Dali Pee ates “SWorking Model CaihTal =~ 22 AGeeiBetneter B Sinfaocerseaiogwes ining? = 2 Making Your Own Water-Colout How to Succeed in Exhibieions and APRIL 14th 1954 VOL. 118 NUMBER 3050 | Make it prom this week’s FREE DESIGN my COFFEE -TABLE AND FIRESCREEN COMBINED ‘costs, designs for pieces of furniture which can be made at home by the |. Amateur craftsman are rightly popular, for by tackling the making of such things himself, he shows a considerable saving an the cast of the hought article And, of course, he enjoys in addition that feeling of satisfaction which comes with the thought ‘I made it myself’—a The construction need not frighten feeling which cannot be assessed in any home handyman, even a beginner, terms of money fireside chairs, and when it is easily and no tools other than the usual tenon ‘A coffee-table is as much a part of the convertible to a distinctive firescreen its saw, chisels and brace and bit found modern drawing-room as the inevitable value becomes considerably enhanced. in an everyday carpentry outfit are All correspondence should be addressed to The Editor, Hobbies Weekly, Dereham, Norfolkrequired. A fretsaw, of course, is needed for the galleon overlay. ‘Those who purchase a complete kit for the table-irescreen will find that the five 3ft. by 1ins. by din, rails, which form the main structure are made from selected hardwood of exceptional quality, and are ready planed. ‘The top of the table (the underside of which forms the face of the firescreen) is a ins. by 18ins. piece of 4in. plywood faced on both sides. The use of such a ‘board’ obviates any joining to complete the main surlace, and fin. all-round beading of good’ hardwood serves to ide the end grain of the plywood and give the job a professional finish. Sufficient of this beading is included in thekit, In mentioned, the kit contains tin, round rod to make the pivots for the table top, addition to the _ materials SEND FOR A KIT For making this pleve of furntture, you can obtain a complete kit @No. 3050) from any Hobbies branch, or post free from Hobbies Dereham, Norfolk, price including tax. 2 din. panel for the galleon overlay, and sufficient in. by Zin. stripwood to make the buttons which support the table surface when it is horizontal, ‘Before commencing construction, study the diagrams on the design sheet fn these instructions. The various jpins are shown on the design sheet as 42, 3 and 4, They are also shown in exploded perspective in Figs. 1,2, 3 and 4 in these instructions. The rails are all Iettered 30. that by reference to. the assembly diagram (Fis, 5) you will be able to see just where each joint is made. In addition, a study of the’cutting list in these instructions will familiarise the worker with the dimensions of the Various rails when cut Fig. 2 The joints between pieces A and B are ‘cut with tenon saw and chisel. The ones between the uprights A and small cross- rails E are made by first boring pieces A. with a brace and bit, and then removing. the waste with a chisel. Be careful not to take the mortises too far through Pieces A. The stubs of pieces E are cut ‘with the ‘cnon saw throughout, Diagram 3 shows a sort of halving joint for which the tenon saw and chisel are used. In Fig. 4 the brace and bit is needed again. Note that in this latter case the tenons go right through pieces C. Before assembling, the top rails B should be drilled to take pieces of 41a, round rod which form the pivots for the table top. Gluing. Sce that the joints are a tight fit, and then prepare for gluing. Lightly smear the tenons and assemble first the tw end frames comprising the pieces A, B, Cand E. Now add the cross-pieces D. In addition to glue, these pieces. should also be screwed from the underside at each end using countersunk screws, The framework is then complete and should be stood aside for the glue to harden White attention is concentrated On Ihe table top and screen. To complete this part, all that is reared 16 to mire the hal-round beading round the edges, securing. it with aight smearing of glue and din, fret pins driven. slightly below the surface, The resulting pin holes are filled ‘wood, properly treated as ‘with plastic detailed later. ‘Next trace the pattern of the galleon overlay to the fin. panel and cut out © Continued on page 28 a| | PAINTED EGG NOVELTIES FOUR, PIECES REPRESENT FINS WOOD KNOB y CHOCOLATE EGE Y4IN, ROUND ROD ‘0D0_ wood ~ AN EGG SPACE — SHIP NOVELTYHATEVER toys children may possess, ‘playing at shops’ beome to retain its attraction ata certain age. And this working model of a cash til, that any handyman can make up from a few odds and ends, adds just that touch of realism that modern children appreciate, It incor porates a roll of paper with a portion exposed for ‘writing out the bill’; and depressing te side lever sings bell aud allows the cash drawer to fly open for the money part of the transaction to be carried out. Materials Required ‘Wood of din. thickness is allowed for throughout, except where stated, but the measurements can be varied to suit any oddments of wood that may be available. Apart from the wood, the only other fequirements are the roll of apr, an oddment of springy metal to Retp ht taut, a small bell and a suitable Fig. 1—Side view spring. Neither the spring nor the bell are absolutely essential, but where they gan be aided they improve th eet of thetoy. For the paper roll, a very convenient source is one of those rolls supplied by office stationers for use in adding-listing machines. That made for one of the popular Burroughs machines is about 24ins. in width, but anything similar will serve equally ‘well. Or alternatively, a household toilet roll of a thick variety can be used by reducing it in width with a fretsaw, and this has the advantage of being perforated for easy tearing. For the spring, something that is about 4ins. A TOY FOR THE KIDDIES A Working Model Cash Till Just the thing for ‘playing shops’ long normally and which can_be com- pressed to about lin. is required. The {yriter made use of « piece fram a henken foot pump but there are many other possible sources when once the type of thing required is visualised. ‘The base and top measure 12ins. by Gins."and the two sides 12ins. by ins. ‘The top has an aperture eut in stat a distance of fin, from the top end and a slit fin, wide 4in, above it. Ifa roll of paper is to be cut down for use, make this freted opening 32ins, square and the sit 4ins. long; but if it fs intended to use an adding machine roll itis best to acquire this ist and make the width of the opening +n, less than the width of the roll, ‘Ihe back end of the case measures Sfins. by 4ins. and the other end is filled in by the front of the drawer {nd the block upon which it slides. “The portion of the paper being used is the roller can be easily removed for adding a fresh roll of paper. ‘The Lever The lever which releases the drawer and rings the bell is cut in two paris—a piece 34ins. by lin. and a piece tin square, Cut a slot in the top end of the long piece din. wide and Hin. long, for ‘gluing in the small piece at right angles to forma simple handle, Ac die bow end of the lever bore a din. hole tin. from the end for the spindle. This spindle is cut from in, dowel and is 64ins. long. It fits into a hole bored in each side of the case, these holes being Ijins. from the top édge and Stins. from the drawer end of the sides. ‘The Catches and Drawer For releasing the drawer, two catches are cut from wood in the shape seen at Fig. 4. They measure tins, by lin. and are both bored with a din, hole to fit on to the same spindle as the lever. The money drawer consists of a base Sins. by 44ins., a front Sdins. by 3tins., 4 back Stins. by Idins., and two sides 4tins. by Hains. The drawer rests on a block Sins. by Stins. cut from wood of 4in, thickness. For the handle two litue oddments can be cut as seen in the a Fe ‘BEARER ms HE crrces, (| . Pe LY supported by a piece of wood éins. by 4ins. let into the two sides of the case. Cut a piece out of the top edge of the {wo sides fin, from the top end of the toy, 4ins, in length, and to a depth of ain, for this supporting piece to fit into, ‘The spindle holding the paper roll can be cut from 4in. dowel fins. long, and this is held in two carriers 2ins. by {4ins. alued to the inside of the case, "Bore a tin, hole in one of them and make an ‘open slot 4in. wide in the other, so that 20 Fig. 2—Top view sketch, or alternatively an ornamental knob can be bought for a few pence and screwed in, If the drawer is to be fitted with a spring, a piece of wood Stins. long and about 2ins. wide is required to fix across inside the case ag shown. And to pro- Vide a cutting edge against which’ the paper bill can be torn, cut a strip of hard wood 6ins. long and din. wide and taper one edge, for screwing across near the opening cut in the top.‘Assembly Having prepared all the pieces, glue or screw the two sides and end to the base and add the block on which the drawer rests. Make up the five pieces that form the drawer, and glue the two catches on to the jin. spindle in a similar position and 3ins. apart. Glue the two paper-spindie carriers to the inside of the case, 34ins. from the top end, and ensure that the spindle will go in and out of them, Reduce the paper roll if necessary to about 2ins. in © Fig. 3—The lever diameter and 4ins. wide, and thread it on to the spindle. There is no need for the roll to hit tightly on to the spindle, but it is best to make a simple brake of springy metal as shown, and screw it down to the base in such’a position that it presses lightly but continuously on to the roll, 10 prevent the paper from unwinding except so far as it is pulled fromthetop. Lay the drawer in place with its front flush with the front of the case, and try in the spring and the spring’ carrier. ‘Compress the spring and mark the best position for the carrier. Then fix one end of the spring to the carrier and the ther to the back end of tite drawer, and seiew down the carrier to the basc and sides of the case. How the spring is fixed will depend on its type; but, the writer managed by cutting two strips of thin metal plate, boring a hole at each end for a screw, pushing the strips through the first piece of the spring and screwing them down to the wood. He also found that the drawer at first tended to rise up at the spring end, but this was overcome by giving a slightly downward slant to the spring, or gluing bearers to the inside of the case, Fixing the Lever and Catch ‘With the drawer leld in pla the spindle with the catches on it into its holes in the case, and turn it until the catches engage on the ends of the drawer, as seen in the sketch. Secure the spindle with a pin through each end, and then wedge it to prevent it from moving whilst the lever is glued on, While the catches hold the drawer, the jtion for the lever will be inclining Filly: towards the ‘operator, with the handle piece resting on the top edge of the case, Put the top board on tempo- rarily before doing this, and before finally gluing down the lever ascertain Una When tels puslied Rrwaid a> fas ao it will go, the drawer is released and Pushed out by the spring. ‘The Writing Pad Before fixing the piece that supports the paper being written on, bevel off the edges so that the paper will pull over them smoothly. riot Fig. 4—Details of the catches Provided the youngster is not more than normally inquisitive the top board can be fixed on with hinges and a small fastener, so that the ‘works’ can be got at easily for renewing the paper Toll. Or alternatively, if fixed down with just two or three screws, these can be taken ‘out when required, without much more trouble. ‘The Bell If the dome part of a small electric bell is available, fix it to the underneath side of the top in such a position that ‘when the top 1s shut down the bell falls in between the catches and immediately over the back end of the drawer when this is pushed right in. Then screw a strip of springy metal strip to the back edge of the drawer, with the loose end just projecting into the bell so that when the drawer comes out, the metal strip catches on the bell slightly in passing. Before finally fixing the top, glue down the triangular strip justin front of the slit’ where the paper will come through; and thread the paper over the plateand through the slit, Working the Toy ‘When completed and finished off with stain or clear varnish, give the youngster @ hint as to how to operate the handle and pull through a fresh piece of paper afier each ‘transaction’. If perforated paper is used it will not need tearing; Dut otherwise show hin how to tear it smoothly by creasing it across the cutting edge and then holding it down ith the thumb and finger of one hand and tearing it with the other. (L.W.B.) A Useful Flexible Shaft ESSRS. E. C. HOPKINS LTD. had the owner of the smali private workshop in mind when ahey proiticed the latest addition to their range—the Hopkins ‘MINI’ Flexible Shaft, but its robust design has led to its use by large companies, including an important aireraft manufacturer. The Hopkins ‘MINT Shaft ‘This most versatile of light-weight tools can be driven from any type of motor available and will perform all the duties of a flexible shaft—drilling, filing, Satidiagy vie- The light-weight construe’ 21 tion makes it an easy tool to operate in awkward positions. The shaft rotates on bball-bearings, an important refinement in models of this size. Other specifications are as follows— Standard size: 3ft. long. Gpecial lengths supplied to customers’ own. require- ments): 4in. diameter shaft; $n, diame- ter drill chuck; tin. diameter shank on driving end. ‘The flexible inner cable is, guarded by a substantial outer casing. vis priced at #3 3s, 9d. aud is avails able direct from the makers, plus 1/6 postage, or through their showrooms at London, Birmingham and Manchester. STwo WEEKS LEFT! There is time to enter Hobbies Grand Fretwork Competition — the closing date is April 30th. Do not miss this chauce of winning a prize. Send your entries to the Competition Dept., Hobbies Ltd., Dereham, ¢ NorfollteAN INTERESTING HOBBY Why not try Sealing-Wax Painting? alls oftheir dwellings hundreds of years ago, man has been constantly devising new mediums for the art of painting. Oils and water-colours are, Undoubtedly, the most popular forms of this art but there are a very large number Of other methods which give excellent results, many of which are quite easy 0 YER since the Egyptians and ‘Assyrians started to decorate the Sealing-vax painting, for instance isa really novel way of decorating articles of nvany kinds. Tt ig a comparatively new art, and because there are so many different ways of using it, sealing-wax painting is most interesting and_pro- vides wide scope for individual ex- pression, Not Expensive No expensive equipment is required and the colours are easily prepared from sticks of sealing wax which are now obtainable in over forty different shades. Itis not necessary to buy the complete range, as diferent colours ean easily be made’ by mixing two or more together. Half s dozen colours with the addition of black and white should be sufficient to start with and these can be added to ifnecessary ns you progress and become more proficient. To make the paints, a piece of sealing ‘wax is broken up quite small, placed in a serew-top jar and just covered with methylated spirit. Jor. size ink bottles ‘or face cream jars are very suitable provided they Have well-ftted lids to kkeop them air-tight. ‘The wax will dissolve much quicker if it can be ground to powder first, and it fs best to leave it about twenty-four hours to make sure that it is properly dissolved and has a smooth texture. The average consistency of the paint should be similar to that of cream, but this can be altered to suit the type of work you intend to do. Adding more methylated spirit will make the paint thinner, and by leaving the lid off the iar for a while, some of the spirit will evaporate and ‘thicken the mixture. Itis very important to keep the paint well stirred during use and when you have finished with a colour to replace the lid securely, Besides using. the paint in various thicknesses, different effects. canbe ‘obtained by the use of several kinds of brushes. For a ‘smooth enamel-like surface a soft brush is required and this can be either sable or squirrel hair. The ppaint will need to be somewhat thinner S0 that it will flow easily, and several coats may be applied, one on top of the other, until the required effect is ob- tained, but it is very important to see that One is thoroughly dry before putting on the next. ‘The same kind of brush but ina smaller sie will be needed for any detail work and it may be found neces- sary to clean the brush occasionally with methylated spirit, otherwise evaporation ‘may thicken the ‘paint on a fine brush and make it dificult to work, ‘A delightful. mottled. background effect can be, obtained by using. a stiff hhog:hair brush and fairly thick paint and ee oie!" NR Seiiieel or toe 0, SUITABLE BRUSHES with a quick up and down ‘motion while keeping the brush upright, A round brush is best for this ‘stippling’ technique and it can be either flat or round-ended. Using a stiff round brush with a small circular’ motion will produce an oil applying painting effect which can be very pleasing and it is quite easy to do. Sealing-wax paint can be applied to such a wide range of materials and different methods used for each that there is always something new to be found and learned, and this makes it such an attractive occupation, ‘Some materials such as natural woods fare rather absorbent and it is best to give these a thin coat of varnish or french polish before commencing the actual painting. Pale amber or trans- parent sealing wax can be obtained and 4 coat of this suitably mixed with methylated spirit can be applied if 2 desired, This transparent paint can, incidentally, be used for a number of purposes such as a varnish for pictures. ‘A. wide lat sft brush is best for applying the varnish unless you want an oi painting eflect which can be obtained by a ae ACE tures with this medium often has the ect of bringing out the colours. and ‘giving them new life. Articles of china and glass are very suitable for sealing-wax painting and there are endless varieties of designs to decorate them with. Used cosmetic jars ‘and potted-meat containers would make attractive flower vases when suitably adorned. Do not be tempted to overdo the painting as it is often the simple little designs ‘that are most effective. Birds and butterflies are always ap- preciated or a delicate spray of flowers are ideal for this type of article. The same advice applies to the various types of plastic articles, although as this is a very modern mat. futuristic types of ornament may be applied. Pithe humble tin should not be despised for it can be made quite attractive and sealimg-was paint is an ideal medium for the purpose. ‘There are endless con- tainers now on the market which can be turned to useful account by decorating them instead of banishing them to the dustbin, Lampshades deserve mentioning for they offer great scope to the sealing-wax artist, and the many materials available for their manufacture are equally st able for decorating. Dainty designs with pale tints are best for lampshades Whether they be made of vellum, parch- ent of the modern crinothene. ‘Omamental candles which can be obiained in various colours are charm= ing when decorated with sealing-wax paint, Tt is best to cover the whole gandle with transparent varnish, allow ing it to dry well before starting the actual work, ‘Raised designs are, possible with our paint, but this should not be made too prominent, The paint will have to be father thicker than usual and it will need several coats 0 obtain the necessary relief. Each coat must be quite dry before the next is used. It would take guite a large volume to describe the uses and applications of sealing-wax painting, bbut these notes will give a good idea of the many possibilities. Tt needs only a litle practice in order to turn out some very attractive designs. (ART)HOME CHEMISTRY Making eS cad a ful colour reactions. The home wondered at times whether the coloured seared tines tht ie ous ace te old ot Bo that the substance must be insoluble in water—in other words, a pigment. when mixed with other colours they wien mad ah oie les iy unexpected shades. ae nse ol a a oe home manufacture, other water-colours are simple enough to make. To produce one’s own refills is both fascinating and economical.’ } Fig. 1 In the average small colour box we find Chinese white, yellow ochre, tllramarine, Prussian’ blue, light red, pale chrome—all easy to produce. The bothers, green bice, ivory black, crimson lake, ‘gamboge ‘tint, vermilion and burnt sienna present difficulties, Chinese white consists of zine oxide. This can be bought cheaply from any chemist, but if you wish to have the fun of making your own, frst dissolve 10 grams of zinc sulphate in 100c.<. of water. Add afew drops of phenol- phthalein solution and then stir in small portions of sodium hydroxide solution ‘until the liguid just turns pink. The white precipitate is zinc hydroxide. All pigments must be as. free as possible from soluble matter. Hence we Must wash out with soft water any such impurity. This is best done by decanta- tion in a large bottle, such as a Win- chester, fitted with a’ syphon (Fig. 1). Pour the turbid liquid into the bottle GLASS and fill up with water, When the zinc hydroxide has settled, blow down tube (A). The waste wash water will emerge from tube (B). Remove your lips from ) and the water will continue to run Off of its own accord. Fill up with fresh Stator and ropent the process until tho pink colour of the phenoiphthalein has been entirely washed out and a wash water oblained which gives no white precipitate when a few-ce. of it are added to lead acetate solution—indicat- ing that the zine hydronide is nearly free from the soluble sodium sulphate also produced in the original reaction. Wash Icwith two more lots of water. Filter off the punified zine hydroxide and dry it in the oven. To convert it into Zine oxide heat it in a crucible until it turns yellow. Let it cool and you will be left with white zinc oxide. Water-colours in pots or pans have to be mixed with a suitable binder. To prepare this place in a screw-fopped Fig. 2 PALETTE KNIFE bottle 5 grams of gum atabic and 05 grams of glycerine in 50 c.c. of water. Shake occasionally until dissolved. Then add a few drops of chloroform to act as a preservative. Pigments must be very finely ground. ‘The most effective method at home is not fo use a pestle and mortar but _a sheet of stout glass and a palette knife, flexible steel spatula or table knife. Place some of the zinc oxide on the ‘lass, add a few drops of the binder and rub down all gritty particles with the knife. Cousidetable pressute should be used (Fig. 2). Further drops of the binder should be added so as to give a creamy consistency. When this is reached, carry on rubbing until the whole is smooth. When a. small trial wash on paper. with a brush shows no Visible particles the rubbing may be Stopped and the paint be put nto pans. Leave the paint to dry and harden in a warm room. This method of incorpora- ‘ion should be followed with the other pigments. ‘Yellow ochre is a clayey substance B Your Own Water-Colours containing ferric hydroxide, The ord nary yellow ochre of the hardware shops ‘may be used. First wash about 20 grams Of it with four or five changes of water fn the pigment washer. Then filter it off and dry it in the oven, Rub this very Ghorougiiy with dre binder. Ultramarine lies ready to hand in most laundry blue bags. To confirm that your particular blue bag has ultramarine for its colouring principle, steep it in water, filter off the blue solid and add to acid. If you can smell hydrogen sulphide (like rotten eggs), the colour is ultramarine, Strip off the bag and drop the block into about 150.c.c. of hot water. When the block has disintegrated pour the whole into the pigment washer and wash until a sample of one wash water gives no precipitate with calcium chloride Solution. Filter off the ultramarine and dry it in the oven. This gives a very Vivid. ultramarine ‘when incorporated the binder as above. Prussian blue you can make by dissolving 10 grams of ferric chloride in 100 ce. of water and stirring into this a solution of 8 grams of potassium Fentowyanide in 100 ew. of water. Wash the deep blue precipitate in the pigment ‘washer until a Sample of one wash water no longer gives a precipitate with silver nitrate solution. Filter off and dry in the oven. Light red can be made by heating washed and dried yellow ochre in a crucible until it has’ become uniformly brown. Tt will brighten in colour when ‘you let it cool. Pale chrome consists of chrome yellow (lead chromate) let down with ead, barium or calcium sulphate. To make chrome yellow dissolve 12 grams ff lead acetate in 100-c.c. of water and stir in a solution of 8 grams of potassium chromate in 100 c.c. of water. Wash the yellow precipitate in the pigment washer until the wash waters are colourless and lear. Dry pigment in the oven. Chrome ‘yellow alone may be used as a pigment. ‘To convert it into pale chrome we can usc lead sulphate. Dissolve 10 gramo of Jead acetate in 100c.c, of water and gradually stir in dilute (about 10 per ent strength) sulphuric acid until_no ‘more white precipitate of lead sulphate forms. Wash the precipitate in. the pigment washer until a sample of one wash water no longer reddens blue Hts paper. Ter Of she precptate and dry it in the oven, Using the palette Knife, rub up some chrome yellow With a little binder and incorporate small quantities of lead sulphate until the shade of pale chrome is reached.AMATEUR PHOTOGRAPHER'S SECTION How to Succeed in Exhibitions and Competitions courage to submit a print for exhibition, but I have never re- gretted it, for the small recognition it received gave me such a thrill that I became a regular competitor for many yeurs and secured a good number of prizes. Since then it has been my good fortune tact as @ judge in many exhibitions and popular competitions, and in this article I want to tell of some of my experiences. E is many yeare since I iret had the Important Rules ‘There must be quite a number of Hobbies Weekly “readers who are capable of turning out photographs of sufficient excellence to justify being placed on exhibition walls, but in the Production of such prints certain rules must be carefully followed, and there ‘are also faults and. blemishes which must be strictly avoided, It is almost entirely due to failure to’ observe these imporiant rules that in some open competitions about 90 per cent of the entries are relegated to the ‘throw-out pile without being favoured with a second glance, so that the judge’s job is to pick out the prize-winners from not more than 10 per cent of the whole collection of entries. Even if this balance is closely scrutinised three or four times, the same “best” of the bunch come to the top group cach time. You will probably be interested, first of all, to know what faults are respon- sible ‘for such a large majority of ‘entries losing a chance of a prize, and I can imagine that many will be surprised to know that a chief fault is in. the mounting. Then there are the entries from people who do not realise. the necessity of keeping their work clean. Itis quite common to see dirty finger marks on the surface of the print or mount, and paste is also often notice- able, Suise uf the irhimning, 100, leaves much to be desired I suppose some people would con- tend that these faults are nothing to do with the picture itseli, but as the judge is likely to be accustomed to seeing not only good photographs of high pictorial uality but also of excellent finish, he is. naturally, influenced by the whole. ‘Trimming, Take, for instance, the trimming of a seascape. Quite frequently an entry will show the water running uphill simply because the print has not been trimmed. the horizon a perfectly straight uch a fault is bound to catch the judge's eye and the entry, in con- sequence, is a throw-out. The same trouble can occur with a church spire shown ‘falling over’, or a building with This print has been trimmed, for competition purposes, from the one shown ‘on the opposite page its lines indicating that the structure is out of square. Dirty Marks If a print is worth spending postage fon, then surely it is worth while to remove paste or finger marks from its surface. In the case of grease markings a wad’ of cotton wool with a little methylated spirit will clean it mediately, For the paste marks use plain water and cotton ‘wool—you will not spoil the print by this. treatment. All prints should be examined for spots. White spots are toned to match the surrounding area, using diluted indian ink or spotting medium. Black spots are first scraped carefully away with a sharp penknife, nd then treated the same as white spots. Unless it is a condition of the com- petition that the entry must be titled, my advice is not to aitempt one unless your handwriting is particularly good— by which T mean clean and legible. Use a wellppointed lead pencil and avoid any fay, work around the tile. It Is better to write the word or words in the form of a signature at the bottom left-hand comer of the print and your own name at the right-hand comer. Keep both small, for nothing must be allowed to detract the eye from the print. We have to discuss the important question of mounting, I think every amateur, if he is keen on keeping. hi results, will admit that it is worth while mounting them on a piece of fairly good stout card. Tt follows, then, that if a print is intended for’ exhibition it is necessary to preserve it from damage by sticking it to & suitable support, Some years back it was considered correct style to use at least three different tints immediately next to the print, and then to paste the whole contraption on to the base card which could be of a different tint or a plain white card. The result of such work made it difficult to judge the pictorial merit of the photograph, for all sorts of shades of brown, green and. other colours were in vogue. Finally, tinting reached a stage where it was com- pletely out of hand—to the detriment of many fine photographic specimens. Then all tints were barred, and most of the photographic societies refused to accept any prints that were not mounted ‘on white card only. For many years that rule has been maintained, and weoe pi eas ce GT o plone! . - You will see that this picture contains much unnecessary detail. The trimmed print is shown on the opposite page are now able to judge the exhibits purely and simply as photographs. Although mounting is limited to white cards only. there are certain rules which it is to our advantage to follow, although these rules aro “unwritten” The main point is the question of Position of the print on the mount. As this is of some importance, especially to beginners, itis advisable to discuss it at some length. First it is vousidered wrong to mount an’ upright print on a horizontal mount, but a horizontal print can be pasted on a fairly wide upright card if (and this should be remembered) the margins of the card at top and sides are sufficiently wide to prevent giving a cramped appearance fo the” picture. generally, Never mount a print dead in the centre of the mount, because it will make the print look as though it is slipping down and off the mount at the base. It is as well for you to try this so that you become familiar with the effect. "AS a general rule when mounting enlargements for exhibition, or [oF framing for hanging on your own walls. the top margin should be 1 times the width of the side margins and the bottom from 24 to 3 times. For many years now, for my own pictures, T have used white card cut to Shout Moine by LSine. for enlargements averaging 12ins. by 10ins., sometimes a trifle smaller—say, 4in. one way or the ‘other—according to the scene. Most of my present-day work ig landscape or sea or river scenery, and for the margins I never vary the following: for the top 34ins., for sides 2tins. and for the base Ghins.’ If for any reason the enlarge- ‘ments are smaller, then as nearly “as possible the margins are in the same Proportion as given for the 12ins. by A0ins. prints, Best Effect Some workers may, after reading these figures, think that they indicate extravagance. My answer is that they are the result of considerable thought and experiment to obtain a definite effect of causing the eye to concentrate ‘on the print and to obtain the fullest appreciation of any pictorial qualities that may be in it. Vhave found that the wide base margin gives me this, for it causes the eye to be lifted to the centre of the picture and to take in immediately without any effort, all the fundamental parts of the photograph. It is exactly this that is required if you wish to catch the eye of the judge when he is making his preliminary search for the best of the entries. It also carries another advantage —the ‘ttle, if required, can be kept fairly obscured and, if" in small ype, 25 will not have @ detracting influence on the print. Before pasting the print, place it, temporarily, in its position on the mount under @ sheet of glass the same size as the mount if possible. Then examine it from the point of compo- sition, See that you have made the best use of the trimming. The best little device to help you in the judging is a strip of white card about lin. wide and about as long as the width of the mount that you intend to use; move this along each of the edges, covering about a din. Of the print at each movement. You might find that even a tin, will greatly improve the composition. Just a final word before the pasting: do be cure to use a photographic mountant for this part of your work, as some paste is not suitable. My own preference is Johnson's photo. moun- tant, It is a good clean adhesive, and I have never known it to cause deteriora- tion in any print. Having given much advice_on_ the preparation of an exhibition print or one which is intended for a competition, it is only fair that you should have some practical advice on what type of view or subject should be entered, to justify some chance of a prize. The first © Continuca on page 26EASY WITH A FRETSAW Make an Ink-Well Holder HETHER you are an expert or beginner you will find no dithoutty in making this at tractive little ink-well holder. You can make it to fit an ordinary ink bottle or you can use the clear glass ink-well shown in the illustration, You can obtain it from Hobbies Ltd’, Dereham, Norfolk, for 1/6 post free. ‘The holder ig made up from 4in. or Jin. wood and incorporates a rest for a en. The parts shown on the page of Patterns are full size and all you have to do is to transfer them to the wood by means of carbon paper. Place the carbon paper between the page and the ‘wood and go over the outlines of the patterns with a hard peneil. You will 96 that there are two overlays (2 and. 3) shown, both being cut from din. or tin. ‘wood. You will, of course, decide which ‘one you prefer. How to Start ‘Commence by cutting out piece 1. (Clean up the edges and check to see If It is square. Next cut out the overlay, 2 or 3, and glue it in place as shown by the dotted lines, Make sure, before gluing, that the ink-well will it in the opening, The rectangular piece 4 is glued on to piece 1 as shown by the dotted lines. It should be cut from the same thickness ‘wood as the overlay. ‘The pen rest comprises four pieces of wood, 5, 6 and 7. Pieces 6 are glued Attractive Full- size patterns are on page 31 MATERIALS REQUIRED If din, wood is used the inkwell holder ‘can be cut from one G4 panel, price 9d. post free. Remember that you will need 2 small piece of fin, wood for piece 6. between 5 and 7, the dotted lines show- ing the exact position. Pieces 5 and 7 are cut from fin. wood and pieces 6 from in, The small sketch on the page of atierns shows the parts glued together. we lower sketch shows them after shaping. Do not attempt to shape until the glue has set hard, It is better to leave them overnight. The pen rest should be glued on piece 4 after shaping. It can be shaped as shown in the lower diagram on the pattern page, or as shown in the illustration of the finished thing. Finish Finish is largely a matter of choice, but we recommend the young beginner to use enamel. Two or three coats are usually sufficient ‘The experienced fretworker may like to try making the holder up from perspex. It makes a very attractive and useful article when nicely finished, (Mp) © Continued from page 25 Be Successful in Competitions quality is, undoubtedly, originality— quite 80 to 90 per cent of the entries in most competitions are of the stere typed everyday subjects and con- sequently lick ‘any special interest or appeal. For exhibitions, the percentage jerably lower—probably only 20 to 30 per cent, but even so, those of the common-or-garden type usually have something in their processing or make-up which will enmmand — the attention of the judges, and it must be always in your mind that these men aze old hands at photography who have been on the line many times at exhibi- tions, Caleulate Exposure Time Having made up your mind to try your hand during the coming season, iaintain an open and sharp. eye for something that will lend itself to your effort and go for it with enthusiasm from the time you spot it, Make sure the lighting is right and that you are exposing from the best position and, if time permits, calculate the exposure time so carefully’ that no. mistake hee. the slightest chance of creeping in. If there is any doubt take a second shot. See that the same care is taken in’ the developing and printing. ‘Do not hesitate to enter your work in this way. It is a splendid method to adopt for the purpose of improving YOur photography because you take so ‘much care in the production that you will be surprised at the improvement that so quickly comes about. I would remind you that it will definitely mean that you will be making less failures and that your hobby is costing less. There are always some competitions running by manufacturers of photographic material—Johnsons of Hendon run two a year and give money prizes. Watch the advertisements of manufacturers of other articles. Quite frequently these are illustrated by means of photographs and prizes are given for the use of them. G.C) Tell your friends about the good things in Hobbies Weeklydvertiements are charged ne the rae’ of £1 /5)0 i the order and acvardcemencs wil be inetsaa nthe ol “Aavare Dept, Dereham, Nortel, or Temple House, al issue. On Se London, Be canbe sane elthor to Hobbies Weeki, a. upwards DIFFERENT stamps free 00 hvistchureh approvals. Bush, 939 Read, Bournemoth AY HITE. r3dor vical pice 513 pair dvgre, WW itoks out man, 516, Pree it a. St thin amaring hobby’ today. Pitt Francis, ‘Mouse Fase, Ferndale, Glam. ‘SHIES i be Pat. plas nnetiong 3 im electric light Bul’ plang 2/= Four i A. Pail, 472 Linden large toy” plans, 21 Gatdens, Chiswick, Rita sae radio sev Detal tree from Blanchard, 13, Gainford. Gardens," Moston, Manctister, 10. 200 HOPRIES, Neverber 1049 ona 1" Woodworkers (odd). Orfers — Box No, 10, Hobbies Weekly, Dereham, Noriolk RUND RAISERS—Club ‘ads, Bernard's Plymouth,” Z 3 REE! Twenty unused Qi). rt, Limington, Somerset. -TAMPS Go Bar YREE—25 diferent ‘Flag’, request _Gnest Giscount,. monthly, fies” ats,” approvals Gis)” neadon, "23 Eisley RS, London, SW JOUNDS EXTRA each week by post Suitable her sex, Send samp for ‘bigation-Adams (Dept. #), # Cross Strat Loughborough, Lees ‘OBBIES HANDBOOK 1954. 2/3 postage puld,Handibooks, 8 Easiera Esplanade, Southend, Esser GRAND BOOK FOR ALL THE Famitys Tye 'ktviee Year Book af Bright Ideas A ‘realy belpfal goce © home planning, dacoraon- Fable, tos ‘et From KAYLEE TRANSFERS Posage 3. Unb. (HW) Long Exton, Nottingham ‘ORMICA and ‘PERSPEX’ Cutting Service. Paseo Caioure, Cut to your ieee Henry Most Son Ltd, Atom Works, Neweastle, 1 LYWOOD — HARDBOARD — at amazing Wy prices. Sead S.A.E. for samples aad prices tN. "Gerver, 10" Mare Street, Hackney, oadon, Ea NES AND, USED. Comespongence Cours Eductivi Buuks Gouss old, Cats “Courses, 18 Dean Road, London, NIW.2, ‘ONJURING. Illustrated catalogue of magi fh De Hemprey, 36) Sandneombe, Kew GHAMES, FREE Boi Peket incaing ‘Robert J Peck, 7A Kemp Road, Bournemout ‘ODELS. You ean make lasting stone-hard Miesce wit “Stoke's ynina "istic Gement Supplied in tite” by” Leonmon ‘ardwaremen and Bullders" Metshans, Auk fot Sroction leat. JUPLEX (Seiadheine Transfer for dee erating fancy goods, trays, plats, ee ise and sargples 36.1. Axon Hlarison, Jersey, Cai covered: BLA screws, mut washers Slamp for iistP.RS, 33 Bourne’ Gardens, Tandon, E4. LS HOUSE ungs and papers. Sena DSAE GPit Dalit hcese pila seca, scod 2]6. Trade Supplied —Zimpian, 88 Ware Kosa, Hodderdon (). BRITISH Colonias—2}d- Request ap- 20. provale—Worldnids, 16H Culver Road, year Popular Mech Tees Science 28/6. Homecranaman’ 16/6. Homecratt Tif Detiagram 9. Free booklet quoting errs Tie. (Dept. 57), 101 Fleet St London, Hubber mbulding Compound fbr exible moulds, Sarin torte ie ef Srovlds’ Tor plaster” works “SAE. "WIS MUSICAL Mechanisms for owes, ee, 21) post fee. SAE, fo fion and ‘Iist of tunes available “Dept. HW, Metwood Accessories Chureh St, Wolverton, Bocks. (rade Supplied) YPNOTISM Rapid, inexpensive, guaran- [feed Postal Methnd~-Detals Sd Newdsle Methods, Holmirth, Yorks. £5—!20 weekly. By, post, at home, Filer et ak inunediiely” Detae 33-—No gbligntion:~Newdale: Publicity’ (H), Holmfinh, ‘Yorks YOU CAN BUILD ‘DEREHAM’ This grand craft Is proving a5 popular as ourfamous range of canoes, and if you are look ing for a small but serviceable boat, you cannot find a better proposition. A detailed draw- ing showing the main frames, transom, stern, and other parte A Sturdy 10ft. Dinghy fullsize for easy working costs ‘only 8/6, and full bullding Ine — S97 Structions, republished from Hobbies Weekly (May 6th, 1953) are given free. Get started on yours to-day Write to : The Editor, HOBBIES WEEKLY, DEREHAM, NORFOLK Designed by P. W. BlandfordElectromagnet Query Sit posible Jo make an eltctrie inagnel 0 work off a. G-wll trans. Jormer'rated att amp. strong enough to work model railway points with a light return spring? I have tried a few coils Srom old bells, etc., but find these are not owerfilenoteh and dfter a very short time get er» hot (S.0.—-Beckenkar). THE power obtained froma 6 V, 1 A rly wane Insnicientwalens the moving. parts worked very freely. Electromagnets intended for prolonged se on ACC. should have laminated Cores (e.g, made from many flat thin strips) or eddy currents induced in the folid core. will cause heating, A D.C. Supply of higher” current is really desirable. Ifthe €V, 1. A.C. supply is to be used, the points should work freely and the spring be as weak as possible. A ionger pull would be obuained from a solenold. It might be possible to arrange matters 30 that the magnet of solenoid Was only energised when the poinis are actually moved, «second magnet return: ing them to the original position when tequiied. This woul avo heating of the magnets, and solid cores could be Beyelling Glass 'S it possible to bevel glass at home? (.M—Tamworti. IV ATEGT ASS ie bevelled hy grind. ing, using a power-driven grinding stone, charged with a sharp cutting sand and. constantly lubricated. with. cold water, It is a most arduous task unless a Suitable grinder is available, but the edges could be rounded off fairly easily and this would impart a neat finish. To achieve this end (without a power-driven grinder) the edges of the glass should first-be rubbed with a piece of whet- stone or hard brick charged. with a sharp cutting sand charged with water, of use instead a coarse earborundum stone (obtainable at small cost at tool shop). When the edges are sf ciently rounded by the stone, the glass will be rough and must be polished, which is done by rubbing with a. pad charged with coarse emery powder, followed by rubbing with fine emery, then with pumice powder, and finally with rottenstone and water or oil. Varnishing a Tray BARE prade a sray which 1 wish to siain and polish or varnish in a fairly Tight colour, say, light oak. The bottom of the tray is'made from a piece of nicely grained tin. plywood. I shall, of course, require @ varnish or polish which with: stands a reasonable amount of heat and would be pleased if you could advise’ me on the right materials to use and the correct ‘method of application. (I.R— ‘Swaythting). FOR ayarmish to stand up to. warmth you could use clear cellulose over a light oak stain. This is flowed on, not brushed like ordinary varnish, using a full brush and not going over the same spot twice. If you can spray it on, all the better. To stand up to hot plates and suchlike vessels it_may be wiser to employ @ heat-resisting varnish © Continued from page 18 Coffee-Table and Firescreen carefully with the fretsaw. Drill the interior frets first and cut these: pieces See «betes Soe ese eae ourline. Clean up the work and lightly Smear the back of the overlay with glu before placing it in position in_the centre of the firescreen surface. Place under heavy weights until quite dry. Before final assembly of the frarne and table, the whole job can be stained and finisted.” We would. suggest a ght rubbing with a good spirit stain rather than "one applied with the brush. Colour is, of course, a matter of choice, and will depend upon the finish of other furniture in the drawing-room, Whatever colour is" chosen, however, asm amount should be mixed with sufficient plastic wood to fil the holes left by the fret pins in the half-round beading. The holes filled, the plastic wood should be left to dry and then smoothed down before the main bulk of the surface is Stained This method of pre-staining plastic ‘wood is an important factor in envuring a blemish-free finish. I the plastic wood is applied in its natural colour and then allowed to dry before staining, it will be found that it wil not then take the siain and the finish will be marred by a succession of light-coloured spots round the edges of the table. : “To finish the work you haye a choice of a wax polish, clear varnish, or clear lacquer. ‘Starlon Clear’ is an example of this latter, Alternatively, two coats of brush polish can be applied to the surface, rubbed down lightly when dry Until the surface is smooth and of even colour, and then finished with an application of one of the new furniture polishes containing silicons, CUTTING LIST FOR RAILS ine, by 17H. long. ins. ty Gins. long. | Zins by 12m, tong. 2ins. by 214s. Jone. + 2ins. by Sins. Jong. ‘The surface of the galleon overlay can be finished in a darker stain than the table curface, or alternatively can be painted jet black, as shown in the illustration. Fix the wood buttons on the underside of the rails B a din. from the inside of the rail and approximately 4in. from the 28 upright rail A, allowing sufficient clearance for the buttons to be swivelled inwards when not in use. These buttons will, of course, have been finished with the other parts, ‘There is a slight clearance between the rails B and the table top, and a suitable washer is recommended here. This should be cut from an odd piece of leather. To take the dowels, drill holes centrally in the sides of the table top (ee design sheet) Insert a little glue into these holes so that when the dowels are driven home they will become fixed in the table top but remain movable in the rails. Do not use foo much glue or it will be forced out and spoil the rest of the work, Although the dowels must revolve in the rails, they should be a tight fit so that the’ firescreen will remain upright when in use, One can, of course, use Tong chromiumeplated rovindzheaded screws in place of dowel rods if required. Tap the dowels lightly home through the rails and into the table surface until the outside faces of the dowels are flush with the surface of the rails. As the dowel faces will have been stained and finished before insertion, use a piece of swasts wood between the dowel heads and hammer. This completes the construction of a useful piece of furniture which should sive long years of service in its dual role as coffee-table and firescreen.FLUXITE SOLDERING FLUXITE LTD DRAGON WORKS, BERMONDSEY ST., LONDON S. Deng yor own developing and printing double the fun ofhoto- ean Tou remo at hate oso min Scphen and getting print from thar ulcer, roo ant yo Serene ean asian ai The see compres — erga tonal she mews on price 5/6 ee ie saa, stig ncudes po SFiS ihcae Sia aes 25 shoots of Coneace tice Zixsy Sad EO. aoe inches, and an chaytoralio booxiet of Ssoirs WEEKLY LTD ~ Recruclom cling you how fe all done JOHNSONS OF HENDON "385 HENDON WAY, LONDON, NW. (Made in Sweden) MANCHESTER 10 Piccadilly | (Phone CENera! 1787) BIRMINGHAM a Bult Ring SHEFFIELD 45, Paul's Parade ‘(Phone 26071) LEEDS | 10 Queen Victoria Street | “Phone. 28639) HULL SOUTHAMPTON 25 Bernard Sereot BRISTOL, 326 Argyle Strest 30 Narrow Wine Streat (phone CeNeral 50%) (Phone 23744) Head Office & FaceoriesHOBBIESLTD., DEREHAM, NORFOLK | GLASGOW THE BIGGEST MODEL RAILWAY EXHIBITION IN THE WORLD— EASTER WEEK TUES. APRIL 20eh—SAT. APRIL 24eh CENTRAL HALL WESTMINSTER “weaday 2pm, £09.20 pm harefer 103Da.m. to 930m. 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Complete equipment comprising reel, 1407. uylou camouflage line and spoon—bait in neat aluminium container anodised green. SKARSTEN MANUFACTURING CO. LTD. Welwyn Garden City, Herts, NOW! YOU_CAN MAKE YOUR OWN * POWER TOOLS YOUR OWN MOTORISED WORKSHOP AT VERY LOW COST imple ra and. piceroe ie nos isegon, Wi ety can. prose OI ait a" conplts eae reel ing Crear aed and rca oad, Panes, eta i esters fas sneer eed eal sly avaiable plpe feces, fanger, ete, Also andes, aadhments ad eee eae SUPPLIES (H), SEDGEFORD, NORFOLK H.A.C. SHORT-WAVE EQUIPMENT Supplies far over 18 yoare of Rod S.W. Reesvars of quality. ‘One Valve Kit, Price 25/=. Two Valve Kit, Price 5O/~ scceories and allinnractions: Belov oretin el and ince domes aon Teer, or send stimped adcreued envelope tr destin ve “H.A.C? Short Wave Products, (Dept. 22.) ‘Old Bond Street, London, W.l i WEBLEY Air Pistols Marvetousty accete for target proce. An Air Pistol tht will lass hfe. This Is a MUST BGOK for No, licence required to. purchase ‘or use on srelsed promises Weis for: Catalogue ol Ale Pistols Ar Riis an Accosoris WERLEY & SCOTT UTD. 166 Weaman Street, Birmingham, England wss © ALWAYS READY = No fumbling @ PERFECT FOR PARCEL SEALING —Pilfer Proof @ SERVICEABLE TOTHE LAST INCH Wo Deterioration ‘Ask your stationer for GUMSTRIP FAMUEL JONES £/ CO. LTD.A¢FTD PECKHAM GROVE LONDON.SES F R E E ! A 64-PAGE BOOK, WEIGHT OVER QUARTER-POUND; OVER 50 ILLUSTRATIONS ! ! This fine book tells you ALL. ABOUT how to fly your rubber-driven MODEL AIRCRAFT, and Is GIVEN AWAY FREE! | SEND P/O Z/- NOW for list of aeronautical books: and OVER 500 PLANS military and civil aircraft, period 1914-1948; and 4)- WORTH sample plans fighters and bombers of both WORLD WARS ! HURRY ! Post your 2/- P/O NOW and receive List, 4/- WORTH PLANS, and FREE GIFT BOOK per return! POST TO_HARLEYFORD PUBLICATIONS DEP/H, HARLEYFORD, MARLOW, BUCKS, ENG. “} EARN UP TO £33 Men and women wanted to make Bennett Model Bungalows at Home. Fescnatng, con wal poll ork No seling involved, Sand stamad edrassed emeloe fer ful tale BENNETT MODELS, Richmond, Surrey KITS for OLD TIME SHIPS Hobbies range of Ship Models includes Elmbath Jonas, Cutty Sark, Victory, Mayflower, ote. Complete kits ef weet, sal aerial, guns? pullers, core, et with fale patterns cf pars tnd planed wood Feady to eat out shane and construct "A farinating pasties Ki or models Tie long and upwarée Ask for free illustrated lists at Hobbles Branches Limited, Dept. 89, Dereham, Norfois,PATTERNS FOR MAKING THE INK WELL © HOLDER RE SHAPING AFTER SHAPINGYOU MAKE THE BRICKS TO BUILD _ THE HOUSE this simple way— Just a simple wood mould wich a tape or paper strip base— and there’s your home-made brickworks, ready to supply you with “Pyiume" bricks for building Houses, walls, farm buildings, model rallway stations, etc. Just one of the ways of modelling in Sankey's “*Pyruma” plastic cement explained more fully in the Instruction Book offered below. Other and simpler ways of modelling are also described, showing how to make many useful, per- ‘manent stone-hard objects which can be painted in colour, from Pyruma is ready for use from Its airtight tin—to be modelled while plastic, It dries or bakes to stone hardness and, after ‘treatment as instructed, can then be painted or enamelled, Pyruma is ideal for modelling Houses, Railway and Airport Buildings, Farms, Docks, Figures and for making Ashtrays, Bookends, Plaques, Dolls Furniture, Relief Maps, Animals,ete, Sonkey's PYRUMA and TILUMA dre inexpensive and obtainable in alight {ine fam lenmonger, Art Mera) Deion, Hobies Shop, ete POST THE COUPON TO-DAY mE Dept H.W. ILFORD, ESSEX, Enclosed 4d. In stamps for PYRUMA MODELLING INST BOOK sedrested to ING INSTRUCTION To: NAME (Block letzare) ‘ADDRESS md by Barong & Mase, Cm, Con ‘Temple Bi oie, Talia Set, BIC 4. Sole Agate for Atria and or Lt. don aad Wisbech, and Published for the Pro ew Zea Making Toys, Models or Novelties is a oar pastime— A Treadle Tretmachine provides a factory in the home. The treadle move- ment Is easy, the machines running smoothly and fas. Ie is astounding the amount an be manipulated up to 4fc. Zin, behind the say blade. Machines are com- fortably operated from a chair, rigid and easy Funning. The At. has cast fags with wooden arms and special tension arrange- ment. Spare sawblades, 2 design and Instruction Manual supplied with each. ra ET-19-6 SE al any Hobbice Branch” Or ask partioulars er ondon & ‘eGo c retcy Osa) Lid” Boe South Aiton! Gestad Ne