Handcraft in wood and metal

In preparing this work the authors have endeavored to show the possibilities of craftwork as an educational subject, and to briefly indicate its cultural aspects. One of the prejudices against handcraft or so called "manual work" has been that it had more value from a physical than an educational or cultural standpoint, with the result that "handcraft" in schools has too frequently been classed as "carpentry".

The authors think that lessons based upon the historical phases of craftwork, particularly in the development of types of construction in furniture and metalwork, and the growth of tools from prehistoric times, together with the study of simple applied art as displayed in historic work, will do much to increase the value of handcraft in schools. Whilst the work has been prepared primarily for the teacher, the aim has been to render treatment of the subject such as to make the work of value and interest to the craftsman and a useful guide for the pupil or student. As an aid to class teachers in helping on a technical side in central schools, they hope it will find a place among the books pertaining to craft and general education.

It is hoped further that the work will be regarded as a collection of suggestions and data, rather than an attempt to produce a series of models. The authors believe that at least one aspect of handcraft has been almost entirely neglected in the past, i.e. the artistic side; and, whilst not claiming any special merit for the design of the models dealt with, they have endeavored to embody some artistic merit in the designs, and have tabooed the meaningless joints and collection of joints which have only a limited mechanical value. In the early stages, accuracy—whilst being encouraged—should not be too strictly insisted upon. It is a phase which should progress proportionately to the skill of the pupil. The general impression in the past has been that any attempt at "freehand" curves or decoration in models necessarily means neglect of the mechanical side, but this does not follow according to the author’s experience, and they would deplore the acceptance of this idea. The main feature of handcraft work after the early stages is individual effort on the part of the pupil, which adds to the interest and value of the subject as a whole. Much has been said upon "correlation" in handcraft. In well directed handcraft "correlation" is inevitable. Thinking and doing must perforce be linked together, and when this is done in the class or craft room it must work toward a better general education.

In elementary handcraft the tendency has always been to depart from traditional methods of construction and processes, but in the authors' opinion even the simplest models can be based upon traditional lines, and whether the object of the teacher be vocation or education, due regard to tradition and right methods is essential.