diff options
Diffstat (limited to '76260-0.txt')
| -rw-r--r-- | 76260-0.txt | 1568 |
1 files changed, 1568 insertions, 0 deletions
diff --git a/76260-0.txt b/76260-0.txt new file mode 100644 index 0000000..77542f0 --- /dev/null +++ b/76260-0.txt @@ -0,0 +1,1568 @@ + +*** START OF THE PROJECT GUTENBERG EBOOK 76260 *** + + TRANSCRIBER’S NOTE + + Bold text is denoted by =equal signs=. + + Some minor changes to the text are noted at the end of the book. + + Original book did not include a table of contents, one has been + created for convenience of the reader. + + Table of Contents + + General. + Chapter I. + Tools. + The Saw. + The Use of the Saw. + The Plane. + To Sharpen Planes. + To Use the Plane. + Chisels. + To Sharpen Chisels. + To Use the Chisel. + The Marking Gauge. + The Screw Driver. + The Bit Brace. + Bits. + To Sharpen Bits. + The Nail Set. + The Hammer. + Oil Stones. + The Mallet. + The Try Square. + The Steel Square. + The Sliding T Bevel. + The Dividers. + Two-foot Rule. + Chapter II. + Wood Working and Joining. + The Saw Horse. + Work Bench. + Bench Stop. + Chapter III. + Squaring and Jointing. + Half Tenon and Halving. + Halved Joint. + Mortise and Tenon. + Panelling. + Dowelling and Joining. + Mitring. + Dovetailing. + Chapter IV. + Fastenings. + Chapter V. + Dressing Off and Smoothing. + Chapter VI. + Staining, Dyeing, Filling, Polishing. + Designs + Piano Or Organ Bench. + Plant Stand. + Magazine Stand. + Music Cabinet. + Hall Seat. + Hat Tree. + Dining Table. + Chair. + Morris Chair. + Library Table. + + + + + HAND MADE + FURNITURE + AND + HOW TO MAKE IT + + Designed for the use of those seeking either a pleasant and + profitable occupation or such furniture for their homes as shall + express their own artistic taste, and stand for sturdy honesty of + purpose, simple beauty, comfort and durability. + + Albert G. Glidden + + HAND MADE FURNITURE SHOP, + Spokane, Wash. + + + + + Copywrited 1910 + by + A. G. Glidden. + + + + + GENERAL. + + +There is probably no home in which the comfort, convenience or artistic +appearance could not be improved by the addition or replacing of some +pieces of furniture. The reason is simple. They are furnished with +store furniture, and store furniture is made to sell; the designs +limited by the capabilities of the machines which make it; made of the +cheapest materials; put together in the quickest, rather than the best +way, and then finished up with the crudest varnish and stain to make +a fine appearance. It is a depressing sight to see this furniture on +moving day, piled on the sidewalk, scratched, broken, dingy, all its +fine pretense of beauty gone forever. On the other hand, the chairs, +tables, sideboards and other pieces that have come down to us through +generations were all made by hand, put together by hand and finished +by hand in the days when there was no machinery and the workman was an +artist. The result is that instead of finding its way to the scrap heap +this old furniture is as good today as ever, after two or three hundred +years of wear and tear and removal from place to place half round the +world. Hampered by no limitations of machinery these designers set the +standard for the world for all times. Such furniture is worth while, +and is an everlasting inspiration to the home-maker and worker. + +Our new style, variously known as “Arts and Crafts,” “Mission,” +“Craftsman,” etc., is especially adapted to hand work, and while +differing from the rich old oak and mahogany of our fathers’ in form +and finish, is like them in all the qualities of beauty and durability +and is far more comfortable. A home furnished in this style not +only expresses the artistic taste of its inmates but also exerts an +influence of sturdy honesty of purpose, simplicity and absence of all +gaudy pretense, which both its frank, straight lines and freedom from +anything to hide or mar the natural beauty of the wood so forcibly +express. It is a style of which we can never tire and of which no +other can take the place. It will last for generations, for every part +is as strong as the wood of which it is made. You can make it and +make it better than you can buy in any store, for it is made in the +most natural way, after the most natural design, of the most natural +material. + +Of course, it cannot be hoped that the mere reading of any book can +make an expert cabinet maker of an inexperienced workman, but the +instructions contained in this book will enable any one to make +furniture. Handsome, comfortable, durable furniture. The length of +time required on each of the exercises will, of course, vary with the +individual workman and his aptitude for the work. All that can be said +as to the number of times the exercises should be performed is simply +to keep at each one until you are satisfied with the results, you can +judge as well as any one when your work is good. Time spent in practice +is time well spent, for you are learning to make something which will +be with you for years to come. + +[Illustration: Fig. I.] + +Most people know more or less about the use of tools and to some it +will seem that we are unnecessarily explicit about things which to them +are matters of course, but as we are writing for those who have had no +experience whatever in the use of tools, as well as others, we have +begun with the rudiments and taken one after another in the order most +likely to assure rapid progress. For the same reason we have avoided, +in so far as possible, technical terms and trade names, though in some +cases it has been necessary to use the customary terms, as no others +will express the meaning. For instance, the use of the word “square,” +as applied to our work, does not always mean rectangular but oftener +means at right angles to adjoining surfaces. Thus, when we say “saw +square” or “plane square” we mean to make your surface straight and +true and at right angles with some other surface. The term “right +angles” will be easily understood by reference to Fig. 1. Whenever two +lines meet they form an angle, and having the direction of one line +and the degree of the angle we know the direction of the other line. +Thus in Fig. 1 all the lines meet at (a). Taking the line (a-b) as our +base and wishing to find any other line of which we have the degree +of angle we draw a circle around (a). The size of the circle does not +make any difference. A circle is divided into 360 degrees, therefore, +if we are given an angle of 90 degrees, we know that it is a quarter +of the circle and drawing a line from (a) to the outer rim of the +circle a quarter of the way around we have the line (a-c) which forms +an angle of 90 degrees with the line (a-b). In the same way an angle +of 30 degrees would be formed by a line drawn from (a) to the outer +rim of the circle ¹⁄₁₂th of the way round from (b) (a-d). Forty-five +degrees would be ⅛th of the way round (a-e), 60 degrees ⅙th of the +way round (a-f), 180 degrees half way round, and so on. The angle of +90 degrees is spoken of as a right angle and in our work one line of +the angle is said to be square to the other. We also use the term in +speaking of angles 1 in 6, or 2 in 6, etc. You will understand this if +you will take your steel square and place your rule diagonally across +it and when, for instance, we say 1 in 6 we would mean to place your +rule 6 in. from the corner of the square on one arm and 1 in. from the +corner on the other arm of the square; 2 in 6 would mean keep the rule +at 6 in. on one arm and move the other end of the rule 2 in. from the +corner on the other arm. In other words, an angle may be said to give +the degree of slant. + +We have included in this book a few designs for pieces of furniture +in order to show the method of assembling the parts and the most +convenient way of laying out and beginning a piece of work. In this +connection we wish to impress upon you the importance of laying out the +whole of a piece of work before you begin to cut it at all. You will +appreciate this as you proceed. + +In our cuts we have made no attempt at fine drawing but have used +the fewest possible lines for the sake of plainness and only so much +shading as is necessary. Single lines usually designate the outline of +solid parts. Dotted lines show the outlines of parts lying beneath the +surface, or in other words, as if seen through the object, and are used +merely to show the location of parts which would really be invisible. +Wavy lines are generally used where only a part of a piece is shown +and designate that the piece is really longer than drawn but the part +beyond the wavy line is not necessary in the illustration. We have used +shading to show end grain in some cases but more often to show where a +part is cut away, as in the side of a tenon, etc. Dimensions are shown +by arrow pointed lines. Where these lines point in opposite directions +with the figures between them, or point toward each other with the +figures at the end of one arrow, they give the distance in both cases +between the arrow points. + +The choice of wood depends largely on the purpose for which it is to +be used and personal taste. You will probably have no occasion to use +other woods than fir, oak and mahogany, with possibly some pine. Fir +is soft and likely to splinter if not carefully handled, but is easy to +work, the grain is wavy and beautiful and it can be finished to equal +oak in beauty. Oak is harder but more durable and admits of a very high +polish. It is much stronger and therefore, except where proportion +requires size, the parts can be made much smaller than when using fir. +As, for instance, in chair and table legs, braces, etc. Oak also bends +better than fir but it is necessary to steam it for this purpose and +unless you have proper steam box and clamps to hold it until dry, we +do not advise attempting to bend the parts. Mahogany has been the most +highly prized of these three woods until recently, and is the most +expensive, but oak has largely taken its place in fine furniture of +this style, as it is more in keeping with the straight lines. Pine is +soft, light and not so likely to splinter as fir, but has little grain +and is not used extensively except in concealed parts where strength is +not essential. In most lumber, and especially that with much flake or +grain, you will find that the grain does not lay flat on the surface, +but comes up to the surface at an angle and in planing it is important +to cut in the direction of this grain, not against it, as in the latter +case it will chip up and leave nicks in the surface instead of cutting +smooth. In using the scraper on fir you have to be careful or it will +cut deeper in the soft grain of the wood than on the flake, and make a +wavy surface instead of a flat one. This, however, can be avoided with +a little care. + +We trust that with these suggestions the following may be quite clear +to you, but if there is any point on which you are not quite clear, or +if there is any advice you would like we would be very glad to hear +from you and to assist you in any way that our experience will permit. + + + + + Chapter I. + + +TOOLS. + +Right here and now we want to say, =keep your tools sharp=. Many +beginners are discouraged with the result of their work when the fault +is entirely with the dullness of their tools. A dull tool cannot do +good work no matter how skillful the workman may be. Therefore, we say +again, keep all tools sharp all the time. With this in mind, let us see +what tools are necessary for our purpose and how to sharpen, use and +care for them. + + +THE SAW. + +The saw comes first in use and perhaps in importance. There are several +kinds, but you will need only one 24-inch rip saw, about 7 tooth (to an +inch) for sawing with the grain; one 20-inch cross-cut saw, 10 tooth, +for sawing across the grain; one 12-inch back saw, 12 tooth, for sawing +a perfectly straight, narrow smooth cut (kerf); one 12-inch compass +saw, 8 tooth, for sawing curves. + +These saws are sharpened when you buy them and we do not advise you to +attempt to file your saws until you have learned by practice how to do +it properly. Have them sharpened by an expert, for while it is very +simple it requires skill, acquired only from experience. Do not neglect +it, however. A dull saw leaves a ragged edge and takes double effort. + +If you desire to file your saws get an old one to practice on. It is +not a difficult thing to learn, and while opinions differ as to just +how the work should be done there are a few essentials which must be +observed. The following is the result of long experience and careful +study and will give satisfactory results: + +You will need to purchase a saw vise (one with rubber in the jaws will +prevent noise), also a slim 7-inch taper file for 7 and 8 tooth saws, +5-inch slim taper file for 10 and 12 tooth, and a fairly long, flat +mill file for jointing; a saw set of any of the standard patterns, and +then proceed as follows: Fasten the saw vise to something steady, clamp +the saw in it, teeth up, take the steel square, or other straight edge +and hold it with the edge along the teeth of the saw. If the teeth do +not all just touch the edge of the square they are not of equal length +and require what is called “jointing.” To do this take the flat mill +file and lay it flat along the points of the teeth, filing as if to +dull them until they are all equal in length, which you test with the +square as before. The next step is to “set” the saw. This consists in +bending the points of alternate teeth to right and left. This is done +with the saw set. Have the salesman show you how to operate whatever +kind you buy. The teeth should be bent only just enough to clear, do +not set too deep, only the point should be bent, or half the tooth at +most; set the tooth toward the side on which the point is; this will +be every other tooth one way and alternate ones the other way; set one +side first, then the other side. Your saw is now ready for filing. +Select the size of file given above for the particular saw, commence +at the butt (handle end) with the first tooth set away from you and +file every alternate tooth. Keep the file level, that is, the handle +and point at the same height when the saw is straight up on edge. You +will notice that the teeth of your Cross-cut, Back and Compass saws +are filed on an angle. This angle is entirely at the discretion of the +owner. It is essential, however, that the bevel be filed on the front +of the tooth. It will give very satisfactory results if you make it +about 45 degrees. Keep the angle precisely the same on all the teeth. +When you have filed the teeth on one side turn the saw around and file +those on the other side. As to the shape of the teeth there is much +difference of opinion, but until you have some reason to change keep +it the same as when you bought the saw. Now take the saw out of the +vise, lay it on a flat board and rub the sides of the teeth with the +oil stone until they are perfectly even. To file the Rip saw proceed as +above, except file straight across, not at an angle. File every tooth +exactly the same size and shape and your saw will run true and easy. + + +THE USE OF THE SAW. + +The use of the saw is constant and important. Saw true always, whether +the results make any difference or not. In this way you will train +your eye and hand. Do not saw without a mark. Use a hard pencil so as +to make a narrow line. In all cases when joining mark with a knife or +marking awl, remember that nearly always the sawed edge will have to +be smoothed with the plane, and allow for this in such cases. Start +your saw by a few short strokes, as it is likely to “jump” if you use +too long a stroke before the cut is started. As soon as it is started +use a full stroke. Do not saw in little jerks, but be careful not to +pull the saw all the way out of the cut, as this will mar your work +and may break the saw. Your Rip saw and your Cross-cut saw should be +held at an angle of about 45 degrees. With the Compass saw, you will +generally have to hold it straight through the board in order to follow +the curve. The Back saw is used flat down on the work, though you may +raise or lower the butt a little in starting. It will take practice to +learn to saw “square,” that is, so the cut is at right angles with the +surface of the plank. Most beginners are inclined to tip the butt of +the saw away from them as the cut gets nearer to them. Be careful about +this. It is necessary to bring the butt in as the cut gets nearer. Of +course, this does not apply to the Back saw, as that cuts straight +down. In this case be sure to start true to your mark and hold the saw +exactly at right angles to the surface of your work so as to cut square. + +A saw properly set and filed does not require grease to make it run +smoothly but should be wiped off after using with an oily cloth to +prevent rust. + + +THE PLANE. + +The plane may be of wood or iron or a combination of the two. We +recommend a No. 3 Bailey iron plane (block) for smoothing; a No. 5 +Bailey iron plane (jack) for heavier cutting and jointing; a wooden +plow ¼ inch; a wooden plow ½ inch; a wooden rabbet plane ¼ to ⅝ inch. +If you care to spend the money a wood and iron jointer, not less than +24 inch long is also valuable, but with care you can do this work with +your No. 5 jack plane. The dealer will also show you Stanley Nos. 45 +and 55 planes. These are expensive, but very convenient, as they will +take the place of the rabbet and plow, and will also cut mouldings, +reeding, etc. Have the dealer show you how to take apart and put +together whatever planes you buy. + + +TO SHARPEN PLANES. + +To sharpen planes use the oil stone, and oil that will not gum. The +jack and jointer have a cap iron on the blade; remove this and rub the +bevelled side of the blade on the stone with either a spiral or figure +eight motion. Some workmen hold the bevel flat on the stone, others +prefer to raise the blade onto the edge a little so as to make a second +bevel just at the sharp edge. This gives a stronger cutting edge. We +prefer the latter method. Either way will turn up a feather edge on the +other side, and to remove this turn the blade over on the flat or long +side and rub it perfectly flat on the stone. Repeat the process until +the edge is very sharp and perfectly smooth. Do not scratch your stone +with the corner of the blade. Put your plane together again keeping the +cap iron ¹⁄₃₂ to ¹⁄₁₆ of an inch back from the cutting edge. + + +TO USE THE PLANE. + +To use the plane sight along the bottom and set the blade so it just +shows. If you want to cut deeper you can set it deeper after trying it. +Stand back of your plane, rather than over it, so you push it away from +you instead of across in front of you. In this way you will cut truer +and with less effort. Avoid a rocking motion. Hold the heel firmly down +with the right hand and the front with the left hand. At the beginning +of the stroke hold the front down squarely and at the end of the stroke +ease up on the front and hold the heel down. When the plane runs off +the end of the work at the end of the stroke, as you reach the end lift +the front so that it does not drop over the end and make it low. Always +plane square, whether it makes any difference or not, for the sake of +habit. + + +CHISELS. + +Chisels are of several kinds and lengths. For our use we prefer as most +convenient one each ⅛, ¼ and ½ inch butt chisels (short blade). You +will have little or no use for anything wider than ½ inch. + + +TO SHARPEN CHISELS. + +To sharpen chisels proceed as with the plane blade, except hold the +bevel flat on the stone. Do not raise on the edge at all, as this +should be thin and very keen. + + +TO USE THE CHISEL. + +To use the chisel keep the flat side towards the mark. For chisel work +always mark with a knife. Always leave a margin next the line until the +finishing cuts. If you cut right to the line in the beginning you are +likely to mar the edge of your cut, and also in soft wood the bevel +of the chisel forces it a little towards the flat side. When cutting +across the grain hold the chisel very flat on the work or it will “dig +in.” + + +THE MARKING GAUGE. + +The marking gauge is made in several patterns. The simplest will do. +In its use you need little instruction. Always tip it a little in the +direction you are moving it. If held straight up it will try to follow +the grain. Hold the guide firmly and flat against the work. + + +THE SCREW DRIVER. + +The screw driver should be of the very best. For our work we recommend +one each ⅛ and ¼ inch, fairly long. + +Always bore holes for screws. The hole should be about two-thirds the +diameter of the screw. Put a little soap on the screw and it will drive +easier and be less likely to split your work. When it is nearly all the +way in and begins to go harder loosen the screw driver after each turn +by a little back twist and it will be less likely to slip out or mar +the screw head. + + +THE BIT BRACE. + +The bit brace should be of the ratchet pattern and rather small. Oil +the working parts occasionally. + + +BITS. + +Bits are of various patterns. For our work get one each ³⁄₃₂, ⅛ and +³⁄₁₆ inch gimlet bits; one each ¼, ⅜, ½, ⅝, ¾ and 1 inch auger bits and +one counter sink. + +The gimlet bits you will use principally for screw holes. Be careful +not to bend them. The auger bits are for larger holes. When using them +it is a good plan, if you intend to bore all the way through, to stop +as soon as the worm is through and bore in from the other side. You are +less likely in this way to raise the grain around the hole. + + +TO SHARPEN BITS. + +To sharpen bits use a slip stone (a thin oil stone). Rub the sharpened +edges on the inside keeping the angle the same as when new. + + +THE NAIL SET. + +The nail set is a small steel punch, hollowed a little on the end. It +is for sinking nail heads below the surface of the work. Always incline +the nail set in the same direction as the nail so it will not slip off +and mar your work. + + +THE HAMMER. + +The hammer should be fairly light. Get one ball pein (round face) claw +hammer, rather small; one riveting hammer (small). Use the claw hammer +for all ordinary work and the riveting hammer for small brads and +welding. Always hold a hammer by the end of the handle. It is balanced +to be held so. Make the stroke from the elbow rather than the wrist. +Never drive a nail with one or two single blows. It holds better when +driven in several blows. + + +OIL STONES. + +Oil stones are made of composition and of natural stone. The former is +perhaps the better of the two. Clean off occasionally with kerosene to +remove the steel and dried oil. Be careful not to scratch it. To true +an oil stone when hollowed down in the middle fasten a piece of No. 1 +sandpaper on a flat board, moisten it slightly and rub the face of the +stone on it until true. + + +THE MALLET. + +The mallet is for driving your chisel. Never use it on metal. Use the +same stroke as with the hammer and always hold by the end of the handle. + + +THE TRY SQUARE. + +The try square is extremely important. Have the dealer test it in a +steel square before you buy it. It is for marking at right angles and +for testing work. In use be sure to hold the thick end snugly against +the work that is squared. + + +THE STEEL SQUARE. + +The steel square is for larger work than the try square. It also has +many uses which you will not require of it. + + +THE SLIDING T BEVEL. + +The sliding T bevel is much like the try square except that it can be +set at any angle and clamped with a thumb screw. You will use it for +mitring, etc. + + +THE DIVIDERS. + +The dividers are for marking circles or arcs and for dividing a given +space into equal parts. Be careful not to make deep holes with them. +Just enough to show is sufficient. Do not bend the points. + + +TWO-FOOT RULE. + +Two-foot rule should be divided to sixteenths at least. Be careful not +to mar it or your accuracy will suffer in consequence. + + + + + Chapter II. + + +WOOD WORKING AND JOINING. + +In your work-room you will need several appliances which you can either +buy, have made or make yourself. Among these are two saw horses; a +work bench with stop and vise; a tool chest or closet; a mitre box +and a bench hook. These may be more or less elaborate. We give below +the easiest and simplest that will do. You can improve on them if you +desire. + + +THE SAW HORSE. + +The saw horse is merely a straight bar with four legs on which to rest +material while working it. You will want two. To make a saw horse get +two pieces of dry fir or pine 2 in. × 4 in. by 12 ft. long s4s common +lumber will do so long as it has no knots large enough to weaken it. +The s4s means sized on four sides and is the term used by the mills for +planing off the saw marks. + +Using your try square, mark across one piece as near the end as the +wood is sound, with your cross-cut saw cut off the end square at this +mark. With your rule measure off four legs, each 24 inches long, and +one piece 3 feet long for the rail, mark and saw as before. The legs +must be bevelled at the tops just like the bevels on your chisels. This +will make them spread properly at the bottom. To cut this bevel lean +one of the legs against the wall with the flat side to the wall and the +bottom end about 9 inches out from the base board. Now place your rule, +folded up, with its edge against the wall and the flat side against +the upper end of the leg and with your pencil mark the side of the leg +along the rule. Be careful to cut square. Bevel one end of each leg. +Lay your rail on the floor on its flat side, set the bevel of the leg +against it about 3 inches from the end, with the top of the leg even +with the top of the rail. Drive in one nail and with your steel square +see that the leg is at right angles with the rail, then put in enough +more nails to make it solid. Do likewise on other end, then turn over +and put the other two legs on. Stand the horse up on its legs, if it +rocks a little put a small wedge under the short leg and with your rule +folded, its edge on the floor and flat side against the edge of the +leg, mark along the rule. With your try square mark across the flat +side of the leg from this line and saw the leg off here on the angle +given by the two lines. If this is done carefully on all four legs your +horse will set firmly on the floor. + + +WORK BENCH. + +To make a simple work bench you will require one piece 2 in. × 12 in. +× 12 ft. long s4s; one piece 1 in. × 12 in. × 16 ft. s4s; one piece 2 +in. × 4 in. × 10 ft. s4s; one piece 2 in. × 6 in. × 5 ft. s4s. Common +lumber will do if knots are not too large. You will also need a 1-inch +bench screw. Saw the 2 in. × 12 in. into two pieces for the top. Saw +the 2 in. × 4 in. into four pieces each 30 inches long for legs. From +the 1 in. × 12 in. saw off two pieces each 22 inches long and nail a +leg firmly on each end of both of them, with the 2-inch side of the leg +next the board and keeping the top of the leg even with the top edge +of the board, and the ends of the board even with the outside of the +leg. Saw the remainder 1 in. × 12 in. into two pieces 5½ feet long and +nail the ends to the flat side of the legs with the tops even with the +top of the leg and the ends even with the outside of the short board +previously nailed on the legs. This will make the frame of your bench. +Now stand it up and lay the top on it so that the top projects about 3 +inches beyond the frame at each end and is flush with it in front. Nail +the front top piece on first, being careful to get the frame square at +the corners, then holding the back piece firmly against it nail that +also. Set your nail heads below the surface with the nail set. Now +stand the 2 in. × 6 in. on the floor against the bench and mark it just +the height on the top of the bench. Saw it square across at this mark +for the inside jaw of your vise. Cut the outside jaw 3 inches shorter +than this so it will not touch the floor. About 6 inches below the top +of both jaws, and exactly in the center, bore an inch hole for the +bench screw. Most bench screws have a bulge on the inner face of the +plate and you will probably have to cut around the hole on the outside +jaw as if for a big screw head so this plate will set down flat. Now +fasten the inside jaw to the bench near the left-hand end, one end on +the floor and the other flush with the top of the bench. Putting your +1-inch bit through the hole in the jaw bore through the apron, next +unscrew the threaded collar from the bench screw and set it in the +center of a piece of wood 2 in. × 4 in. × 8 in. To do this bore a hole +through the 2 in. × 4 in. and ream it out with your knife large enough +to take the collar, or else take it to a carpenter shop and have it +bored with a larger bit. Now, having fastened the bench screw to the +outside jaw, put it through the inside jaw and apron and then screw on +the 2 in. × 4 in. with the collar in it. Nail the 2 in. × 4 in. to the +inside of the apron. There only remains the slide in the bottom of the +vise. Three inches above the bottom end, in the center of the outside +jaw, bore an inch hole through both jaws. Get a piece of hard wood +(broom-stick) about 18 inches long that will run easily through this +hole. Put it through the hole till the end is flush with the outside +of the outside jaw. Then wedge it tight, or nail it from the side so +that it will run easily through the inside jaw, but hold the outside +one. Bore ¼ inch holes through this slide from side to side about 1 +inch apart. Cut the head off a 20d nail and use this as a pin to hold +the bottom of the jaws as wide open when in use as the thickness of +the material you have in the vise, or as nearly so as the holes in the +slide will permit. + + +BENCH STOP. + +The bench stop is used to brace your work against when planing, etc. +You can buy an adjustable iron one or make a simple one as follows: Six +inches from the left-hand end of the bench, and about 4 inches from the +front, bore a hole straight down through the top with a bit the size +of your broom-stick, before mentioned. Into this drive the broom-stick +tight and with the saw cut it off about ½ inch above the top of the +bench. This will answer temporarily. + +You now have your bench and saw horses and can begin work. They may +appear a little crude but will answer every purpose and you can buy or +build finer ones when you have learned to use the tools easily. + +We would advise postponing the tool chest until you have had some +experience in the use of tools. + +The mitre box is described later in your work and you will not need it +for the present. + + + + + Chapter III. + + +SQUARING AND JOINTING. + +For this and other exercises we recommend 2 in. × 4 in. kiln dried +No. 1 pine s4s. This is less than 2 in. × 4 in., as these are the +dimensions in the rough and some surface is taken off in dressing it. +In speaking of lumber we give dimensions in the rough, but in speaking +of parts of a piece of work actual measurements are always given. + +[Illustration: Exercise No. I.] + +Saw off a piece of 2 in. × 4 in. 18¼ inches long. The object of +this exercise is to learn to square this block, that is, make every +surface perfectly flat and straight and exactly at right angles to the +adjoining surfaces. This operation is necessary on almost every piece +of work you will do and its accuracy is of the utmost importance. Place +your piece on the bench with one of the wide sides up and the end +against the bench stop. Set your jack plane to cut a very thin shaving. +Plane the upper surface carefully, testing it from time to time with +the side of your plane to see that it is perfectly straight. This is +called jointing. It must also be flat. Test this with the side of your +plane laid across it and in all directions. Next turn it up on edge +and joint and square in the same manner. To test the angle use the try +square with the broad arm against the face of the side you have already +squared. Plane the other two sides in like manner until all four sides +are absolutely square with adjoining sides and perfectly straight from +end to end. Measure off ⅛ in. from one end and mark with try square and +knife across the top. Turn it up and mark from this line down the side +next you. With the back saw cut square to these marks. Now measure 18 +in. from this and cut the other end off square in the same manner. Put +the piece in the vise end up and projecting about an inch above the +vise and with your smoothing plane plane the ends true, testing from +all four sides with the try square. It is well in this operation to +put a piece of waste material back of your work in the vise, with its +upper edge even with the upper edge of your work. This will prevent +chipping off the further edge as you plane across it. Square up other +end in like manner. You will probably have to try some little time +before you can get this exercise perfectly, but persist. Though simple +it is perhaps as important as any you will have and you will be called +upon to repeat this process constantly. Do not slight it, therefore, +and when you can square a block perfectly you have made a great stride +forward. + + +HALF TENON AND HALVING. + +[Illustration: Exercise No. II.] + +Saw off a piece of 2 in. × 4 in. 12 inches long. Square it up as in +Exercise I. Select the wide side with the best grain, etc., for your +working side and mark it “O.” Measure off 3½ in. from the left-hand end +as it lies on the bench before you and with your knife and try square +mark across the working face (a-a). Turn up on edge and mark across +from this line (b-b). Turn on other edge and do the same. Next measure +3 in. farther from the end and mark across the working face and down +the two edges in the same manner (c-c-c). Then 3½ inches farther from +the end mark across face and edges as before (d-d-d). Now take your +marking gauge and set it ⅝ in. deep. Turn work on its edge, with the +working face to your right and with the gauge make a line along the +edge from (e-e-e), that is, a line ⅝ of an inch below the working face +and parallel with it. Do likewise between (c) and (d) and (f-f). Turn +the work over and mark the other side in the same way and also carry +your gauge mark across the end (g-g). Place the work on the bench +working face up with the marked end to the right. With your back saw +cut down at (b) to the gauge mark (e), being careful that your saw +cuts just to the mark both on top and down the edge. Saw in the same +way at (c) to (f) and (d) to (f), being careful in all cases that your +saw cuts only to the middle of your mark, the cut being in the wood to +be removed, which in our case is between (b) and the end and (c) and +(d). Do not mar corners in starting your saw. Place the work in the +vise with the gauge mark just above the jaws. With your widest chisel +cut out the parts to be removed, cutting across the grain, flat side +of the chisel down. Do not try to take out too much at a time. Do not +cut all the way across as the wood is likely to chip off the far side +below your gauge line, so cut only half way across, then turn the piece +around and cut from the other side. When you reach the bottom (the +gauge line) be very careful to hold the chisel flat, that is, straight +across, or you will not have a flat, even bottom. Next turn the work up +on end in the vise and with your rip saw cut down the gauge line across +the end (g-g) and down the edge (e-e). Repeat this exercise until you +can get it absolutely accurate. All surfaces should be “square” and +smooth. These operations are constantly necessary and must be accurate +or your joints will show unsightly cracks. While, on the other hand, +when you have mastered this exercise, you have accomplished a great +deal, as you will appreciate a little later. + + +HALVED JOINT. + +So far we have not required our material to be of any particular +dimensions when finished. We should now be able to square up to given +dimensions, which is, of course, necessary in most cases. It is in this +exercise. Therefore, remember to get your material out a trifle larger +than the dimensions given for the finished work in order to leave room +for squaring. The purpose of this exercise is to join two pieces of +equal thickness which cross each other at right angles, and have them +flush top and bottom; the pieces to be of the exact dimensions given, +fitted closely on both sides, each piece exactly in the center of the +other, both sides to be perfectly smooth and even when finished and +the ends planed square. To do this get out two pieces which square up +as in Ex. I to 3½ in. wide, 1¾ in. thick and 12 in. long each. Choose +and mark working face of each. Find the center (6 in. from each end). +Measure 1⅝ in. each way from the center and mark across the working +face of one piece and bottom of the other piece (a-a) and (a-a). Now +set your marking gauge to half the thickness of the piece (⅝ in.) and +mark the bottom of your cut as in Ex. II (b-b). Do not forget that the +working face of both pieces must be up. Therefore, the cut is made on +the working face of one piece and the bottom of the other. Proceed to +saw and chisel out as in Ex. II, when, if accurately done, the pieces +will fit together perfectly making a cross with all four arms exactly +the same length. + +[Illustration: Exercise No. III.] + +You will use this joint often in furniture and can make the pieces +cross at any angle by using the sliding T bevel set at the angle you +desire for marking across the tops and bottoms of the pieces and the +try square for the edges. Accuracy is essential both as to dimensions +and work. + + +MORTISE AND TENON. + +[Illustration: Exercise No. IV.] + +The mortise and tenon are used more than any other kind of joint in +furniture. Therefore great patience and care are justified in learning +to make them nicely. When the end of one piece is to be joined to +the side of another, the mortise and tenon are almost always used. +The mortise (No. 1) is an opening, square or oblong, to receive the +tenon and may go part way or all the way through. When part way it is +called a “blind” mortise; when all the way a “through” mortise. The +tenon (No. 2), is a projection on the end of the other piece, which +fits into the mortise. It generally has two shoulders, but may have +three or four, made by cutting away the sides. It should be about +one-third the thickness of the piece. In furniture it is fastened with +glue, and where advisable with a wooden pin also. The objects of this +exercise are that the pieces be straight and accurately squared to the +measurements; that the tenon be exactly in the center of the joint; +that the pieces be square to each other when joined; that the tenon fit +the mortise exactly without squeezing; that the shoulders fit up to the +cross pieces nicely and that when joined the two pieces be perfectly +flush at the joint. The method is as follows: Square up two pieces to +1½ in. × 3½ in. × 12 in. long each, take one piece for the mortise +piece, turn it on edge and find the middle. Measure 1¾ in. (a-a) each +way from the middle and mark across with knife and try square. As the +tenon is to be one-third the thickness of the piece set your marking +gauge ½ in. deep and mark a line parallel with the side between these +two lines (b-b) and (b-b), being careful not to run over the line. +Turn around and mark other side of the mortise in the same way. You +now have the mortise marked on one edge. To mark it exactly opposite +on the other side, mark across the flat side of the piece very lightly +at the end lines and across the other edge at these lines. This will +give you the end lines on the other side. Mark the side lines with the +gauge as before. Lay the piece aside and take the tenon piece. Now, as +your mortise piece is 3½ in. wide, your tenon will have to be 3½ in. +long and you will want a little extra to smooth off the end, so better +measure a trifle over 3½ in. from the end, the piece being on edge and +mark across (c-c). From this line mark square across top and bottom +sides. Also across the other edge. This gives the shoulder line for +the tenon. Take the gauge, which is set at ½ in., and mark parallel +with the flat sides from these shoulder lines to the end (d-d) (d-d), +and this will give the thickness of the tenon. Lay aside the piece and +put the mortise piece in the vise edge up. With your ¼ in. chisel and +mallet cut your mortise part way through, then turn the piece over and +cut from the other side. Remember to keep the flat side of the chisel +towards the edge of the hole and leave a slight margin all the way +round. When you have cut the mortise clear through in this way, take +your ½ in. chisel and true up to the lines, the sides first and then +the ends. See that all four sides of the mortise are straight through +from side to side or the tenon will jam. Lay aside the piece and take +tenon piece. Lay it flat side down and cut tenon exactly the same on +both sides as you did the half tenon in Ex. II. Insert tenon through +the mortise and plane off the end flush with the mortise piece. Now +look carefully over your work and see if it fulfills all the objects of +this exercise. Do it over until it does. Do not get discouraged. It is +a mighty nice operation and when you can make this joint properly you +may be proud for it is a step beyond simple carpentering and belongs to +the Joiners’ and Cabinet Makers’ art. + + +PANELLING. + +[Illustration: Exercise No. V.] + +Panelling is used in doors, the ends and backs of furniture, etc. It +may be more or less ornamented with beading, moulding and so on, but +in the best modern furniture all ornament is omitted and the panels +absolutely plain. The objects of this exercise are to make a frame 13 +in. × 17½ in. × 1¾ in. thick with two sunken panels; that it shall lie +perfectly flat when put together; be smooth and true at all joints and +exact in dimensions. The method is as follows: Get out a piece which +will finish to 1¾ in. × 3½ in. × 60 in. Joint and square to required +thickness, also square up one edge only. Set in the vise with the +squared edge up. Set your gauge ½ in. deep and mark along the top edge +½ in. from and parallel with the side farthest from you. Then turn it +around and mark other side. This will give you the width of the rabbet +(see end view No. 4), in which the ¾ in. sunken panel will slide. To +cut this rabbet use your ½ in. rabbet plane and plow (cut) 1 in. deep. +If you have a Stanley No. 45 or No. 55 it has a fence to guide it, but +if you have only a wooden rabbet plane you must use a straight strip +of wood to guide the plane. There are several ways of fastening this +strip. The easiest way is to brad it on to your work along the gauge +line, but this leaves the brad holes. The best way is to take a strip +a little longer than your work and fasten a block on each end of it +which will drop down over the ends of your work, then wedge it tight +at each end. In this case the strip must be stout enough, of course, +not to bend as you plane against it. When you have plowed an inch +deep, turn your work around, move guide to other side, and with your +¼ in. rabbet plane plow the other ¼ in. to be taken out, making the +rabbet ¾ in. wide. Be sure to plane square or the panel will not lie +flat. When plowed cut this piece into two pieces 18 in. long for the +sides of the frame and three pieces 8 in. long for the top, bottom +and middle. Plow one of these 8 in. pieces, which you intend to use +for the middle bar, on the side opposite the one already plowed, as +it will have a panel on each side of it (see No. 6). Now cut a tenon +1 in. long by ¾ in. thick on each end of all three 8 in. pieces, just +as you did in Ex. III (see Nos. 2 and 3). For the panels saw from an +inch board two pieces 5½ in. × 8 in., dress them down to ¾ in. thick. +Put one of the 18 in. frame pieces in the vise with the rabbet up. +Insert the tenon of an 8 in. piece in the rabbet ¼ in. from the end, +with the rabbet in itself turned so as to receive the panel. With your +¼ in. auger bit bore a hole straight through the frame and tenon ½ in. +from the edge of the frame in the center of the tenon, as at (a) No. +1. Make a round plug to fit this hole, sand paper it smooth and drive +it in gently. This will hold the tenon in place. Slide a panel into +this rabbet and down into the rabbet in the frame piece. Next slide the +center piece in so the rabbet fits over the panel and the tenon in the +rabbet in the frame. Bore and pin like the first one, then insert the +other panel and end piece in like manner. Now take the remaining 18 in. +frame piece and fit it down snug over the tenons and panels, leaving +¼ in. margin at each end. Pin each of the three tenons, being careful +to hold the shoulders snugly against the frame and the piece tight down +on the panel. Cut the pins off flush and sand paper smooth. Now put the +whole frame in the vise and with your plane trim to exact size. When +you can do this exercise so that all joints are perfect, all surfaces +flat, smooth and even, and all dimensions correct and have mastered +the exercises before it you can pretty nearly make furniture. There is +one thing more, however, which is important, a little difficult and +frequently required, and that is dowelling and joining. + + +DOWELLING AND JOINING. + +[Illustration: Exercise No. VI.] + +For this exercise practice will do more for you than instruction. The +object of the exercise is to join two boards at their edges so as to +make a continuous surface with no crack or unevenness at the joint, as +in table tops, etc. You will be called upon for this operation whenever +you make any piece of furniture with a plain surface more than 8 to +10 inches wide. The method is as follows: Take two pieces ⅝ in. × 6 +in. × 36 in., select working face of each. Find the center of each and +with knife and try square mark across the edge to be joined as at (a). +Measure 12 in. each way from center (b-b), and mark. Take your marking +gauge, set it half the thickness of the board (⁷⁄₁₆ in.) and mark a +fine point ⁷⁄₁₆ in. below the working face on the knife marks, as at +(c). With brace and ⅜ in. bit bore a hole 1½ in. deep exactly square +into edge of the board at each point, as at (d). Repeat the process +in the other board. These holes are for the dowels (e-e-e), which are +pins that keep the boards from wabbling at the joint and also hold +them together. You will appreciate, therefore, that if the holes are +not exactly straight in, the pins will lean and not fit into the holes +on the other piece, or else tip it one way or the other. To make the +dowels square up a piece ½ in. square and 9 in. long, then round it +with your smoothing plane and sand paper to exactly ⅜ in. diameter, +or, in other words, to fit the holes tight without jamming. Cut into 3 +in. lengths with back saw. Before inserting the dowels the pieces must +be jointed. To do this turn one on edge in the vise and square up the +top edge (f-f) with your jack plane. Observe strictly directions given +in Chapter I for planing. When you have the edge precisely square and +straight lay aside and square one edge of the other piece. When this is +done, before taking it out of the vise, test it by standing the other +piece on it with the squared edges together and working faces turned +the same way. Test the surface of the two boards by holding the back +of your steel square across the two, seeing that it touches at the two +edges and at the joint and that no least crack shows on either side. +Now insert your dowels and the joint will be true. + +This is a difficult exercise and requires much practice, but its +accomplishment brings the keen delight of work well done. + + +MITRING. + +[Illustration: Exercise No. VII.] + +The mitre is used to form a joint where two pieces come together at +right angles and make a corner. The end of each piece is cut at an +angle of 45 degrees (No. 1). To make this joint, you will want your +mitre box which you can now make with comparative ease. It must be +precise to be of use. It is a box without ends or lid (No. 2), and +made as follows: Get out three pieces ⅝ in. × 4 in. × 18 in. Joint and +square them. Select working face of each. Firmly nail sides to bottom, +all faces inward; 3 in. from end mark with knife and try square across +top of both sides (a-a). From this line mark in same way straight down +the outside of the side towards you (b-b). With back saw cut down this +line till you strike the bottom of the box, starting your saw in the +mark (a-a) on top of the two sides. Now measure 4 in. farther from +same end and mark across the tops of sides (c-c). Then 4 in. farther +and mark as before (d-d). Take your steel square or other perfectly +straight edge laid diagonally across the tops of the sides from (c) to +(d) and (d) to (c) just at the points where these marks run off the +insides of the edges and mark the tops of the sides at this angle (45 +degrees). Now mark square down the outside nearest you (d) to (e), and +(c) to (f). With your back saw cut diagonally across in the marks on +top and straight down the mark on the side to the bottom of the box. +The cut straight across is for a guide for your saw in cutting square +ends and you can use it also for the shoulders of tenons. The 45-degree +cut is for guiding your saw when cutting mitres, like the corner of a +picture frame. You will realize, then, that the sides of the bottom +piece must be carefully squared or the sides of the box will not be +square to the bottom, and it must be exactly 4 in. wide or your angle +will not be true and your mitres will not fit. + +If at any time you need a mitre box to take wider material make the +bottom wider and proceed otherwise as above, except that the space on +the inside face of the sides between the diagonal cuts must always be +exactly the same as the width of the bottom. In use, remember that if +you plane anything off the outside edge of a mitred end you make the +piece shorter and anything off the inside makes it longer, as you will +readily understand by experimenting a little. Therefore, you must be +careful to have your piece of the proper dimensions before mitring or +else allow for this in its length. + + +DOVETAILING. + +To make an accurately lifted dovetailed corner is good evidence of a +workman’s ability to use tools. There are three kinds: First, common +dovetailing (Fig. 1), where strength is more important than appearance, +as in box corners, etc. The pins and tails should be of equal size and +about as wide as the material is thick. The pins are the parts widest +on the inside face of the piece (a-a-a) and the tails are the parts +which are widest at their ends (b-b). + +Second, lap dovetailing (Fig. 2), which shows only from the side as +at the front ends of drawers. The tails are always on the side piece +and should be two to four times as large as the pins. There is no rule +for size. Use a size that is strong, looks well and divides the space +evenly. Always begin and finish with a half pin. + +Third, the mitre dovetail, not illustrated, which is hidden altogether. +It is much more difficult to make and not so strong as the others. You +will have no use for it. + +Cut your pins first and mark the tails from them, then if you make a +slip you can correct it before marking the tails and after you have +had some experience you can learn to cut the tails without marking the +bevels. + +[Illustration: Exercise No. VIII.] + +The object of this exercise is to make a lap dovetail joint, as of a +drawer front. Get out one piece ⅝ in. × 5 in. × 12 in. when jointed +and squared, for the front of the drawer and one piece ½ in. × 5 in. × +12 in. for the side of the drawer. Select working faces which will be +the insides. Set your marking gauge a shade less than the thickness of +the side piece and see that the marker is sharp. Now mark across the +inside face of the front piece, gauging from the end (c-c). This is +the length of the pin. The length of the tails (which are on the side +piece) should be about ¾ the thickness of the front piece, or about +⅝ in. in this case, so set your gauge ⅝ in. deep and mark across the +end of the front piece gauging from the inside (d-d). Without changing +your gauge mark a line across both sides of the side piece, gauging +from the end (e-e). Place front piece in vise, marked end up and face +towards you. With a pencil, space out the tails, which in this case +will be about ⅜ in. wide, making a half pin at beginning and end and +three full ones between. Make them even distances apart, of course, and +when you have located them set your T bevel at an angle of 1 in 6 and +mark them accurately on the end of the front, and with your try square +continue these lines down to the gauge line (c-c) on the face. Take +your back saw and cutting on the inside of the bevel lines saw down to +the gauge mark (c-c) on the face, but not beyond the gauge mark (d-d) +on the end. In other words, you can only saw the corners. Make all cuts +in one direction first, then the others just as you would file a saw. +It is easier to be accurate this way. Next, with your chisel clean out +the spaces between the pins. These spaces will be like a mortise, open +on the end and wider at the bottom than at the surface. There will be +a little space close in the corner where you cannot get the chisel, +clean this out with your knife. Remember not to cut quite to the line +till the very last. The pins are now complete. Lay the side piece (No. +4) on the bench face up. Stand the end on it with its inside face +just covering the gauge mark (e-e) across the side near the end, as +illustrated. Hold it firmly and mark the side around the pins in the +end piece. Place the side in the vise, end up, and square the tails +across its end. With the back saw cut the sides of the tails (on inside +of lines), and lay on the bench and cut between the tails with your +chisel. + +If you have much dovetailing to do it is worth while to get a chisel +bevelled on both sides and across the end, like a lathe chisel. It is +easier to get into the corners with this. Put your pieces together and +dress off the side till it is exactly flush with the front. + +When you can do this exercise and the preceding ones accurately you can +do about anything you will be called upon to do. It is hard, but worth +while. You will be able to make the common dovetail easily after this. +Just remember, in that case, to make pins and tails the same size and +about as wide as the thickness of the material. + + + + + Chapter IV. + + +FASTENINGS. + +There are many ways of fastening the parts and joints of furniture. +Among those most used are brads, screws, wooden pins, shaping of the +parts and glue. Glue is used in almost all joints. Use brads and screws +very sparingly. Any other fastening is preferable in most cases. If +you do use the latter in any part that is visible, first bore a hole +from ⅛ to ¼ in. deep, large enough to take a wooden plug to cover the +head of the metal. For fastening by shaping the parts there are many +devices. You have learned the mortise and tenon, the dowel joint, the +mitre and the dovetail. These will answer almost every requirement, +with glue in most cases, and in some cases pins to hold them together. +When using glue there are several things to be observed. It should not +be too thick or too thin. Experience soon teaches you how thick to use +it for each kind of work. As a rule about as thick as thin syrup will +be right, but hard wood requires thinner glue than soft wood. If the +pieces are very cold they should be warmed and the glue always used +hot. When the joint is such as admits rub the parts together, and in +all cases clamp tight to force out the surplus glue and hold the joint +until the glue is dried. It should stand 8 to 12 hours before being +handled. To glue end grain first size it, that is, put on a coat of +glue, allow it to dry and then proceed as above. Use the best furniture +glue, though the prepared glues are good and very convenient, but if +you use the latter get a small quantity, as it is better to use it hot +and it loses strength by frequent heating. + +To prepare glue use a glue pot which is like a double boiler. Put as +much as you think you will use in the inside pot and cover with cold +water. Let it soak six or eight hours, then put the smaller pot in the +larger one with water in the outside one and heat until the glue is hot. + +Glue can be made to stand the weather by adding one part boiled linseed +oil to eight parts glue, stirring all the time, or else use skimmed +milk instead of water in the glue. + + + + + Chapter V. + + +DRESSING OFF AND SMOOTHING. + +As a rule it is better to leave the final dressing off till the joints +are all made and glued or otherwise fastened, so that in case there are +any little inaccuracies the pieces can be planed smooth. This always +has to be done with a glued joint, either with plane or scraper, or +both. + +The scraper is simply a flat piece of thin steel about 3 in. × 5 in. +The best ones are cut from an old saw, but you can buy very good ones. +To sharpen a scraper lay it on a flat board and rub the side of the +edge with a piece of hard steel (your nail set is good) laid flat on +it, then take it up and draw the steel firmly along the edge. This +makes it flat on the sides and edges but turns up a little sharp edge. +Use both hands with the scraper and tip it in the direction you are +pushing it and scrape a little across the grain. It is well to scrape +all surfaces to take out any plane marks or nicks and it saves work +when sandpapering. Sandpaper with coarse, then fine sandpaper, or steel +wool, =always rubbing with the grain=. It is hard to be sure that +your work is quite smooth before it has any coloring on it, as the +shadows are very light. Look across it towards the light both ways, +as the shadow is always away from the light, of course. If in doubt, +rub some more. The finish of furniture is of the utmost importance and +it should be absolutely smooth before anything is put on it. Even the +fine sandpaper will make scratches which show on a polished surface if +not always rubbed with the grain. Have horizontal work between you and +the light; vertical work stand between light and work. With oak it is +well to moisten to raise fibre, then rub again when dry. When you are +satisfied and doubly satisfied that not a least blemish remains, and +not before, then proceed to put on your finish. + + + + + Chapter VI. + + +STAINING, DYEING, FILLING, POLISHING. + +For coloring the wood wipe-stain is perhaps the easiest and quickest +and is very satisfactory. You can get it at any paint store ready +for use. Put it on with a brush of convenient size for the work and +immediately wipe off with old rags or waste. It will not show brush +marks and do not be frightened if it is much darker than you expected +before it is wiped off. If the first coat does not make it dark enough, +allow it to dry 12 hours and apply a second coat. After the last coat +has dried 12 hours or more, and it is thoroughly hard, if on fir or +similar wood, you may proceed to polish. If your material is oak or +other open grain wood you will need to apply a filler, which you can +also get at the paint store. This should be of the same color as the +stain and put on in the same way. When it turns dull, which will be in +a few minutes, wipe off all on the surface. This will leave the pores +filled. Allow filler to dry at least 12 hours before polishing. + +The best and easiest polish, as well as the most beautiful, is wax. +To prepare this shave beeswax into a pan, add as much spirits of +turpentine as will moisten it through, and powdered white resin, in +proportion of one part resin to sixteen parts wax. Dissolve on stove, +being careful not to let it catch fire. Stir it up and when cool it is +ready for use. Roll some cloths into a ball, smooth on the outside, and +use to apply the polish. Put the polish on very thin and evenly, allow +it to dry a few hours, then with a clean ball of cloth (preferably +woolen) rub at first gently with the grain, then harder in a circular +motion and finally a few strokes with the grain. After 12 hours rub +again with dry cloth, and if a higher polish is desired apply a second +coat of wax as before. This polish will improve with age and occasional +rubbing. + +Instead of the wipe-stains you can use wood dyes which come already +prepared. They sink farther into the wood and do not wear off as soon, +but on the other hand are much harder to apply evenly. The filler, +however, will take off some of the dye and you can sometimes even up a +little any dark spots when rubbing down the filler. The dye does not +take so long to dry as the wipe stain, six hours being plenty. Polish +as above. + +The filler in both cases will darken the color a little. Do not forget +this in applying your stain or dye, and in some cases you will not +require any other coloring than the filler itself. Of this you can +judge by the color you desire and a little experimenting. + +The hard glossy finish is not used on this kind of furniture and is +very much more difficult to handle. In case you desire to use it on +anything proceed as follows: Put into a glazed vessel a little gum +shellac, just cover with 90 per cent alcohol. Stir till dissolved, +about two hours, though not necessarily all the time. Do not use a +tin vessel. Do not allow lumps to settle. When thoroughly dissolved +take soft cloths and make a ball about 2 in. in diameter smooth on the +bottom. Put on this half a teaspoon of the polish, then around the ball +put a piece of cloth about a foot square, holding the ends in your +hand. On the smooth side put a few drops of linseed oil and rub your +work lightly in a circular motion all over. When it rubs harder put a +few drops more oil on the ball and also on the work. Watch carefully. +If the cloth sticks to the work, thin the polish on the ball with a +little alcohol, first taking off the outside cloth. Replace the outer +cloth with the other side out. When the work is all filled with polish +and has a good gloss, change the outer cloth for a clean one. Put a +few drops of alcohol on it and proceed as before till the oily look +has gone. Too much alcohol will wipe off the polish in splotches. When +the ball leaves little or no mark rub fast and strong with the grain a +few minutes and you are done. This finish improves with age also, but +requires practice to apply properly. + +To describe the numberless methods of coloring and finishing woods +would fill a book several times the size of this one. The above are the +best, quickest and most easily learned. + + +PIANO OR ORGAN BENCH. + +[Illustration: PIANO OR ORGAN BENCH] + +Piano or Organ Bench: This seat is very easy to make and much handsomer +than the ordinary piano stool. Lumber required 10 ft. 1 in. × 12 in. +and 7 ft. 1 in. × 3 in. + +[Illustration: (Bench Plan)] + +First, get out the end pieces to dimensions given. Cut the mortises for +the ends of the stretcher as shown, the top of the lower mortise (a) 6 +in. above the floor and the top of the upper mortise (a) 18 in. above +the floor. The tenon on the stretcher has only one shoulder, as shown +at (c). Next cut a rabbet ¼ in. deep for the seat to fit in across +the inside face at each end, just above the upper mortise as shown +by dotted lines at (d). Then round the corners and cut the handles +and arches in the bottoms with the compass saw. Next get out the seat +exactly the same width as the ends and ½ in. longer than the space +between the ends to allow for the ¼ in. in the rabbet at each end. +The stretchers (b) are, of course, ½ in. shorter to their shoulders +than the seat for the same reason, though 3½ in. longer including the +tenons. To cut the holes for the pins, insert the tenon through the +end and mark across it on the outside just where it comes through the +mortise, then take it out and bore a hole about ½ in. in diameter +on this line so that when the tenon is inserted through the mortise +one-half of the hole will be outside. You can thus make your pins round +and by splitting them in half have two pins. All sharp edges should +be rounded off a little with the plane so they will not be so easily +marred. Smooth thoroughly before putting together. The seat is held in +place by two screws from underneath through the upper stretcher into +the seat. These screws should be near the ends of the stretcher and +well into the seat, but be very careful they do not go through the seat. + + +PLANT STAND. + +[Illustration: PLANT STAND] + +[Illustration: (Plant Stand Plan)] + +Plant Stand: Lumber required 4 ft. 1 in. × 12 in. Cut the top from one +end of your board. Then lay out the four legs marking the top of one +next the bottom of the other to save sawing and the four will just +about take up the width of your board. The two stretchers will cut out +of the remaining lumber leaving you a piece about 6 in. wide to spare. +Smooth up the edges of the top and take off the sharp corners with +your plane. Next shape the legs cutting the rabbet ¼ in. deep for the +top to fit in, then the mortises for the tenons on the stretcher. Next +shape stretchers, halving them together where they cross and making the +tenons about one-third as thick as the material itself, and shaped as +in the drawing. Smooth thoroughly before putting together. Fasten the +tenons with glue and the top either with a plug glued in as at (a), or +with screws sunk and covered by a plug as at (b). This plug should be +about one-half inch diameter and allowed to project about ½ in., the +end being rounded as in illustration. + +This stand made about 27 in. high, 23 in. in diameter, makes a pretty +tea table. + + +MAGAZINE STAND. + +[Illustration: MAGAZINE STAND] + +Magazine Stand: Lumber required 20 ft. 1 in. × 12 in. Get out ends +first to dimensions given. Cut mortises for the tenons on the ends +of the top and bottom shelves, the top of the lower ones 5 in. above +the floor and the top of the upper ones 35 in. above the floor. These +shelves do not fit in a rabbet. Next cut rabbets ¼ in. deep for the +other two shelves, the top of the lower one being 15 in. and the top of +the upper one 25 in. above the floor. Cut holes for pins as described +in directions for piano bench. The brace (a), below the lower shelf has +no tenons and no rabbet but just fits snug and is set back from the +edge of the shelf about an inch, as shown by dotted lines in end view. +Is fastened by two screws from underneath as shown. These screws need +not be plugged, as the holes will not show. + +[Illustration: (Magazine Stand Plan)] + +Make the tenons on the ends of the lower shelf about 2 in. wide and +about 1½ in. for the upper tenon, the tenons being full thickness of +the shelves. + + +MUSIC CABINET. + +[Illustration: MUSIC CABINET] + +Music Cabinet: Lumber required 12 ft. 1 in. × 12 in., 6 ft. 1 in. × 4 +in., 2 ft. ½ in. × 9 in., 14 ft. ½ in. × 1 in. and 4 ft. ½ in. × 12 in. + +[Illustration: (Music Cabinet Plan)] + +Note that the top and bottom shelves are rabbetted ¼ in. into the +sides, and held by screws from the outside covered by plugs. The +door is made with panel ½ in. thick. The three middle shelves are +adjustable, that is, may be set at any height by cutting notched +uprights of the ½ in. × 1 in. material and screwing them to the sides +of the case, as shown in side view at (a), and cross pieces to fit +in these notches and support the shelves at (b). The shelves are not +fastened at all but the corners cut out to fit round these uprights and +rest on the cross pieces (b). The support under the lower shelf (c) is +simply fitted in and fastened with screws from underneath. It will look +well to set the door in about ⅛ of an inch from the front edge of the +sides and top and bottom shelves. Piece (c) should also be set in ⅛ of +an inch. The back should be fitted between the sides and fastened with +screws covered by plugs. Any kind of catch may be used, but a square +wooden knob bevelled to a point on the outside and cut to fit a round +hole and fastened with glue in the door, as illustrated at (d), will +appear best. If this knob is used get a friction catch and set it in +the top of the door. + + +HALL SEAT. + +[Illustration: HALL SEAT] + +[Illustration: (Seat Plan)] + +Hall Seat: Lumber required 12 ft. 2 in. × 12 in., 36 ft. 1 in. × 12 in. +The ends are of the 2 in. × 12 in. material dowelled and glued. The box +under the seat has two tenons on each end of back and front, which may +either come through flush with the outside of the ends or not quite +all the way through if preferred. These tenons should be about 2 in. +wide, full thickness of board and are fastened with glue and wooden +plugs straight in from the front and back. Note that the box front and +back (a) is set in about an inch from the edge of the seat. The seat +itself is hinged to a 3 in. strip (b) side view at the back, and has +a piece (c) across each end about 2 in. wide same thickness as the +seat and flush with it, instead of battens underneath, to keep it from +splitting. The bottom of the box (d) fits inside resting on a square +strip at each end which is screwed to the ends of the seat. The back is +rabbetted into the sides and fastened with screws from the back as at +(e). This back is made of three boards, as at (f), and fastened with +screws. Note that the edges of these boards are planed to an angle of +45 degrees, then the lower edge of each is just planed off so that when +put together there is a little V at the joint. This makes an easy and +good looking joint, as no crack will be visible, while at the same time +it does not require the care and time necessary in the ordinary joined +edges. This seat will be found very convenient in the hall for rubbers, +etc., if you have a galvanized pan made to fit in the bottom of the box. + + +HAT TREE. + +[Illustration: HAT TREE] + +[Illustration: (Hat Tree Plan)] + +Hat Tree: Lumber required 16 ft. 1 in. × 6 in., 6 ft. 4 in. × 4 in. The +4 in. × 4 in. is, of course, for the post which should be bevelled to +a point at the top as shown. The feet are made by gluing three pieces +of the 1 in. × 6 in. together, as shown at (a), and then sawing to +shape with compass saw. It will save work to allow the middle piece to +project about 1½ in. for a tenon to fit into mortise in the post, as +shown at (a). The arch in the bottom of the feet need not be cut all +the way across but simply take the corner off, as at (b), which shows +the inner end of a foot. This taking the corner off saves work, gives a +firm footing and has all the appearance of being cut clear across. + +To make the coat and hat hooks take a piece of the 1 in. × 6 in., as +at (c), cut a jog about 1 in. deep in the lower inner corner for a +shoulder, measure 6 in. from the inner end along the top edge to (d). +Using this as a center, with your compass mark the half circle (e), +which should be 3 in. in diameter; 4 in. from the inner end of the +piece and 3 in. below the top edge take another point (f) and describe +a circle 3 in. in diameter as before. Next bore a 1 in. hole at (d) as +near the edge of the board as the bit will work and a 1 in. hole at +(f). With the compass saw saw round the outer circle at (e) until you +come straight under (d), then saw straight to the top side of the hole +(f). From the hole (f) slightly above its lower side, so as to leave +a little hook, saw straight to the outer circle and then follow this +outer circle until directly under point (f), then straight into the +shoulder as illustrated. Fit these four pieces into mortises in post, +fasten with glue and pin as illustrated. + + +DINING TABLE. + +[Illustration: DINING TABLE] + +[Illustration: (Table Plan)] + +Dining Table: Lumber required 10 ft. 3 in. × 3 in., 16 ft. 1 in. × 4 +in. and 18 ft. 1 in. × 12 in. For the top join four pieces of the 1 in. +× 12 in. 4½ ft. long with dowels and glue. Allow it to stand at least +twelve hours, then cut circle and dress off the top with plane. The +stretchers (a) are halved together where they cross in the center of +the table and mortised into the legs as shown. Stretchers (b) are also +halved together at center and shaped and mortised as shown. It adds to +the appearance if you put a pin in the top of these stretchers where +they cross as shown at (c). This pin may be either square or round. +The top is fastened with screws from underneath through the stretchers +(a). These screws need not, of course, be long enough to reach entirely +through the stretcher, but the heads may be sunk about 2 in., as shown +at (d). + + +CHAIR. + +[Illustration: SIDE CHAIR] + +Chair: Lumber required 12 ft. 1 in. × 4 in., 12 ft. 1 in. × 2 in., 4 +ft. ½ in. × 2 in., 3 ft. 1½ in. × 1½ in. + +[Illustration: (Chair Plan)] + +First get out the back posts from a piece of 1 in. × 4 in. to +dimensions given. Cut the mortises for the back slats, seat frame and +spreaders at positions indicated in sketch. The upper rail in the back +should be about ¾ of an inch below the top of the side posts and by +following the dimensions given in drawing you will get the position of +the lower rail. The three upright slats in the back should be mortised +into the top and bottom rail, as indicated by dotted line, but may be +mortised full thickness and so save cutting a tenon, though if you do +cut a tenon it perhaps saves more time, as you do not have to be so +careful in cutting your mortise, which is covered by the shoulder of +the tenon. When you have got out the back posts, next make the front +posts, cutting your mortises exactly the same height from the floor +as those in the back posts. Then get out the side rails and put these +pieces together. The tenons on the side rail should be as long as +possible without going quite through the leg, as they take all the +strain when the chair is tipped back. Having glued the two sides of the +chair together next get out the top and bottom rail of the back and +fit and glue the three slats into them. Then get out the other rails +of the back and front and glue them in one side of the chair. Then put +on the other side of the chair and the frame is complete. The seat is +what is known as a slip seat and is made and upholstered separately, +then slipped into the frame of the chair. The inner frame for this seat +is shown at (a) by dotted lines. It is made of the 1 in. × 2 in. stuff +firmly mortised and glued at the corners and rests on four brackets +at the corners of the frame, as shown by dotted lines. It should be +a full ⅛th of an inch smaller all around than the frame in order to +allow it to slip into the frame after the leather seat has been tacked +on. This leather seat is made by tacking strips of strong webbing or +canvas about 3½ in. wide over the top of this inner frame. Interlace +these strips like basket work, leaving little or no space between them +and stretch tightly over the frame. With soft cotton, hair or other +padding laid evenly over the whole surface, being careful to leave no +hollows and making the center a little thicker than the edges, build up +your seat as thick as you want it. Then stretch the leather or other +covering tightly over both padding and frame and tack it firmly on the +under side of the frame. To cover the webbing and ends of the leather, +tack a piece of black cloth over the whole bottom, then slip the seat +into the frame. Some workmen put a pin through the leg and tenon where +the rails are mortised into the legs. This adds strength, but we think +is hardly necessary if your tenons fit properly and are strongly glued. + + +MORRIS CHAIR. + +[Illustration: MORRIS CHAIR] + +Morris Chair: Lumber required 8 ft. 2 in. × 2 in., 14 ft. 1 in. × 6 +in., 14 ft. 1 in. × 2 in., 5 ft. ½ in. × 10 in. + +[Illustration: (Chair Plan Top View)] + +[Illustration: (Chair Plan Side View)] + +First get out the posts. Cut the mortises, as indicated, for the seat +frame. Put the sides together, fastening the arm on top of the posts by +a screw down through the arm into the top of each post. This screw, of +course, is to be covered by a plug, or if you desire mortise the top of +the post through the arm making a square tenon mitred to a point on top +of the arm. Next put in the front and back rail. Screw a strip (a) side +view on the inside of the side rails and slats (b-b-b) resting on these +strips to hold the seat cushion. The back is made separately and hinged +on to the top of the back rail of the frame. It rests against a bar +which fits into notches in the arms, as shown at (c), the bar itself +being shown at (d). Note that the arms project about 1 in. inside of +the posts and therefore are rounded out to the post at the back, where +the back of the chair comes up between them. We would suggest your +having the cushions made at an upholsterer’s, as it is difficult to +make good cushions yourself. In imitation leather these will cost about +$10.00 and in genuine Spanish leather about $20.00. + + +LIBRARY TABLE. + +[Illustration: LIBRARY TABLE] + +Library Table: Lumber required 26 ft. 1¼ in. × 12 in., 10 ft. 1¼ in. × +8 in., 20 ft. about 1 in. or 1¼ in., square. + +[Illustration: (Table Plan Side View)] + +[Illustration: (Table Plan)] + +First select three pieces 5 ft. long of the best of the 1¼ in. × 12 +in. for the top. Join these with dowels and glue. When dry fasten four +strips on the under side with glue and screws, as shown at (a) in side +view and bottom view. These strips should be set back about ½ in. from +the edge of the top and mitred at the corners. They strengthen the top +and give it a massive appearance. Next get out the ends. The pieces +(b) and (c) are exactly the same. To mark the curve place one point of +your compass at the corner formed by the dotted lines at (d) and with +the other point mark the curve, the points being 3¼ in. apart. The +upright pieces (e-e) are mortised into the top and bottom pieces and +are made as shown at (f). The shelf should be made before the table is +put together, the position for the tenons being marked by placing the +end of it against the mortises in the uprights after the end is put +together. The ends are fastened to the top by means of a square strip +which is screwed to the top and then the ends screwed to the strip, +as shown at (g) side view and bottom view. The tenons in the ends of +the shelf should be about 1⅛ in. wide and full thickness of the shelf, +which will make them square. The pins for these tenons are shown at (h) +and should be about ½ in. thick. + + + + + Special Designs + + +Use the following blank pages for pencil sketches and clippings. + +We will furnish working plans, with full instructions for any piece of +furniture you may desire at 50c. each. Just send us a rough sketch or a +picture, giving your idea. + + + The Farm & Orchard + Publishing Co. + +[Illustration: (Union printing mark: Allied Printing.; +Trades Council; Union Label; Spokane Wash.)] + + Spokane, + Washington. + + + + + TRANSCRIBER’S NOTE + + Illustrations in this eBook have been positioned between paragraphs + and outside quotations. + + Illustrations without captions have had a description added, this is + denoted with parentheses. + + + +*** END OF THE PROJECT GUTENBERG EBOOK 76260 *** |