L

Toys of
Early America
. you can make
by REBA ANN DUNMIRE
 Digitized by the Internet Archive
in 2018 with funding from
Kahle/Austin Foundation

https://archive.org/details/toysofearlyameriOOOOdunm
 Toys of
Early America
... you can make

by

Reba Ann Dunmire

South Holland, Illinois

THE GOODHEART-WILLCOX COMPANY, INC.
Publishers
 INTRODUCTION
Memories, love, and Yankee ingenuity are are adapted from toys made for early American
the essence of the toys and pastimes of the children.
children of the early USA. The few materials and tools required are
When early settlers and pioneers left their basic. The novice who is making toys on the
old homes, there was no space in sailing ships dining room table will have no difficulty with
or in covered wagons for toys. But memories the simple instructions. The experienced
do not use space. So it was that recollections woodworker, on the other hand, will be able to
of the toys and games that had given them adapt the instructions to more skillful methods.
pleasure during their childhood traveled with Patterns are full size unless otherwise indi¬
them. Thus were they preserved to be dupli¬ cated. Do not be afraid to experiment and sub¬
cated again and again. stitute. That is part of the fun.
Imported toys could be purchased in the
larger towns. Occasionally, local craftspeople Hints, shortcuts, and other good things
would make them as a sideline. But, primarily, 1. To save table tops, use an old glass from a
the making of playthings for the children was a picture frame as a cutting board. Bind sharp
family affair. edges with masking tape.
Since these hardy folks had their roots in 2. Gesso adds strength to cardboard and will
many different homelands, old settler toys cover a multitude of mistakes.
came from a diverse background. Today's 3. When making small holes with an awl or
children enjoy these toys as much as their compass, use a twisting motion as opposed
great, great grandparents did. As one fourth to a jabbing one.
grader wrote, "And the pioneers are smarter 4. While gluing and painting, work on wax
then I thought because the toys they play with paper. Its protective finish rarely sticks to
are fun." work surface.
5. In most craft techniques, such as painting
About the directions and gluing, moderation is the key to suc¬
Welcome to the exciting world of making cess. You can always add but you cannot
toys from "scratch." Those you will be making take away!

Copyright 1 983
Library of Congress Cataloging in Publication Data

by Dunmire, Reba.
Toys of early America you can make.

THE GOODHEART-WILLCOX CO. INC. Summary: Gives instructions and describes the
necessary tools and materials for making a variety of tradi¬
All rights reserved. No part of this book may be reproduced in tional toys and games.
any form without violating the copyright law. Printed in U.S.A. 1. Toy making. 2. Toys—United States —History.
Library of Congress Catalog Card Number 82 — 24244. [1. Toy making. 2. Toys —History. 3. Handicraft]
International Standard Book Number 0 — 87006 —441—X. I. Title.
TT174.D86 1983 745.592 82-24244
123456789-83-9876543 ISBN 0-87006-441-X

2
 CONTENTS
BALANCE TOYS
Pecking Bird. 5
Balancing Fisher . 8
Balancing Uncle Sam.10
Tumbling Toy.11
Daruma.14

ACTION TOYS
Flap Jack.17
Jumping Punch.20
Climbing Bear.22
Sawyers.24
Pinwheels.26
Grandpa Bill's Tank .28

NOISE TOYS
Spool Tick Tacks.31
Buzz Saw.32
Bull Roarer.34
Cornstalk Fiddle.36
Willow Whistle .38

SKILL TOYS
Jacob's Ladder.41
Cup and Ball.44
Flipperdinger.46
Flip Ball .48
Whimmydiddle .50

OUTDOOR TOYS
Boats.53
Graces.56
Serpent.58
Corn Husk Ball.60
Ben Franklin Kite.62
Hornbook Battledore and Shuttlecock .64
Maze.66

DIVERSIONS
Noah's Ark.69
Victorian Peep Show .72
Picture Puzzle Blocks.74
Thaumatrope.76
Scissor Toy.78

3
BALANCE TOYS

4
 Pecking Bird
A pendulum toy is an action toy, its move¬
ment powered by a swinging weight. As the
pendulum swings back and forth, the bird
pecks away at its corn and its tail goes up and
down.
Since the days of the Persian empire and an¬
cient Greece, this kind of toy has pleased chil¬
dren wherever it appeared. The history of its
travels from the Mediterranean countries into
Europe closely parallels the growth of Old
World civilization. During the Dark Ages these
toys, probably stowed away in the packs of
soldiers and merchants, made their way to
Poland and Russia.
The tragedy of the two Childrens' Crusades
in 1212 left a deep mark on parents. They
turned more to toy making probably in their
desire to entertain their children. In France and
Germany, woodcarvers produced the pecking
bird to the delight of children. Immigrants
brought the idea to Pennsylvania.

Supplies: Piece of balsa or basswood, 1/8" x 2" x 13"; length of heavy-duty button and carpet
thread, 24 in. long; three inch length of wire that will hold shape when bent; dowel, 1/4" x 2";
heavy bead or sinker; white glue; acrylic or model enamel paint; No. 2 pencil; sheet of tracing paper;
scrap cardboard, 8" x 10"; few kernels of corn or grain.

Tools: Craft knife; compass; needlenose pliers; clip clothespins (2); paint and glue brushes.

How to make
1. Using the No. 2 pencil, transfer the full-size patterns onto tracing paper. Place the tracing, face
down, on the wood. Be careful to follow the grain lines. Retrace the patterns onto the wood. The
wood will pick up the lead from the original tracing. See Fig. 1-A.
2. Using scrap cardboard as a cutting board, cut out the parts with a knife. To reduce the danger of
splitting the wood, score the lines first with the knife tip.
3. Make holes indicated in the pattern. Use the point of the compass with a screwing motion. Mark
holes "T" (for thread) and "W" (for wire) as indicated on the drawings. It will avoid mix-ups
later.
4. Smooth edges with fine sandpaper.
5. Paint before assembling, if you wish.
6. Glue the handle to the underside of the platform. Clamp with clothespin until the glue dries,
Fig. 1-B.
7. Sharpen one end of the dowel to a point. Glue it in the center of the body, Fig. 1 -C. Clamp with a
clothespin.
8. Cut the 3 in. length of wire in half. Form a spiral on one end of each wire using a pliers. Going
from the outside of the body piece with dowel glued on it, insert the wires through holes marked
"W."
9. Cut the thread in half. Tie one piece through the hole "T" in the head and the other piece through
the hole "T" in the tail. Let the threads hang down.
10. Place the body piece on the table, dowel side up. Place head and tail pieces on the body. Poke
wires through "W" holes.

5
1 1. Put a little glue on the dowel and place the other body on it slipping the wires through the "W"
holes. Avoid getting glue on the threads.
1 2. Make loops in the wire ends to hold the body in place. Allow some play so that the head and tail
can move freely. Clamp the body. See Fig. 1-D.
1 3. Fill the hole in the center of the platform with glue. Insert the pointed end of the dowel. Drop
threads through the square cutouts in the platform. Allow the glue to dry.
1 4. Run the threads through the bead. Tie the ends in a knot big enough so it will not slip through the
bead. Make sure the threads are the same length. They should extend about 3 in. below the bot¬
tom of the platform. See Fig. 1-E.

To use your toy, grasp the handle and move your hand in a horizontal circular motion. The head and
tail should go up and down alternately. Glue kernels of corn on the platform where the bird's beak
strikes.

PECKING BIRD

GRAIN

CUT
OUT
o CUT
OUT
BASSWOOD OR
BALSA

If a split develops while making center

hole, glue will take care of it later.

Fig. 1-A. Full-size patterns.

6
Fig. 1-B. Attaching handle (not to scale).
Fig. 1-C. Gluing dowel to body.

NECK TAIL

Fig. 1-D. Attach wires and threads.

Fig. 1-E. Attaching the bead.

7
 Balancing Fisher
The sight of a toy figure teetering on the
edge of a table is incredible, if not magical, to a
child. While waiting for the fall that never
comes, the child, like his or her counterparts
through the ages, asks why it does not fall.
No one country can claim this toy as its own,
since the principle of balance has been recog¬
nized for thousands of years. It has often been
used to entertain. Balance, of course, depends
on lowering the center of gravity.
Every culture, ancient as well as modern,
has its version of balance toys. A person riding
a horse, a sawyer, a hoe boy, and a fisher were
all popular toys among settlers in the early
1800s. The toy's "activity" tended to mirror
the experiences and occupation of its maker.

Supplies: Old fashioned wooden clothespin; stiff wire 18 in. long and about 1/16 in. diameter; stiff
wire 4 in. long, 1/16 in. diameter; five inch length of 1/8 in. flexible plastic tubing; piece of 1/4 in.
flexible plastic tubing 2 in. long; two round, flat metal washers, 3/4 in. diameter; piece of felt 4 by 3
in.; white glue; acrylic or model enamel paint in assorted color; (wire is available from craft shops;
tubing is available at shops selling model-making supplies).

Tools: Craft knife; drill with 1/16 in. bit; needlenose pliers; scissors; brushes for paint and glue.

How to make
1. Make holes in the clothespin for the balance wire and arms. Drill the balance wire hole through
the body front to back 1/4 in. above legs. Drill the arm hole from side to side 1/4 in. below the
head. See Fig. 2-A.
2. Using the craft knife, shave the bottom of the legs to a point, Fig. 2-B. Save the shavings for hair.
3. To make the arms, cut the 2 in. piece of 1/4 in. tubing in half. Cut one end of each piece at a
slant to fit against the body, Fig. 2-C.
4. Paint all the parts except the wire. The fisherman will need a shirt, trousers, and boots. Paint the
arm tubing to look like the sleeves of the shirt.
5. Use the shavings from Step 2 for hair. Spread white glue on the hair area of the head. Glue shav¬
ings to the head.
6. Cut two fish from the felt. Use the pattern in Fig. 2-D.
7. Glue them together sandwich style with both washers in the center. Make a small hole for the
mouth. See Fig. 2-D.
8. Using pliers, form a small circle (for a hand) on one end of the 4 in. long arm wire. Thread the
other end through one arm tube so that the slanted end is against the body. Slide the wire
through the body, through the other arm tube. Form another hand. Cut off any excess wire. Put
a little glue where the arms join the body. See Fig. 2-E.
9. Thread the 18 in. wire through the longer piece of tubing to make the fishpole. Push the end
through the body from front to back. Turn down about 1 /2 in. of wire in back to hold it in place.
Hook the other end of the wire to the fish's mouth.

8
10. Curve the balance wire gently so that the fish hangs under the fisher's feet. The toy will now
balance on the edge of a table, a fingertip, a pencil, or, perhaps, even on your nose.

BALANCING FISHER

Q ^
AGAINST BODY

SLEEVES

o
1/4"

l/\l
FRONT
FEET

V SIDE

Fig. 2-B. Pointing legs. Fig. 2-C. Cutting arm tubing.

FRONT SIDE

WIRE
COILED

Fig. 2-D. Making the fish. Fig. 2-E. Attaching arms.

9
 Balancing Uncle Sam
While Americans were fighting the Revolu¬
tionary War in 1776, the children of France
were being introduced to balance toys. A
figure balanced on a pedestal aided by a curved
wire with weights on either end was one of the
most common types.
After the American Revolution, these toys
made their way to this country. Soon, they
were being made here. An outstanding exam¬
ple is seen in the Abby Aldrich Rockefeller Folk
Art collection at Williamsburg, Virginia.
The balancing man, here, represents Dan
Rice, America's first famous clown. A patriotic
man, he performed in top hat, whiskers, and a
red and white stripped costume. When
Thomas Nast, a political cartoonist of the Civil
War period, was asked to caricature Uncle
Sam, he drew his inspiration from Rice. Inci¬
dentally, legend says that President Lincoln
was a Dan Rice fan.

Supplies: Unpainted chair leg 7 1/2 in. long for pedestal; old fashioned wooden clothespin; bare 1 8
gauge wire 1 8 in. long; two pieces bare 1 8 gauge wire 4 in. long; flexible plastic tubing 4 in. long;
two 1 /2 oz. fishing sinkers with loops; absorbent cotton for hair and beard; small plastic top hat (this
is sold at craft stores); white glue; black laundry marking pen; red and white model enamel or acrylic
paints.

Tools: Wire cutters; needlenose pliers; brushes for glue and paint; drill with 1/16 in. bit.

How to make
1. Follow Steps 1,2, and 3 for Balancing Fisher (page 8). Paint the figure to look like Uncle Sam with
red and white stripes. Use cotton for hair and beard. Paint hat with red and white stripes. Glue
hat in place.
2. Use Fisher direction for Step 8 to attach arms to body. Shape hands like loops.
3. Form a loop on one end of the remaining 4 in. wire. Going from front to back, push the wire
through the hole above the legs. Form another loop in the rear.
4. Attach balance wire to body by threading the 1 8 in. wire through a hand loop, the body loop, and
the other hand loop. The middle of the wire must be in the body loop.
5. Make hooks on both ends of the balance wire to hold the fishing weights.
6. Stand Uncle Sam on the pedestal. Curve wire downward until the figure balances.

10
 Tumbling Toy
Since the days of Marco Polo, China has
been known for its intriguing toys and other
products. In the early 1800s, clipper ships,
returning from Canton, were laden with silks,
fireworks, and other exotic goods. The crews
did not forget their children at home. Toys
were often among the contents of their sea
chests. This is how topple toys invaded Europe
and America.
These ingenious little figures were able to
topple head over heels down an incline or
steps. The original toys depicted acrobats.
Based on the principle of a shifting center of
gravity, they contained a tube of mercury con¬
cealed in the body of the dolls. As the mercury
slid from one end to the other the dolls went
end over end as if in defiance of gravity.
Topple toys were an instant success. This
led to many variations. Our toy is based on a
toppling cardboard tablet made by and for Vic¬
torian era children.

Supplies: Sheet of balsa wood, 7 3/4" x 2 3/4" x 3/1 6"; two kitchen matchboxes, 4 3/4" x 4" x
2 1/2"; safety matchbox; masking tape, 3/4" wide; white glue; clip clothespins; acrylic gesso;
poster board, 8" x 1 0"; large marble about 3/4" diameter; sheet of white construction paper; model
enamel or acrylic paints; tracing paper; pencil.

Tools: Craft knife; scissors; brushes for applying glue, gesso, and paint.

How to make
1. Remove the drawer from one kitchen matchbox. Save it to use as a storage drawer. Cut the
other kitchen matchbox in half. Remove the drawer from one half. Turn it over and slide it into
the other half section to form a cube, Fig. 4-A. With masking tape, seal edges of all but the full-
size kitchen matchbox.
2. Stack boxes to make steps as shown in Fig. 4-B. Glue together. Clamp where possible while glue
dries. Seal new joints with masking tape.
3. Coat the entire step assembly with gesso. Trim 1/8 in. from top of drawer removed in Step 1.
Paint ends and inside of drawer with gesso. Give a second coat of gesso and allow to dry. Paint
with enamel or acrylic paints.
4. Trace the pattern for the top and bottom of the tumbling box. See Fig. 4-C. Transfer to poster
board and cut out.
5. The side of the box is made from a strip of poster board 1 in. wide and 6 1 /2 in. long. Before lay¬
ing out the side, first test the poster board by gently bending it. Hold it by one edge and then an
adjacent edge to see which way the "grain" of the paper runs. It bends easier parallel to the
grain. The length of the strip should be layed out across the grain so it can be bent around the
box.
6. Place a strip of masking tape on the long edges of the side strip. Let half its width hang off the
edge. Slash the tape at 1 /4 in. intervals up to the edge of the cardboard, Fig. 4-D. This will help it
fold over the curved edges of top and bottom without buckling.
7. Attach the side to the bottom by rolling the side around the bottom folding the slashed edge of
the tape onto the outside of the bottom to hold it in place. Tape down the overlap. Turn the open
end up and put the large marble inside.
 8. Fold back the masking tape away from the opening. Put top in place so it rests on top of the
taped side. Fold the masking tape down over the top. See Fig. 4-E.
9. Paint the box with gesso. Let it dry.
10. Transfer the clown pattern onto construction paper. Do the same with the pattern for the end
pieces. Cut out and color them. Glue them onto the box. (This was a common method of deco¬
rating toys of yesteryear.) Coat the whole box with white glue. It will dry clear, providing a dur¬
able surface.

To make the clown tumble:

Stand the clown on end at the top of the steps. It will tumble down. If you turn the steps over you
will have an incline which works just as well. Store the clown in the drawer left in the larger match¬
box.

TUMBLING TOY

Fig. 4-A. Making a cube.

-*-1/2 KITCHEN MATCHBOX

KITCHEN MATCHBOX

DRAWER
IN —-
HERE

V BALSA

Fig. 4-B. Building the steps.

12
 GRAIN
Fig. 4-C. Full size pattern for ends of tablet.

SLASHES IN

TTjLiJ.LLJJLTUI]
POSTER
BOARD

1_ _i1
V
MASKING
TAPE
Fig. 4-D. Preparing masking tape.

SIDE --~
OF
TABLET

SIDE
BEING
TAPED
TO
TOP

Fig. 4-E. Taping side to top.

MAKE 2

Fig. 4-F. Full size patterns.

13
 Daruma
A German Putzelmann, a Japanese Ok-tok-l,
a French La Poussah, and an American Kelly,
all have one thing in common. They are the
direct descendents of the Daruma, a centuries
old tilting toy of the Orient.
Tilting toys are figures having a curved,
weighted base. When gently pushed, they will
rock back and forth but never fall over.
Legend has it that Daruma was the saintly
man who founded Zen Buddhism. One day,
after wrapping himself in a robe as protection
against the elements, he sat down to meditate.
For nine long years, he sat. Unable to walk at
the end of that time, he rolled from place to
place.
As with many folk toys, there is a supersti¬
tion connected with owning a Daruma. Some¬
times it is made without eyes. The owner,
then, is entitled to two wishes. When the first
one comes true, one eye is painted on the face.
When the second is fulfilled, the other eye is
added.

Supplies: A plastic egg shape (any size will do but it must be the type that opens into two halves);
Plaster of Paris, enough to fill the bottom half of the egg twice (you will mix two parts of plaster to
one part water); acrylic or model enamel paint (select three colors: red, flesh, and brown or black;
traditionally, the robe is red); water at room temperature.

Tools: A small plastic throw-away bowl and plastic spoon.

How to make
1. Using a pencil, sketch a face on the top half of the egg. Sketch mittened hands on the bottom
half. See Fig. 5-A.
2. Separate egg halves to make them easier to paint. Fill in face and hands with flesh-colored paint.
Allow it to dry. Paint the remainder of the egg red and let it dry. Then, using brown or black paint,
outline the face, arms, and hands.
3. Paint on the features. Remember, no eyes if you are making a wishing Daruma!
4. Fill the bottom half of the egg almost full of water. Pour the water into the plastic bowl. Dry the
egg thoroughly.
5. Using the egg half once more, put two measures of plaster into the water. Let it soak for a minute,
then stir until it is the consistency of cream. (Always add plaster to water. It is easier to mix.)
6. Pour the mixture into the bottom half of the egg, Fig. 5-B. It will take several hours to harden. If a
little water should stand on top of the plaster, soak it up with a paper towel. Wipe off splashes of
plaster immediately!
7. Put the egg halves together and give the Daruma a gentle push. It will rock for you.
8. In time, the plaster will shrink causing it to slide around inside the Daruma. To remedy this,
remove the plaster, paint the bottom with gesso or enamel. After the paint dries, pour a little
white glue in the bottom of the toy. Then, replace the plaster. Allow the glue to set up for several
hours; then put the toy back together.

14
 DARUMA

Fig. 5-A. Sketching Daruma features.

Fig. 5-B. Filling lower half of Daruma with plaster.

15
ACTION TOYS

wsmm

16
 Flap
When the Dutch settled in New York, they
brought with them the tradition of the "fair¬
ings." A fairing was an amusing toy or trinket
purchased at one of the great fairs of the Old
World.
From the 12th through the 18th century,
these huge three-day fairs were sponsored by
churches to celebrate a local saint's feast day.
These were a major source of entertainment
for the populace. The county fairs of today are
their offspring.
The Flap Jack is a typical fairing. Because
the movements of the figure are created by the
force of the twisted string, it is classified as a
torsion toy.
Since early toy makers dealt in realism, rath¬
er than fantasy, figures used for toys repre¬
sented familiar people. Our "Jack" is a white¬
faced clown wearing the costume favored by
clowns in early American circuses. The suit is
white with large red and black polka dots.

Supplies: Piece of hardwood, 1 /2" x 1 9 112" x 1 /4" (stock size available in craft and model-making
shops); balsa wood, 6" x 3" x 1/8"; two 1/2 in. round head wood screws; 14 in. length of heavy
duty carpet and button thread; 4 in. length telephone wire or 1 6 gauge wire; acrylic gesso; acrylic or
model enamel paints —red, white, and black; laundry marking pen; small piece of fine sandpaper;
tracing paper.

Tools: Drill and 1/8 in. (or smaller) bit; screwdriver; small saw; craft knife; paint brush; pointed tool,
such as an ice pick, to make holes; needle to use with carpet thread; No. 2 pencil.

How to make
1. Trace outlines of patterns in Fig. 6-A with a No. 2 pencil. Interior lines will be added freehand in
Step 5.
2. Transfer tracing to the balsa wood. Lay tracing, face down, on the balsa and retrace.
3. Using a craft knife, cut out clown parts. Score the lines first with the knife tip. Then cut away
the excess.
4. Sand cut edges lightly. Paint all sides and edges with gesso and allow pieces to dry.
5. Paint the clown. Face, hat, hands, and shoes are white. The suit is white with red and black dots.
When dry, add facial features and other details with a marking pen. Refer again to Fig. 6-A.
6. Cut wire into four 1 in. pieces. Make small, flat coils at one end of each wire.
7. Attach the arms. Put the wire through an arm, the body and the other arm. Form a coil with the
left-over wire to hold parts together.
8. Attach legs using the same method.
9. Saw hardwood stock into three pieces, (two 9 in. and the third 1 in. long). Mark the 9 in. pieces
for holes as shown in Fig. 6-B.
10. Drill thread holes and hole for screws in 9 in strips.
1 1 Assemble framework as shown in Fig. 6-C. The 1 in. piece of hardwood is the crossbar for the
frame. Use wood screws to hold it in place.
12. Attach clown to framework using needle and doubled thread. Lay the framework flat on the
table. Put the clown's arms over its head. Line up thread holes in the hands and frame, Fig. 6-D.

17
1 3. Start stringing at the lower hole in one side of the frame. Use the following threading sequence:
Thread goes through frame hole, hole in hands, hole in other side of frame. Then return through
the top hole in frame, through top holes in hands, and finally, through top hole in other side of
frame. Tie a knot with ends of threads.

To make Jack do tricks, hold the bottom ends of the frame in one hand. Gently, squeeze and
release the sticks. Occasionally, the clown may have to be turned head over heels a few times to
twist the string.

FLAP JACK

GRAIN

Fig. 6-A. Full size patterns.

r i/2"i
HOLES FOR
THREAD

SCREW TO HOLD
Fig. 6-B. Marking holes (not to scale).
CROSSBAR IN
PLACE

4”

18
1/4”

19
 Jumping Punch
To be banned from France was the fate of made paper and lithography made paper toys
the pantins. There were doll-like figures made possible. The five parts of the toy were printed
of paper. Jointed arms and legs gyrated when on heavy paper to be cut out and strung at
a string was pulled. The advent of machine- home.
Since the pantin was one of the first paper
toys, it was a popular novelty. In 1746 it
became a favorite plaything of French children.
A year later, it became the darling of the aristo¬
crats. The adult version appeared in many
shapes. There were harlequins, columbines,
shepherds, ballet dancers —even caricatures of
prominent persons.
For a decade the fad spread until nearly
everyone was playing with pantins. At this
point, the police became concerned for the
welfare of women. They tried to banish the toy
declaring that women were in danger of bear¬
ing children with twisted limbs like pantins.
The craze spread across the Atlantic ocean
with similar results. The toys prevailed, how¬
ever, but did undergo a name change. In
America, they are called “Jumping Jack."
At first, they were made from wood. These
were followed by designs printed on paper that
were to be pasted on wood. Finally, printed
paper attached to cardboard was used.

Supplies: Heavy cardboard or mat board, 8“ x 9", in a light color; telephone wire or 18 gauge
covered wire, 1 2 in. long (it is called stem wire in craft shops); 3 ft. of red string; laundry marking
pen; acrylic gesso; white, red, yellow, blue model enamel or acrylic paints (traditionally. Punch has a
red coat trimmed with yellow); No. 2 pencil; sheet of tracing paper.

Tools: Sharp craft knife; paintbrushes; ice pick, awl, or other tool with a sharp point to make holes;
needle to thread string.

Preparation
1. Trace patterns onto tracing paper with No. 2 pencil. Be sure to trace all the details.
2. Lay tracing paper over the cardboard face down. Retrace outlines and Os and Xs only.
3. Using a knife, cut out all pieces.
4. Make holes as indicated at all Xs and Os.

Assembling
1. Paint both sides of all pieces with gesso. Allow pieces to dry.
2. Place tracings face down on proper pieces and trace off details.
3. Paint all parts on both sides. Let them dry.
4. Use a laundry marking pen to outline details.
5. Cut wire into six 1 1/2 in. pieces. Make a small, tight, flattened coil in one end of each wire.
6. Fasten arms to body, Fig. 7-A, with wire at Xs. Make a coil on the other end of the wire to hold it
in place. Do not fasten too tightly; they should move freely.
7. Fasten lower leg, Fig. 7-B, and foot, Fig. 7-C, to upper legs with wire.
8. Fasten the entire leg to the body.

20
 9. Link arms by putting a string through "0" holes and tying. The needle will help.
10. Link legs in the same fashion.
1 1. Use the 1 4 in. piece of string to link arm strings and leg strings. Tie one end of the string to the
middle of arm string. Repeat with the leg string. Leave the remainder of the long string hang
down as a pull cord.
1 2. Put a 4 in. string through the hole in the hat. Tie it to form a hanging loop.
1 3. Test action by holding the hanging loop and pulling on the pull cord. Limbs should flap to and fro.
If they do not, loosen the wires slightly.

FULL SIZE PATTERNS FOR "JUMPING JACK"

Fig. 7-C.

Fig. 7-A. Body of Jumping Jack.

21
 Climbing Bear

The beginnings of this toy are unknown.

Perhaps, it is one of the early wooden toys lov¬
ingly made by a Pennsylvania woodcarver.

Supplies: Wood for body, 4 1/2" x 5" x 3/4"; wood for crossbar, 5" x 1/2"; cord 8 ft. long and no
more than 5/32 in. in diameter; two beads for ends of pulling cords; permanent black marker or paint;
brown paste shoe polish; No. 2 pencil; sheet of tracing paper.

Tools: Coping saw; drill with 3/16 in. bit.

How to make
1. Trace bear pattern using No. 2 pencil and tracing paper.
2. Put the tracing, face down, on wood block and retrace.
3. Cut out the bear with a coping saw.
4. Drill holes in the bear's paws as indicated in Fig. 8-A.
5. Drill holes in the crossbar. See Fig. 8-B.
6. Using a marker or paint, draw in the face and paw details, one side only.
7. With a soft cloth, rub shoe polish over all sides of the bear and crossbar. Use a clean cloth to
wipe off excess.
8. Cut 7 in. piece of cord. Put through the center hole on crossbar to form a hanging loop. See Fig.
8-C.
9. Divide remaining cord into two equal parts. Tie a bead on one end of each.
1 0. String the toy one side at a time. Push cord up through the arm hole, then up through the cross¬
bar. Tie a large knot on top of crossbar.

To make the bear climb, hang the toy on a hook. Take a bead in each hand. Pull down on one cord
at a time while keeping light tension on the side not being pulled. Vary the tension alternately. Hands
should be close together. When the bear reaches the top, release the tension. It will slide back to the
bottom again.

22
 CLIMBING BEAR

WHERE TO DRILL HOLES

FOR CLIMBING CORDS-DO NOT TRACE

KNOT
—A _

Fig. 8-A. Full size pattern for climbing bear.

STRING
FROM BOTTOM UP
BEAD •

Fig. 8-C. Stringing the bear (not to scale).

DRILL HOLES

Fig. 8-B. Locating holes in crossbar (not to scale).

23
 Sawyers

When Ben Johnson was describing the toys

offered for sale at London's Bartholomew Fair,
he mentioned "the device of the Smith's," a
push-pull wooden toy on which two figures, in
turn, beat on an anvil as the handles were
alternately pushed and pulled.
The same type of toy was built by early
American boys who whittled away with their
jackknives. Because they were more familiar
with woodcutters, figures using crosscut saws
were more popular than blacksmiths.

Supplies: Medium weight cardboard, light colored, 5" x 1 1piece of basswood, 7 1 /2" x 1wood
scrap, 1/2" x 1/2" x 1/4"; telephone wire or 1 8 gauge covered wire, 1 2 in. long (called stem wire at
craft stores); No. 2 pencil; acrylic gesso; model enamel or acrylic paints in assorted colors; laundry
marking pen; white glue; small piece of wax paper; four round wooden toothpicks.

Tools: Craft knife; six spring clip clothespins; brushes for glue and paints; ice pick or drawing com¬
pass to make small holes.

How to make
1. Trace all patterns in Fig. 9-A (but not the shading on the sawyers' arms and legs).
2. Transfer tracings of sawyer figures to the cardboard. Make two sets. (Remember to flop the
tracings each time so traced pattern will transfer.)
3. Transfer patterns of saw and pull strips to basswood.
4. Using craft knife, cut out all parts.
5. Make holes in parts where indicated.
6. Glue sawyers together except in shaded areas indicated on pattern. Separate these areas with
wax paper. Clamp joined parts with clothespins until glue dries.
7. Paint edges and both sides of all pieces with gesso. Let dry.
8. Paint sawyers, saw, and pull strips in your choice of colors. Use marking pen to outline details.
9. Cut two 1/1 6" deep notches in both sides of a wood scrap. See Fig. 9-B. The scrap should be
about 1/4" thick and about 1/2 in. square.
10. Cut wire into six 2 in. pieces. Make a small flat coil in one end of each piece.
1 1. To assemble, remove wax paper separating hands and legs. Slide handles of the saw between
sawyer's hands. Line up holes using the tip of a toothpick. Leave the toothpick in place until
replaced by wires. Do one at a time. After wire is in place, coil the other end to hold it. Wire legs
onto pull sticks in the same way. Legs should straddle the sticks.
1 2. Mark the midpoint between holes in the top stick. Apply a small amount of glue to one groove of

24
 the wood scrap cut in Step 9. Mount it atop the stick at midpoint. Press the edge of the stick into
the groove. Let it dry.
1 3. To make the sawyers work, hold end of top stick in left hand and the end of the bottom stick in
the right hand. Gently, push and pull. The sawyers will rock back and forth in a sawing motion.

SAWYERS

ALTERNATE
HANDLE
END

MAKE 2
OF EACH FIGURE

Fig. 9-A. Full size patterns of sawyers and tools.

Fig. 9-B. Notching piece of wood scrap.

25
 Pinwheels
To trace the pedigree of the brightly colored
pinwheel toys of today, we must go back to
Europe during the Middle Ages. In those days
they were called windmills. Two small windmill
paddles were loosely attached to the end of a
long stick. They have the distinction of being
the most frequently illustrated toy of the
medieval period, appearing on woodcuts,
tapestries, and paintings.
Centuries later, they were brought to the
American colonies by early settlers. Until
1882, they were made of wood in the tradi¬
tional way. For a short time after that, metal
was used; then paper. Now, plastic is usually
substituted.

Supplies: Piece of basswood, 2" x 5" x 1/1 6"; two balloon sticks (These are the bamboo sticks to
which balloons are fastened. Novelty stores have them.); steel straight pin with a bead head; bead
about 1/2 in. in diameter; white glue.

Tools: Craft knife; pliers; eight spring clip clothespins.

How to make
1. Cut balloon sticks. Make one piece 1 5 in. long and two 7 in. long.
2. Use a craft knife to cut four windmill paddles. Make them 1 in. wide by 2 1/2 in. long. Let the
wood grain run the long way.
3. Make a 1/2 in. deep notch in the middle of the 7 in. sticks.
4. Make a 2 1/2 in. long slit in both ends of sticks. With notches facing up or down, the slit should be
about 30 degrees off horizontal. See Fig. 10-A.
5. Put glue on both sides of one long edge of a paddle. Carefully insert it into slit. Mounted paddles
should look like Fig. 10-B-1. Clamp with two clothespins until glue dries. Repeat with the other
three paddles.
6. To assemble, cross sticks with paddles so that the notches interlock at right angles. Apply glue.
Fig. 10-B-2 shows wheel assembled.
7. Before glue dries, stick the pin through the center of the assembly, then through the bead. Finally,
push the pin through the long stick close to end. Use pliers to bend over the end of the pin.
Fig. 10-C.

26
 PINWHEEL

7” BAMBOO STICK
2 1/2” SLIT 2 1/2” SLIT

I = -1
1/2” NOTCH

END OF
STICK

SLIT ABOUT
30 DEGREES
OFF HORIZONTAL
NOTCH

Fig. 10-A. Notching and slitting bamboo

(not to scale).

1 . PADDLE

Fig. 10-C. Assembled wheel.

Fig. 10-B. Assembling paddles.

27
 Grandpa Bill’s Tank,
A Spool Toy
When Grandpa Bill was a boy, our country
was fighting World War I. Toys were scarce
because toy factories were making weapons.
In fact, some men on the Council of National
Defense thought that Christmas should be
abolished.
A group of toy manufacturers appeared
before the Council with samples of their best
toys. The members of the Council had such a
good time playing with the toys that Christmas
was saved.
Children of those days had to make the most
of their playthings. They used odds and ends
from their homes. The tank was one of the mo¬
tion toys they built.

Supplies: Wooden spool, any size; two 1/2 in. nails or brads; rubber band; dowel, 1/8 in. diameter
and 4 in. long; inch square chunk of paraffin; small metal container for holding hot paraffin; larger
container for heating water; throw-away foil pie tin.

Tools: Hammer; craft knife.

How to make
1. Cut notches in both ridges of the spool at 1/4 in. intervals, Fig. 1 1-A. Wood spools can be pur¬
chased at craft stores. (Plastic spools can be notched with a file or a very hot ice pick.) Use of
styrofoam spools is not recommended.
2. Melt paraffin in a small can. Set can in larger container of water. Place larger container over the
fire. After paraffin is melted, pour it into the pie tin. When it is cool enough to handle, shape a
washer nearly the same diameter as the spool. Make a hole in it to match the hole in the spool.
3. Hammer two small nails into one end of the spool leaving about 1/4 in. sticking out, as shown in
Fig. 1 1-A.
4. To assemble the tank, loop the rubber band over the nail to anchor it. Push the band through the
spool and through the paraffin washer. Put one end of the dowel through the open loop of the rub¬
ber band alongside the washer. Fig. 11 -B. The dowel serves as a crank for winding up the rubber
band. When the spool is placed on a flat surface it also prevents the rubber band from unwinding
too rapidly.

To make the tank move, hold the spool in one hand. Crank the dowel with the other hand to wind
up the band. Place the tank on the floor or table top with the end of the dowel resting on the surface.
Let it run.

28
 GRANDPA BILL'S TANK

END

NOTCHES

NAILS 1/4" FROM CENTER

Fig. 11-A. Preparing the spool.

RUBBER
BAND
RUBBER
BAND

29
NOISE TOYS

30
 Spool Tick Tacks

In the last half of the 1 9th century, there

was a large-scale Irish immigration to the
United States. They brought with them the
Halloween customs. Part of the fun was play¬
ing pranks on the neighbors. The raucous
sound of a spool tick tack on a windowpane
was known to startle many a householder.

Supplies: Wooden or plastic thread spool —any size; stick, 8" x 1/8" diameter; piece of strong cord
about 3 ft. long.

Tools: Craft knife.

How to make
1. With the craft knife cut notches in the edges of both ends of the spool, Fig. 1 2-A. Use a file to
notch plastic spools.
2. Wind the string tightly around the spool. Leave one end hang down. Put the 8 in. long stick
through the center of the spool. Fig. 1 2-B.

To work the tick tack, wind the string around the spool and hold the end of the stick with your left
hand. Place the spool against a window. Pull the string with your right hand.

31
 Buzz Saw
Toys that make noise have fascinated chil¬
dren the world over in any age. The buzz saw
is such a toy. It produces a buzzing sound
similar to that made by a saw. Variations of the
toy have been found by archeologists excavat¬
ing ancient civilizations.
Children of British soldiers quartered in colo¬
nial America played with such toys. A camp
dating from 1 781 was excavated in 1921. It
yielded several coins that had been made into
buzz saws.
Lacking coins, children made the disk out of
any suitable material. Popular substitutes were
fashioned from wood chips. A button, if avail¬
able, was even better; the holes were already
there.

Supplies: Strong cord, length about 40 in.; wood chip, buttom, play coin or any disk-shaped object
from 1 to 3 in. diameter through which holes can be drilled.

Tools: Scissors; drill or other tool for making holes.

How to make
1. If the disk does not already have holes, find the center and mark it. Drill two holes equally distant
from the center. They should be about 1/2 in. apart, Fig. 1 3-A.
2. Put the cord through both holes and tie the ends in a knot, Fig. 1 3-B.

To work the buzz saw, hold a loop of the cord in either hand with the disk midway between. With
hands close together, swing the disk around and around several times to twist the string. Tension the
cord to start the disk spinning. Then alternately tighten and relax the tension on the string. The disk
will spin first in one direction and then in the other, Fig. 1 3-C. Do not relax the tension too much or
too fast. Keep tension light and let the shortening and lengthening of the twisted string guide the
hands. The disk will respond with a buzzing sound that rises and falls in pitch according to the speed
at which it is spinning.

32
BUZZ SAW

33
 Bull Roarer

The throaty fluttering sound of the "bull

roarer" has been heard for centuries by many
civilizations. Sometimes it was used in reli¬
gious ceremonies; sometimes as an aid to
herding cattle; and sometimes just for fun.
American Indians used them in religious
ceremonies in times of drought. They thought
that when rain heard the sound of thunder the
rain would come.
Bull roarers has such appeal for pioneer boys
that they made their own.
Today, in some areas of the United States,
bull roarers are used to drive hogs.

Supplies: Basswood, 8" x 2 1/2" x 3/16"; polycord, chalk line, or strong fish line 40 in. long.

Tools: Craft knife.

How to make
1. Trace the pattern and transfer it to basswood. Cut out the bull roarer.
2. Make the hole as indicated on the pattern, Fig. 14-A.
3. Put one end of cord through the hole. Tie with a bowline knot, Fig. 1 4-B. Since rope ends tend to
ravel, put a knot in the other end of the cord. You may prefer to whip it to prevent unraveling.

To use the roarer, let it hang straight down so the cord can untwist. Then whirl it rapidly over your
head to hear the bull roar.
Be very careful to stay away from other children. This can be a dangerous toy. Check the cord
often to be sure it is not wearing out. Prepare for wet weather; you might start a cloud burst!

34
 BULL ROARER

CENTER
HOLE FOR
ROPE

Fig. 1 4-A. Pattern.

35
 Cornstalk Fiddle
The making of fiddles from cornstalks has
been handed down as a folk craft from genera¬
tion to generation. Since corn was first grown
in America, this musical instrument is uniquely
American. It is questionable whether the
scraping sound produced was music; still, it
was sweet to the ears of the maker!
Traditionally, the materials came out of
rustic surroundings. Thus, it will not be hard in
smaller town and rural communities to collect
the necessary materials at little or no expense.
Many gardens will yield dried stalks from
sweetcorn and sticks can often be collected
under trees in residential neighborhoods. The
craftperson's scrap box will also contain
usable materials.

Supplies: Cornstalk; stick or dowel about 1 4 in. long for bow; four sticks 1 /8 in. diameter and about
11/2 in. long; rosin.

Tools; Craft knife.

Cornstalks should be picked in the early fall when the corn is being harvested. Strip off dried leaves.
The stalk is thicker at the base than the top and is jointed. There is a groove down one side. This, too,
is wider at the bottom than at the top. It will act as a sounding board. See Fig. 1 5-A.

Making the fiddle

1. Select a section of cornstalk that is near the base. You will need a piece with a full length between
joints plus a half length beyond each joint. Cut the stalk off between joints as shown in Fig. 1 5-A.
2. The stalk has a tough outer covering which is quite rigid when dry. Soak the section in water for
30 minutes.
3. Now you are ready to make the “strings." Turn the stalk so the groove is up. Slip the point of the
knife through the ridge formed along one side of the groove. Guide the blade to come out between
1/8 and 1/4 in. from point of entry.
4. Slide blade along lengthwise of the stalk to loosen a narrow strip nearly the full length between
joints. Repeat on the other side of groove to make a second “string."
5. Cut two sticks 3/4 to 1 in. long to act as stops. Slice a little material off one side of sticks to flat¬
ten them and reduce thickness to about 1 /8 in. or less. Carefully insert the sticks under the strings
to lift them above the stalk where they can vibrate. See Fig. 1 5-B.

Making bows
1. To make a cornstalk bow, cut the stalk in the same way as for making the fiddle. Soak the stalk
and then use the knife to make only one string. Insert short sticks, as in Step 5, to lift the bow¬
string away from the stalk. See Fig. 1 5-C.
2. To make a bow from a dowel or stick cut a small slot in the ends of the stick. Slip one end of the

36
 string into a slot, wrap it around the stick and tie
it with two half hitches. With the stick bowed for
tension, fasten string to opposite end. See Fig. 1 5-D.

Rub rosin on the strings. Play the toy like a conventional fiddle.

CORNSTALK FIDDLE & BOW

CUT SLOT
BOTH ENDS •-
OF BOWED r~.
STICK

Fig. 1 5-D. Making fiddle bow from wood stick or dowel.

37
 Willow Whistle
The origin of the willow whistle goes so far
back into history that no one knows from
where it came. Many American children who
grew up in small towns or on farms remember
the one first presented to them by a father or
older brother. If they were to stop and ponder
over it they might be surprised to recall that
the whistles were generally made only in
Spring. There was a reason for this which will
be explained in the instructions.
Probably, once having followed the con¬
struction of the first whistle, youngsters went
on to produce crude copies of their own. The
steps are very simple although it is easy to
spoil the whistle if you are not careful. The
bark is fragile and will split if handled too
roughly.

Supplies: Short section of freshly cut branch from a willow tree. It should be as big around as the
thumb or about an inch in diameter.

Tools: Jackknife or utility knife; small wood mallet (optional).

How to make
1. Select a smooth section of the branch. One which has no twigs or other branches growing out of
it works best. (Note: branch must be freshly cut so that sap is still present in the bark.) Springtime
is about the only season when this project can be made easily without damage to the bark. Use a
section 4 to 5 in. long, Fig. 1 6-A.
2. Cut off both ends square.
3. Carefully tap the bark all around to help separate it from the wood. Use a small mallet or the han¬
dle of the jackknife, carefully slip the bark off the wood, Fig. 1 6-B.
4. Cut a notch in the wood about 1 5/8 in. away from one end. Fig. 1 6-C.
5. Cut a shallow slot from the notch to the nearest end. This will be the airway for the whistle. Slot
can be flat or vee shaped.
6. Replace the bark in its original position. Cut away bark over the notch. See Fig. 1 6-D.

Variations of the whistle. Different construction techniques will produce different pitches in the
whistle. There are several variations with which you can experiment:
1. Do not notch the stick. Instead, slide the bark off to produce several holes at different intervals.
Space them far enough apart so they can be covered by the fingers. See Fig. 1 6-E. Cut away
most of the wood removed. Replace only a short plug at each end. Cut an airway in the plug for
the mouthpiece.
2. Without notching the stick, slide off the bark. Cut a long airway in the wood. Length is variable
depending on number of holes you intend to make. See Fig. 1 6-F. Cut holes in the bark as in the
previous instructions. Replace the wood inside the bark.

38
finT° play a whistle with variable pitch, place fingers over the holes. Blow into the whistle lifting
fingers from holes. Sound will change as you uncover different holes.

WILLOW WHISTLE

Fig. 16-D. Slide stick back into bark. Notch bark to match notch in stick.

39
SKILL TOYS

40
 Jacob’s Ladder
Intriguing is the adjective that best describes
a Jacob's ladder. It is named for the Jacob's
Ladder in the Bible (Genesis, 28:12).
Six to eight flat wooden blocks are taped
together in such a way that they are double
hinged. When the top block is held by the
edges and tipped forward to touch the second
block, then quickly tipped backwards to touch
it again, the second block appears to tumble,
end-over-end, down the ladder. As long as the
rocking motion is continued, the illusion con¬
tinues.
Created in Japan, it was imported to the
United States and England in the early 1 900s.
It is considered one of the besttoys of the early
20th century.

Supplies: Lattice stripping, 24" x 2 1/4" x 1 /4" (basswood or heavy cardboard may be substituted);
three yd. of 1/2" twill tape (one package); scrap cardboard, 2 1/4" x 3"; wax paper; white glue;
sandpaper, small piece.

Tools: Old watercolor brush for applying glue; scissors; pencil; saw.

How to make
1. Saw lattice strip into eight 3 by 2 1/4 in. blocks. Sand sawed edges.
2. Cut 21 strips of twill tape 5 in. long.
3. Cut cardboard template for use as gluing guide, Fig. 1 7-A.
4. Cut seven pieces of wax paper, the size of the blocks.
5. Begin assembly. Lay a block down on the table. Place the template on top. Lightly trace around
all cut out sections. This indicates where to glue tape. Repeat with six more blocks. (Leave one
unmarked for the end.)
6. Glue tape onto seven blocks at marked spots. Do not get glue on edges of the blocks. Brush on
glue in a thin, even coat. Allow it to dry.
7. Lay one block, tape side down, on the table. All tapes should be extended. See Fig. 1 7-B.
8. Bring tape ends up and over the block. See Fig. 1 7-C.
9. Place second block, tape side down, on top of first one. Tapes should be extended, Fig. 1 7-D.
1 0. Bring short ends up over the edges of the second block and glue to block. Wipe off any excess
glue. Fig. 1 7-E.
1 1. Cover block with a piece of wax paper.
12. Bring long tapes up over block, Fig. 1 7-F. Go back to Step 9 and repeat process until seven
blocks are stacked and glued.
13. Place last block on stack. Bring up tapes from seventh block over last block and glue.
1 4. Allow glue to dry at least four hours. Remove wax paper.

41
 The ladder can be embellished as in the Victorian manner. Slip pieces of brightly colored decorative
paper under the tapes. Cut them slightly smaller than the blocks. If preferred, plain twill tape can be
replaced with decorative tape. Do not use tape that will stretch.

JACOB'S LADDER

L
GLUE
HERE

GLUING TEMPLATE
(FULL SIZE)

GLUE
HERE

r~
Fig. 1 7-A. Cardboard template or pattern.

■I—.
i
li

L _i

i i

T. :

Fig. 1 7-C.

42
 : V’ : •?

ill SECOND
BLOCK

t'-V ‘*V.~«** t ::*v> .; v!;'v- *7 >

MW: •••; v*v* ■>*m

Fig. 1 7-D.

Fig. 1 7-E.

WAX PAPER
OVER SECOND
BLOCK

Fig. 1 7-F.

43
 Cup and Ball
French aristocrats of the 1 6th century were
a playful lot. They had several favorite toys,
the pantin and the bilbocquet. The general
public was quick to imitate them and the
bilbocquet became the rage.
Travelers returning to England from the Con¬
tinent introduced it to England. There the name
was changed to "Cup and Ball."
The toy then journeyed to America. It
became one of the earliest games played by
American children.
It is a simple toy, easily made. The ball is at¬
tached to the stem and cup with about 25
inches of string. The end of the stem opposite
the cup is pointed. The object is to swing the
ball so that it goes into the cup or onto the
point. The size of the toy varies. The stem may
range from 3 to 1 4 in. long. The ball could be
as small as a bead or larger than a golf ball,
depending on the size of the stem and the cup.

Supplies: Small dried gourd; eight dried corn husks; two yards, or more, of string; section of cornstalk
or a stick 6 to 7 in. long and the thickness of a pencil; white glue; water; pencil; towel.

Tools: Craft knife.

How to make
1. Soak corn husks and string in water.
2. With the pencil, draw a circle around the gourd. This will give a cutting guide for making a cup of
the gourd.
3. Soak the gourd in water about 20 minutes to soften its skin. When you can pierce the skin with
the tip of a knife, carefully cut on guideline, Fig. 1 8-A.
4. Remove seeds and membrane. Make a hole in the bottom of the cup big enough to receive the end
of the stick. Fig. 1 8-B.
5. Wrap the wet corn husks in a towel. Using three or four at a time, trim off the hard end and tear
husks into strips about 1 in. wide.
6. Begin constructing the ball with a core made from several husks tightly rolled into a tight ball.
Continue wrapping husks around the core. When adding a fresh strip of husk, cover the end of the
preceding one. Stop when the ball is about 1 1 /2 in. in diameter. To hold the ball together, wrap it
with string in all directions. Leave a short length of beginning end hang out. Use it to tie off.
7. Now, tie the ball to the end of a 30 in. piece of string. Go around the ball like you would tie a
package. This will take about 8 in. of the string. Tie off with a knot. The remainder of the string
will be used to attach the ball to the cup.
8. Insert the stick handle into the hole previously made in the bottom of the gourd cup. Apply glue
generously inside and outside the hole.
9. Tie the ball to the stick where the stick joins the cup, Fig. 1 8-C.

To use the ball and cup, hold the cup upright letting the ball hang down. Swing the handle upward
to toss the ball into the air. Try to catch the ball in the cup.

44
CUP AND BALL

45
 Flipperdinger

From grim beginnings during the French

Revolution, this toy has become a “play
pretty" of our southern uplands. In France it
was known as “Le Pendu," the hangman's
noose, an unspoken protest against the whole¬
sale executions.
Many refugees from the Revolution entered
the United States through the Port of New
Orleans. This could account for the toy finding
a new home in the South.

Supplies: Section of bamboo, 9“ x 3/4” diameter, for blowpipe; cork to plug hole in smaller end; sec¬
tion of bamboo, 1" x 3/8” diameter for air tube; bare wire, 1 8 gage by 1 8 in. long; lightweight bare
wire, 2 in. long; small cork, balsa, or styrofoam ball, 1/2 in. diameter; white glue. (Bamboo is sold in
most garden supply shops.)

Tools: Small saw; drill; pliers.

How to make
1. Check both pieces of bamboo for obstructions. You must be able to blow through them.
2. Plug the smaller end of the blowpipe with the cork. Glue it to prevent it from falling out.
3. Make a groove for the wire around the outside of the blowpipe 1/2 in. away from the plugged
end. See Fig. 1 9-A.
4. Drill a hole for the air tube 1 1/4 in. from the plugged end.
5. Fit the air tube into the hole and glue it. Fig. 1 9-A.
6. Make a 1 in. diameter loop in the middle of the 1 8 in. section of wire. Wrap the rest of the wire
together except the last 2 1 /2 in. Wrap this untwisted section around the groove in the end of the
blowpipe and twist the ends. Stick the wire ends into the cork. Fig. 1 9-B.
7. Run the 2 in. wire through the ball. Make a hook in one end. Glue it in place. Fig. 19-C.
To use the flipperdinger, seat the cork ball on top of the air tube with the wire hook upward. Blow
into the blowpipe to launch the ball into the air. Try to hook the ball on the hoop.

46
 FLIPPERDINGER

Fig. 19-A. Cross section of blowpipe

(not to scale).

Fig. 1 9-C. Attaching hook to cork ball.

47
 Flip Ball

This toy was a favorite of the 1 6th century

French. It is a variation of the Cup and Ball
game.

Supplies: For base strip, 1 1 1/2" x 3/4" x 3/16" basswood piece; for flip stick, 8 1/2" x 3/4" x
1/8" basswood piece; for spring block, 3/4" x 1/8" x 1/8" basswood piece; two 1/4" nails; for
cups, two 1 in. sq. balsa blocks or two plastic bottle caps about 1/2 in. high and 1/2 in. in diameter;
bead small enough to fit into cups; string, 8 in. long; white glue; model enamel or acrylic paints.

Tools: Craft knife; brushes for paint and glue.

How to make
1. Whittle the cups out of balsa or use bottle caps. Paint cups and strips. Let them dry.
2. Glue spring block and cup onto base strip. See Fig. 20-A.
3. Drill a hole in the middle of the flip stick 4 1/2 in. from the left end. Glue cup onto stick. Fig. 20-B.
4. Tie a big knot in one end of the string. Put the other end through the hole in the flip stick. Knot
should be on the underside, Fig. 20-C.
5. Glue the flip stick onto the base strip 1/4 in. from the cup. Reinforce with nails. Fig. 20-D.
6. Thread the string through the bead. Place bead in base cup. This measures correct length for
string. Tie in place.

To use the flip ball game, try to get the ball from the cup on the flip strip to the cup on the base.
Hold the toy in one hand while you press down on the flip stick with thumb of the other hand.
When you release it, the ball will be launched toward the other cup.

48
 FLIP BALL

SPRING BLOCK

BASE STRIP
K. Bt
4 3/4"

k 1 1 1/2"

Fig. 20-A. Gluing spring block and cup to base strip.

HOLE

/
-1
FLIP STICK
U- 4 1/2" - 4
Fig. 20-B. Gluing cup to flip stick.

Fig. 20-C. Attaching string to flip stick.

49
 Whimmeydiddle
There was a time when a boy's most
precious possession was his jackknife. This
was especially true for a country boy. His skill
with the knife determined the number of toys
he had. The knife was also a source of income.
He could make things such as brooms that
could be sold in town.
A whimmeydiddle is a easy toy for a begin¬
ning whittler. It is a notched stick with a rotor
loosely nailed to one end. When another stick
is rubbed across the notches, the rotor spins.
Some folks call it magic. Others say that it is a
lie detector. However regarded, it is fun to use.
Possibly, the idea for this toy came to this
country from Africa. Missionaries who have
served in Africa tell us that similar toys are
common there.

Supplies: Stick of green (unseasoned) hardwood 8 to 9 in. long (need not be straight); rubbing stick
of same wood, 4 in. long; for rotor, stick of same wood 1 1 /2 in. long; for fastening rotor, 1 in. long
wire nail (4 penny or smaller).

Tools: Jackknife, small drill and bit.

How to make
1. Whittle away the bark from all but the handle end of the long stick.
2. Cut six or seven wide notches. Start about 5 in. away from handle end. Space them evenly about
1/2 in. apart and keep them in line, Fig. 21-A.
3. Shape the rotor by whittling flats on either side of the middle where the hole will be drilled.
4. Find center of rotor and drill a hole slightly larger than diameter of nail. Fig. 21-B.
5. Drive nail through the hole in the rotor and into the end of the stick. Do not drive the nail too deep;
rotor must be able to rotate freely.
6. Using the jackknife, remove some of the bark from the shorter rubbing stick.

To use the whimmydiddle, rub shorter stick briskly back and forth across notches. Rotor will rock
back and forth and then spin —if you do it properly.

50
 WHIMMEYDIDDLE

Fig. 21-B. Shaping rotor and drilling hole through

center.

51
OUTDOOR TOYS

52
 Boats

Around 1 900, the family laundry was done

in large tin washtubs. On a hot summer day, a
tub of water would be set in the backyard to
be heated. Hours of fun then began for small
inland sailors.
Boats held a fascination for youngsters in
those days. Children made simple ones from
discarded odds and ends. With wood from an
orange crate or cigar box, rubber bands, a bit
of camphor, and a bar of Ivory soap, they had
the “makings'' of a fleet.

PADDLEWHEEL BOAT

SOAP SAILBOAT
CAMPHOR BOAT

PADDLEWHEEL BOAT
Supplies: For body and paddles, 1 piece balsa or basswood, 9" x 3" x 3/16"; several rubber bands,
2 in. long, (spares needed): waterproof glue; fine sandpaper.

53
Tools: Craft knife.

How to make
1. Cut body and two paddles out of wood, Fig. 22-A. Sand edges.
2. Slide paddles together to form the paddlewheel. They will interlock at right angles. Glue where
paddles join.
3. Place the rubber band across the back of the body fitting it in the notches as shown in Fig. 22-B.
Insert two adjacent paddles of the paddlewheel through the rubber band so it cannot slide out.

To use, wind up the rubber band by turning the paddlewheel. Place the boat in the water. Release
the paddlewheel.

CAMPHOR BOAT

Supplies and tools: One piece, balsa wood, 4 1/2" x 2 1/2" x 3/1 6"; lump of camphor from drug
store; fine sandpaper; craft knife.

How to make
1. Cut body of boat out of balsa. Sand edges as in Fig. 22-C.
2. To power the boat, place a lump of camphor in the notch on back of boat.
3. Place the boat in the water.

SOAP SAILBOAT

Supplies and tools: Bar of soap that floats; small sheet of typing paper for sail; waterproof glue;
round wooden toothpick; scissors.

How to make
1. Make a paper sail. Fold edge on the fold line. Glue it around the toothpick. Fig. 22-D.
2. Stick end of the toothpick into the soap.

BOATS

Fig. 22-A. Paddlewheel boat.

54
 Fig. 22-B. Attaching rubber band and paddle
(not to scale).

WEDGE
CAMPHOR
HERE

Fig. 22-D. Pattern for sail.

55
 Graces
Parents considered this hoop game an out¬
door exercise in feminine grace. Therefore,
proper young Victorian ladies were likely to be
found playing Graces on a summer day.
Each player held two 1 8 inch sticks and a
lightweight wooden hoop about 10 inches in
diameter. The hoops might have been
decorated with ribbons or tinsel.
To start the game, two opposing players
would hang their hoops over crossed sticks.
Then by quickly moving the sticks apart, they
sent the hoops flying toward the other player.
The object was to catch the hoop over the
sticks and return it. The hoops were kept mov¬
ing back and forth until one player missed.
Each miss cost a point. The first player to lose
all of her points lost the game.
At one time it was considered barely accep¬
table for boys to play Graces. A book on out¬
door games for boys, written after the Civil
war, cautions them to play the game only in¬
doors and never with another boy!

Supplies: Two 1/4 in. dowels, standard length (about 31 in.); two wooden hoops, 8 to 10 in.
diameter (these are available where macrame supplies are sold); two yd. narrow ribbon (1 yd. each of
two colors); white glue.

Tools: Saw or knife.

How to make
1. Wind ribbons around hoops. Use a different color on each hoop. Secure with glue.
2. Saw dowels in half.

Playing the game

Each player receives a hoop and two sticks. Cross the sticks with the hoop hanging on the narrow
part of the "X," as in Fig. 23-A. Players start the game with 20 points each.
The game starts when the sticks are moved apart. The hoops will fly off toward the other player
who tries to catch it on the sticks. Failure means loss of a point The game ends when a player has lost
all points.
Until players become skilled at the game, it is best to use one hoop. Later, each player has a hoop.
They must be exchanged simultaneously.

56
 GRACES

Fig. 23-A. How to hold the hoop.

57
 Serpent

For thousands of years, children have played

games with marbles. The children of early
French and English settlers and the sons and
daughters of British troops brought this game
to the American Colonies.
In 1921, archaeologists working on a site
thought to be the remains of an early English
encampment in New Albany, discovered the
outline of this game in the hard packed earth.

Supplies: Marbles of different colors; pointed stick for drawing game area on ground.

Preparation: Draw a large serpentine shape on the ground following the pattern in Fig. 24-A. Mark in
the Xs at intersections but omit the arrows. They only indicate the direction of play. Scoop out a
small diameter hole at the "eye.”

To play
1. Each player selects a different color of marble.
2. Each player shoots selected marble over the game area in the direction of play indicated in Fig.
24-A. The shot is taken from the tail. Each player's marble is left where it lands. (There are dif¬
ferent methods for "shooting" the marble. One way is shown in Fig. 24-B. A flick of the thumb
will propel the marble with considerable force.)
3. Play continues in rotation until one player rolls his or her marble into the eye of the serpent.

Penalties
1. Any marble rolling outside the lines of the serpent's body must go back to the starting line (tail)
and start over.
2. Any marble struck by another must go back to the tail and begin again.
3. Any marble landing on an X loses a turn.

58
 SERPENT

Fig. 24-A. Arrows show direction of play.

Fig. 24-B. How to hold marble for shooting.

59
 Corn Husk Ball

An ear of corn provided hours of entertain¬

ment for youngsters in the frontier days. Using
either the husks or cob after the kernels were
removed, a girl would be likely to make a doll.
Boys made balls from the husks. The balls
were remarkably sturdy.

Supplies: About 10 dry corn husks; cotton string, 3 yd.; styrofoam ball, 1 1/2 in. dia., for core.

Tools: Scissors.

Making the ball

1. Soak corn husks in warm water 20 to 30 minutes. Drain off water and roll husks in a towel.
2. Soak the string in water. It will shrink as it dries making a tighter ball of husks.
3. Tear the husks lengthwise into 1 in. wide strips. Corn husks always tear straight.
4. To save drying time, use a styrofoam ball as the core. Wrap husks around the ball, covering the
end of the preceding husk with the tip of the new one. Wrap in all directions to keep the ball
round.
5. Finish off the ball by wrapping string around it in all directions keeping the string taut. When the
husks are secured, tie off the string.
6. Allow ball to dry overnight before using.

60
 CORN HUSK BALL

Ball of corn husks. Wetting string before wrapping will

make the ball tighter since string will shrink as it dries.

61
 Ben Franklin Kite

Boys of early America had a traditional cycle

of sports. A time of the year was devoted to
each amusement. With the first sign of Spring,
the cycle began. The first season was marble
time, followed in succession by tops and kites.
A few fancy kites were imported from China
but most boys made their own. Cedar, spruce
or fir was used for the sticks. The cover was of
paper or linen. If linen was used, the maker
smeared it with linseed oil after the kite was
made. The oil stiffened the fabric and made it
more airtight.

Supplies: Unbleached muslin, 19 in. sq.; two 24 in. bamboo balloon sticks; kite string; needle,
thread, and straight pins; boiled linseed oil; rectangular scraps of calico about 1" x 10"

Tools: Craft knife; scissors; brush for spreading oil

How to make
1. Make 1/2" slit in ends of sticks. Find middle of sticks and lash them together at right angles.
2. Tie the string onto the end of one stick leaving a 6 in. end.
3. Run the string through slits of all sticks making a frame. After going through a slit, wrap the string
around the stock to secure it. Then move on to the next slit. Continue around the sticks to the
starting point. Go through the first slit again and tie the string off. Keep the frame square. See Fig.
26-A.
4. Lay the frame down on the material. Draw around it so that there will be enough material for an
inch hem. Cut on the line. Fold the hem over the string and pin in place. Sew hem as close to the
string as possible.
5. Lay the kite material front side up on white paper. Brush on linseed oil. Let it dry.
6. The bridle strings are attached to the front of the kite. Make tiny holes to pass them through the
material. Tie the strings around the sticks. The string on the "north-south" stick should be 36 in.
long. The string on the "east-west" stick should be about 24 in. long. It is tied about 4 in. in from
the ends of the stick. See sketch in Fig. 26-B.
7. Put a finger under the intersection of the bridle strings. Hold at a 20 degree angle to the floor. Tie
flying string here.
8. Make the tail by tying strips of calico together until you have a tail 20 times the length of the kite.
Attach it to the kite at the south tip. Test the kite. The tail can be lengthened or shortened as
needed.

62
BEN FRANKLIN KITE

63
 Hornbook Battledore and
Shuttlecock
In colonial America as well as 1 6th and 1 7th
century England, a battledore was a wooden
paddle used to bat shuttlecocks in a game
similar to lawn tennis and badminton. Battle¬
dore and shuttlecock has been a popular game
in the Orient for 2000 years.
Boston stores carried the game before the
American Revolution. Youngsters without a
battledore substituted their hornbooks. This
was a sheet of vellum mounted on a wooden
paddle. The sheet contained the alphabet,
Roman numerals, and other instructional
material. The sheet was overlayed with a thin
cover of transparent horn.
The shuttlecock was easy to make. A cork
with feathers stuck in it worked very well.

Supplies for making the battledore: Wooden paddle toy of type with rubber ball attached; sheet of
parchment type paper (you can antique regular paper by sponging it with tea or coffee and drying it);
clear contact paper for horn; fine-line brown marking pen; brown shoe polish; leather strip 1/2 inch
wide and long enough to go around the edge of the paper; white glue; dozen or so small tacks for at¬
taching leather strip; sandpaper.

Tools: tack hammer; scissors; drill.

To make battledore
1. Remove elastic and staple from the paddle. Sand off any markings.
2. Antique with brown shoe polish. Remove excess polish.
3. Cut a piece of paper for the hornbook lesson. Since this hornbook dates before 1818, the
alphabet will not have a “S' or "U” in it. At that time "I" and “S' were interchangeable. A "V"
was substituted for "U," Fig. 27-A.
4. Glue the lesson on the paddle. Cover it with the clear contact paper as a substitute for horn
material.
5. Edge the paper with the leather strip. Tack it in place.

Supplies for making the shuttlecock: Cork ball 2 inches in diameter; eight to ten chicken feathers (get
from a craft shop or farm); white glue.

Tools: Ice pick or tool to make holes in ball.

64
To make shuttlecock
1. Punch a hole in the ball for each feather. Make them in a cluster. See Fig. 27-B.
2. Press stems of feathers into the holes. (You can glue them in place if you wish.)

HORNBOOK BATTLEDORE, AND SHUTTLECOCK

A
G HIKLA
M 0 PQRS
T VVXYZ
1Z345
Cl 870
C
O •be
Fig. 27-A. Sample lettering for hornbook.

Fig. 27-B. Making the shuttlecock.

65
 MAZE
St. Lammas Day, celebrated on August 1, Following the ceremony the community
was traditionally a day of thanksgiving. It feasted and played games.
signaled the beginning of the harvest season. While their parents sat at the harvest table
On that day, the first fruits of the harvest and watched, children often played in a maze
were brought to the churches to be blessed. constructed for the occasion. Usually the walls
of the maze were built from sheaves of grain or
from clumps of sod that had been turned up in
a pattern of circular walkways and passages.
Smaller versions were often carved in wood or
drawn on paper.
St. Lammas Day was celebrated both in
England and on the Continent from early Chris¬
tian times. The English called the church ser¬
vice a “loaf mass" while on the Continent it
was referred to as the “lamb's mass."
American settlers brought the tradition with
them. Until 1863, when Abraham Lincoln
declared Thanksgiving a national holiday, each
community had a time for its own thanksgiving
festival. The date elected was August 1 or
Lammas Day.
In the late 1 7th century the Puritans became
concerned over the running of the maze. It had
become such a fad that they banned it in an
attempt to suppress "those folyshe
ceremonies".

Supplies: Powdered chalk, rope, or bales of straw for walls; yardstick or stick cut to size.

To make
1. Plan the maze on paper. It may be any size or shape. In the old days, children might have had to
walk half a mile to reach the center.
2. Start planning from the center. Draw a wall around it. In the wall place an opening as in Fig. 28-A.
3. Draw a second wall around the first with a path between them. Put a door in this wall and a wall
across the path to block it. Fig. 28-B.
4. Continue adding walls, paths, and openings until the maze is the size you want. Fig. 28-C shows
a small completed maze.
5. When making the maze outdoors, use chalk, rope, or bales of straw for the walls. To keep the
width of the paths uniform, cut a stick to the width of the path wanted. Mark the innermost wall
surrounding the center. Then lay the stick against the wall. The end of the stick provides a mark¬
ing guide. Move it along the old wall as you mark each new wall, Fig. 28-D.

66
 MAZE

WALL

Fig. 28-B. Adding walls and barriers.

USE STICK
TO MEASURE
DISTANCE
BETWEEN

Fig. 28-C. Maze completed. Fig. 28-D. Using measuring stick.

67
DIVERSIONS

68
 Noah’s Ark
Parents' strict observance of the Sabbath
could make Sunday a dreary day for children of
early America. The only exception to the ban
on entertainment was the Noah's Ark toy. Its
biblical connection made it acceptable.
There were as many different styles of arks
as there were makers. However, they did
share some characteristics. In all of them, a
rectangular house sat atop a small boat. The
roof lifted off so that all its passengers could
be set inside. Often, the house was decorated
to resemble the home of the child.
The originator of the ark is unknown but we
do know that it came out of Germany early in
the 1 7th century. Until the 1 890s, the ark and
its inhabitants were fashioned from wood.
Then, when paper toys became popular as
advertising giveaways, a Connecticut thread
company offered Noah's Arks. The animals,
too, were paper cutouts with an easel back. A
verse, printed on the reverse of each animal,
advertised the company's thread.

Supplies for a Noah's Ark: One piece of basswood, 1 2" x 8" x 3/1 6"; two strips of balsa, 9" x 1/2"
x 1/32"; model enamel or acrylic paints; white glue; black laundry marking pen; brown shoe polish,
paste type; tracing paper and soft pencil; string or rubber bands; fine sandpaper.

Tools: Craft knife; metal edge ruler; brushes for paint and glue.

To make
1. Trace patterns, (twice where two of a kind are needed). Turn penciled side down on basswood.
Retrace to transfer patterns. See Figs. 29-A, 29-B, and 29-C.
2. Cut out all the parts. Score the lines with the point of a knife. Use the ruler as a guide for straight
lines. Cut away excess wood. Sand edges.
3. Paint all the pieces. Outline details with the laundry pen when the paint is dry.
4. Soak the 1/2 in. strips of balsa in warm water.
5. Working on wax paper, glue both sides of the building, Fig. 29-D, to one end piece. Check cor¬
ners for right angles. Butt the sides onto one end of the building. Glue on the other end. See pat¬
tern, Fig. 29-C. Again, check corner angles. Clamp by putting a rubber band around the building
while the glue dries.
6. Remove the 112" strips of balsa from the water. Blot them with a towel. They should be ready to
shape to the deck. Starting in the middle of one curved end, shape them around the deck, (Fig.
29-A). Hold in place with string or rubber bands and allow them to dry.
7. Lay a protective strip of wax paper over the top edges of the building. Form the roof by putting
glue on sloped edges of the ends and assembling the roof pieces (Fig. 29-B) on top of the
building. Butt the short piece against the long one. Clamp until dry. Do not glue the roof onto
building. It must lift off!
8. When the balsa strips dry, glue them onto the edge of the deck. Clamp them once more.

69
 9. Give an antique look to both deck and building by rubbing with shoe polish. Buff with a clean
cloth, if you wish.
10. Glue building to deck. Sign and date the ark. You have made an heirloom.
1 1. Animals can be purchased, carved from wood, made with paper or molded from plaster —any
way you wish.

NOAH'S ARK
FULL-SIZE PATTERNS

ROOF
SHORT SIDE

GRAIN

70
 MAKE TWO BUILDING
ENDS. ONE HAS DOOR;
OTHER HAS WINDOW.

Fig. 29-D.

71
 Victorian Peep Show
A peep show is a miniature scene created in The viewer looks through a small hole in one
a closed box. Depending upon the scene, it end.
may be lighted from the side, top, or bottom. The peep show has a long, fascinating
history. The first ones go back to the
Renaissance when craftspeople and artists ex¬
perimented with three-dimensional perspec¬
tives. They were used by the early Christian
churches to illustrate Bible stories for illiterate
peasants. The scenes were set up in large
mobile cabinets which could be taken from fair
to fair.
By the 1 7th century, much smaller ones
were being made. An ingenious method of
painting scenes on mica slides was developed.
The slides fit into slots inside the box. The
large shows continued to be popular at fairs in
the 18th century but the subject matter
changed from biblical to historical events.
Victorians, inspired by interest in optical
toys, devised the ultimate peep show. The
shape became triangular and was lined with
mirrors.
Peep shows are, perhaps, the best of all
toys. They are as much fun for the maker as
for the viewer.

Supplies: Piece of heavy mat board, 1 3 by 1 3 inches; two mirrors, 3 by 6 inches (have them cut
where mirrors are sold, they are very inexpensive); odds and ends to make a scene in the peep show:
moss, two or three tiny figures and a few dried flowers (they will be reflected by mirrors and made to
look like more); masking tape; white glue; white gesso; acrylic or model enamel paints; one piece,
white construction paper; watercolor paints.

Tools: Craft knife; ruler; protractor; clip clothespins; tweezers; brushes for paint and glue.

To make
1. See Fig. 30-A for layout of peep show box. Dimensions are indicated. Draw on cardboard.
2. Cut out the peep show. Score base triangle lines with knife. Cut out the peephole.
3. Decide on scene for peep show.
4. Draw outline of Side A on construction paper. Paint a sky on it with watercolors. Dry. Glue it to
Side A.
5. Glue mirrors on Sides B and C. Clamp with clothespins until the glue dries.
6. Glue grass and other chosen materials onto the base triangle. This will be the floor of the show.
7. Fold sides A, B, and C along scored lines to form a box with a triangular shape. Be sure the mir¬
rors butt together. Hole the outside corners together with masking tape.
8. Paint the outside of the box and upper edges with gesso. Let it dry and, then, paint with enamel.
9. Put an object in the peep show. Move it around to study the multiple images. The reflections of
the peep hole can be blocked by the manner in which the scene is arranged.
10. Glue the scene in place when the arrangement suits your fancy.

72
 VICTORIAN PEEP SHOW

PEEPHOLE

SIDE A

Fig. 30-A. Peep show box to half scale (1/2" = 1").

73
 Picture Puzzle Blocks

Whether they were imported from Europe or

made by the local carpenter, blocks were a
popular toy of early American children. Many
blocks were adorned with letters, numbers, or
part of pictures. It is possible that many im¬
migrants, lacking an education themselves,
favored these educational type blocks for their
children.
Shortly before the American Revolution,
sets of picture puzzle blocks were imported
from Holland. A set consisted of six or more
blocks with a part of a different picture on
each side. They could be arranged to make six
different pictures with the box serving as the
frame.

Supplies: Piece of lumber 1 " x 4" x 4" or any dimension that will yield nine 1 inch cubes; six illustra¬
tions 3 inches square (read instructions before selecting them); heavy cardboard 6 inches square;
white glue; masking tape; model enamel or acrylic paint for box; gesso; wax paper; scrap cardboard
4 inches square.

Tools: Craft knife; brushes for applying paint and glue; ruler.

To make
1. Sand lumber and cut it into 1 inch cubes. You will need nine of them.
2. Sand sawed edges of blocks.
3. Make a template of the scrap cardboard for selecting pictures. Cut a 3 inch square opening in it.
4. Lay the template over large pictures selected from magazines or other sources. Move the
template over different areas of the picture and select a portion you like.
5. Draw cutting lines on the picture with the template.
6. Select and mark six pictures in this fashion and cut them out.
7. Work with one picture at a time. Lay the picture face down on a piece of wax paper.
8. Brush a thin coat of glue over the back of the picture.
9. Lay the blocks on it to cover it entirely.
10. Carefully, turn the assembly right side up. Smooth the picture and let the glue dry.
1 1. Cut blocks apart with a craft knife. You will be able to use the indentations between blocks as a
cutting guide. Repeat steps 8 through 1 1 with the other pictures.
1 2. Make a box to hold the blocks using the 6 inch square of cardboard. Assemble the blocks on the
cardboard. Center the assembly and draw a line along each edge. See Fig. 31-A.
1 3. Cut flaps at corners and fold up the sides to form a box. Hold the corners together with glue and
masking tape. Use tape to reinforce the bottom folds, also.

74
14. Paint the box with gesso. When the gesso is dry, paint the box with enamel.
1 b. Coat all sides of each block with white glue to protect the pictures. The glue will dry clear.

Using the picture blocks

Use the box as a frame when attempting to assemble the different picture puzzles.

PICTURE BLOCKS

WASTE ro WASTE

FOLD

CnJ
FOLD

FOLD
n3

FOLD
i
l
CN
WASTE WASTE j

1
1

Fig. 31-A. Marking and cutting cardboard

box.

75
 Thaumatrope
The thaumatrope is a small toy with a big
name. It was invented by Dr. John Ayrton
Paris in 1 825 to prove a theory. He wanted an
optical device to demonstrate that what the
eye sees persists briefly as a visual image even
after the object is gone from sight.
He did this by drawing two different images
on either side of a paper disk. Strings were tied
to opposite edges of the disk. When the str¬
ings were rotated between the fingers, the
disk could be made to twirl rapidly. The two
images appeared to be one picture.
Dr. Paris' invention may have been a serious
device to prove a theory but, for a while, it
became a popular toy on both sides of the
Atlantic. A variation sometimes seen is to cast
the disk in metal and mount it with pivot pins
into a hand-held bracket. Flicking the fore¬
finger across the edge of the disk causes it to
rotate rapidly.

Supplies: Lightweight white cardboard; string about 8 inches long; thin black line marking pen; trac¬
ing paper and soft lead pencil.

Tools: Scissors; paper punch.

To make
1. Trace the entire design including the outside of the circle and the holes. Holes will serve as register
marks. See Fig. 32-A.
2. Turn the tracing pencil side down onto the cardboard. Retrace only the cage and hole markings.
Fig. 32-B. Do not trace the lion.
3. Cut out the circle. Punch holes for the string.
4. Turn the disk over. Using the original tracing, retrace the lion upside down onto the disk. See Fig.
32-C. Be sure to line up outline of holes on the tracing with punched holes.
5. Go over the drawings with a marker.
6. Tie a 4 inch string through each hole of the disk.
7. Fig. 32-D is a design for another thaumatrope. Place the outline on the jack-o-lantern on one side
of the disk, the features on the other side.

To make it work
Hold the strings taut between the thumb and forefinger of each hand. Roll the string back and forth
between the thumbs and forefingers. The disk will whirl first in one direction, then in the other.

76
THAUMATROPE

Fig. 32-D. Alternate pattern.

77
 Scissor Toy
The popularity of scissor toys, first noted in
the age of the Renaissance, endures to the
modern plastic age. Although variations
abound, the basic design has remained un¬
changed. Thin slats of wood are hinged to
each other so they act like a series of levers.
When the two slats at one end are squeezed,
the other end, to which a small figure is at¬
tached, will dart away. Opening the two levers
will retract the figure.
Older examples of this toy were pegged
together with small wooden figures that ap¬
peared to march back and forth as the
framework was opened and closed. When the
toy was "Americanized," pegs were
substituted for the wooden figures. Handles
and a ghost doll were added.
The ability of the toy to expand rapidly in
length makes it a perfect Halloween toy. It has
been used to startle many an unwary victim.

Supplies: Balsa or basswood, 12" x 3" x 3/16"; styrofoam ball, 2 in. diameter; 16 brass headed
paper fasteners with 1/2 in. legs; black model enamel; cheese cloth, 9 by 1 8 in.; string; black felt
scraps for eyes; 2 straight pins with white bead heads; white glue; scrap cardboard for patterns; fine
sandpaper.

Tools: Craft knife; metal edge ruler; scissors.

How to make
1. Make cardboard patterns of Figs. 33-A through 33-D. Use them to draw parts on wood. Cut out
all parts. Use the metal edged ruler when cutting straight lines with the craft knife.
2. Sand edges.
3. Paint all pieces black.
4. Assemble scissor part of toy as shown in Fig. 33-F. Insert paper fasteners through the holes to
hold parts together. Paint heads of fasteners with black enamel.
5. Impale the ball on the pointed end of the assembly (Fig. 33-D). Double the cheese cloth to make a
9 in. square. Drape the cloth over the ball in a ghostly manner. Secure the ball with a piece of
string. Glue on black felt eyes. Insert bead-headed pins as eyes. Fig. 33-E.

To use
To make the ghost jump back and forth, open and close the assembled toy using the handles like a
scissors.

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 SCISSOR TOY

Fig. 33-B. Pattern for scissor parts.

Fig. 33-F. Fastening parts together.

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 HOW TO ENLARGE OR REDUCE A PATTERN
Toy patterns, such as the Sawyers or the Climbing Bear, can be enlarged or reduced by the simple
"squares” method. To enlarge a design follow these simple steps:
1. Lay off squares over the design you wish to enlarge. You may want to do this on tracing paper.
Make the grid large enough to cover the entire drawing.
2. Trace the drawing onto the grid.
3. Prepare another grid on any white paper. You can control the size of the enlargement by the size
of the squares on the new grid. For example, to double the size, double the size of individual
squares in the new grid. For very big enlargements, use wrapping paper.
4. Number horizontal lines in the grids from top to bottom. Letter vertical lines from left to right.
5. Mark the points on the enlarged grid where pattern lines cross the vertical and horizontal lines.
6. Join the points of intersection working freehand. A French curve may be used to produce smooth,
rounded curves.
7. Trace your pattern on your material either by flopping and retracing or by using carbon paper be¬
tween the pattern and your material.
8. To reduce a pattern simply make the new grid smaller than the original.

LAY OFF SQUARES OVER THE ORIGINAL

DESIGN AND TRACE THE DRAWING
ONTO THE GRID.

PREPARE ANOTHER GRID OF THE SIZE YOU WANT NEW PATTERN

TO BE. MARK POINTS WHERE PATTERN LINES CROSS THE GRID
LINES. CONNECT PARTS WITH FREEHAND PATTERN LINES

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ISBN 0-87006-441-X