turn up. The remainder hangs down the
back of the doll, and represents the veil which is thrown back. Make a
bouquet of flowers by rolling a piece of colored paper and sticking it
to the dreaa.
Spring braket of flowers. Directions. Us<_ very smrll gumdrops of
different colours. Use light wire for stems, rod c v ry few lecves mr.y be
mrdc from or> p*. p* p^r. Arr-rgc- in nut cups.
530
-12
Craanental Pillow. Directions. Material the size of the pillow-top
desired, yarn, three shades of blending colours for flower and two blending
shades for leaves. Use any flower design which has a rather pointed leaf
or petal. Cut pattern froc light pasteboard and baste firmly on material.
Thread a darning needle with yarn of the lightest of the three shades being
sure to use the yarn double. Cover the pasteboard completely by crossing
over from side to side. It is not necessary to cross on the back of material
as thi£ is Just a waste of yarn. Repeat the process with the second and
then with the darker shade. There should, on finishing, be three layers of
yarn over the baseboard. Cover the stems and leaves in the same way being
sure to use the lighter shade first. Cut through center of stems, leaves,
and petals being sure to leave two or three stitches on each end which keeps
It from spreading. Fill In the centr with loops or french knots. After
design has teen cut the pasteboard pattern is removed and may be used again.
While speaking of the design it might be well to mention that the yarn takes
up a good deal of space and therefore each individual part of the pattern
should bo placed at loast three querters of an inch from its neighbor, also,
the pattern is much smaller than the finished flower-
RADIO LAMP
Materials required. One base bonrd cbout six inches by four inchos, one
piocc of flass six by four inches, on- figure animal or humnn, one socket and
cord and plnstcrprris.
Directions. Cut baseboard into desir-d shr-.pc. Cut hole the size of
sock< t half wny through board cbout throe end one-half inches from the side
of br.sobonrd. Put figure nbout one-half inch from socket toward front of
b.-se fastening figure to bo-.rd ty ru.nns of sorew if possible. Cov^r br sa¬
bot rd und base of figure with plnsterpc nc end r llm. to dry. A figure also
may bi c varod if doslred. If it is net possible to fasten figure to board
-13-
bjr Beans of sere* the plasterparis nay be molded about the base of the figure
to hold it ir. place. Place coloured glass between socket and figure.
CIAY POTTERY
Roll out round, flat, smooth part of clay the size of the bottom of the
pottery. Then form a piece of clay into long sppke like roll about the size
of the little finger. Place the roll round the edge of the bottom of pot on
the upper side. Pinch the ends of roll together securely. Work round ring
with fingers to take out any irregularity. Do not allow rings to bulge as
the aides of the pot are forned. While working on the inside with one hand
the other hand may be held against the pot or, the outside to prevent bulging.
Other rings are added to the first building the pot to its desired height. If
pot is to flare outward rings are placed slightly toward the outer edge if it
is desired to draw pot inwerd the rings are placed tow rd the inner edge of
proceeding rings. Pot may be painted and shelacked or it may be fired at a
brick yard and then glazed* A special type of glaze is required for fired
pottery. Earth colours may be added to the clay if desired.
CROCHETED PILLOWTOP
Material required: 5 small skeins of germantown yarn of two or three
harmonizing colors; one small bone crochet hook.
Colors chosen for this sample are: blue, yellow, rust.
Beginning with yellow yarn, ch 8. join with slip stitch in first ch of
ch 8.
Row one. ch 3, V. DC in ring, ch 2 3 DC in ring, ch 3 3 DC in ring, ch
3 3 DC in ring, ch 3 join in third st of ch 3 at beginning of row.
Second r w. ch 5. skip 3 DC of former row, 3 DC in first space of former
row. ch 3 3 DC in same space, ch DC in second space, ch 3 3 DC in fourth
space, ch 3 2DC in same space. Join to tr.ird ch of ch 5 at beginning of row.
At this point the block looks square having on long space on each side
and a small space on each corner. Repeat first and second row with blue yarn,
taking into consideration the fact that there should be 3 DC in each side
-14-
space, and 3 DC 3 ch and 3 DC ir. each corner. Repeat operation using rust
yarn. These opera t i :ns may be repeated until desired size has been crocheted.
This nay also be nade into snail blocks using for joining the color with which
pillow is finished.
Pillow may be finished with a simple edge such as: 3 DC 3 ch in any space.
Fasten on second DC of row below with slip stitch, continue until circumfer¬
ence of the pillow has been edged. Instructions for making slip stitch. In¬
sert hook in stitch, throw thread over hook pull hook through both loops.
Abbreviations used: Ch-chain; DC-double crochet; st-stitch.
Round Knitted Rug. Directions. Use rayon pieces, hose, or fine knit
material, cut two inches wide. Sew into balls, Use two small wooden or two
large steel knitting needles. Cast on stitches enough to make half of the
width of the desired diameter of the center. The number of stitches must be
a multiple of three. With second needle knit off three stitches. Reverse
work, knit stitches back on to number on needle.
Knit six st onto no. 2 noedle reverse work and knit six st onto no. 1
needle. Repeat in groups of threo till all stitches from no. 1 needle have
bern worked. This forms a pie shaped piece, and at this point colour may be
changed if desired. Repeat process until the full circle is completed. After
stitchos are cast off, the enter is sewed together with heavy thread. If the
size of tho rug is to bo increased it may be done by adding rows around of
fivt, six or any number of stitches desired. It is necessary to shape tho
row to fit the conter, and this is done by ocassionally slipping the first
st from one needle to the other with knitting it.
Crochot'd rug. Directions. Cut gingham rags about one inch wide. If
othur materials ere used, they must bo cut according to the weight of the
mnti-rial. Use wooden crochet hook. Ch about 30 stitches, turn and fill in
occh loop with single crochet beginning in fourth ch from hook. On reaching
tho other ond ch 3 beforo filling in loops on other sido. Repeat going round
and round, boing very careful to add extra single crochets when rounding the
ends. Rows of different colours may be carrlod out very affectively.
-15-
RUBEER DOOR V.ATS
i&terials required: Seven lengths of wire, two long rubber strips, 365
small rubber links; seven clamps, 40 rubber washers.
tools required: 1 bench having front and backrail, front rail must
contain notches 1 3/4 inches apart; bending iron; plyers for clemping, wire
nippers.
Place all wires through holes in long rubber strip. Place washer on
first half of first wire. Place rubber link on first and second wires.
Place second link on second and third wires. Another on third and fourth.
Continue until row is finished. The second row is worked in opposite direc¬
tion to first row. Each row is begun after a washer has been placed on the
first wire or spoke. 88 rows are required for this mat. The links of rubber
are slightly bowed, all bowed sides must be placed on the same side of the
mat. This gives a better grip on the floor and provides a better cleaning
aurfaoe for the feet. If the operator discovers that his mat is running down
hill or that it has a high center, two washers Instead of one may be added in
order to nako the ends even. After 28 rows have been added finish with the
other long rubber strip.
To finish mat: placement against back rail of bench having the ends of
the wires extending through the notches on the front rail. Using the bending
iron bend each pair of wires toward each other. Bended corners should be
square. Place small clamp over ends of bent wires and clamp with clamping
iron making sure that the v.-ires do not buckle and that the clamp is tight.
Continue until all wires are clamped. Remove from bench and shake down.
This makes a mat 16 Inches wide and 86 inches long.
ZIPPER BAGS
Material used: One seven and :r.e-balf inch zipper; 176 double leather
links.
Directions: To eaoh side of the zipper sew six double links, hsving the
split side next to the zipper, sewing it directly across the center so that
-16-
the ends of tfce 11 rJs are even. This forms the first row of the purse.
Slip the first hole in first link, through top and bottom holes in second
half of first link drew another link of leather, thus beginning a second row.
Through the first holes in the second link of the top row draw the second
half of the first link of the second row. Repeat operation until the entire
circle of the bag has teen made putting the second half of the last link
through the holes in the first half of the first link which, it will be re¬
membered, was left open for that purpose. In adding the links it must be
remembered that one link should never be placed directly beneath another
except in forming of the handle. A link must join two separate links on the
row above as it is done in weaving. The average size purse should contain
fourteen rows.
To fasten bottom of bag. T-rn bag wrong side out, place it flat on the
table, beginning with first link match the two holes in the double link with
the two holes in the double link on underside of the bag, through these four
holes draw the first half of a leather link, through the four holes on the
second half of the links draw the second half of the new link. Continue until
all holds have been thus joined. It will now be noted that where as on the
previous row there were twelve links we now have only six links. It then
becomes possible to sew together the ends of the last row of links.
Turn bag right side out.
If handle is desired a link must be added over the second half of the
third link and the first half of the fourth link on the second row, fastening
in only tho split ends. This is done wh?n the second row of links is being
formed. This link is allowed to lie undctached until purse is finished, then
odd links to this loose end, one imr.odietely below the other, until the de¬
sired length of handle is obtained. The end should be fastened in the last
row.
Purso may be lined with silk.
530 -17-
STENCIL WOrK
Ster.cil with C raj on. Fasten material to be stenciled securely with
thumb tacks tc stencil board or a heavy pad of news paper and fasten stenc^i"1
pattern on material in the seme manner. Paint exposed material with crayon.
Place the material with the painted side down on a pad of paper, spread a
damp cloth on the other side of material and press with a warn iron. Crayon
stencil work may be washed very carefully ir. cool water.
Oil Paint Stencil Work# Prepare material in seme manner as for crayon
stencil. Use White Printer's ink for base, adding oil paints to obtain de¬
sired shade. Mix well on a smooth surface such as a china plate. Cover sten¬
cil brush thoroughly with paint, and pound into material through holes in
stencil patter. Remove pattern and hang material to dry. Oil paint stencil
may be washed.
HOME MADE FASTS
One cup flour, ona quart hot water, one teaspoon sugar, and if paste is
to be kept several days a few drops of oil of cloves, and one quarter teaspoon
full of powdcr.dulum should be added. Make a anooth batter of the one cup of
flour by adding warm but not hot water, pour over the batter thus formed, one
quart of boiling water. Stir the paste constantly while water is being added.
Add sugar, cloves, and r.lum.
DIRECTIONS FOR MAKING PAPIER tlACHE
Tear newspapers into small bits about two inches square. Cover with
hot writer and stand for a few hours or over night. Put paper in colander and
lot water drain off. Squeeze remaining water out of paper and pull apart in
o-dor that the pasta which is to bo added will mix awe11. Add paste enough to
make th mixture as noor lik- soft dough es possible. Color the desired shade
with show cord color or calcimine. For Papier Mac he work, it is not neces¬
sary to add cloves or alum to paste. !/ ry articles car. be made with Papier
Muoho same of which ore listed In this handbook.
-18-
lETHODS
In presenting art work to tie blind adult who has never seen, or who
has been blinded ir early life, the tactual nethod is the only nethod
practical; however, if the pupil has been blinded in adult life, visual
description is effective. Even here, the tactual method is a great aid,
We night call this a combination of the visual and tactual nethods.
In teaching evccational handicrafts to the blind adult a prograr. of
wide vt riety r.ust be offered to t' k- cere of individual differences.
"T.IICKS OF T'T. TRADE"
Through experience, the teacher of the adult blind learns that it is
neceesrry to develop special methods in order to put the work over success¬
fully. There are many simple techniques and devices that may be applied
particularly in the field of handicraft which will greatly facilitate the
work. In crocheting, the student nay be taught to hold the hook as one would
hold a spoon, except that the fore finger should be extended to the end of the
hook for the purpose of separating the stitches. The point of the hook must
be drawn across the foro finger of the left hand: in this way, the blind
person may know the exact position of the hook. The thumb and fore finger of
the loft hand are used in guiding the hook thr_ugh the loops and in tracing
the- pattern.
Tho student must be allowed to grasp knitting needles, extending the
fore fingers to the points of the needles in order to elip stitches.
A metal guide may be screwed to the sewir.g machine cs an rid in guiding
the mrtorir.l. In this way, it is not necessary for the- student to approach
tho ncvdlc too closely. This device will help overcome the ftrr of the mov¬
ing needle. Horse heir mry be used for threading tho sowing machine needle,
dir. ction for using tho here hr ir re as follows. Place th two ends if the
hair together, thrust both ends through the eye of the needle, drew th- thread
through tho loop thus f-rscd, draw hnir through eye of noodle thus bringing
the thread through the «ye of the noddle. Horae hair sty also bo used for
-19-
threading very fine sewing needles. Hairs frx the tail make the best needle
threaders. A good heir ray be preserved by threading it through a large but¬
ton. Same cocpercigl needle threaders are also useful to the blind in thread-
needles.
A special design on a hooked rug may be followed by the fingers of the
blind if it is outlined in basting stitch in heavy thread on the base mater¬
ial.
In the cutting of pattern it is well to use heavy wrapping or newspaper.
Tissue paper dooe not handle easily. The teacher may trace the pattern on
heavy paper, using a tracing wheel allowing the student to cut her own pat¬
tern. In this way the student becomes accustomed to the handling of scissors.
After a student has cut several patterns and has overcome the fear of spoiling
material she may cut a reasonably accurate pattern from a ready made article.
Another device for making patterns is to place a piece of . ..rapping paper
ovor a ready made article being careful to pin the papor securely, then using
a aharp pointed instrument, make snail holes in the paper following the seams
of the part of the pattern r.ueded. From this outline the pattern may be cut.
When a student has become accustomed to cutting patterns ho nay be trusted
to cut his own mote rial.
A special hooked run n.cdle for the use of the blind has been devised
by a university men and may te purchcsed from his agent Mrs. Grace Peterson,
Rivcrton, Utah.
-20-
E7ALUATI0N
Methods of Evaluating Instruction
The social values derived from a handicraft course are many. The
very atmosphere of the handiwork class room is informal and through this
Informality the individual personality is expressed. Freedom brings about a
group relationship and understanding. This freedom is conducive to a spirit
of cooperation. The most successful people are those who can mix and mingle witl
with others in peace and good fellowship. A handicraft course provides a
medium of attaining this end*
The benefits to the individual must be analyzed carefully since the
greater part of the education of the adult blind is through indvidual con¬
tact. Three fundamental measurements of a successfulhandiwork course through ii
individual contcct ere: 1. Has it provided the student with a degree of self
confidence, 2. Has it provided a cocoon ground between the blind adult and
his friends. 3. Has it provided an enduring source of pleasureble leisuro
time activity.
Tho teacher may evaluate tho success of her work by a careful study of
the individual advancement of her students. If the course has not proved
effective in tho majority of ceses it then becomes the responsibility of
the teacher to discover v.:: era in her methods of instruction may be improved.
If the course has failed, doubtless tne trouble lies either in the teacher's
lack of knowledge of the subject or ineffective presentation.
Tho course if successful should have achieved in a measure these ends:
The studont should have acquired c feeling of usefulness, of security, of
acceptance of hio conditon, and a willingness to go forward into tho future
unafraid*
5*0
BIBLIOGRAOT
Goldstein Harriott Irene and Goldstein Vetta, Art in Svery Day Life
Published, New York Macm. Company, 1932
Perry Evanda Kreus, Art Adventures with Discarded Materials.
Potlished, Los Angeles, Wetzel, 1933
Bernett. Margaret Hill, Enriched Cocrounity Living.
The following book may be obtained from Braille Circulating
Libraries:
Handcraft, selected by Lord. Mrs. W. H»
Published by Glen Ridge, Chapter American Red Cross, 1931
WPA-2-531-U
WORKS PROGRESS ADMINISTRATION OF UTAH
DIVISION OF EDUCATION AND RECREATION
State Departnent of Public Instruction, Sponsor
III
MUSIC SECTION
Division of Education for the Adult Blind
Prepared in
WPA Work Conference (1938)
University of Utah Campus
C. L. vanderBie, Director
Published by
Utah Works Progress Administration
Darroll J. Greenwell, Director
Division of Education and Recreation
Mack Nicolaysen, Director
Salt Lake City, Utah
193&
531
1-
M U S I_ C SBC TICS
Division of Education for Adult Blind
A FOREWORD
The aim in preparing this music handbook is to enrich the lives of
the adult blind students, to familiarise them with the art of music and to
equip them for service in this field. As it is a pioneering movement, it
presents a real challenge to the conscientious teacher* Instruction in music
has been found to be of great value to those classes of individuals mho did
not have this opportunity in their youth. We shall try to point out some of
the social, economic, personal, and esthetic benefits which the application
to this art will bring into the lives of our special, under-privileged group*
We shall discuss certain methods, devices, and techniques which are
applicable to this type of work, and shall suggest some sources whore materials
may be obtained. This we hope will aid the teachers throughout the various
districts of the state, to adjust to this problem. As most of our clients are
mature porsons and arc untrained in music, a method of approaching them would,
of necessity, be vastly different from those used in the instruction of blind
children. In order to motivate them, the teacher should employ tactful per¬
suasion, suggest the recreational or leisure time aspect of the question) and
she herself must have the personality and charm to sell her art to them. Some
of the older blind still seem to possess a youthful enthusiasm for knowledge
and solf-improvement, while others need oonstant encouragement to stimulate
thorn to achieve anything worth while. In this handbook wo are endeavoring
to point out a praotioal plan and method of procoduro which we feel will aid
in solving our specific problem.
The only true happiness in life has always come from giving service.
In what other form of education can this principle be more fully attained,
than in the earnest application to music. For musio expresses life on its
highest and most oultural level. It speaks to us all in the universal language;
and it touches our hearts with a deep, emotional appeal. Lathrop aptly ex¬
presses this sentiment in the following quotation!
"Music is in all living things.
And underneath the silky wings
Of smallest insect, thore is stirred
A pulse of air that m^et bo heard."
Or from the words of another gifted peni
"Musie is everywhorei sometimes recognized by us,
and sometimes not. It permeates to everything
with which we come in oontact. It is through its
study that we are ever able to understand lifo
and to live it more fully."
551
2-
The concluding objectives in training our specific group aret
1* To use this art in helping then to overccoe timidity.
2« Through singing, to show the way to a happier outlook
on life*
We advise that the home teacher in presenting this unit of work should
introduce the subject matter rather slowlyj for example, on each visit intro¬
duce a new tone, time, or series problem*
Bibliography or sources of materia Is to be used in vocal, and piano
training can be obtained.
1* In Braille
a. Favorite Songs* California State Library for the Blind,
Sacramento, California, State Capitol*
b. Library. Hew York Publio Library. Department ibr the
Blind, 167 West 25th Stroet, New York City, N* Y.
o* Illinois School for the Blind. Jacksonville, Illinois.
d* Perkins Institution for the Blind, Watertown, Mass*
(These latter must be bought)
Addresses for securing piano music arei
a* The same Braille institutions*
2* Good print method books which may profitably be employed a re t
a* John M* Williams Graded Books, Grades 1 and k inclusive
publishod by tho Boston Music Company, Boston , Mass, and
can be purchased from any music store*
b* Piano method by C. W. Reid which is also graded musle* This
method can be pxrehasod from the Boesley Music Company,
Salt Lake City*
OUT US E
1, Playing for self-entertainment. Motivating urgot
a* Passing time pleasantly*
b* Enrichment of life*
c* Pupil must be provided with type of music suited to him.
d. Scientific methods of prosentation must determine how
far such procedure may bo practieabloj no specific
rulo can be laid down*
o* If self-entertainment is to bo of lasting v&luo to the
blind person, ho must play a definite part in it.
Music provides more completely than any other subject
this typu of self development*
•
2. Playing for rcmunorntion as a motivating cause for those who havo
ability and sfcose location malms such playing possible* No blind
port on Miould be advised to tabs up music as a profession until
careful consideration 1ms boon given to every detail whieh may
make for success or failure*
531
-3-
3. Playing for cnwunity service develops self-confidence and self-respect.
A blind person may be permitted to play at churches, clubs, Sumner camps,
etc. We feel that any such community service performed by a blind person
presents an opportunity to make new contacts,
U» Playing as a means of developing manual dexterity opens new avenues of
constructive work. Dexterity helps the newly blinded person to re-adjust
himself. It also develops agility of movemext .
5, Music as a hobby is a splendid tonic for overwrought nerves, It also tends
to develop native ability. Much ploasure may also be found in experimenting
with music novolties,
6, Broadening of social ecu tacts. The ability to entertain through music is
a key that may unlock the door to social opportunities to the blind that
otherwise would remain closed,
7, Religion, Religious music is an important factor in teaohing the blind,
Portioipaticxi ir. roligious sorvices forms on outlet for tho blind people,
8, Esthetic valuos of music.
a, Dovoloping of appreciation of music is nocossary fbr its onjoyment,
b, Doveloping a teste for beautiful music creates, in the nowly
blind individual, on interest in lifo,
9, Educational Values*
Tho study of music creates an urge to delve into various fields
rolatod to itj o.g.,
a. Harmony o. Physics
b. Countorpoint f. Mathomatics
c. Theory g. Mechanics
d. History and appreciation h. Psychology
10, Tho method of presentation' of music to any adult blind student must depend
upon his particular conception of it. Ho specific rule can be laid down
as a guide to tho teaching of music. The teacher must study the enviroment
and background of the student and tho student's ebility to adapt himself
to now mechanical devices,
11, Danger of over-omphasis• Warning must be given hereto the teacher against
ovor-omphasiting tho study of music in work for tho blind. Though it is
possiblo almost to ro-r.Jce the lives of many individuals through the 6tudy
of music, its over-emphasis tends to cause too much introversion.
12, Unit of Work*
"It's the songs we sing and the smiles we wear.
That's making the sun shine everywhere," — James Whitcomb Riley.
AIM - To develop an elementary knowledge and an esthetic appreciation of
singing.
531
4-
1* Selected as a practical study for the blind for
a. Its recreational value
b. Facility in its mastery.
Method of Procedure
1. Teach ear training through
a. Simple rules of solfeggio, skips in intervals, etc.
2. Teach simple vocal exercises} namely:
a. Major and minor scales, arpeggios, chromatic scales, etc.
b. Theory or intervals in scales, fourths, fifths, sixths, etc.
sung accurately and in key. This plan will develop voice
flexibility and voice range.
3. Correct breathing, a sense of melody and of rhythm are fundamental to
this art,
SECTION 2
To teach part singing or one voice against another,
1. Memorisation of songs by
a. Practicing each part separately - Soprano; then alto,
before trying to blond them together,
b. Joining the voices and teaching harmonically from the outset.
The aim in the instruction of part singing is:
a. To give pleasure to both students and teaohcr
b. To develop community service in ohurch, clubs, etc,
A know lodge of time end rhythm are also important, ovon in elementary study.
1. Should tcr.oh tMs by explaining:
a. Ono count or beat to the noto
b. Two, throe, otc., beats to the note
c. Dotted quarter notos
d. Othor types of dottod notes.
To increase the student's appreciation, the toecher should selocti
1. Songs that toach love of homo, God, and country.
2. Songs in simple arrangements from the works of the
famous composor6 in the
a. Classical period
b. Romantic period
c. Modorn oras of musical cvcluti:n
3. Cowboy and popular songs may be used as a means of motivation.
Expoetod outcomes in tho development knowlodgo aro:
1. To orcato in tho student a desiro to sing individually and in groups.
2. To dovolop a sonso of melody and rhythm.
3. To onablo thorn to distinguish botweon the various times - two f ur,
throe toxr, four four, six eight, etc,
U. To hevo as true an car or ccncaption of corroct pitch as possible.
The expected outcome in the evaluation of good singing is a continuing
interest in boautlful singing.
531
METHODS, TECHNIQUES AND DEVICES
-5-
1* We recommend that
a. The student be familiarized with the tools used*
b» His study of keyboard.
2* We advise the melody way of teaching -the blind in preference to
teaching tedious exercises in technique.
3* We reconnend the teaching of simple principles of time and rhythm,
so that, when playing a melody, the musical pattern will be complete.
lu We advise the training of the student in tuning and caring for the
instrument.
5. Owing to tho maturity of the student, we suggest that music should
not be taken up as a profession,
6. Tho student should develop rospect for the instrument.
7. We doom it advisablo to praise and encourage tho student in order
that he may progress.
8. Wo suggest that Braille music should be used in tho teaching of cortain
instruments; such as, piano, organ, violin, voico, etc. It has not
been found practical for uso in hillbilly bands, cowboy music, etc.
EVALUATION
The scope and extent of a course such as has been suggested in this brief
outline cannot be completely evaluated at the present time. Since the class of
students with whom we are concerned is a specialized group, time alone will
determine changes in methods and procedures from those hore set down. Playing
for self-entertafnment and for broadening of social contacts will, we believe,
bo engaged in by tho vast majority of our adult blind students. Sinco it is
tho adult student and not the blind in gonoral with whom wo are concerned, any
outline, to bo of spooial uso, must bo built up to moot individual neods. Wo
have, in thoso few pagos, ondeavorod to point tho way for tho home toachor by
giving some suggestions vhich ho nay, or say not, find usuablo. Therefore,
in sussnarizing, may wo say that tho suggestions here von wore soloctod from
a multitude of valuable ideas which were placed before us. No strtmont can
bo nr.do as to tho 1 angth of time which may bo nocossary for any blind por son
to loarn to sing or play interestingly, even for his own amusement. We can say,
however, that though the results are over so monger, tho teacher's time has not
boon spent in vain.
MUSE COMMITTEE»
Carl Lind , Chairman
Blanche Lamb, Vice Chairman
William Nichol, Secretary
WPA-E-529-U
WORKS PROGRESS ADMINISTRATION OF UTAH
DIVISION CF EDUCATION AND RECREATION
State Department of Public Instruction, Sponsor
IV
TRADE CRAFTS SECTION
Division of Education for the Adult Blind
Prepared in
WPA Work Conference (1938)
University of Utah Campus
C. L. vanderBle, Director
Published by
Utah Works Progress Administration
Darrell J. Greenwell, Director
Division of Education and Recreation
Mack Nicolaysen, Director
Salt Lake City, Utah
193 P
$29
-1-
trade crafts section
Division of Education for Adult Blind
FOREWORD
Since the general objectives of adult education are the training of
mature men and women in those fields that will better fit them to cope with
rapidly ch«ging conditions, the matter of trade crafts is particularly perti¬
nent and vital.
Gainful occupations solve many problems of personality readjustmmt, and
set many retarded adults or. the path of uplift and advancement. To teach a
workman how to improve his skill or to give him a new calling when the old one
is no longer useful is to put into his life so me thing that is laden with the
deepest human significance. Such trAining gives persaial strength to the one
who receives it, and at the sane time makes him n r.ore useful and a more assur¬
ed member of society.
It is important in this field to know the nature of the students. Some
nay bo eagor to loarn fbr the sate of renunoration. Others may be so dis-
couragod that ambition must be built up from the ground. Unless this eagerness
can be stimulated—unless the student ean be rnado to feel his neod—little
progross can be obtained. Some may bo so used to depsndonce that they do not
opprocirto their economic responsibilities or thoir duty to themsolvos or to
sooioty. In theso cesos, it is tho pert of a good teacher to attempt to build
within tho student a sansc of his nocds nda realisation of his obligations.
In order to conserve the student* s ti r» and me rgy to give him confidence
in himself, his teacher, and his craft, it i6 necessary to develop a system¬
atized course of study based upon the best methods and procedures. The teaoher
should have at his command enough subject matter and sufficient technique to
lead tho studont eagerly on Aram step to step in oach unit oporation. Always
in the mind of both teacher and pupil should be tho definite objective of the
course and oech stage of instruction should advance deliberately and consciously
toward that goal.
Although the opportunities in this phaso of the work aro limited, it is
a department in which the most gratifying results may be had where there is any
possibility of success. To toko an idle man or woman and put into his hands
tho skill and into his soul the dosire far remunerative work is to make of him
a new end usoful person.
introduction
Tho purposo of this soction is to assomble valuable information concerning
trades and crafts rnd to compile it in such e way as to nnko it availablo to
the hone teachers of the adult blind. It is intended that this section shall
servo as a guide to the teachers desiring informaticn and suggestions about
trades and crafts and shall entele than to meet the needs of their clients.
This soctian hes bean tr^pcrcd by a committee of throe with the entire group
of home teachers of the adult blind participating at times when called upon.
Tho typo of meetings contributing tc tho formation of this oction was a
gonorol round table discussion by the group, after which tic committee endeavored
to work out the dotal Is.
529
-2-
Coaaaittoe memberst
Janes W. Jacobs
Charles L. Gibson
Clifton F. Patterson
The committee wishes to thank the entire group of home teachers for
their cor.tributions, and in a special manner our director, Murray B. Allen,
for his contributions from rich experience.
AI AND OBJECTIVES
It is our aim in this part of the handbook to point out ways in whioh
blind peoplo nay earn a livelihood. We cannot givo details in all casos; but
we are giving somewhat in detail the stops in throe of the loss complicated
crofts. Thore ara sovcral othors whioh wo feel can bo taught in oasy lessons
providod the necessary tools end spaco can be acquirod.
Wo hope that our descriptions of tr^om making, rood furniture, and
rubber nr t-making will aid teachers in finding something for their olionts,
whoroby thoy r.ey incroase their income.
Wo aro also listing a numb r of crafts and professions inihioh blind
porsons havo succoodod and saoo in *hich wo beliovo thore arc possibilities
for moro to succoed. In thoso crafts end professions the only responsibility
of the hono toacher is to givo whatever vocational guidance is practical and to
do vhat is practical ir. so curing f'r suoh blind clients the necessary spocial-
itod instructors.
This list of profossione is not c:nplete—now thirgs that blind people
aro doing continue to ccne to light) but wo aim to givo a list suffioiont to
show that the blind aro liko tho seeing—thoy do anything thoy sot thoir
minds t- do.
J_. RUBBER MAT MAKING
A popular and profitable trade for the blind is rubber mat making out
of discarded automobile tires. A special machine is made to cut theso tiros
into proper sice and shape. The tread of the tire is cut into strips 7/8 of
an inch wido and perforated with l/8-inch holes at 2-inch intervals. The
side-wells ore cut into "links" 7/Q of on inch wido and li-inchos long with
holes spaced like thoso in the tread. As the sidownlls aro circular, the
contour of the links is slightly curved. Spring steel wires l/8 inch in
dioootor aro bent in a U-6hapo with square corners, tho length of the mat
dosirc d. Theso wires r.rc placed upright against an oasol and a tread strip
throadod on it with tho rubber side down. This forms the outor edge of tho
mat. Tho manbor of wires is determined by tho longth of the mat. Washers
5A of an inch in diameter aro cut from the tire tread and usod on first and
lest wires to build up end spaco links correctly. The links are than throadod
on the wires, tho convox side of oach being placod cutward toward tho worker.
A wnshor is placod on tho first wiro and pushed downward against tho trcr.d
strip. A comploto strgo of links is placed across tho mat in a "stagger"
formation) that is, tho first link occupies wiros 1 and 2, the sooond occupios
wires 2 and 3. the third oocupie# wiros 3 r"d U» and so on. One or two washors
aro placod on the last wire as neodod. The wires ere more easily throadod if
thoy arc rubbod occasionally with an cilod rag. Then tho staggering procoss is
onrriod on in tho opposite direction. This givos an arrowhead pattern whioh
is v^ry offoctivo and attractivo.
*h«n the mat reaches the desired width, a tread strip is placed on with
the rubber side uppermost. The wire ends are then bent dcwn in pairs, each
pair facing to form a binding angle. A steel sleeve is then slipped over these
corresponding ends and clamped tight. This serves as a solid joint and prevents
the mat from coming apart.
Mats may be in tr.y size. Length must be computed by subtracting
two inches and dividing by four. Thus a 52 inch mat could not be made, but
a 50 inch net is pcssiblc.
Tools required are a good pair of wire cutters, a wire bender, a clamper,
and a clamping cleat. The bender is a steel tool 1-inch wide, l^i-inch thick
and 8-inchcs long, including a handle. A hole l/8-inch in diameter is bored
transvorsely through the tool as near to tho end as possible. The finishing
wire is slipped through this holo and bent squarely into place. The clamper is
a converted pair of pliers, ground out cm tho innor—Jaw surfaoo to form small
channels that will fit over the steel sloevos and force 1h cm into plaoo over
the wire ends. Tho bending cleat is roadc of angle iron 1-inoh by 1-inch and
cut with l/8-inch wido slits, 2 inches apart and within \/h inch of tho bottom.
This cleat is secured to a bench and usod as a f orn fbr squaring and bending
the wiros. Each wire is sliced into a slip after tho mat has boon workod
snugly against tho cicr.t. The wiro <*n then be bent accurately and ovonly
against tho cleat. In c°sc of largo mats, it mny bo nocossary to shift the
work from position to position. It my be necessary, also, to work largo
piocos on on extended bench or on the floor.
Tho mats sell for $1.00 for a 15" X 26"j ll.UO for a 17" x 50" mat and
for $.50 a square foot in irrogulrr siros.
Theso nats my bo made in almost any shnpo . Tho Work Shop far tho Blind
recently mado a set for some school buses, allowing cutouts end off-sots to go
around tho driver's soat and ccss aisles. Tho work is light and sorves as a
good pastime for hone work. Sales are usually good.
All rubber and wire material my be per chased from the Shepherd Mat
Company, 51i* South Stato Street, Salt Lak> City.
II. MAKING CORN BROOMS
Broom oorn is grown in various states, but the best corn comes from the
states of Texas, Oklahoma, and Kansas. Broom oorn grows about the same as
sweet oorn except thet instead of ears of corn the pods are filled with strew.
This oorn is harvested in the fall and put into large bales averaging from two
hundrod end fifty pounds to oroend fbur hundred pounds.
Nhon the oorn is received at the factory, theso boles arc broken down
into small bundlos ready f or dyeing and sorting. In the process of sorting
sovor-l grrJcs of oorn are obtrlned*. .shoulder, sido, hadle, and hsrl (finest
grndo of com.)
Brooms aro aado by placing the handle in th chuck of the winding
rr ohino. Tho wiro is fastened by passing throu^i a hole in tho handle. A foot
treddlo is goarod to the chuck no ch mi sr.. Foot power turns tie h&ndlo drewirg
tho Mro to i tonsi-n. The <x ra ic placed under this taut wire. Then tho
broon is built up an d shaped. The shouldor com is plwed in tie opposite
diroctirn nni those butts tp trinmod. After the com fs turned bock tho sido
oorn is put in place end f"ttcr.od with the wire, then trismcd. The herl is
then wound, using two layers..r. c->ursc md fine kycr. The her 1 is trimmed
down, the wire w-und several tines orcund tho handle in a ruwtoiwi md thai
nailed. The brocm is nam scraped, sewed, trimed, labeled, bundled, and ie
then ready for sale.
The smallest cost for machinery to start in the broon business would be
about one hundred dollars, Fron this price one could go to nony thousands of
dollars for machinery, Any one thinking of the broom business would do well
to ccntact the Utah Commission f or "the Blind*
III, MAK33C REED FBRNITUffi
Ratan is grown along tho shoro lines of China, India, md Japan; it is
a tough wo^dy substance and grows to a height of frcn twenty to forty feet
with a smooth surfo.ee which does not let the dampness through. In the fall
the ratan is cut and sent to tho mills, whore it is put thrcu gh the coring
machines and undo into reed. The coring machines vnry from ono-sixtoenth of
on inch to about one inch in diameter end tho bark is used for winding* Tho
reed is bundled and shipped to all ports cf tho world.
Furniture francs maybe purchased through mai 1-ordor houses aid put
together whenoror desired, or they my bo rado by a sighted parson* A
competent blind person nay ml® si uplc kinds, Thoso fraros arc made of hard®
wood doweling ani aro constructed in tho shape of tfio desirod furnituro. Thoy
must be woll braced and sturdily made* After the frame has boon thoroughly
soakod in water. All corners ".ro checked icd stripped; that is, covered with
short pieces of rccd so that no r:wwood ruy bo exposed* Next come the stokes
these aro gluod in to holes bored in tho frame, then tbwoavirg starts* There
aro various kinds of weaving! plain weaving, diamond woaving, end many othor
kinds end dosigns* All furnituro has to bo finirfiod by what is known as a
bordor, soma of these designs rro complicated end nood good training,
Ratan f\irniture is mado in the saao nam or aid is used out doors* It
is in its natural state when finiah od and has a rustic appoarance*
Baskots aro also mado from both reed and rata% A different fbrn must
be usod to fit oach site end shape*
Tlhon th> furniture or baskets are thoroughly dried it is nocessary to
paint thorn any desired color, using a power paint-gun,
Tho tools neoded for raking furniture ar baskets ore a haarae r, kinkers,
outtors, and a pocket knife. An ice pick aid a muffin tin fbr holding tacks
aro also very hand to use,
IV. FLAT-BOARD FURNITURE
A fourth occupation may also be desoribed, the making of flat-board
furniture. This construction is made of #1 finished pine. Chairs, tables,
sottecs, and tho like may be mado with littlo difficulty by a blind work man
who is familiar with tools* Dosigns may bo had by writing the Utah Commission
for the Blind* An ospocially unique and popular piece is a "whool barrow*
ohair, oemtaining a large woodon whocl at tho back to allow for easy pushing
about tho garden.
The t:cls necessary are tho cam an carpenter's tools, a largo mitro-box,
and a sot of toaplets in which to cut tho various boards at the correct longth
and angles* Thoso mitro-baxes and templets can bo mado by tho worker himself.
529
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Trollises, pergolas, end snail arbors are also feasible and practical#
These nay be nade in alnost any sire, shape, or design# A popular type is a
fan-soapod trellis itfiich sells for $1.00. Redwood bats which are g-inch
thick, 1-inch wide 8-foot long are bound together by two—inch belts at
the botton# At the other end, they are spread out evenly and tacked into fan-
shaped position at 1-foot intervals by a bowed strip of the sane notorial. A
dianor.d or rectangular pattern nay be tacked to the face of the trellis#
Larger trellises or arbors should bo nade of heavier naterial according
to the site and the load tc be carried# Scrap lunber for this work nay often
be had inexpensively fron lunber yards# The furniture and gardonwaro nay bo
painted in colors to add attractivonoss, Furniture in china rod with black
trin is popular. Trellises are ofton lawn green#
A LIST OF OCCUPATIONS AND PROFESSIONS PRACTICAL FCR THE BLIND.
Law
Social Casework
Braille Library Work
Public Lecturing
Politics
Roal Estate
Telegraphy
Radio Artist
Toaching
Writing
Chiropractic
Osteopathy
Massage
Business Adninistrati on
Building Contracting
Advertising and Publicity
Music
Divinity
Dramatic Reading
Education Adnini stmt ion
Stenography
Mining
Braille Transcribing
Tolophano Operatirg
Woodwork
Piano Tuning
Morchandis ing
Anincl Husbandry
Poultry Raising
Dairy Farming
Chambermaid
Reed Work
Rug Weaving
Broon Making
Mat Making
Rubbor Mat Making
Brush Making
Mop Making and Refilling
Lawn Furnitiro Making
Mattress Making
Chair Canirg
Management oft
Tclophono
Enploynoxt Agency
Hctol
Servico Stati ai
Auto Camp
Taxicab
Rostaurrnt
Beauty Parlor
Thoatro
Danco Hall
Stands
529
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BIBLIOGRAPHY
The Curriculum. .Franklin Babbitt
100 Problems in Woodword .Ifci. A. De Vette
Furniture Projects F. J. Bryant
Book of Opportunities. .Rutherford Piatt
Toy Making Polkinghorne
Blindness and the Blind in the
United States. Harry Best
Further information on any subject pertaining to the Blind may be
secured from Utah Commission for the Blind, 1J8 South 2nd East St., Salt
Lake City, Utah, and from the American Foundation for the Blind, 15 West
16th Street, New York City, New York.
EVALUATION
Wo hope that our efforts will place in the hands of eaoh teacher some
new end constructive suggestions. We realise that teachers will find many
students that cannot benefit from this material. A number of blind have
other handicaps than blindness and therefore cannot engage in the profes¬
sions and occupations ere heroin sot fbrth. Whon the home toachar finds a
olient who can profit by such information and in struct! cm, wo hope that this
outline will servo as a useful end practian 1 contribution.
Wo do not oxpect that the aero casual reading of this seotion will
mako of a teacher a placement agent or a vocational guido. Nevertheless wo
hopo that it will heighten an intorest in trado crafts as a definite phase
of work for the adult blind, and that many who are now without a ny prac¬
ti cal occupation may bo enabled to earn some money at least and give thorns
selves the satisfaction of some degree of independence.