Published eleven times a year by AI/red Ul1i-versity; monthly in April, June, October, N(wem her, December and semi-monthly in jameary, February and March. Weaving, a field of increasing interest, is taught with the aim of giving every student a good insight into the possibilities of the Responsibility for the governance of the School for American Craftsmen rests jointly with Alfred University and the American Craftsmen's Educational Council, Inc., with both bodies equally represented on the Board of Managers.
IN RODUC ORY
However, the School recognizes that no mana ho,' important, technical knowledge alone will ever allow craftsmen to make their full contribution to the cultural pattern of Ollr time. The practical is therefore complemented by the broad synthesis developed between the crafts and the liberal arts in the degree and teacher training courses and by the active participation of the student in the cultural activities of the College of Liberal Arts. The result of such an association will necessarily be reflected in the development of the individual and in the artistic quality of his work.
The School of American Craftsmen therefore aims to develop in its students an understanding and mastery of the facts necessary for a successful professional career in the trades, and to bridge the gap between learning and life in its program. By integrating basic art, trade techniques and the actual production of salable items, the school faces the challenges of modern educational trends. Public response to student productions is tested using America House*' as a laboratory, and thus the "Real Life In Education" program prepares students to take their place in the world with competence and success.
The School for American Craftsmen was conceived and sponsored by the American Craftsmen's Educational Council, an educational institution chartered in 1943 by the Regents of the State of New York, whose purpose is to promote the standards of [he hand arts in] to develop and increase. the United States. The School opened in Hanover, New Hampshire in 1945 under the joint sponsorship of the Board of Education and the Dartmouth College Student Workshop. In 1946 it moved to Alfred University and became part of the College of Liberal Arts.
The permanent interest of the educational council is guaranteed by full representation in the school's administrative council. This interest and consequent intimate concern for people and politicians greatly contributed to the growth of the school and the expansion of its capacities. The best practices followed by craftsmen in Europe and the United States are available to the students of the school.
PROGRAM
So that the student is able to .. to concentrate with basic progress to .. and is made aware of current events in the basic art.. and and . of modern art, architecture in own subject area.,. The course i. against which he can see the .. the student a background for his own craft in the re- The course presents the lation to the major periods in art history. contribution made by the craftsmen of and adds and to his craft. material is used. The community built in the school shops includes the students' social activities.
Once a week, members of the school meet in Social, one of the centers for social life on campus, for discussion or games. The homogeneity of the artisan group has not hindered the students in the wider governmental and social affairs of the university. Students admitted in the autumn semester must have completed at least one school education.
Lll'iH1Llt:T and acceptance of manual arts as a profession will be important factors for admission. American Craftsmen reserves the right to a student who, after a reasonable period, has not made satisfactory progress or appears unsuitable for the school's program.
EXPENSES
Students in the School for American Craftsmen provide the books and certain other materials required for use in their courses. Several trips each year offer the student the opportunity to visit shops, attend and come into contact with some of the fine and applied arts that will inform and stimulate him.
A subsidy of approx. Several trips each year give the student the opportunity to visit shops, participate in and come into contact with art and applied arts that will inform and stimulate him. journeyman piece. requirements for both the certificate and in for American Craftsmen is the Piece.. is of a thesis project, and and execution . requires considerable control of and . in the student's field of work. The piece must be found acceptable by the faculty before the student can be recommended for the exam. evaluation and grades .. of each student are recorded monthly, however course . failure; F, . the end of each semester and the summer session. attendance and attitude are factors considered C or better 1.00) are considered.
Attention is paid to the opportunity for the student to participate in the activities of the Journeymen. In the second phase, the students must make an effort to arrange their affairs with regard to all duties outside the journeymen.
RAFTS
The study at this point in his of the years he will have as he worked out much of the metal. With the recent growth of the textile sector, the sector is enjoying a popularity that it has not had since. 34;,v.JJ"J>~ provides maximum effectiveness tailored to the needs of the learner under such circumstances.
In the first year, the student learns the use of various types of looms, including Swedish counterweight looms with floor and hanging kicks, as well as hoist and fly shuttle looms. Once the student has mastered the basic fabrics, they are encouraged to experiment with the other materials and fibers available. The study of drafts and thread is made so that the srudent has a complete basic knowledge of the basics of weaving and ways to easily solve any problem that may arise in the field of handwoven fabrics.
Although most of the program is concerned with weaving, other textile techniques are also taught; this includes silk screen printing, batik, block printing and stencilling. After the student has completed the first year of study, he is then ready to pursue the specific field of textile design in which he is most interested and to concentrate his studies in a manner that best suits his skills and aptitude. When new or different fibers are placed on the market, they are made available to the student for experimentation.
The students also study the types of looms used in industry and the methods of processing and spinning involved in the production of yarns, and the techniques and methods of weaving required for the production of designs for the power loom. During this period, the student familiarizes himself with the sources that provide his equipment and materials. He learns to identify yarns by sight and is given a complete list of sources where his materials and equipment can be obtained, so that upon completion of the course the student is ready to set up a loom and practice his craft.
WOODWORKING
Before graduating, each student must plan their own store, state its scope and limitations, and list the tools needed to run the store. Production work based on actual orders and the execution of his own designs will give the swdent the opportunity to develop both skills and technical knowledge. Weekly discussions will be based on actual issues arising from shop work and the investigation of alternative methods of completing certain tasks.
BASIC ART
PRODUCTION AND MARKETING
ANCE
CERTIFICATE PROGRAM
DEG EE COURSE
DEGREE PROGRAM
New York-Wood Randolph Bates, Greenwich, New Jersey-Wood Thomas Beveridge, Honolulu, Hawaii-Wood Oliver J. Beyer, Belmont, New York-W/ood Robert Chapman, Kembrixh, Massachusetts-Wood David Clymer, Drexel Hill, Pennsylvania- Afetal Ruth Currey, Evanston, lllinois-T extites Robert Donovan, Utica, New York-Metal Virginia Dunn, Wichita. Kansas-Metal Edward Dykstra, Kenmore, New York-Metal Carol Feldman, White Plains, New York-Metal.
Verdelle Gray, Santa Barbara, Kalifornië-Pottery William Greeley, Albany, New York-Pottery Robert Johnston, Midland Park, New Jersey-Wood Robert King, Madison, Wisconsin-Metal. William Kurwacz, Yonkers, New York-Metal Anthony laRocco, Torrington, Connecticut-Wood Karl Laurel!, Worcester, Massachusetts-Textiles Alex Loik, Columbus, Ohio--Metat. Charles Loloma, Toreva, Arizona-Pottery OteHie Loloma, Toreva, Arizona-PoJtery Margaret Malcolm, Hamburg, New York-Pc.ttery Mildred W.
Roland Nadeau, Waterville, Maine-Metal George Nelson, Rutland, Vermont-iHetal Alice O'Leary, Alfred, New York-Pottery John O'Leary, Alfred, New York-Pottery Richard Palmer, Webster, New York-Wood Charlotte Parker, Grosse Point, Michigan-Pottery James Pattison, Needham, Massachusetts-Metal Samuel Prager, Fort Scott, Kansas-Metat Clover Reeves, Colorado Springs, Colorado-Metal Flora Regenbrecht, Middle Valley, New Jersey-Pottery James Royston, Canisteo, New York-Wood. Alma Sanford, Beckley, West Virginia-Pott~ry Anne Schubert, Lynbrook, Long Island-Textiles Joan Scott, Garden City, Long Island-Metal Cora Sivers, Wellsville, New York-Textiles Douglas Smith, Ossining, New York-Metal Anne Somers , Rochester, New York-Textiles Nelson Spencer, Angelica, New York-Textiles June Svahn, Valley Cottage, New York-Textiles Mary Long Tennant, Wellsville, New York-Pottery Mary O. Thomas, Penland, Severna Karolina-Pottery Joseph Tockman, Denver, Kolorado--l!7ood Kathryn Welch, Angelica, New York-Textiles Jean E.
Wells, Almond, New York-Metal Matthew Wolf, Ellenville, New York-Wood Virginia Wolf, Troy, New York-Tekstiler Sara Brown Young, Clinton, Tennessee--PoJtery.
STUDENT WORK
