linters--the short fibers next to the seed in a cotton boll. Purified,
the cellulose is treated with mixed nitric and sulfuric acids to
produce pyroxylin. Camphor, alcohol, and color are added as desired.
The mixture becomes a dough-like substance which is rolled, baked,
seasoned, and polished. When heated, it may be shaped to any form
desired; and it can be cut, sawed, filed, blown, rolled, planed,
hammered, drilled, and turned on lathes. It may be obtained in
practically every shade and hue, in transparent, translucent, opaque,
and in mottled and pearl effects.
PROTEIN PLASTICS
Protein plastics date back to 1890 when Dr. Adolph Spitteler of
Hamburg, Germany, set out to make a white "blackboard" for classroom
use. He mixed sour milk with formaldehyde and got a casein plastic, a
shiny substance from which many a modern button and buckle is made.
It is possible to use soya beans, lignin from wood, coffee beans, and
peanuts in making protein-type plastics.
NATURAL AND SYNTHETIC RESINS
An example of a natural resin is _lac_ secreted by a little red insect
that sucks the sap of trees and converts it into a protective covering
for itself. _Lac_, upon being refined and dissolved in a suitable
solvent, forms a shellac. Dr. Leo Baekeland in 1907 was investigating
this natural process when he combined formaldehyde and phenol with
the aid of a catalyst and heat. The result was a synthetic resin, the
basis of the first molded phenolic plastic--the familiar substance of
telephone receivers and many other objects. The commercial development
of urea-formaldehyde plastics was made possible by availability not
only of formaldehyde but also of synthetic urea.
Comparatively new in the field of structural materials, but significant
for those who sell home furnishings, are laminated plastics, plywood,
and veneers. Laminated plastics are made by treating sheets of paper or
woven cloth with synthetic heat-reactive resins and subjecting built-up
layers of the treated materials to heat and pressure. Such plastics
also may be bonded to thin wood sheets and to metals. The resulting
materials are useful for furniture and for interior decoration.
This type of material was used in decorating the Library of Congress
Annex. It was extensively used on the British superliner, Queen Mary.
From vinyl resins, one of the new families, comes the center of the
sandwich in safety glass. The plastic interlayer is not broken by a
blow but stretches, at the same time holding broken pieces of glass
together and preventing flying splinters.
At the present time the varied diversity of plastics is a major asset.
In the home furnishings field, whoever wants a new, strong, graceful,
functional material for a new product has a wide range of materials in
all color combinations from which to make a choice. For the first time,
the claim may be advanced that certain limitations in furniture design
have been released and that innumerable variations without changing
the shape or structure of the product are possible. By the use of
fascinating surfaces, textures, and colors, it is possible to create
designs which, while simple, possess charm, intrinsic beauty, and
distinction. The introduction of such a product to the home furnishings
field brings a new competitive element.
"DO'S" AND "DON'T'S" FOR THE SALESPERSON
Every salesperson has his own technique for closing a sale, but there
are certain methods which seem to impress favorably the potential
customer and others which react unfavorably.
Among the objectionable selling methods is that of making personal
comparisons; for example, to tell a customer that you have a chair,
a lamp, or a rug exactly like the one she is buying usually does not
impress her. The average customer likes to feel her taste is superior
to the salesperson's and that she can afford something beyond the price
range of the person serving her. Many sales are lost by the salesperson
making a personal reference to himself in this manner.
Don't take a superior attitude when waiting on a customer, who seems
less informed on the subject than yourself. Suggest, rather than tell
her what to use, and appear to be serving her in a graceful manner,
letting her know you enjoy waiting on her. Mate her feel perfectly at
ease in your presence, yet treat her with the respect that she as a
customer deserves.
Many people rather like being referred to by their name as it gives
them a personal feeling with the store. When you know the name of the
person you are serving, refer to her name from time to time but don't
repeat it too often. When she leaves, thank her, by using her name and
once or twice during the conversation mention it. Be sure you pronounce
the name correctly, however, and that you refer to her by her correct
title, noting whether or not she is married or single.
People are usually interested to know that the merchandise they choose
compliments their personality and their persons. This is true of
clothes and is an important element of style. It is true of homes and
rooms where the harmony of color and design can be used to the best
advantage when properly adjusted to the personality of the due or the
family that uses it. Obviously this lies in the realm of newer advances
in proper home styling and decoration. Nevertheless, many salesmen in
average stores can enhance their effectiveness and their service by
helping their customers to avoid choices that do not seem to harmonize
with their obvious personal characteristics. To truthfully assure a
customer that her choice does properly reflect herself is likewise
obviously good salesmanship.
People have become accustomed to prideful ownership of automobiles
similar to those bought by their neighbors. The backbone of the
home-furnishings industry is, however, the individuality of the
American home and it has never succumbed to stereotyped style or
decoration. Almost every customer either consciously or unconsciously
recognizes this and will be interested in furniture that sets her home
apart from others and represents her individual taste and planning.
The first time a customer may ask questions of a salesman; the second
and third time, just return to look. Never make any customer feel that
you are annoyed by her delayed purchase or that you recognize that she
is still looking. Make yourself available, should she want additional
information, but allow her time to consider the merchandise at her
leisure, if she is so disposed.
QUESTIONS
_1. What is the most satisfactory arrangement of lighting units for a
living room? A dining room?_
_2. What is cove lighting?_
_3. "The texture of objects determines the amount of colored light they
will absorb." Explain._
_4. Explain the terms: Candlepower, footcandles, lumens, parabolic
reflector, and indirect lighting._
_5. Under what conditions would you advocate the use of tapestry wall
hangings?_
_6. Are you familiar with the light specifications worked out by the
Illuminating Engineering Society, 61 Madison Avenue, New York, N. Y.?_
_7. How would you build an effective window display to increase sales
for your lighting fixtures department?_
_8. Discuss the correct use of rhythm in display._
_9. Do you advise use of price cards in connection with your
accessories display?_
_10. What opportunities exist to display accessories combined in use?_
_11. In what way is display a silent salesman?_
SUGGESTED READING LIST
BURRIS-MEYER, ELIZABETH. _Decorating Livable Homes._ Prentice-Hall,
Inc., New York, N. Y. (1937.)
Accessories, VIII, pp. 206-232.
Light, IX, pp. 232-248.
CRANE, ROSS. _Home Furnishing and Decoration._ Frederick J. Drake &
Co., Inc., Chicago, Ill. (1933.)
Pictures, XII, pp. 183-191.
Lighting, XX, pp. 247-253.
Lamps, XXI, pp. 253-261.
EBERLEIN, MCCLURE, HOLLOWAY. _The Practical Book of Interior
Decoration._ J. B. Lippincott Co., Philadelphia, Pa. (1919.)
Artificial Lighting, IX, p. 324.
Pictures and Their Framing, XI, p. 350.
Decorative Accessories, XII, p. 364.
FALES, WINIFRED. _What's New in Home Decorating._ Dodd, Mead & Co.,
Inc., New York, N. Y. (1936.)
Science of Lighting, X, pp. 207-229.
JACKSON, ALICE _and_ BETTINA. _The Study of Interior Decoration._
Doubleday, Doran & Co., Inc., Garden City, N. Y. (1928.)
Accessories, XIV, pp. 317-340.
KNAUFF, G. B. _Refurbishing The Home._ McGraw-Hill Book Co., Inc.,
New York, N. Y. (1938.)
Lighting Problems, XIV, pp. 289-302.
Pictures, Hangings, Accessories, XV, pp. 302-317.
FOOTNOTES:
[31] The Illuminating Engineering Society is made up of illuminating
engineers and those engaged in the lighting field who have worked out
set standards for illumination from tested specifications.
+--------------------------------------------------------------+
| A FINAL WORD |
| |
| |
| We bring the final unit of this course to an end with a |
| cordial wish for your prosperity and success. |
| |
| We have tried to open more widely the door of opportunity. |
| |
| No man can fix a limit to your progress but yourself. |
| |
| The sale of home furnishings at retail can be one of the |
| most interesting of occupations with professional standing |
| and a good professional income as its rewards. |
| |
| We hope and believe that you will win and enjoy these |
| rewards, and with them another and greater. This is the |
| happiness of creative effort. |
+--------------------------------------------------------------+
APPENDIXES
A. Glossary of Terms
B. General Reading List
C. A Suggested Teaching Outline for a Group Leader
D. The Leading Furniture Woods
E. Common Rug Terms
F. An Advertising Check List
G. Fivefold Selling Plan for Floor Coverings
H. Color and Style in Modern Advertising Copy
I. Check List for Planning a Store-Wide Promotion
J. Ready Reference Index
Appendix A:--GLOSSARY OF TERMS
_Acanthus leaf._--A classical ornamental form, derived from the
acanthus plant.
_Arabesque._--Intricate interlacing ornament, in the Arabian manner.
_Arcade._--A series of arches, supported by columns (fig. 10, page
59).
_Aubusson._--A fine quality of hand-made tapestry; originally made
at Aubusson, France, used for carpets or upholstery.
_Baluster._--In architecture, a turned or square upright support
for the rail of a balustrade; in furniture, a splat with the
outlines of a baluster. (See fig. 22, page 106.)
_Band or banding._--A narrow inlay which contrasts in color or
grain with the surface which it is used to embellish.
_Banister._--Same as "baluster."
_Baroque._--The style which followed that of the Renaissance;
characterized by rectangular outline much softened by use of
curves, and exemplified by Louis XIV furniture, and in modified
form by that of the late Jacobean and William and Mary styles.
_Bead or beading._--A small molding, usually of semicircular shape.
_Beauvais tapestry._--A fine hand-woven tapestry made in Beauvais,
France, since 1662, and used for wall panels and furniture
coverings.
_Bombé._--Puffed, rounded, or bulged.
_Brass._--An alloy of copper and zinc.
_Broken pediment._--See "pediment."
_Bronze._--An alloy of copper and zinc.
_Bun foot._--See "foot."
~C~-_scroll._--In the form of the letter ~C~.
_Cartouche._--An ornamental form based originally upon the open
scroll; an oblong, elliptical, or shield-shaped flat panel, used
in the decoration of furniture.
_Caryatid._--A draped female figure, used as a support in place of
a column or pilaster.
_Chamfer._--The surface formed by cutting away the angle formed by
two sides of a board.
_Classic._--As here used, conforming to the style of ancient Greek
and Roman art.
_Collar._--A narrow strap or band, used near the top and (or)
bottom of the leg.
_Court cupboard._--A short cupboard; originally a small cupboard
set on a side table, but later built as one piece.
_Cyma curve._--A double or ~S~ curve, as in the cabriole leg.
_Dado._--The lower part of a wall, when marked off by panel or
moldings.
_Deal._--Scotch fir.
_Fiddleback._--Having splats shaped something like a violin.
_Finial._--A terminating or crowning detail.
_Flemish scroll foot._--See "foot."
_Fluting._--Decoration by means of flutes or channels, as in a
chair leg or dresser post.
_Foot_--
_Ball._--Globular, and attached to leg by slender ankle.
_Ball and claw._--Derived from the Chinese and representing a
dragon's claw holding the great pearl.
_Bell._--Bell-shaped, and joined to leg by slender ankle.
_Bracket._--Used for cabinets, but not for chairs.
_Bun._--In the form of a flattened ball. See "trumpet-turned
leg," under "leg."
_Dutch._--Another name for "pad foot."
_Flemish scroll._--See illustration, page 62.
_French._--See illustration, page 57.
_Hoof._--See "cabriole leg with hoof foot," under "leg."
_Leaf scroll._--See illustration, page 16.
_Pad._--See illustration, pages 59, 65.
_Paw._--See illustration, pages 59, 65.
_Peg top._--Turned to a point, like a top, and attached to the
leg without a sharply defined ankle.
_Spade._--See illustration, page 68.
_Spanish._--See illustration, page 53.
_Serpent._--Used on tripod tables.
_Fresco._--In the fine arts, a method of painting on freshly laid
plaster before it dries.
_Fret._--Interlaced ornamental work, carved on flat surfaces or
pierced for galleries, chair backs, or aprons.
_Gallery._--An ornamental railing of wood or metal along the edge
of a table, desk, or sideboard.
_Gesso_ (pronounced jes-o).--a plaster-like material spread on a
surface or moulded into ornamental forms as a base for painting
or gilding.
_Gilding._--An overlay or covering of gold leaf, or of gold powder
with size.
_Girandole._--A very elaborate type of candle holder, used on the
walls of late seventeenth and eighteenth century French salons,
and usually made in pairs.
_Highboy._--A tall chest of drawers, mounted on legs.
_Japanning._--Art of varnishing with japan; see "lacquer."
_Knee._--The projecting upper curve of a cabriole leg; see "leg."
_Lacquer._--In period decoration, a varnish, of which the best was
produced in Japan by tapping the varnish tree and drying the sap
in the air. Pigments were often added for color. In Japanese
lacquer work at least 15 coats, separately polished, were applied.
_Leg._--
_Cabriole._--Made in many styles. Illustration on pages 16, 65
show an example with hoof foot and carved knee.
~S~-_scroll._--See illustration, page 62.
_Trumpet-turned._--Here shown with inverted cup and bun foot.
Many variations of this general form include octagonal legs
and pear bulb legs.
_Term._--Many variations of this form, which is here shown in
an ornate leg of the style of Louis XIV.
_Lowboy._--A chest of drawers, usually not more than 4 feet high
and standing on four legs.
_Marquetry._--Inlaid work, usually in colored woods, but
occasionally with the addition of ivory, bone, mother-of-pearl,
etc. Sometimes differentiated as _intarsia_, in which the
materials are placed in channels gouged out of the surface of the
base, and _marquetry_, in which the pattern is formed as a veneer
and glued to the surface of the base.
_Mullion._--A slender bar or pier, forming a division between
windows, screens, etc.
_Neoclassic_ (New classic).--Designating the revival of classic
taste in art, and here applied to the second revival after the
discovery of Pompeian art early in the eighteenth century.
_Ormolu._--An alloy of copper and zinc; used in France for the
production of furniture mounts, which were usually first cast,
then chiseled with jewel-like precision, and gilded.
_Parquetry._--An inlay of geometric or other patterns for floors,
often in colored woods.
_Patina._--In furniture, the surface appearance assumed by wood,
marble, or other materials as the result of long exposure.
_Pediment._--In classic architecture, the flat triangular space
between the roof lines on the end of a building; now often
curved, and applied to over-doors, cabinet tops, etc. In the
broken pediment the top line is cut away.
_Pewter._--An alloy of tin with some other metal usually copper,
lead, or antimony.
_Reeding._--Embellishment produced by narrow convex moldings; the
reverse of fluting.
_Rococo._--The general decorative style which developed from and
followed the Baroque; characterized by exclusive employment of
curved line, avoidance of complete symmetry, and exuberant and
fanciful ornament in which shell and scroll forms were freely
employed.
~S~-_scroll._--A scroll roughly in the form of the letter ~S~,
often used for the legs of chairs or cabinets; see "leg."
_Serpentine._--Sinuous or winding; in furniture, bow-shaped, with
the ends straight or bent back like a Cupid's bow.
_Splat._--A broad, flat upright member in middle of chairback.
_Splay or splayed._--Spread outward obliquely.
_Strap-work._--A decorative design consisting of a narrow fillet or
band with crossed, folded, or interlaced ornament.
_Silhouette._--As applied to stretchers or skirts, an ornamental
outline or profile.
_Squab._--A thickly stuffed loose cushion, especially one used for
the seat of a sofa, couch, chair, or stool.
_Swag._--A decoration in wood or metal, resembling festoons or
draperies.
_Truss._--In furniture, a rigid frame, of solid, open, column or
arcade construction, used in pairs to support the ends of a piece
of furniture, and usually connected by some form of stretcher.
_Tester._--A canopy over a bed, supported by the bedposts.
_Trestle._--A braced frame, forming whole support of a table top.
Appendix B.--GENERAL READING LIST
In order to avoid confusion, this list is restricted to a few books
which are adequate for our present purpose, and usually are to be found
in every public library. Books dealing with materials, construction,
and special aspects of home-furnishing practice, and with salesmanship
and merchandising principles are listed for suggested reading at the
end of each unit.
GENERAL REFERENCE
The new Encyclopedia Britannica (14th edition) contains an astounding
wealth of well written and beautifully illustrated material very useful
to the salesman.
GENERAL READING SUGGESTIONS
WHERE TO BEGIN
CRANE, ROSS. _Interior Decoration. A Study Course for Furniture
Men._ The Seng Co., 1430 No. Dayton Street, Chicago, Ill., 1928.
EBERLEIN, HAROLD. _Practical Book of Interior Decoration._ J. B.
Lippincott Co., Philadelphia, Pa. 1937.
KELSEY, CLARK. _Furniture: Its Selection and Use._ National
Committee on Wood Utilization, United States Department of
Commerce. Superintendent of Documents, United States Government
Printing Office, Washington, D. C. 1931.
MUSELWHITE, KATHERINE. _Principles and Practice of Interior
Decoration._ Suttonhouse, Ltd., Publishers, Los Angeles, Calif.
PALMER, LOIS. _Your House._ Boston Cooking School Magazine Co. 1928.
POST, EMILY PRICE. _Personality of a House._ Funk & Wagnalls Co.,
New York, N. Y. 1933.
POWELL, LYDIA. _The Attractive Home._ Macmillan Co., New York, N.
Y. 1939.
REYBURN, SAMUEL W. _Selling Home Furnishings Successfully._
Prentice-Hall, Inc., New York, N. Y.
WHITON, SHERRILL. _Elements of Interior Decoration._ J. B.
Lippincott Co., Philadelphia, Pa. 1937.
MAKING AN ATTRACTIVE INTERIOR
BURRIS-MEYER, ELIZABETH. _Decorating Livable Homes._ Prentice-Hall,
Inc., New York, N. Y. 1937.
BURROWS, THELMA. _Successful House Furnishing._ Manual Arts Press,
Peoria, Ill. 1938.
KNAUFF, CARL G. B. _Refurbishing The Home._ McGraw-Hill Book Co.,
Inc. New York, N. Y. 1938.
KOUES, HELEN. _How To Be Your Own Decorator._ Tudor Publishing Co.,
Inc., New York, N. Y. 1939.
MAAS, CARL. _Common Sense In Home Decoration._ Greenberg Publishing
Co., New York, N. Y. 1938.
MERIVALE, MARGARET. _Furnishing The Small Home._ Studio
Publications, London, n. d.
MILLER, GLADYS. _Decoratively Speaking._ Doubleday, Doran & Co.,
New York, N. Y. 1939.
STOREY, WALTER. _Period Influences in Interior Decoration._ Harper
& Bros., New York, N. Y. 1937.
FURNITURE STYLES
ARONSON, JOSEPH. _Book of Furniture and Decoration._ Crown
Publishers, New York, N. Y. 1937.
ARONSON, JOSEPH. _Encyclopedia of Furniture._ Crown Publishers, New
York, N. Y. 1939.
HOLLOWAY, EDWARD. _Practical Book of American Furniture and
Decoration._ J. B. Lippincott Co., Philadelphia, Pa. 1937.
KIMERLY, W. L. _How To Know Period Styles in Furniture._ Grand
Rapids Furniture Record Co. 1912.
ORMSBEE, THOMAS. _Early American Furniture Makers._ Tudor
Publishing Co., New York, N. Y. 1930.
Metropolitan Museum of Art, _Handbook of the American Wing_. R. T.
H. Halsey-Charles O. Cornelius. Metropolitan Museum of Art, New
York, N. Y. 1928.
STRICTLY MODERN
DRAPER, DOROTHY TUCKERMAN. _Decorating Is Fun._ Doubleday, Doran &
Co., Inc., New York, N. Y. 1939.
FRANKL, PAUL. _Space For Living._ Doubleday, Doran & Co., Inc., New
York, N. Y. 1938.
PATMORE, DEREK. _Color Schemes for the Modern Home._ Studio
Publications, London. 1936.
----. _Decoration for the Small Home._ G. P. Putnam's Sons, New
York, N. Y. 1938.
_Yearbook of Decorative Art._ Studio Publications. 1938.
Appendix C.--A SUGGESTED TEACHING OUTLINE FOR A GROUP LEADER
Unit IV contains much more material than can be discussed at one
meeting. The group leader must be selective and decide which points are
to be developed at the group meeting. Two programs are suggested.
FOR THE FIRST GROUP MEETING
1. _Opening remarks by the group leader_ (5 minutes):
_a._ No matter what kind of furniture we stock and sell, we first
must have a working knowledge of the historic styles.
_b._ This unit contains condensed information on period decoration.
You will not need to learn all these details thoroughly--at least
not at once. Take the unit home and read it carefully.
_c._ After this reading, think over your own stock and decide just
what parts of the description of period furniture will be most
useful to pick out and study in detail.
2. _"High-lighting" a furniture sales talk_ (35 minutes):
_a._ A series of talks made by various salesmen and limited to 5
minutes each. Have five or six articles, furniture and rugs,
grouped in front of the class and assign one piece to each man
after he gets on his feet. Stress the style appeal of the piece
under discussion.
_b._ Permit a minute or two for criticism after each talk and
criticize them solely as to their probable effect in influencing
a buyer.
3. _A Colonial bedroom_ (15 minutes):
Demonstration by Mr. Williams will cover all the elements of a good
selling talk--fitness, room arrangement, color appeal, beauty of
design, style (with emphasis upon sentimental appeal and present
vogue) and price. The demonstration should be criticized on the
basis of its smoothness and cumulative effect, or "build-up."
_Intermission_
4. _Is our merchandise properly styled for our own trade?_ (25 minutes):
Designed to put the buyer on the defensive, and to develop through
frank discussion any need for changes in the character of the
merchandise from the point of view of design and price only.
You are trying to build up a business-getting machine, with no
friction, dissatisfaction, or mental alibis. The idea that a
salesman can sell anything to anybody will have to be discarded.
5. _Promotion plans for this season's business_ (15 minutes):
By some owner or by the chairman; a brief, candid statement of
plans for buying display, advertising, and all forms of promotion
and sales effort. Good to insure enthusiastic teamwork and to
build up loyalty.
6. _Personal experiences_ (10 minutes):
The chairman will draw upon the selling experiences of individual
members of the group.
FOR A SECOND GROUP MEETING (IF DESIRED)
1. _Opening remarks by the group leader_ (5 minutes):
_a._ We can make the best start, with least likelihood of
resistance, by helping the customer to find articles that suit
her needs, tastes, and means, and add to the comfort, harmony,
and beauty of her home.
_b._ Style in furniture doesn't stop with the historic styles,
but it does start there, and if we are going to make profitable
use of style as a selling factor we must first know how our own
merchandise is styled.
2. _Styling our own stock_ (50 minutes):
_a._ Early European styles. Mr. Stark (15 minutes).
_b._ Eighteenth century European styles. Mr. Pearson (20 minutes).
_c._ American styles. Mr. Hahn (15 minutes).