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.