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SB 31 flb?
DESIGN *
WILLIAM NOTES
WHITE- PINE-
E-.S.S
WHITE-
PADIAL
OAK
TANGENTIAL
COMMON WOODS
WHt
A <Sn
YELLOW POPLAR
SWErErT
RADIAL
QUM
MAH O 5 ANY
COMMON WOODS
in
VPood
and Construction
in
Wood
DESIGN
CONSTRUCTION
and
IN
WOOD
% WILLIAM NOYES
Assistant Professor of Industrial Arts
NEW YORK
CITY
COPYRIGHT
WILLIAM NOYES
1913
FOURTH EDITION,
1919
FOREWORD
The purpose of the following studies is, (I) to give
ginners in woodworking an opportunity for the acquisition
to
be-
of skill
in the handling of tools, and, (II) some practice in designing simple projects in wood.
This
I.
The
course.
series
of projects
training of the
it
No
greater misfor-
should be stere-
otyped.
it
it
To
obviate
this
is lest
ticular project.
They
as
joints
and
ledge.
their
shellac.
416033
believe that,
ever
fill
clamp and the mallet, are such as to invite the worker to create
his own designs.
To this end a considerable number of suggestive
illustrations are introduced.
but
it
It is
Some
found in Chapter
my
series,
CONTENTS
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
Wood
Wood,
21
9
35
Picture-Frame-Clamp
59
65
The Candlestick
<S3
Taboret
99
X.
Trays
XIII.
of Artistic Expression
Scrap-Basket
Mallet
XII.
A Medium
Equipment
IX.
XI.
13
115
123
.133
Rolling Blotter-Holder
Small Boxes
13?
Lanterns
147
.158
Index.,
11
CHAPTER
WOOD
and
and
there
substances,
Next
to food
clothing,
wood
is
to
man
list
is
of scores of uses to
people of the
which wood
United States
live in
is
put.
Two-thirds of the
of the
decay, that attempts are constantly made to find substitutes for it.
But even in spite of the employment of such substitutes as cement
and steel in constructive work, its use is constantly increasing.
Most of our paper is made of wood and practically all our furniture.
strength, its lightness, its ease of working, its elasticity, its hardness
and its beauty. When wood is to be used for building or other conis of great importance, while in work
requiring only small pieces, other qualities, such as hardness, or
much
substitutes for
it
The hardness
CONSTRUCTION IN WOOD
such woods as oak and maple make them suitable
like spruce, that is both light and strong, is
used for ladders and poles and canoe paddles.
and
elasticity of
Some wood,
for floors.
now hold supremacy, oak and mahogany. This is due partly to their
beauty, but also to their strength. The oak is native; the mahogany
is
imported.
One of the most useful characteristics of wood
is its ease of
being
splitting.
ing,
while
split
istic of all
our
common
woods.
much
woods.
One
by
quality, possessed
all
wood,
is
of
serious disadvantage,
is
its
when
sensitiveness
to
moisture.
It
shrinks
wet.
to be explained
"cells" or fibers,
wood and
summer wood
(see
frontispiece),
sometimes very minute ^as in pine. They seive to bind the annual
rings together and offer, as in beech, sycamore and oak, add great
WOOD
Now wood
wood
shrinks
little
very
is
15
it
become thinner
as
they dry.
so that
cells
in
made
Wood
most
shrinks
cir-
and somewhat,
radially.
This
when one
side shrinks
more than
the other. This warping is sometimes due to the fact that one side
is
them.
In such a
(con-
which
is
is less likely
warp than
the log.
It is partly for this reason
that
much
fine
lumber
A,
Comb
nearly radially as
is
viding
which
the
are
is
That
sawn out
log
then
into
sawed
"quaris,
ra-
first, di-
quarters
up
as
In some woods, as in
oak and sycamore, the beauty of the grain caused by the exposure
thus made of the pith rays, is an additional reason for quarter
sawing.
See frontispiece.
16
tinction
Fig-. 3.
Common method
of quartering- log.
also
respectively
either
to
the
foot; that
ment
is
is,
Fig
4>
Aboardfoot>
multiply the length in feet by the width and thickness in inches and
divide by 12. For example 1" (thick)
12=6' 8" B.M. (board measure).
8" (wide)
Boards
less
10' 0"(long)-r-
than
one
inch
For
all
ordin-
Wood
WOOD
17
stuff.
common
As an aid
The wood
States.
is
owing
to its
medium
unrivaled.
is
strength, elasticity,
and
durability.
cheap and
coming
has therefore been used so recklessly that now it is beRed pine is often sold with and for white pine.
it
scarce.
Its beauty
makes
It has a reddish
it
a desirable
Price in
N".
saw, but hard to chisel neatly across the grain because the spring
wood is so much softer than the summer wood that it crushes before
cuts.
It nails fairly well.
It is used chiefly for construction, for
ladders, for paddles, and other articles requiring both strength and
it
lightness and, preferably, for paper pulp. It is the wood from which
sounding boards are made because it is very resonant. It can be substituted for
many
uses of pine.
N. Y.
C.,
The
color is dull
white,
and the
made
of
it.
Further information about measuring lumber can be found in the author's Handwork in Wood, pp. 48 and 109.
The Manual Arts Press, Peoria, 111.
-2
18
White oak is now the wood most commonly used for interior finand furniture. It is very strong, quite heavy and elastic, and
hard. It is rather hard to work and to nail, and checks and warps
ish
make
The "grain"
is
It is the hardest
easier to work,
and
is sufficiently
Price,
M.
tall
straight trunk
and
is
medium
The
pith
rays are quite noticeable, but are not made much use of for decorative purposes.
The rings are distinct but not prominent, and the
It is a good wood to keep in stock
and an ideal wood to carve. In the south,
magnolia is often sold with and for yellow poplar. They belong to
the same family. Price in N. Y. C., 1913, $80 per M.
color
is
WOOD
Sweet gum.
19
gum would
is
be one of
comparatively easy
an ideal wood
and with a little care can be nailed well. It has a
beautiful chocolate hue varied by uneven deposits of coloring matter.
But it twists and warps more than any other common wood, and hence
to work, takes a beautiful finish
and polishes
well, is
for carving,
Fig.
5.
$75 per M.
Mahogany
is
a general
The
name
covering a
number
of species, all of
American ma-
any (vermillion wood or padouk), and Spanish cedar. These variesomewhat alike in color, a reddish brown, the annual rings
are inconspicuous, the pores are scattered, and few woods take glue
ties are
better.
and
in shade of color.
nailing,
interior
20
The grain
finish.
is
$185 per M.
In the following studies, the woods just described will be recommended.
ing, changeable, reflection of light. Price in N.Y.C., 1913,
of wood.
Some
varieties of
wood may be
others may be scarce and hence expensive. Some workers may be able
to obtain the wood in nearly the sizes wanted
others may be compelled to purchase whole boards. Some may have a dry storage room
;
of
ample
size, as,
for instance,
an
attic; others
may
their
quantity
of lumber
is
stored,
it
should,
if possible,
be compelled to
may be said
it
of.
Where any
be "stacked," that
is,
piled
flat,
weight on the top board. Where only a few boards are to be put under pressure, it is often convenient to clamp them together with
handscrews, as in Fig.
5.
BIBLIOGRAPHY
Filibert Roth.
ton,
D.
D. C.
C.,
Timber. Bulletin No. 10, of the Forestry Service, Washing(May be secured from the Supt. of Documents, Washington,
for IDC.)
brief, accurate,
William Noyes.
Wood and
Woodcraft, June-Sept.
Forest.
Manual Arts
'06.
Press, Peoria,
II.
CHAPTER
II
these principles.
medium.
lively interest
skill in execution.
On
suggested are
teacher.
It is. not to be inferred, however, that one can safely hope to improve thru self-criticism alone. The dangers of going off at a tangent are too great. In design, even more than in construction, the
critical
judgment
is
The
con-
22
The underlying
arts
common
broader principles
urged
to familiarize himself
with them.
They
W. Dow Composition.
Denman W. Ross: Theory of Pure
Arthur
Ernest A. Batchelder
Design.
The
properties of the particular medium thru which art is expressed present to the artist certain limitations which he must recognize.
This in no way suppresses creative expression, but rather disciplines
The
it.
following,
then,
are
the possibilities
may
revel:
1.
In the first place, the thing to be made should in itself appeal
to the craftsman as something worth while and interesting to make.
For instance, scrap-baskets, picture-frames, desk- trays, hanging lanterns, and such familiar objects as are frequently seen or handled,
should call forth the worker's best
The
effort.
made should be
article to be
dred years
is
Many
last longer.
3.
The form
Appropriate-
The
structure
of
the
article
should
be recognized
or
even
23
exist,
be
all
the better.
5.
The
article
if it is
obviously honest,
The
*it
may
socket of a
should not be easily upset. A chair seat should be the right distance
from the floor, and the rail in front should be high enough to allow
the sitter to slip his feet under it and so rise easily. The requireset limitations to design.
Proportions must
ments of convenience
conform to intended
use.
Lastly,
when an
and parts to each other, trying one arrangement after another, studying how to secure a rhythmic repetition of
the same motive, how to break up an outline or a surface harmontion of parts to whole
and subordinate
parts,
it as
it is
man
finish.
is
It is to be thought of as a silhouette, as
ing between the observer and the light, so that the general proporthat is, the relation of width to height, of part to
;
and
of
whole,
part to part, including a consideration of vacant spaces
tions are obvious
ows are conspicuous, but only the general mass. It must have the
beauty that one sees when the trees, rocks, and hills are silhouetted
24
In other
The
and
so on,
is
that
ing pages are suggested for making, are studied from this point of
view; they are planned to keep the height and width and depth in
pleasing relation each to each, and to so proportion open with closed
spaces as to secure an artistic arrangement of parts. In other words,
the composition made by placing the object against a lighter or darker surface should be pleasing in dark and light.
When
Line.
2.
The
is
to
fix
be refined and
embellished, and
the variety that lies between that severity of
whether Scandinavian,
line found in the earlier European furniture
boundaries.
here
outlines
we may have
are to
all
how
How
simple or
how
intricate,
how bold
to be
made
of the object.
The nature
of the line affects directly the high lights and shadis well lighted.
Good lines will
produce interesting notes of light and dark. They will "catch the
very simplicity.
ese styles involve fewer elements to be spaced, the chances for the
beginner to get better designs in them is greater than in the more
elaborate styles.
relations in
wooden structures
work in the
Notan
25
3.
Color. Thirdly, there is the consideration of color. The natural hues of the woods give a considerable variety, ranging from the
light yellow brown of oak, chestnut, and ash, to the reds of mahog-
any and the purples of walnut and sweet gum. All of these can be
(See
greatly modified artificially by stains or by chemical processes.
the author's Handwork in Wood, pp. 209-214.)
The problems in color, both in hue and value, is that of harmony
with surroundings. No piece of furniture, however small, should be
considered as a thing by itself. It is to be treated as one element that
will enter into the composition of a beautiful room, and upon its
of beauty in
wood
is finish.
The
but at the expense of making a surface that looks, not like wood, but
like glass.
Unlike glass, however, varnish is easily marred. To keep
the shining surface perfect, demands constant protection and care,
and suggests that such pieces are made, not to use, but to look at.
It may frequently happen that in order to secure a desired effect of mass or line or color, the design or construction originally
adopted may have to be reconsidered and something else substituted
that will give a satisfying harmony. Each feature is thus to be decided tentatively, subject to such modifications as other features may
demand in securing unity of design for the structure when complete.
yet a
little
reflection
and observation
will
26
museum
as a thing of beauty.
ing line
and
tone.
The following, then, is suggested as a logical method of procedure in designing simple wooden structures. In actual experience it
is not necessary to decide these points in this order, or in any order,
but in general these are the items that should receive deliberate consideration at some time between the conception and completion of an
artistic structure.
I.
The
article's
convenience in use.
b.
tions.
I, also
Chapter III,
Wood and
Forest.
c.
The
construction, including:
Kind of joint or joints.
(1)
(2)
II
The
a.
b.
c.
d.
III.
refining of proportions.
Of the mass as a whole.
is
a broken
Decoration.
surface.
a.
Carving,
gouged
b.
c.
d.
border
or
surface
(all-over)
patterns
in
lines or modeled.
Designing of accessories
cutcheons,
etc.
in.
WOOD A MEDIUM OF
IV.
ARTISTIC EXPRESSION
27
Finish.
a.
Stain.
b.
Paint.
c.
Oil.
d.
Wax.
e.
Shellac, including
f.
Varnish.
French
polish.
fol-
lowed thruout the making of the following articles. The illustrations used are largely photographs or sketches of articles designed
and executed by
my
students.
However, the possibilities for original design that lie within the
range of these few objects of household use still invite the designer.
still
life.
may
come
to create
is also
much, thru
this thoughtful
known
to be good, he
may
which
28
Fig-. 6.
CHAPTER
III
EQUIPMENT
The equipment necessary for beginning to work in wood may be
It is better to begin
very inexpensive, costing not more than $25.
with a few good tools, well chosen, adding to the number others as
they are needed. The total cost of a first class equipment need not
exceed $50.00.
dealer before buying as well as those firms that have made a specialty of handling woodworking equipments for schools and amateurs.
The
latter
tools.
have special
facilities
high grade
be found in the advertising pages of any of the educational journals*.
The following tools are recommended for the individual equip-
ment of a beginner
The bench. The
gidity.
This
may
5
:
essential features of a
be secured in a bench
made with
either mortise-
The
(3)
which does not obscure the light and is not in the way for large work.
A good vise. The strongest, most durable, and most con(4).
venient are the rapid-acting vises, with the working parts of metal,
which require an occasional oiling.
4
in
Wood,
Chapter
29
Hj
30
The jaws
Sometimes
and a
tail vise.
The
latter is exceed-
on the market.
vises
&
Co.,
182
Nims
St.,
Among
other
Muskegon, Mich.
$ 9.50
14.25
No. 260.
2, side
and
15.00
tail
clamp.
111.
12.00
16.00
tail vise
and 13th
St.,
New
York,N.Y.
No.
No.
12.50
No.
20.00
$8.50
These benches at
tail vise,
Abernathy Vise & Tool Co., 233 W. 62d Place, Chicago, 111.; The
Herriman Co., 15 S. Canal St., Chicago, 111.; the Eichards-Wilcox
Co., Aurora, 111.
wood-screw
vise
may
vise,
and
cost
from $8.00
to $20.00.
tools*:
No.
Stanley jack-plane
$ 1.75
80
.25
"This
355.
tail vise.
The
to
is
bibliography.
31
EQUIPMENT
Stanley "Bed Rock" smooth-plane, No. 603
s
*1 Stanley rabbet-plane and filletster, No. 78
1.60
No.
1 Disston's Crosscut-saw,
9,
1.10
22" 10 points
1.15
1
1
1.15
95
Buck
Buck
*1
1
Hardened blade
.35
.25
and sharpened.
handled and sharpened..
90
.
45
3, 7 oz
12
2y
.20
.20
25
20
"
30
blade
Medium hard
05
Boxwood
12
Half-round wood
file,
25
75
70
and No. 7
and F, 8", handled
15
20
20
45
1 Rat-tail
wood
file,
If
90
35
.38
1.40
30
10
1.25
15#
4.50
and
No.
8
The
purchased
tools
later.
marked
32
Still larger
Acme, No.
1
1
Set twist
bits,
Set Russell
Jennings auger-bits
64
7/16", 8/16")
*1 Clark's expansive
bit,
"
to l
/
l
"
57
New
0. K. Nailset, 1/16"
25
16
15
1C
07
3.20
80
50
*1 Glue-pot
"
15
Glue-brush,
Glass-cutter, No. 10
1 Flat varnish
27
brush, No.
54,
30
(for shellac)
2 Cheap tin-bound brushes, EE, 1"
*1 Pike Peerless junior tool-grinder
10
4.00
(The Robertson
5.00
Carborundum
oilstone,
medium and
coarse combined, in
iron box
1
1.15
30
1 quire sandpaper,
Supplementary
1 hand-drill,
Drills,
list
No.
30
of
metalworking
No. 04
1 each,
tools:
Iron
"It is
vise,
1.40
71
1.15
well to learn to grind one's own tools as early as possible, but ihe
may be saved if there is another available, in a
33
EQUIPMENT
1 Pair
88
1
1
1 Mill bastard
Mill smooth
Wood
file,
file,
Among
Devoe
&
St.,
15
15
some simple
58
handled
Stains.
prepared.
63
2,
stain, already
N.Y.
Co.,
Wax.
The
ient prepared
form
Bridgeport
25c a pint.
and repair
is
wax.
conven-
is:
Wood
Supplies. Nails, screws, etc., are now commonly put up in convenient packages, and would better be purchased as needed. Explicit
directions will be given in each lesson as to what to obtain.
A box
10
.
BIBLIOGRAPHY
William Noyes.
Handzvork
in
Wood.
Manual Arts
Press,
Peoria,
111.
Price, $2.00.
Ira S. Griffith.
111.
10
Co.,
St.
Essentials of
Woodworking.
Manual Arts
Wood.
-5
Press,
Peoria,
Price, $1.00.
see
Handwork
in
34
Fig.
7.
CHAPTER IV
A SCRAP-BASKET
In designing a scrap-basket, matters for early consideration are:
a.
than 18" or
the size
it
is
likely
breadth,
it
less
to
may
stand.
As
so far as looks
go
upon
to
be properly be-
cide
is
used.
is easier
for a be-
ginner
work, but it is more
than
expensive
cypress or spruce.
Cypress is softer than spruce
to
more expensive and harder cabinet woods, oak and mahogany, are
Fi
all
scrap-basket,
worker.
As
35
36
rail
may
described below.
be used for appearance sake, Fig. 10. If the top is finished with a
nosing, as in Figs. 10 and 17, the frame will serve as a ready means
of lifting the basket.
On
conveniently
wood
of
or
copper
if
or
handles
leather
With these
we pass to the
Proportions.
essentials fixed,
of
refining
the
proportions.
of width to
The proportion
width
changing
slats
them.
slats
the
variety of designs
is
possible
by
the
the
Various arrangements of
are
of
spaces between
width of the
the
vary
themselves increases the
or
a beginner,
increased
number
To
difficulty of
Fig- 10.
be
may
shown in the
slats
illustrations.
Decoration.
Several features
may
purposes
as,
facilities for
A SCRAP-BASKET
37
The
monize with
its
surroundings.
may
the
be suitable. Finally
basket
may be
waxed or
oiled
de-
as
scribed below.
The following
direc-
ing of
in Fig.
9.
The
scrap basket is
chosen for the first project because it involves
plan-
which pro-
cesses it is essential to
master at
Moreover
is
the
outset.
the
planing
narrow-sur-
chiefly
than
broad
surface
planing.
Furthermore,
when the project is successfully
is
Completed
worth having.
Fig-, ll.
it
The following
%"x8"xi6"
o" o"
%"x8 x8
i/
piece,
[-or
board,
piece heavy
5/6",
No.
prepared
wax
,,
x8 x4 o
18.
2"x2^"
i
i
tin,
_/
brown or
oil stain,
green.
brown or green
No. 220
38
I.
wood that
is
free
For
The
sides.
first
step is
2
get
pieces,
16" long and 8"
to
get
them exactly
16"
long
at
do so; ex-
mill,
perience in mak-
come
better later
after
some prachandling
If
you
tice in
tools.
proper
Fig
12.
buy one
board
0" long,
and
follows:
yourself,
4'
proceed
Select the
38
straightest
pencil
this
at
right
angles to
straight
from
one
"checks"
(splits)
that
may
be
there.
Put your
board
the
with
the
flandivork
saw
off
left
knee or foot on
A SCRAP-BASKET
with your
ilar
left
may
39
ing face."
72.)
mark
in
Wood,
p.
The next
Planing the edges.
to plane one edge of each 16"
II.
step
Handwork
(See
is
the
adjustments
(See Handwork
in
of
your
jack-plane.
cap (2)
justment (7)
ment
3,
the
2,
the
lateral
1,
the
ad-
adjust-
(9).
Let us
sharp.
p. 59).
In the
Handwork
first place,
in
is
Wood,
Fig.
the "cap" or
14.
feet
central
slats.
way
the cap
"Y adjustment"
(4)
is
(7).
The clamp
now buttoned
over the
of
15.
U Sn0uld
S6e
^ aS
tMn
black
40
bring
If
it
projects too
back by turning the brass set-screw (8). If one corner projects more than the other,
it
adjust
it
lateral
Now
adjustment (9).
the plane on the wood.
Grasp the
handle (11)
the
in
firmly
try
right
for-
When
ward.
on the handle.
of carved blocks.
press
down on
Test
face which you are planing will not be straight but convex.
the edge with the straight arris (the external angle formed by the
union of two surfaces) of the plane, looking to-
Now
the
test the
head
of
the
try-square
Fig.
2-L
Do
this
at
several
points
if either, arris is
If the left
hand
.1
firmly
down
along
higher
arris is higher,
Fig.
17.
Neat
finish for
top of scrap-basket.
A SCRAP-BASKET
Fig.
18.
Fig.
Fig.
20.
41
19.
Fig-. 21.
42
right side,
and cuts
Right
Fig
way
A djustment of plane
But do not
Fig. 25.
22.
and
square.
If the surface
Wrong way
cutter; sighting
in Fig. 21.
ou are planing appears torn and not glossy, you are planing "across
In that case simply reverse the piece.
the grain."
cil
piece.
Put a pen-
If you obtained your pieces from the mill exactly 16" long, and
sawed square, the next two steps
may be omitted. If you sawed
off
To do
knife
off
or
diagonally with
chisel
the
arris
al-
l
ready planed for about /\" , as
shown in
The
ting
off
Fig. 26.
an
arris
is
called
chamfer.
Set your plane a little finer
than for planing with the grain,
and plane
this
end in the
di-
of
This end must now be tested not only for straightness and for squareness with the surface, but for squareness with the edge already planed,
A SCRAP-BASKET
43
Next measure exactly 16" from this end and, with a sharp
knife-point and try-square, draw a fine line at right angles to the finished edge. Saw off the surplus outside of this line. Cut off the arris
Fig. 27.
proceed
finished edge
and
before.
make
taking pains to
it
perfectly
Eepeat
on the other
16" piece.
III.
out
Laying
We
are
the
slats
now ready
for the
the
slais.
to lay out
basket.
This
To do
both boards.
ceed as follows
The
this pro-
drawn
Fig. 24. Testing- an edge for squareness.
shown in Fig. 28. The spin
of the marking-gage should project fiom the beam about a quarter of
an inch and should be sharpened (filed) to an edge as shown in Fig.
29, and in Handwork in Wood, Fig. 212.
By having the spur long
and turning the beam of the gage so that it rides on an arris, the
spur will mark smoothly and evenly. Holding the marking-gage in
lines
are to be
as
lg
^
gggf**^
WF^"
marking
gage
3/16" and
thumb-screw.
?.t
gage
(Fig. 214,
in
ppur
tighten
Now hold
the
to
the
the
hand and
right hand
left
the
Handwork
in
Wood}.
Fig. 25.
thumb
left
so
presses
44
with the beam resting on one arris, Fig. 29, and the head sliding along
the edge of the board (as in Fig. 214, Handwork in Wood).
Now little by little roll the
ticing in this
while,
you
gage
a line
edge.
The
way
will
By
prac-
for a little
soon learn
parallel
to
with the
difficulty that
most
Fig-. 26.
As the
and the head of the gage
If
the result
if
well, practice
holding
on only
is
scratched
surface,
until
Now
from
surfaces
edge, and
then
others
the other
on
the
Now
F g
,
27
45
A SCRAP-BASKET
IV.
Ripping
off
the
slats.
When
rip-sawed up into
slats.
saw
The
the
To
To saw proceed
to be.
as follow?
is
Handwork
29.
marking-
on the
its arris.
ble.
a false start
be
Now
saw
first
away
%"
space, watch
looking
and
on
also
the
Fig.
30.
in vise.
make
stroke will
46
back to see
to "run'
if
the kerf
is
If the
saw tends
to one side of the line, say the right side, pull it back nearly
and take
few short
is
After sawing
off
it
Fig. 31.
up
go below it and yet to make the edge true. This is slightly more diffiThen saw off
cult than it was to plane it true in the first place.
another strip as before, plane up the edge of the board, and so on,,
will be left
By
slats
which should be
V.
Planing up the
slats.
The
slats are
now
to be planed
on the
47
A SCRAP-BASKET
hole which
is
and plane
ness.
stop in the Sheldon vise, but since the parts are of iron, special pains
To
to prevent the plane cutter from hitting the iron.
must be taken
Another
is
made, as follows
In any convenient piece of wood, 18" or so
long, cut a dado J^" deep, and 1" from one end, just
:
AB
firmly.
Plane up
all
End
Fig-. 32.
If any are
make
of slat.
others,
First
mark
slats,
the
with
diagonal
sharp
pencil
The
sliding Tee-bevel.
neatest
angle
with a
33.
at
way
is
and the
to cut this
by slicing
it off
see
Fig.
chisel,
tom.
Inasmuch
thickness
Fig-. 33.
Slicing- off
an
arris
with a chisel.
nal
of the
boards
the width
as
the
origi-
and hence
of the slats
not be exactly %", in order to find out the exact size of the bottom proceed as follows: Lay seven slats close together, side by side,
measure their total width and add six times 3/16", (the space be-
may
48
tween the
bottom.
j
or l /s"
in
slats)
all.
The
%"
Then
wide.
tke proper size for the bottom will be 34" x 7%" x 7j4".
This is to
be made next, and this involves
running
lengthwise
If -the board
bench.
Testing a planed su rf ace for flatness by using the arris of the plane.
Fig. 34.
of
grain
the
at all
is
the
proper
little
down the
sole
of
the
beyond the
sole.
Test the
surface for flatness by placing the long arris of the plane on the
surface in various directions, lengthwise, crosswise, and diagonally
and looking toward the light, as in Fig. 34. If there are high places,
plane them off first. Work carefully, planing only such parts as need
it. When the surface is flat,
plane
over the whole surface from end
to
end,
right,
whole surface
smoothed.
is
thus
This
Mark
mark,
indicates
the
marking
Next draw
one's work.
to the working
and paral-
edge.
Fig.
35.
Scoring with a knife
along the try-square.
Since
distance
exceeds the
A SCRAP-BASKET
49
between these two points. Next score with the knife and tryof the piece. The working
square, as in Fig. 35, a line near one end
line
now appear
as in Fig. 36.
the corner A, as in Fig. 36, put the piece end up in the
Test this end
side vise, and plane off the end to the scored line.
face will
Cut
with
off
the
square,
that it
with
try-
to
__.^^_^__^_^^_____^^^__
see
is square
both the
the
Cut
try-square.
off
corner
How
36.
To
Use the
AC BD.
With the marking-gage
in length.
for
The
when marked
and
plane
up the other end.
line,
set at
24", gage
both edges and both ends of the board. Now plane down the other
broad surface to the line thus gaged, being very careful not to plane
any portion too much. The best way is to plane off the high places
and then by working back and forth across the board to reduce
ihe whole surface evenly. Stop when you have just split the gaged
first
line.
VII.
Making
the frame.
The next
the
frame, which binds the slats together near the top. From one
of the pieces left from making the slats, dress up one piece, %"
Smooth the two broad surfaces,
thick, 1^4" wide, and 16" long.
face.
Saw between
and
50
plane up the rough surfaces. Each of the two strips should be 5/16"
thick. Cut each of these in two crosswise in the center making 4 cleats.
'The pieces made thus far may now be sandpapered. Tear a sheet
of
No. 1 sand-
An
pieces.
way
to
easy
do this
to place
it,
is
sand
lies
along
the bench.
the
left
With
hand
With the
hand
holdright
flat.
Fig-. 37.
Tearing sandpaper.
ing
the
other
Fig. 38.
Method
of making-
and
joining-
frame of waste-basket.
A SCRAP-BASKET
51
wood (say 3" wide) and with this tool, sandpaper with the grain
every surface of each piece, and also touch off the sharp arrises.
Villa. Making the frame (end lapped). First with a couple of
of
brads (1J4" No. 15) nail all four cleats together, keeping the sides
and one end perfectly flush,
and letting the heads project
so
moved
together
can be
re-
Miter-
later.
miter-box
the
in
Box
to
Bench'
A B, Fig. 38.
in
bunch
the miterthe
Place
center lines as at
A B,
and
appear as
in
F'ig. 38.
Fig". 39.
Miter-box
in vise.
care-
Take the
Now
cleats apart
and each
will
it
Fig. 40.
it will
slats,
but outside, as in
one of the cross-cleats in the trough of the miter-box, edge up, and
with the back-saw slid into one of the 45 kerfs, cut off the cleal
52
Do
(7%"
shown in
Fig. 40.
Test each
end
is
same length.
square
all
are
If not, the
is
Trimming a
miter.
face until
it
sawn mitered
is
true.
sur-
See that
miter at
four cleats are alike, 7]
long, and with a true 45
In order to test this, set your sliding Tee-bevel at an
each end.
angle of 45, as follows: Measure accurately both ways from the
all
corner of a
known
right angle.
blade so that
will
it
touch
just
The
acute angle
45. If
be
will
you have an
curate
iron
ac-
mi-
cut a
ter - box,
true 45 angle on
a piece about 3"
wide,
and
your
Tee-bevel
by
this.
set
In case
Fig-. 42.
C
Setting a sliding- Tee-bevel to an angle of 45
the cross-cleats are mitered, as in Fig. 40, it is necessary to reinforce the joints by means of tin or copper angles.
These are made
A SCRAP-BASKET
thus:
53
sharp nail
Fi ^- 43
is
Lay-out of the
tin traces.
Do
do.
bench.
Then
To do
Fig.
44.
Tin brace.
just meet.
corners,
IX.
Do
and lay
is
at
ABC,
fasten
Fig. 45.
one piece
end up, start
that
this
driven
home
a little
.Y, so
Assembling.
The
parts
are
now ready
On
to
be assembled.
slats, lay
and a
rule,
Using
this as
Fig.
45.
to cleats.
54
tances on all the upper arrises of the bottom, and on the corresponding arrises of the frame. Next, nail the slats to the bottom piece, as
in' Fig. 47,
that one a
driving only one brad (%" No. 18) thru each slat, and
away from the center, so as not to interfere with the
little
>&
Position of slats.
Fig-. 46.
upholstery nail, which will be driven in later, and yet near enough
by the head of the upholstery
nail.
The next
which have
Measure 1/4" from the top end of the four corner slats on the
Lay the basket on its side and drive brads from the inside
inside.
of the basket thru the cross-piece just far enough into the corner
hold the frame in place. Later these brads are to be removed.
slats to
See that the basket stands square in all parts. Now with upholstery
These nails
nails, nail each slat in its proper place to the frame.
should be in two rows, so disposed that the point of each nail is in
the vertical center of the slat, and half an inch from one edge of the
frame, as shown in Fig. 48.
In order to have something solid to nail against, open the vise
wide enough so that the inside of the basket can rest on the outer
Or cut a
of
wood
jaw.
stick
the
just
length
fit
site
and
cross-cleats,
fit
between
Arrangement
of slats.
hammer
or a flat iron,
ceed until
all
may
is,
drive
it
Pro-
A SCRAP-BASKET
The
X.
feet.
The
55
may now
be con-
made
in
this
way: From
%"
saw
off
and plane
angular
pieces
From
7" long.
the
rectangular
end, cut out with
the back-saw and
trim
with
the
chisel returns as
each of these in
Fig.
48.
Arrangement of upholstery
nails.
the shape shown in Fig. 49. Holding the piece in the vise for convenience, with the veining tool, or the sharp point of a knife, cut
the long outer arris.
(See HandThese feet may now be nailed in pairs on
work in Wood,
p. 184.)
Fig. 49.
off
Feet of scrap-basket.
56
corners
the
of
chamfer.
Fig.
XI.
Fig.
is
now ready
50.
Letter tray
to be stained.
made
of slats.
51.
Finish-
The basket
Fig.
ing.
See
7.
Box
Pour a
little
of the prepared
A SCRAP-BASKET
brown
57
stain in a cup,
of the basket.
stain off
old
wipe
Then
24:
cloth.
and
the
entire
surface.
"Old Dutch
wax
is
ing
the
Smear
Finish."
hard, soften
it
a brush,
can
in
If
it
the
by plac-
hot
water.
and
let
it
dry
over
a piece
night.
of soft cloth, cheese cloth, for
instance.
the better
The
more
will
No more wax
is
rubbing
be the
polish.
needed.
The
first
Fig-. 52.
Leaf
press.
same processes are (1) the letter tray shown in Fig. 50. The slats
on the sides and bottom are rabbeted into the ends and nailed in place
with brads.
(2) The box screen in which a flower-pot may stand,
Fig. 51.
The
construction of this
(3) The
frames each made
basket.
leaf-press,
Fig.
is
52.
These are
58
Fig. 53.
Picture-frame-clamp.
Fig-. 54.
Picture frame-clamp.
",
/]/o.
/?.
CHAPTER
PICTUEE-FEAME-CLAMP
Design.
purpose well.
its
is
of
As shown
In Fig.
quirement.
picture-frame-clamp
clamp
made
is
As here designed,
handscrew.
this
clamp
frames
it
over-nice.
The woods
low poplar
and easy
(medium strength
to
if
the clamp
is
to be used often,
maple should
are required:
And
I.
little
Making
boiled linseed
the arms.
oil.
is sharp and
Wood, pp. 76 and 58).
be of yellow poplar and each is
Handwork
The long
to
pieces
(arms)
are
59
in
60
%"x l /2 "x
l
16" in
size.
To
get
them
out,
first
it
needs
it,
1^"
wide.
off
one end
With the
ter-box.
dividers, lay
5. Next trim
piece, Fig.
off
the
in
(Handwork
chiseling"
chisel-
wood
72)
thumb
(Handwork
and
let
the
up, Fig.
Wood, Fig.
blade of the
chisel pass
and the
in
first
the
The
chisel
right
hand pushes
56.
Perpendicular chiseling.
your right hand, grasping the blade of the chisel in your left hand
(Handwork in Wood, Fig. 76). Always work around from the side
end (Fig. 75, Handwork in Wood) ; otherwise you are likely
When you have cut nearly to the line, set the
in
the vise so that the quarter circle is up, and
piece up diagonally
to the
PICTURE-FRAME-CLAMP
61
shavings with the chisel, flat side down (as in Fig. 74,
The right hand pushes the chisel forward
in Wood).
while the left thumb pushes it sidewise, thus giving a diagonal
cut. Trim all the pieces
off
pare
Handwork
in
this
method
curve
Another
way.
trimming a
by means of the
of
is
This is in
spokeshave.
reality a plane with a
short sole, so
order
that
made
in
cutter
the
It is
be
either
pulled.
it
may
pushed
or
Before begin-
ning to use
the cutter
it,
see that
Fig.
57.
above (p.
of the thumb-screw.
This also
alters
With
trim
too]
the
circle.
quarter
By turnblade
the
ing
diagonally to the
the
direction of
will
it
cut,
found
more
to
easily
be
work
and
reliably.
Next gage a
center line from
end to end on
both broad sides
of
Fig.
viders at
off
58.
each
Then
piece.
62
on the other side and do it on all four pieces. Then set the compass
and starting from each point already pricked,
7
other
toward
the rectangular end. Also make a mark
prick
points
at YZ" between points
Now
first
Riahr
points
these.
Fig. 59
Shape of holes
hand the
To
J^"
from
in picture-f rame-clamp.
in the brace,
hold
by
Fasten one of the 16" pieces in the vise (Fig. 137, Handwork in
Wood) flat side up, taking care to have it parallel with the top of
the bench in order to help bore straight. Take the brace in the right
hand and the bit in the left, and insert the point of the bit in the
prick 1J^" inch from the end. Now grasp the knob of the brace in
the hollow of the left hand. Set the try-square upright near the work
Fig.
60.
is
PICTURE-FRAME-CLAMP
63
By counting the
Turn
to stop.
when
quickly learn
%"
down
flat
Grasp the chisel as for perpendicuan opening between the two holes,
shall be
Cut
it.
the
all
till
way
openings to cut.
II.
wood.
Making
They are
the blocks.
all
%"
In planing this hard wood, be content with takOtherwise your plane is likely to be "choked."
But
does choke, do not try to pick the shavings out of the throat
with another tool. This is likely to injure the cutter. Rather take
if it
the cutter out of the plane by first removing the clamp. If the shavings are wedged between the cutter and the cap, loosen the screw
which holds them together using the edge of the clamp as a screwdriver, and remove the shavings and reset the cap, placing the edge of
the cap quite close to the er'ge of the cutter (1/32").
See Fig. 60.
Re-insert the cutter in the plane, adjust it carefully and proceed.
When the piece is properly
it
up into the
Before
fitter
5a wing
3^"
long.
45
out 2
ends
(see
52)
p.
and
of
mark
angles on both
of the pieces, as
internal
little
Fig. 61.
Me
trim
oft
64
If
an accurate miter-box
is
Lang-
on the end
arris
Smooth up the
cuts with
90
Fig-. 62.
Cutting- notches in
ends of blocks
On
in the
1^" from
one end
and
(number stamped
on the tang), bore a hole partly thru, and screw in a round-headed
screw (l/^" No. 12) until the head is %" from the surface, as shown
locate a point
miter-box.
in the center sidewise, with a No. 5 gimlet-bit
in the drawing. You should be able to button this firmly into one of
the openings which you have made in the long pieces.
Next prepare the hinge pieces (%"xl^"x3^4"). Bore a hole
(with No. 5 gimlet-bit) )4" from each end, part way thru. Slip a
round-head screw (1^" No. 12) thru the hole at the quadrantal end
of one of the long pieces and screw it into the hole just made in the
hinge piece. The hinge piece should be screwed firmly down to the
long piece but the joint should turn easily.
Insert screws in all 4 of these holes, making two hinged parts.
oil all the parts with a coat of boiled linseed oil and wipe off
Now
Other projects involving the boring of holes are shown in Fig. 63.
Fig.
63.
CHAPTER VI
The
the
picture.
framing.
To
make picture-frames.
suggestions here given are intended to apply only to the
selection and the framing of comparatively small pictures, such as
kept in
mind
in learning to
The
photographic
color prints.
this class
work of some
of the
John
W. Alexander, Edwin Abbey, Frank Brangwyn, Gari Melcher, Pamela
Colman Smith, and Jessie Wilcox Smith, to mention a few. Also
Japanese color prints as well as photographic reproductions of universally recognized European and American masters may be procured at
the best art stores.
For the novice, a sufficiently safe guide to the choice of good pictures, is to select from the works of these artists.
However, a study
of Prof. Arthur W. Dow's "Composition," would go a long way
toward enabling the student to select wisely his own pictures for
framing.
first
It,
66
Whether
or not a
mat
somewhat
to be included in the
mind
fram-
in
the
pic-
ture.
In
favor
the mat,
it is
of
to
remembered
an
that
ordi-
be
nary
mitered
frame by itself
involves the necessity of having all the margins around the picture
equal in width; whereas, by the use of a mat, this monotony can be
avoided and a subtle and pleasing variety produced, as in Fig. 64.
As to the size of the mat: If there is to be a mat it should be
Fig-. 64.
On
monotonous
and
hence
is
com-
is
less
picture.
is
not
subtle relation.
3,
but a more-
67
to look
tions.
like
affecta-
frame, the same tones and values that predominate in the picture
be repeated in the frame; for instance, for Maxfield Parish's
may
^^_
''An 'mini/'
Ip]
Fig.
The frame
67.
finished
is
in
matchyellows
ing the color in
the picture.
Or
the
de-
harmony
sired
may
be
se-
picture
prein
dominating
orange. Or,
a
contrast
for
values,
are
in
photoa white
mat with
Plain oak frame, stained a grolden brown to harmonize with the predominant yellow tone of the picture.
Maxfield Parrish's "Autumn."
As
67.
will definitely
and
it is difficult
used
graphs,
as
Fig.
in
in-
where
stance
grays
for
frame
is
a black
effec-
tive.
68
found
serviceable.
The width
of a
frame and
its
Or a wide frame
light in value
and
prints.
70,
Figs.
71, 72.
narrow
frame
and very
would be
light
used
Fig. 73, 1
Where
mat
and
is
3.
part
may
fere
with
the
picture,
still
Fig.
68.
the unity
but
of
will
It is often posbeauty.
to unify
sible further
the picture and its frame by repeating in the frame some characteristic feature of the picture.
If severe straight lines and flat spaces
these
are
predominate,
easily reproduced in the plain unbroken sur*
picture can be repeated in the frame, or a certain treatment or pattern in the picture may be echoed by a suitable treatment of the
69
In a word, the frame must be conwith the color, noian, and general character of the picture.
sistent
to choose
is
Maple
for
good
"silver
to
gray" effect
obtained
be
staining
the water
with
stain
name.
that
of
by
Mahogany
ex-
is
cellent
where the
color
can
made
to
Care
monize.
must
not
be
har-
taken
be
to
select
woods
having
such
prominent "grain" as
to
divert
tion
atten-
from
picture
the
itself.
Concerning the
materials
used
for
to
be
Fig 69. Broad frame (pine), stained gray, oiled atid rubbed
with aluminum dust. Maxfield Parrish's ''Prince Agib"
mats,
"cover paper" is one of the most suitable. Ash gray will be found to
tone well with a great variety of prints. Dull toned wall paper which
has no pattern is often good.
Grass-cloth comes in various colors,
and
raw
silk
70
picture
carefully
upper corners.
is
to
with paste
all
mat must
the
material to hold
this
method
should
first
over
be of
the
stiff
back,
enough
If
shape.
the
used,
picture
be dipped in water,
its
is
off,
paste
applied uniformly over
the back, the picture carefully
laid in place and pressed unFig.
70.
(2)
An
II.
anese Print.
following directions,
anese print, Fig. 76.
be perfectly
to
is
The frame
thick.
y^'
is
a Jap-
The frame
The
plain.
9>-2"xl3^".
wide and
to be 1"
The
materials re-
comes Y%"
if
size as
the picture
The backing
thick.
9^2x13^".
Fig.
71.
available.
1
White pine
is
chosen for
first
frame because
it
is
easiest to
work accu-
71
Plane up the strips in two pieces, each long enough to make one
long side and one short side of the frame. To determine the length
of the
members
add
frame,
of
to
twice the
picture
width
of
the
frame.
In
this
thus,
(width)
The
Fig. 72.
blacks in the
print balanced by
the black in the
frame.
.i
M1
,-,
m
lest
,
(length)
2"
23".
pieces
+
+
Plane
per-
9^"
2"
13^"
both
fectly straight
.,
Japanese print
Fig-. 74.
next
step
is
to
(or
rebate)
Ube
This should
done
with
the
(
rabbet-plane
See Handwork
in
Wood,
Fig.
73.
Wide
p.
79).
rabbet
This
and
^" deep.
72
To
on
bet-plane
narrow piece of
wood, it is first
necessary
make
shown
that
like
in Fig. 77.
a piece X,
2"
On
say
wide
3"
or
and
to
device
slightly
members
long
of
the
nail
frame,
strip
about
1^/2" wide,
y%'
from
edge.
one
Into the
internal
angle
formed by these
pieces and near
Fig-. 75.
Broad frame
liant
than the
sail.
screw
nail
so that its
in
or
head
Fig. 77)
about ^J". This device when
to be fastened on the bench be-
(.4
will project
used
is
The
wood
Black frame
match the crow.
Fig-. 76.
to
is
in
Now
73
piece of wood, which has a straight edge. At the first stroke the spur
Be careful to hold the plane flat,
will mark the width of the rabbet.
neith-
it
tilting
the right
nor to the left.
er
to
The beginner
in
his
to
effort
fence
keep
the
close
up
to
edge
is
apt
the
to
the plane to
tilt
the right.
This
in
Fig.
114,
Handwork
in
Wood.
If
is
the
not
plane
Fig-. 77.
running
true, stop planing and with a chisel trim out the recess clean and
After
square and then proceed with the plane to the proper depth.
sufficient practice on waste pieces, plow the rabbets on the members of the frame, as in Fig. 78.
Cut the 24" piece of stock in two, so as to make
one long and one short member of the picture-
i
End view
Fig". 78.
of
rabbeted strip.
step
end.
is
the
rabbets
in
all
four
members.
Plow out
The next
the frame
Fig.
is
79.
the.
rabbet
j"
wide.
Hence the
74
members
Place one
member
14%" (13^"
1%"
ys ") and
members 10%" (9^"
1J4"
%").
up
is down and
end at an angle of 45 degrees, taking care that the side which is to
be the outside of the frame is the longer, as in Fig. 79. Do this to
one end of all the pieces. Now cut the other end of one piece in the
same way, except that the saw is
kid in the other 45 kerf of the
rabbet
Molding
member
member
member when
in the finished
Fig-. 80.
Position of molding- in
miter-box.
will
plane toward the acute angle. This acute angle may be supported by
a piece, X, also fastened in the vise, as in Fig. 81. Be sure the oppo-
site
Now
lengths.
set
parts to
clamp the whole together in a handscrew. If any corners do not make
a close joint, either the angles are not square or the opposite members are of unequal lengths. Make them right before you proceed.
When
(see
Handwork
Test the corners with a try-square, and if they are not right
angles, adjust the handscrew by sliding one jaw sideways, one way
reclamp.
or the other, until the angles come up right. Be sure that the faces
are flush.
Leave the frame in the vise for 6 hours to dry. When
75
is
it
need to be reinforced.
the joints
with brads. If brads are used
still
it
make
a
precaution to
a
bradhole before gluing with
is a safe
piece.
Iding
Fasten the
vise, so as to
member
at a time,
better reinforcement
means
(see
268,
way
is
by
of a spline or slip-feather
Handwork
in
Wood, Fig.
A convenient
55).
to insert these is as follows
No.
Get, if possible, some maple veneer 1/28" thick and cut it with
Fig". 81.
a knife into 8 pieces about 24"x2". Fasten the frame in the vise
diagonally, so that one corner will project, and with the back saw cut
fit
snugly into
If the veneer
these kerfs.
too
is
veneer
is
two pieces
kerf,
When
dry,
cut
it
into
away
off
to
the
*J
which
fine,
f aces that
the whole.
leave
sawing a kerf in
to insert a spline.
need
all arrises.
Be very
careful to
76
The next
a simple
is
step
method
hol;
good
wax.
As
of staining it
is
this
frame
is
to be black,
Handwork
as before directed.
Apply
Next cut the picture backing,
(See Handwork
little, is
in
Wood, p. 214).
that the grain will run the short
so
way
of the picture.
It can be cut
as
picture and
the frame.
fit
to
9^"x
13^2".
hardened
glass
in
with
cutter
can
It is
bought for 10 cents.
well to practice on a piece of
be
waste glass.
To
Make marks
proceed as follows:
Fig.
83.
Kerfs cut
in
frame to rece.ve
corner of picture-
slip feathers.
propep
edge of
wood one-eighth
of
an inch
j^^
Lfty
ft
at the
gtraight
marks
(to al-
low for the distance of the cutting disc from the face of the glass
Hold the glass cutter perpendicular, and with one firm
cutter).
Be sure that
stroke scratch the glass from edge to edge, Fig. 84.
the extreme edges are scratched. Then holding up the glass in the
hand, tap the underside of the glass near the near edge with the
Now take hold of
glass cutter, until the edge just cracks, Fig. 85.
the portion of the glass to the right of the scratch between the thumb
left
and
first finger of
will break clean along the line of the scratch, Fig. 86.
near the right edge that there is not room to hold it so, as described above, with a pair of pliers, carefully snap off the waste a
is so
little
Mark and
the glass.
An
easy
way
77
to do this is with
Bon Ami
Fig.
J/s"
84.
nail all
Fig.
85.
down
in place, using
with the
hammer
to let the
frame
The next
of the
Now
frame
Press
sliding
it
(Step
2.)
on the backing.
the back of the frame, near the outer edge. Dampen one side of the
Manilla paper with a wet cloth passed over it. Lay the dry side down
Fig.
86.
Fig.
87.
Next
the top.
home
from
the screw-
78
eyes,
the plainest and simplest one possible. With but little difficulty, however, before cutting the miters, it may be considerably
scribed
is
Fig-. 88.
embellished.
For examples
members
surface
it
the plane after the rabbet is plowed. A thin line may be grooved near
the inner edge so as to make it, in cross-section like e. This is done
Take care
possible.
p. 130.
considerable variety of beads
means
of the Universal
Hand
and
flutings
may
be
made by
cutters.
l
l
Prepare thin strips of wood, say /s" thick and /s" wider than
is thick.
Eound oft3 one edge as follows: Fasten the jack
the frame
plane upside down in the vise, hold the strip at an angle and pull it
over the plane cutter so as to plane off an arris, Fig. 92. Do this for
Finish it round with sandboth the arrises on one narrow edge.
79
Or
better,
cornering tool
Fig-. 90.
round
(Handwork
frame with delicate moldings, in keeping- with the delicate handling- of the
painting-. See also Fig-. 91
When
members by waste
of place.
all is
Wipe
off
with a rag moistened with very hot water. When dry, remove the
handscrews and pull out the brads. The brad holes can be closed up
by wetting them and placing a hot iron on them. This, by the way,
is a
all
80
bet on
to look lighter
may
Scraper
Block of
Fig-. 91.
'sembling.
In this
wood
splinter
Of
glass
off.
See above,
essentially the
bottomed
trays,
frame
trim
off
with a
Brad
^Protecting 5//p
Fig-. 92.
Fig.
93.
Fig.
6-
94.
81
82
Fig.
95.
Candlesticks.
CHAPTER VII
THE CANDLESTICK
Altho the essential features of this project set fixed limitations to
design, yet a great variety of forms and embellishments are pos-
its
sible;
is
The
1.
size of the
candle to be used.
(Common
or l/^".)
The pan,
2.
This
is
3.
base, large enough to be stable.
gested for this base is a cross-lap joint.
4.
The
This
construction sug-
may
be either a loop
and
ma-
terial
is
the
naturally increase ; the higher the column, the broader the base.
candlestick must seem as well as be stable.
The
If feet are added, Nos. 2, 7, Fig. 97, the effect of stability will
be increased.
III.
Embellishments.
5,
84
Sugges-
Whatever
Fig-. 96.
An
Low caadlesticks.
appearance of lightness
may
and
is liable
to be smeared with
thoroly rubbed.
If
made
of
wax
may
be frequently handled
is boiled linseed oil,
or tallow,
mahogany, the
See below,
p. 92.
color
may
be darkened
HIE CANDLESTICK
85
THE CANDLESTICK
87
IV.
Fig-. 99.
Column
of candlestick lightened.
all
described in
Handwork
in
88
making
B.
C.
piece,
piece,
piece,
are,
mahogany
shown
in Fig. 100.
or black walnut
%"xi^4"xii. //
^"x2^"x8^
i^"xi^4"x3".
Brads #" No. 18.
Copper, gage No. 20,
One
the candlestick
piece
i^"xi^".
piece i"x3".
The Base. When the practice joint has been satisfactorily made,
proceed in the same way with the more valuable wood for the base.
It is better not to sandpaper the members until they are glued toPut a
gether, as an otherwise tight joint may thus be made loose.
I.
Fig. 100.
Candlestick.
little glue in the joint and clamp tight in the bench vise or in a
hand screw, protecting the surfaces by means of pieces of soft wood
When dry, clean up and dress the faces flush.
THE CANDLESTICK
With
89
Sandpaper.
a piece of %"
stock long enough so that it can
be cut in two, and the two pieces
off
make one.
make this a
put them to-
glued together so as to
Be very
careful to
and
close joint,
to
To
the
taper
column
proceed
With
as follows:
the
marking-
on Fig.
and
102,
E F
On two
sides
pencil
Fig.
102.
G H.
opposite
rule
fine
lines,
and
Clamp
as
J.
viseis to
When
line
these
as soon
as
possible.
L J
and
to Shape.
lack of a tail-vise,
it is
K,
Fig.
If for
Fig.
necessary
i he
103.
Wedgf d-shaped
S ble to
vis e
ld the
pieces
make
tapered piecein
90
as in Fig. 103.
Drillholes
Fig-. 104.
column,
fit it
exactly in place
handscrew.
with a
remove
dry,
drill
umn
pedbutt
the
When
handscrew,
Repeat with
dowel.
the
other brad.
Trim off the ends of the dowOr the column may be mortised into the base, making what
els.
is
Fig-. 105.
For directions,
see
Handwork
in
Wood,
pp. 160-161.
III.
The Capital
Fig-. 106.
simply a
flat
Ends
One
piece,
ft"xl%"l%".
If this
is
to be
and sandpaper
THE CANDLESTICK
91
screws (!>", No. 4). See Handwork in Wood, p. 126. If the socket
and pan are to be made as in Fig. 113, the capital should have in it a
hole into which the socket
may
fit.
Take
wood
The
several inches long.
extra length makes it easier to
plane, and lessens the danger of
splitting
when the
hole
is
bored.
%"
This also
is
%"
hole into
it,
gripping
it
it.
If the piece
deep, bored with a Foerstner
bit.
Next saw off to the proper
to prevent splitting
jj^j"
wood
left
is
at the
bottom of
the hole.
The
IV.
J^j"x2"x2".
of
wood
to
Feet.
pieces
in this case
ness;
Four
^"
thick, 2"
wide and
arrises
small pieces.
finish
what are
to be the outside
To
continuous
around
shape
each lOOt.
92
in the middle of the upper surface of each foot, adto its proper place, and drive the brads home. The
After carefully
piece is now ready to be cleaned up and finished.
sandpapering, wet the surface with water in order to "raise the grain,"
and when dry sandpaper once
more.
is
Then when
applied,
the
grain will
not
made
ma-
rise again.
If the piece is
hogany,
may
a solution of
it
Method
109.
bichromate
of
O
Fig.
of
be darkened with
Make a satudruggist's.
rate solution.
It dissolves read-
any
of hammering' a cylinder
out of a strip.
red.
good proportion
is
one
three parts of water. Apply with a brush and wipe off the surface
at once with cotton waste.
If, after a little exposure to the light,
this does not
Eub down
method
may
be added.
linseed
If
oil,
more
of wax.
(See
Handwork
The MetalworTc.
V.
in
needed.
is
To
times
the
thickness
of
the
copper.
With the
in place.
parallel
Fier. 110.
Cylinder
wired to hold joint
THE CANDLESTICK
93
To hammer this strip into shape, you need a cylinder of iron ^s"
thick with flat surfaces filed at one end, as in Fig. 107, so that it can be
held firmly in the iron vise. A piece of
gas pipe, with one end crushed together
will do. For the hammering, use a small
so as
not to
mar
that
the copper a
again.
little
comes a cylinder.
If
the
Con-
strip
beFig". 111.
Pan
for candlestick.
much lay that part directly on the anvil and hit there.
If any part needs bending more to make the circle perfect, lay that
part on the anvil and hit just off the point of contact. Be particularly careful to curve the extreme ends, and see that they butt exbent too
may
be soldered well
later.
Now
ing
salt,
(This
prepared at a
may
be
hardware
bought
store,
(Yager's) to be dissolved in water according to the direcmay be made by digesting zinc in muriatic acid.)
tions given, or
Edw. Thatcher.
Pub. by Spon
&
Chamberlain.
94
the joint lay a small piece, say %" , of wire solder. By means
of a pair of pliers, hold the cylinder, joint down, over the gas flame
With a small
of a bunsen burner or gas stove, till the solder melts.
On
stick
To make
With the
the
smooth.
fine
edges
square
See Fig. 111.
and
Use
to polish
up the
surface.
Turn
113.
Pan
say J4" thick and 24" wide, upright in the iron vise. File the
encircling socket.
flat.
If it
it
down on a flat surface and tap the bottom gently with the
horn hammer.
With a twist-drill, held in a hand-drill, (see Handwork in Wood,
upside
bore and
106,
Fig.
18?,)
fit
the socket.
soldered together
the
socket
clean,
already made,
firmly to the pan with binding wire as in Fig. 112.
Cover the joint of the socket with rouge made into
bright and
and
tie
its
unsolder-
Fig. 114
Lay-out for
pan shown
in Fig.113.
Apply soldering fluid to the joint from the inside of the socket,
lay a couple of pieces of wire solder next the joint, hold the pan and
socket over the gas flame just until the solder melts, and then quickly
wipe the melted solder into place, as before. If the joint is close and
THE CANDLESTICK
95
show on the
it
If
outside.
can be cut
it
does,
with a sharp
off
knife.
surface with
Polish the
fine
cloth
emery
To
available.
solution
of
darken, dip in a
liver
of
(potassium sulphide)
with turpentine.
sulphur,
and coat
more difficult
Fig. 115. Using a coping-saw.
and - pan is
shown in Fig. 113. For this form, after the pan has been shaped, cut
a hole in it thus
Find the exact center of the square by drawing the
diagonals, and with the compasses draw a circle just the
slightly
form of
socket
Wood
circle,
and
with
sawing, the pan may be conveniently held over the notch of a piece
of wood cut in the shape shown in Fig. 116.
Then file the hole to
soldered to
it,
but
The rim
of the socket
may
be embellished
An
easy
and
3, is to
tack
down with
96
THE CANDLESTICK
and hammer
into the
it
depression thus
made may
97
of the
horn hammer.
The
which are
filed
square.
Fig-. 119.
volving
the
cross-lap
Other
joint
are
Fig-. 120.
The same
the
the
two
Flowerpot-stands,
simple
flowerpot
projects
stands,
joints.
made with
half-lap joint.
shown
in-
in
Fig. 121.
Smoking-table.
CHAPTER VIII
TABORET
In order to keep the construction of this project as simple as possible, the limitations imposed are that the frame shall consist of two
cross-lap joints made of boards under one inch thickness, to which
are butted
legs,
To
frame
this
is at-
Even
tions,
as
under
these
great variety
shown
in the
is
limitapossible,
accompanying
The refinement
of
propor-
width and
thickness of the legs in proportion to their height, the disposition of the stretchers, whether
they shall be on
edge or
Fig.
flat,
122.
Low
taboret.
and where located, the amount of projection of the top beyond the
legs and the shape of the legs and of the top.
100
chamfers, or
and
coves,
121
The
suggested.
color
depends
largely
upon
intended environment.
its
Chestnut
beautiful
is
turns
to
brown when
a
it
ammonia
exposed to
oiled.
Since a taboret
is
to
such
moisture
as
will
best.
boiled linseed
stand
That
is
oil.
The
Fig.123.
Tea-table.
ing
Fig 124, will be described first, and the changes later. The drawing
with dimensions is shown in Fig. 125. Either chestnut or cypress is
Fig. 124.
TABORET
r^
e
>
Fig.
125.
Taboret.
101
102
the
liable to split along
many
Cypress
pores.
is likely
to contain
many
fine checks,
produced
in seasoning.
if possible wood with a pleasing grain, especially for the top.
materials necessary are as follows:
Choose
The
A.
B.
4 pieces
2 pieces
C.
2 pieces
D.
This
piece 24"xi3"xi3".
together, as shown later.
16 dowel-pins
may
made
be
of
two
pieces
jointed
5/i6"xl^4".
12 screws
Hs"
No.
4.
No.
12.
to proper size.
four pieces
all
Make
length.
and C, in
155.
The
pieces
Lay-out of joint of
lower stretcher with leg.
Fig-. 126.
of
and pieces C
With
in
is
that in
the
making
is
All around
the legs, 3^$" from the bottom of each, draw a fine pencil line, and
on the inside of the legs, at 3/16" from the edges, mark points as in
Fig. 126.
On
this line
on the outside of
all
mark
TABORET
103
24" from each edge to indicate the centers of the holes for the dowelpins, with which the joints are to be fastened together. See Fig. 126.
Mark
C
To
ers
fit
to the
proceed as follows Draw a fine pencil line across the center of the top ends
of the legs and continue this line down
legs,
#/s
legs for
in
as
C
E, Fig. 128.
top,
On this line on the outside of the leg in"
"
dicate points
B, 2 and iy2 from the
both outside
2y
"
from the
at the ends,
C D,
in
as
Fij
127.
Center lines
AB and
may
be used
Clamp two legs side by side and bore a y%' hole at the proper
point A, in Fig. 130, setting the spur of the bit directly in the crack
between the two legs.
Bore half-way
through, reverse, and finish boring. Eepeat on all the edges. The surplus wood
may then be worked out with a saw and
number
diameter.
of pins to cut
When
off, it
cut
1
Fig
128.
from the
each
one
kerf,
off
stopping
to
to
104
Wood,
conveniently with
a sharp
or better
still,
of
on a
course,
lathe.
Next the
and
legs
stretchers
are assembled as
follows
t
With
hand-drill
in
(Handwork
187), holding a
No. 40
which
twist-drill
is
slightly
than
smaller
the brad to be
used
12),
thru
the legs
all
dicated
the
for
dowel-pins,
four
in each leg.
Take
pains to
especial
bore
at
right
the
to
angles
surface,
because
these holes
afterward
Fi*.9. Taboret with shaped
legs.
mine
will
deter-
^ ^^
stretchers will
make
it
easy to locate
them
in place
when gluing
up.
105
TABORET
(Handwork
in
Wood,
handscrews (Handwork in
p. 103), two large (Aldrich's No. 5, 18")
of
blocks
soft
wood, three or four inches
Wood, p. 101), and eight
long and just large enough to fit between each
pair of nails.
If
no clamps or handscrews are available, submay be made thus: Cut two boards and
stitutes
These improvised
two wedges, as in Fig. 134.
can
be
the
blocks which are
hooked
over
clamps
placed between the nails, and then the
driven in to draw the joints up tight.
Put a
little
wedges
withdrawn
later.
In
the same
leg.
of these
nail stretcher
two
stretchers.
working as speedily as
in
order
that the glue may
permit
not set before the clamps are applied. The clamps
legs,
accuracy will
Pig. 130.
Method
shaping
of
legs.
exaggerated.
these
the
hardening,
top
be made, according to di-
joints
may
is
Set
131.
gagc,
(Handwork
in
Wood,
p.
joints
is
106
lengthwise thru a piece of wood of such a length that when this piece
slipped up to the jaws of the brace, two inches of the bit will pro-
is
trude.
small dowel-pin (say Y^" diameter) and insert one of the 5/1 6"x
1^4"
dowel
pins
already
pre-
pared.
With
self.
mallet,
drive
in
j/" projecting.
Fig. 132.
it in,
final blow.
clear to the
is
not
is
Fig.
133.
Dowel-pin
fortaboret.
the stretcher.
it is
to drive
be-
In case
wood, y% thick,
so that the mallet head will hit the
amount
lay a strip of
dowei-piate.
all
off
before driving them, or in case they are not driven in so that the proSaw off the protruding
jections are all equal, proceed as follows:
TABORET
Fig. 135.
Fig. 137.
107
108
hold
sandpaper, slice off the arris of the projecting dowel as in Fig. 140. When the
Method
of squaring
angles.
Fig. 136.
up
face,
into the
shown in
nails, Fig.
is
way
smooth
to finish is
off
the sur-
The
taboret
chisel
and
Fig. 138.
Im-
provised bit-gage.
wet such places, cover with a piece of paper, and
on
a
them
hot.
This
will
swell
the fibers back
flat-iron, sizzling
lay
into shape.
Finally sandpaper
all over.
brass
rejecting
end of dowel-pin.
which
is
to be fastened to the
frame,
as
This
in Fig. 125.
cut at both the ex-
is
treme
139.
recess for
with
the top
dado
Fig.
plates
ends
stretcher,
and
as
as
deep
of
is
the
each
upper
of
the plate.
To
109
TABOR ET
It
on the side opposite to the other countersinks.
$/s" No. 4 screws, Fig. 125.
this hole
may
lows:
Fig-. 140.
slightly
(13 5/2").
If they are
warped
Fig.
141.
Upholstery
nail.
all,
given in
Handwork
the
proper
square and 34
the
following
in
Wood,
72.
in
the
either
gon,
When
order
Handwork
p.
p. 172.
thick,
given in
To
Wood,
13"
size,
8-
used
in
(Handwork
Wood,
or the
108)
p.
method:
following
Draw the diagonals of
the square (13") as in
With
144.
Fig.
the
dis-
E,
and
along
this
lay
A B
D,
points
getting
the
and F
Connect
and G'
G and
octagon
is
G'', etc.
and G, F'
and the
etc.,
drawn.
may
off
and
be taken
Saw
and plane
off at this
Fig.
true.
142.
arris.
it,
nails.
the chamfer
110
To
the
fasten
top
the
to
Eig.143.
that there
is
of jointing
two boards.
up^
On
the
care
taking
bench,
nothing rough on the bench to mar the top, and accuframe on it. Be sure that the grain of the wood of
the top
runs parallel to
one
Screw
firmly in place.
it
become
force
slightly
it flat
stretcher.
by means of the
it carefully in place first with handscrews and then drive the screws home.
clamp
The
taboret
is
and finishing. If
by shutting
care-
off
Wipe
tine.
Inasmuch
fully.
the taboret
as
is likely
to
a flower-pot, it should
not be shellacked or
varnished, for shellac
and varnish are apt to
discolor
under
water,
should simply be
oiled and rubbed again
but
it
and
again, but
cipally rubbed.
prin-
This
on a
lathe.
If
the
made
taboret
of cypress,
should
stained so as to
out
Fig.
145.
top.
the
be
bring
contrast
be-
111
TABORET
wood and the red summer wood of the annual rings. See Wood and
For this purpose oil stains are the most satisForest, pp. 11 ff.
See
factory.
Handwork
in
Wood,
p.
09.
An
located in the legs by perpendicular center lines on the legs, as in Fig. 146. For
Fig-. 146.
Locating- position of
end of stretcher on
leg-.
be exactly equal to the length of the lower stretchers. Do all the laying out from the working edge (Handwork in Wood, page 72). See
also Fig. 147. Lay out on both sides of the piece in order to insure
first.
Then
diameter.
Then the top will
project slightly beyond the outside of the legs, as in Fig. 147.
The
Lay-out of taboret with legs
doweled into circular top.
Fig. 147.
a turning-saw.
Wood,
p.
with
(Handwork
in
with the spokeshave. To cut out the notches, use the back-saw, cutting just inside the lines, and chisel out the waste. In chiseling out
the parts that run parallel to the grain,
(A.
112
only a little at a time for fear the wood may undersplit. In chisellay the piece down
ing out the parts across the grain, (C and D)
flat on a piece of waste wood on the bench and fasten it firmly with
a handscrew or between bench-stop and vise-dog.
First place the edge of the chisel (a broad one)
exactly on the line, hold it perpendicular and tap
Then holding it
the mallet.
it lightly with
With
148.
When
it
now.
taboret
In
no half-lap
sembling
is
The
as
and
glued
the
substituting
figure
stained
brown,
dowels.
and
in
cypress,
oiled
and
rubbed repeatedly.
If the legs of the taboret are
to
be
not
as
perpendicular
but
in
150, the
Fig.
Fi ff .i49. Taboret with six legs,
proper "batter" or angle at the
ends of the stretchers may be obtained by means of the steel square,
slanting,
TABORET
113
from the top of the upper stretcher to the bottom of the lower
stretcher to be 13" and the bottom of the lower side of each arm of
the lower stretcher to be 1" longer than the top of the upper surface
arm of the corresponding upper stretcher. Lay the steel square
of the
on a board with a straight edge, placing the 13" mark on the blade
and the 1" mark on the tongue exactly on the straight edge. With a
pencil scribe on the board the angle which the tongue makes with
Fig-. 150.
legs.
the straight edge. This is the angle needed for the ends of the stretchers, and also the angle for the tops and bottoms of the legs.
(See
Handwork in Wood, 3rd edition, p. 201, note.) Transfer this angle by
means of the
T -bevel.
sliding
end-lap joints,
face for gluing.
-8
stool
See
114
Fig.
Fig
152
151.
Mahogany
stool with
woven reed
seat.
CHAPTER IX
MALLET
The
utility.
Fig-. 153
Mallet.
the handle
must be
and
its
form
116
Fi
*.
154.
MALLET
117
should be oval, so that the worker can feel, without seeing, that the
The handle should be joined
face of the head will strike square.
firmly to the head, as with
the round
mortise-and-tenon,
wedged, and there should be a
to
The
155
'
block for
2^"x2^"x5".
hickory, ^"xi^'xii".
piece maple,
piece
The head, maple. Plane up true the working face, working edge,
the width and the thickness. With the try-square, carry a fine pencil
Fig.
fully
on all sides as in Fig. 155, A B C. Notice carethe annual rings run in the piece. Like most all woods,
how
156.
118
maple
likely to split
is less
(See Wood and Forest, p. 53.) Therefore plan to make the hole for
the handle as nearly as possible along the annual rings, as in Fig. 155.
To determine the location
of the handle hole,
mark with
the
the
center
marking-gage
on
the
cross
lines
point
already
drawn, on two opposite sides.
low of the
the
body firmly
that
it
little as
Fig. 157.
How
left
it
so
will
change position as
possible; with the try,T
..
one can test the bit with the try-square, while the other
Bore half-way thru and repeat from the opposite side.
With reasonable care, the holes should meet exactly. If they do
this process,
bores.
chisel
not,
shoulders
off
inside
the
the
projecting
hole with
may
enlarge with
is necessary to
the inside bevel
it
gOUge
for 24"-
MALLET
Next lay
119
The curve
is
4^"
arc
of
circle
whose rad-
the
a
Set
ius is 22".
templet ex-
this
in
actly
place,
A B
at
as
Fig.
C,
and
158,
Or
one per-
let
thin
hold
the
place,
wood
of
spline
at
and
bend
son
proper
and
an-
Fig-. 159.
\>y
means
of
the bevel of the ends (faces) of the head, set the T-bevel at the angle
of the inner edge with the faces, and by means of this and of the trysquare, score lines all around with a sharp knife.
Handwork
in
Wood,
p. 66, Fig.
BD
a groove for
off
To guide
block of
edges
Make
(See
the waste.
the
saw,
another
may
159.
ever,
Fig
160.
when end
planing.
splint-
jiece of a
bench by a
under-
board
waste
lines.
Saw
Eepeat at the
120
by
cutting
arris, as
splintering
in Fig. 160,
flat
and smooth.
sharpened and
I<ay-out for beveled sides.
Fig.
161.
(Seen
block-plane
is
set
is best,
well
fine.
The
too light.
from below.)
With a
%"
are
On
Bore a
handle, working from the center line.
y%" hole, 1" from the hand end thru the short
axis, for
ends.
cut,
to
Spokeshave
to the lines
Draw
sible.
Spokeshave
these
chamfers
and
then
Method of
saw on a taper-
Fig. 162.
starting
ing cut.
MALLET
round the small end
till it fits
121
Be
Spokeshave
elliptical
the
section.
large
The
end
shape
to
an
should
Fi e- 163
wedge for
handle.
sandpaper.
In the small end cut with the back-saw, a kerf 1" deep, Fig. 154.
Be careful to cut this parallel with the short axis of the ellipse
at the other end.
ceive
made
This
is
to re-
Method
of cutting a wedge.
Saw off
project y%". Dip the wedge in glue and drive it in place.
the projecting part of the wedge, clean up, and sandpaper.
Give the head a couple of coats of shellac and rub down with
steel wool.
122
Fig-. 165.
5
t>
8
9
Trays.
CHAPTER
TRAYS
most valuable projects for a beginner in woodwork to
make, looked at either from the point of view of the discipline of
technique or from that of design, is a tray for pens or cards, trinkets
or pins, clips or collar buttons, or whatsoever. For varieties of trays
One
of the
The
it is
first
matter to decide
to be for penholders
wide enough
to receive
and
is,
If
stable, so as
not
to be easily upset.
If for cards, or crackers, it must be so designed
as to be easily picked up.
suitable wood for this project is sweet
gum, because it is of close even texture, moderately soft, cuts clean,
polishes well,
essentials is
figure.
The
fixing of the
124
The beauty
should not be bulky or clumsy goes without saying. But its lightness
and grace may depend as much upon the carved embellishments, Fig.
166, Nos.
1, 2, 3, as
It is the simplest
variety.
lines be too
"wiry" or "wormy".
Fig
167.
itself to
endless
One danger
the lines and modifying the ends. It should also be remembered that
the blank spaces, that is, those uncarved, should make a pleasing pattern,
as
shown
in Fig. 170,
is
spaces make
of spaces will be found in Ernest A. Batchelder's Design in Theory
and Practice.
itself
125
TRAYS
To
one
Draw
Fig
it.
Where necessary
168.
A,
this stencil, lay out the design on each quarter of the workof
the board. If it is necessary to pin it in place, do so '.face
ing
where
the pin pricks will afterward be cut away. This is more
places
From
outline
until trough
is to
If it is nearly rectangular, it
but ordinarily, and especially
it,
gum
if it is
and decoration
curved,
it is
are finished.
In this
rectangular
it will be
126
Fig-. 169.
Trays with
line grooving-.
places.
127
TRAYS
finest
of the
work till later, because with every added stroke greater control
hand is gained. For use of gouge on ordinary cuts, see Hand-
Tray and
Fig. 170.
This motion
axis.
line,
is
tool slips
no harm
is
particularly useful
as of the trough.
done.
round should not be greater than the arc of the gouge which you have
to use.
is
The sharper
it is
For very accurate work, and where the cross-section of the tray
uniform for some distance, as in Fig. 172, it is well to make a
templet
as
Stencil,
showing bridges
at A, A.
in
Fig. 170)
is
with
can be gaged
one proceeds.
But
Fig. 171.
wood
thin
of
to
many
all
that
trays
is
(as in
necessary
have a depth-gage.
For
128
may
Fig. 172.
Tray and
method
Be
of whet-
made
the most useful. First see that the scraper is well sharpened. The
method of sharpening is described on page 92, of Handwork in Wood.
By tilting and turning the
It is often
test
possible to de-
unevennesses
on the
sur-
means
of the touch.
If nec-
It frequently
thumb
TRAYS
129
is
Fig.
Tray and
174.
marks
of
gouge
left
If this
tool is
showing.
it
wood
How
175.
to
it
right.
will slip
Curved
mar
is
that
the wood.
Fig. 176.
130
(Handwork
in
Wood,
p.
if
gouge and
Fig.
176.
longer curves.
1
If necessary, use a
But
if
this is
file
ape.
marks
In many of the designs shown, the ecn ges of the outline are modeled, so as to give an appearance of lightness to the tray and to make
it easier to pick up.
In dethis
signing
ber
to
that
i,
feature,
the
keep
not to
tray
rememstable,
undercut
the
177.
tip
over
Make
the
at
base
slight
touch.
therefore
at
be done effectively by caivingout a cove with the gouge as in Fig. 178. This in most cases would
be wider at the on dp of the trav than at the sides to correspond with
least
This
may
TRAYS
1S1
In
run
may
should
be
smooth,
scraped
careful
very
even,
and sandpapered.
while
upper
carefully
(No. 00)
Fig. 178.
Forms
of cross-sections of trays.
To bring out
r.g
(oil,-
to
mar
surface.
Next rub
face
Be
working
and
to
the
with
it
get
whole
sur-
steel
wcol
as
smooth
r)r)Ssi})].e
gum, nothing
is so
good as a coat
Apply with
a brush, rub well with cotton waste, and set as'de to dry.
Then apply successive coats of white shellac, letting
6 hours or more,
coat.
Be very
even.
Shellac
and rubbing
it
down with
steel
it dry for
wool between each
is
may
still,
Handwork
in
Wood,
p. 2
7.
132
Fig-. 179.
Rolling blotter-holders.
CHAPTER XI
ROLLING BLOTTER-HOLDER
The
that
it
as to be easily
construction
as follows
is
screwed and glued into the knob, while the part projecting from
the knob passes freely thru a hole in the cover, y^" thick, and screws
is
may
tray.
The making
of the blotter
piece,
B.
C.
piece,
piece,
I
i
harmony with
are of sweet
gum
that of the
will be described.
as follows
24"x3"xs" (full).
J4"x3"x5" (full).
i"xi"x2" and
dowel-rod, fa".
The new
True up
tool
needed
to size
134
it apart, see
little
Fig. 180.
Now
danger of splitting
it
while!
boring into it the 5/16" hole. Cut off the surplus ^2" from each end,
lay out the form on the two opposite sides, and with the chisel, gou^e
If it is angular, it must
it and (or) file it and bring it into shape.
be shaped by hand; if it is round, it may be turned on a lathe, if
one is available. Shaping the knob by hand, is very difficult. Some
may find it easy to whittle it into shape with a penknife.
ROLLING BLOTTER-HOLDER
If one
is
gential cuts,
it
W03d
turner's tan-
Wrap
thickness or two of
and fasten
135
stiff
Fig.
181.
Rolling- blotter-holder
and
tray.
then with sharp chisel and gouge, scrape it into shape, that is, hold
Use
the tool on the rest at right angles to the axis of the spindle.
lathe.
Next shape the roller part of the blotter. Lay out the curve on
the two long edges of A with a templet of thick paper, cut to the
proper shape. Saw off surplus with rip-saw. With chisel or drawknife shape roughly and then plane to the line mostly across the
grain, as in shaping the mallet head.
(See
p.
120).
136
Take
care not to bring the curve to a knife edge with the upper
it as in Fig. 180, A, A.
Now
Fig.
ground
Add
is
182.
it,
fit
it.
If the cut
(groove)
added
Rolling blotter-holder.
in the lathe.
For
1/16" chisel
round nose.
the decoration,
if
pad of
felt,
The
Turned
knob
Fig. 184.
Fig.
183.
should be as wide as the blotter holder and long enough to fold well
into the space between the roller and the cover.
They are held in
place
\)j
CHAPTER XII
SMALL BOXES
The size of such a box as is contemplated in this project is determined by its use. If it is for gloves it should be approximately
4"x5"xl2". If for men's handkerchiefs, about 6" square and 4" or
box to
5" deep.
way
is
to
fit.
strong,
is
mahogany
For the
or black
walnut or oak,
Handwork
all
in
3,
with the
The main
tion, accuracy of
on good propor-
finish.
(Or roughly speaking, a board fa" thick, 8" wide, and 20" long.)
2 brass butt hinges, i", narrow.
8 brass screws fa" No. 2.
137
138
The grain of the wood in the four sides of a box should always
run parallel, that is it should run either around the box or up and
down. The reason is that with equal conditions of grain, any shrinkage
that takes place will be even. In general the grain runs the long way
of each piece. In this case of a long box, the grain should run around.
Fig.
When
185.
Small boxes.
warping.
To fix the length of the end pieces, from the dressed end of each
12" piece measure off 334", score all around with a sharp knife and
a try-square, cut a groove for the saw, (Handwork in Wood, Fig. 91.)
but do not cut
off.
SMALL BOXES
139
With the rabbet-plane plow the rabbets, 3/16" deep and 5/16"
wide, on what will be the lower inside edge of the sides and ends. This
For diis to receive the bottom.
rections for rabbeting, see p. 72.
affixed
and stronger
joint
is
the double
in Fig. 186,
pieces
with
rabbet
3/16"
(Handwork
in
shoulders
the
the
6^s" apart,
can be trimmed
present.
It
after the
box
is
off
put together.
Make
as
follows:
From
and
knife-
score
proximately 3/16".
this
line
Wiih the
on the
marking-gage, gage
ends and on the edges beyond
the shoulders, a fine line, 3/16"'
Fi,.l. Rabbettedsideofbo*.
fr()m
^^
flnd
With the back-saw, saw in the groove down to the gaged lines.
Kemove the surplus wood with a chisel, being careful to keep angles
grooved.
140
square and surfaces flat. The squareness of the box depends absolutely
upon the accuracy of this rabbet joint. The sides and ends may now be
assembled. Start brads (%" No. 20) in lines J4" from the ends of the
The
careful
is
to
part
making the
^ ^
lid
&
the
inserted
bottom.
Start
the
Drive
the
brads
until
188.
pu^
liquid glue
^g
parts
the
Put a
on the
joints,
together
aCCU-
rately, draw the sides up to the ends with a handscrew, being careful to place them so as not to buckle the sides, drive the brads home
and set them carefully with a nailset. Test the inside angles to see
Fig. 189.
Method
SMALL BOXES
The
neatest
way
141
made by
the brads
hammer, cut
knife
or
sharpen
chisel,
and
so
the
the
proceed
this:
is
as the box
with a sharp
it off
again
splinter
till all
with
hole
wood
top
is
and bottom
worked up according
drying
may
to
be
the di-
When
is
and lower
or some
flat
rocks
all,
at
surface.
If
it
where and
In doing
flat.
note
carefully plane it
so, take care not to
bump
the
as at
A B
*
toe or the heel of the plane into the inner arrises of the sides or ends,
A and 5, Fig. 190.
as at
Another way
is to lay a sheet of
surface and rub the box back
flat
and forth on
it.
of
rounding
the
over
ners,
as
Danger
Fig. 191.
corat
of
the
box, remember-
lid.
Do
not try
142
to fit the butt jointed top to the exact size of the box,
Fig. 192.
y%" }
ished.
the box
is
fm-
Plow out the rabbets 3/16" deep, and wide enough, just over
The bottom is tofit easily into its place.
be 5/16" thick,
and
may
be
in
it.
143
SMALL BOXES
thin film of glue to the joints, brad the bottom firmly into place,
set
driving the brads thru the bottom up into the sides, and then
their heads.
Fasten the top without brads using only glue, hot glue, if posSince it has not yet been dressed to exact size, take care that
sible.
the edges overlap
all
around.
Use plenty
bottom.
of handscrews.
When
dry, say in six hours, dress off, sawing, if necessary, the proand edges. Take care not to splinter the corners.
ends
jecting
box
With the
two thus:
lines,
;4" and
respectively,
f.om
surface
of
upper
Between
these
the top.
the
two
lines
apart
with
saw, Fig.
the
193.
back-
For
aw
would be used.
Now
and tap each corner with the finger to see if it rests firm there. Examine the crack all around and correct any errors. Round the external
arrises if desired (See Fig. 194) but in any case do not leave them
sharp, except where the box and its lid meet. Clean up and sandpaper.
Setting^the hinges. (See Handwork in Wood, pp. 131-133.) The
hinges should be set about the length of the hinge from the ends of the
box. Mark with the knife the length of the hinge on the edge of the
back of the box, taking the length of the hinge from the hinge itself,
144
box in its proper place on the box as it will rest when shut,
and mark the places for the hinges on the edge of the back of the lid,
and square across for both hinges. Between these lines on both the inside and outside of the box and of the lid, gage the proper depth of the
lid of the
notch,
i. e.,
Fig- 194.
fit
all
may
around with no
break.
is
If there is a
the other.
SMALL BOXES
where the error
is,
145
take out the screws that are wrongly placed, cut little
and bore new
same way
Handwork
in
Wood,
p. 134, for
it.
made
of
as the candle-stick.
mahogany
See
it
may now
be stained in the
p. 92.
When
with
the stain
is
and
where
Wood
filler is to fill
The
surface.
a smooth even
filler
If the
filler
The
top,
ing this
is
edges, pains
Set the top exactly in place and press it down so that the
brads will penetrate.
When the glue is applied see that the brads
enter the same holes, and the top will remain true in place.
points.
box frame
is
clination to warp. The hinges in this case should be set entirely into
the edges of the back.
10
146
be
made
use of in
necessity for
angular boxes.
mak-
all rect-
CHAPTER XIII
LANTERNS
This project consists essentially of a frame covered with transluIt may be worked out in two difFig. 196.
197,
suspended by
Either form
may
be so designed as to be
or by an electric light.
The
electric light
lit
is,
either by a candle
In
of course, safer.
case a candle
wall
may
tions,
considerable latitude
is
possible.
is
it
is
It has, besides, a
finishes well.
to
various forms.
cross-lapped.
The chain
may
on
a bracket
which
also
and
4, the
holds the
page 185).
147
candle, the
(See
design of
Handwork
in
the
Wood,
148
SMALL BOXES
Fig. 196.
Lanterns.
149
150
I.
The wood
fret, Fig.
196, No.
2.
The
called stiles,
4 pieces, 5/i6"x7/i6"x8".
For the
cross-pieces,
rails,
''
4 pieces, 5/i6"xi^2"x4 /2
(upper rails),
4 pieces, 5/i6"xi%"x4^" (lower rails).
All to be of exactly the same length and proper!y shaped before assembling.
slats,
T
(vertical slats),
8 pieces 5/i6"x^"x5^".
all
Prepare
it
is
easier to
work
long pieces as
it is
that means.
smoothed.
When
dry, dress off the outer surfaces of the joints so that they
On
a flat board, leaving a space about 1" wider than the entire
of
width
the lantern, nail strips of wood about 9" long parallel to
each other, as A, A, Fig. 200. Prepare two wedges, B, ~B, 8" long,
5/16" thick, and tapering from y%' wide to a point, and a buffer
strip,
C.
Lay
At
on
all
all sides.
LANTERNS
151
Fasten
and
row
cleats
5/16"
square, and
3" long,
as
the bottom,
a,
201.
Fig.
On
fasten
these
with brads a
across
the
inside.
To
running
lantern
strip, I,
is
to be
screwed
a cop-
per
candle
holder
(socket
The
92.
saucer
round
pan),
as described on
made
p.
and
simplest
make is
hamand
to
hammer
into a
of hard
wood.
(No.
to each Of the
Fig. 197
Upper
Hanging
lantern.
in Fig. 197
no fret-work.
In
is
simpler
still
in con-
at a cost of
Jap-
first,"
Street,
152
made
is
to
them.
fit
almost opaque.
the stencils.
The paper
WOOD
of which these stencils
If a
then
arid
material,
cut
with
out
In
piece of glass.
this
Wall
II.
lanterns.
and
202,
screen
first.
198
Figs.
make
The
stiles
rails
are
the
same
and
upper
of
all
the
and
thickness
The
width, 5/16"xj6".
Wall lantern.
Figr.198.
is
the end-lap.
Dress up
bottom
rails
wide.
On
5/"
are
whole
the
all
lantern
is
made
directions,
Or,
it
may
may
be butt
see
be
Wood,
p.
156, No.
16.
When
see
Handwork
in
Pig-. 199.
Cor-
ner posts of
lantern.
gon, so that
of the panels.
LANTERNS
To
radius
153
is
is
of the board.
From
Fig-. 200.
Method
of clamping
up the
parts.
Saw and
154
DESIGN"
For gluing the panels together, prepare a few forms of the shape
shown in Fig. 203. Put a thin film of glue (liquid glue will do) on
those edges of the panels which are to be jointed, and with small
brads, (1" No. 18) nail the panels in place to the half hexagon bottom.
Clamp the panels together with small handscrews, using the
Fig. 201.
in Fig. 196.
the bracket.
The
harmonious
tint,
silk,
(silk
fit
the
and of an
toward the
155
LANTERNS
of thin strips of
candle) to the inside edges of the panels by means
Tack
these
20.
No.
wood and small brads, say }4",
strips all around
The material
Fig.
make
all
planing
202.
may
If possible
198.
the parts, shelf, back, and two supports, out of one board,
the working face and working edge, and the exact thick-
first
Lay out the plans on this and cut out roughly. The shelf overhangs the back when assembled. The back and shelf can now be
finished exactly to shape by means of the plane, or if irregular in
ness.
156
also.
gether.
panels together.
When
dry,
proceed as
they were one piece, finishing carefully. When shaped, they may
be pried apart with a chisel, and what little glue adheres may be
planed off. Or, the two pieces may be handscrewed together, while
if
Fig. 205.
Methods
they are shaped. Assemble the parts of the bracket as in Fig. 204.
First draw light pencil lines on the top of the shelf and on the back
of the back, to indicate where the brads (1" No. 18) are to be driven
into the supports, start two brads along-
place
shelf.
the back exactly in place over this supEeport, and drive in the other brad.
back.
having the
See that
in place
to-
shelf overhang
the
the
are
supports
squarely
brads thru the top into them.
Fig
204.
Location of brads.
LANTERNS
157
For hanging the bracket, gain into the back small copper or brass
strips with holes in them, as shown in Fig. 205, or insert small screweyes (No. 214^) at the back edge of the shelf.
ers so as not to interfere with the screen.
If electricity
is
available
it
is
of course
much
safer to have a
INDEX
Ammonia,
100, 110.
Embellishments,
Emery
Equipment,
in
Design
124.
22,
Boring,
91,
62,
64,
103, 104,
Fuming,
108, 117,
Compass
83.
4,
Handscrews,
19, 105,
62,
<8,
83,
Dow Arthur W.
79,
87, 91,
124,
of
129,
102, 150.
51,
152.
51.
22, 125.
Composition,
Dowel-pins, 103, 106.
Dowel-rod, 133.
9,
99,
28.
137.
Depth-gage, 127.
Design, 9, 10, 21,
Draw-bolt,
End-lap, 9,
Ledge, 9
36,
38,
94,
Miter,
26,
110, 138.
70.
Decoration,
Joints, 22.
Joint:
holder, 64.
22.
19,
9,
140,
13.
133,
Grain, 16.
G'um, Sweet,
108,
105.
ornament
77.
102, 105,
142, 143, 145, 150, 156.
Gouge, 89, 126.
92,
79,
74,
33,
29, 33,
Comb-grain, 15.
Combustibility of wood,
76,
Glue,
61,
Clamps,
100, 110.
Gaging, 43.
Glass cutting,
Handwork
Chestnut,
16.
File, 130.
Filler, 145.
118.
Chamfer,
29.
Figure,
Beads, 78.
Beauty, 23.
Bench, 28, 29.
Bird-houses, 146, 147.
Bit holder, 64.
Blotter-holder, 132, Chap. XI, 133.
16.
149.
Batter, 112.
83,
22, 65.
Mahogany,
137.
158
4,
9,
14,
19,
69,
83,
88,
INDEX
Sawing, Rip, 45, 60, 120.
Saw, Turning, 111.
Maple, 9,
Margins,
69, 115.
65, 67.
Marking gage,
Mass,
Mat
43,
44,
23.
65,
66,
159
68, 69.
Scoring, 48.
Scrap-basket. Chap. IV, 35.
Scraper, 128.
Screw, 64.
Screw-box, 133.
Screw
Shrinkage of wood,
78,
97.
80.
Skill,
145, 156.
74.
Tee
102,
99,
26,
36,
83,
124, 137.
22.
14, 117.
88, 108,
75,
74,
75,
108,
139, 143.
X, 123.
121,
41,
119.
117.
Walnut, Black,
9,
93, 94.
13.
Wood and
Forest,
16,
118.
33,
49,
Wire, Binding,
128.
111,
Quarter-sawing, 15.
Rabbeting, 71, 73, 138, 139.
Raymond, Geo Lansing. Proportion
and Harmony of Line and Color,
Rift board, 15.
Rings, Annual,
Sandpaper, 50,
Saw, Back, 63,
99.
89.
Templet,
42.
63,
Supplies, 33.
Tables, Small, 98, 100.
Taborets. Chap. VIII,
Tapering,
Refining
Slash-grain, 15.
Slip-feather, 75.
Snips, 92, 94.
Socket, 92, 95, 151.
Soldering, 93.
Soundness of construction, 22.
Spline, 75.
Proportions,
14, 15.
9.
Woods, Common,
3,
4.
foot note
26,
14 DAY USE
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