ELECTRICITY IN THE WINDOW.
Electric power, as applied to the show window, may be divided into two
sections: (a) Electric lighting, and (b) electric mechanism. We will
consider these sections separately.
LIGHTING THE WINDOW.
The most approved method of stationary electric lights for windows are
those placed at the top, next to the window pane, and so arranged as to
throw their light downward and backward from the observer. Thus the
entire window space is fully illuminated and the incandescents are
themselves hidden from view. Separate reflectors or a long reflecting
trough of tin should be placed back of the lights. Special lighting
effects are explained in detail further on, but the regular lighting is
best arranged as above.
COLORING ELECTRIC LAMPS.
Where colored effects are desired the incandescent lamp globes may be
tinted to throw distinct or combined colorings over the entire display.
There are several preparations that answer the purpose, and indeed are
best at times. Pikron for glass is excellent, or a lacquer will answer.
However, they sometimes become spotted from the heat.
Another and better method is by using white shellac, thinned down with
wood alcohol, and by dipping the globe this produces a splendid
imitation of ground glass when a white light is needed.
If you wish to use purple, green, blue, etc., or any of the more
delicate tints, such as violet, buy five cents’ worth of aniline dye of
the color you wish; dissolve it in wood alcohol and pour it into the
shellac, taking care the shellac is quite thin, as otherwise it will not
cover evenly.
[Illustration:
DESIGN SHOWING PANORAMIC EFFECTS.—_Sawyer._
]
By using these or any other transparent coloring a vast number of
beautiful tints can be made that will blend perfectly with your color
scheme. Another excellent coloring is egg dye, treated in the same way.
Now I will explain how to go about it. After preparing your shellac pour
it into a vessel deep enough to immerse your lamp.
Take a piece of wire, and fasten it around the socket end of lamp; then
bring one end of the wire back over the end, and fasten to opposite side
to form a loop to hang it up to drip and dry.
This done, dip lamp in the coloring and hang it up, so it will dry
evenly, when it will be found to be beautifully frosted.
When mixing your color, bear in mind the more dye and the less shellac
the deeper your tint will be, and vice versa.
This method will apply to all colors except a deep red or deep yellow,
when I recommend the other colorings I have mentioned, any of which can
be removed with wood alcohol.
GENERAL ELECTRICAL INSTRUCTIONS.
Before proceeding with explanations of designs requiring special wiring,
it is well for the amateur to become acquainted with the primary
principles of electricity, without which he is helpless. The following
notes we culled from writings of experienced electricians.
POTENTIAL OR ELECTRO-MOTIVE FORCE.
This (commonly E. M. F.) is the term used for electrical energy or power
of doing work, and is used in the same manner as “pressure” is applied
to steam; in other words, it is the term used to express the force which
tends to move electricity from one place to another, and is proportional
to the difference of potential at the two places.
The earth’s surface is called “Zero Potential,” and is a reference point
to measure the relative condition of other bodies. A positively
electrified body is said to have a higher potential than the earth,
which in turn has a higher potential than a negatively electrified body.
When two dissimilar metals touch each other, there is a difference of
potential at point of contact. If zinc is in contact with copper it is
of higher potential. In a series of disks of copper, zinc and wet
cloths, arranged one over the other in above order, the wet cloth is the
conductor, and current will flow on joining last copper and zinc by
wire, etc.
This arrangement is called a voltaic pile (after its inventor, Volta),
and the difference of potential produced is proportionate to the number
of pairs of disks.
A difference of potential between two points connected will cause
current to flow till the potentials of both points are the same.
ELECTRIC RESISTANCE.
Resistance is offered by all substances to the electric current, and
varies with the nature of the substance.
Most metals are good conductors; wood and stone offer considerable
resistance, and silk, glass and ebonite are practical non-conductors;
but remember if a non-conductor is wet or even damp it becomes a good
conductor, moisture or water being a first-class conductor. On the other
hand, conductivity is diminished by an increase of temperature—otherwise
dryness. The following table will give a good idea of the conductivity
of metals:
That of silver being 100
That of copper is 97
That of gold is 74
That of platinum is 17
That of iron is 16
That of lead is 8
That of German silver is 7.5
That of mercury is 1.6
Therefore, generally, good conductors are all the metals, carbon, water,
aqueous solutions, moist bodies besides wood, cotton, hemp, etc. Good
insulators or non-conductors are paraffine, solid or liquid, turpentine,
silk, sealing wax, india rubber, dry glass or porcelain. The best
electrical conductors are the best thermal conductors, and a “red hot”
temperature converts insulators into fairly good conductors.
ELECTRICAL MEASURES.
Electricity being invisible and imponderable (i. e., not having sensible
weight, such as light, heat or electricity), it is impossible to apply
ordinary standards of measure. Electricians have devised special units
of measure of two kinds, called absolute units and practical units, the
ratio between the two being always some power of 10.
It has been decided in these measurements, length, mass and time shall
be expressed respectively in centimeters, grams and seconds—called C. G.
S., or centimeter gram-second method.
A gram equals 15.432 grains, a centimeter 0.3937 of an inch. The weight
of a body must not be confused with its mass; the mass is the amount of
matter contained, while the weight is its specific gravity, which may be
expressed by multiplying mass by accelerating effect of gravity, which
varies at different parts of the earth’s surface, and may be averaged at
32.2 feet (or 981 centimeters) per second.
The above absolute units are too large or too small for practical use,
but the following examples are given:
The dyne (absolute unit of force) is that force which, acting for one
second on a mass of one gram, imparts a velocity of one centimeter per
second.
The weight of one gram, as above shown, is equal to a force of 1 × 981 =
981 dynes.
The erg, or absolute unit of work is the work requisite to move a body
of one centimeter against a force of one dyne.
The weight of one gram is equal to 981 dynes, the work of raising one
gram one centimeter, against the force of 981 ergs.
An erg is about equal to 1/13,560,000 of a foot-pound. A foot-pound
represents the work required to raise one pound one foot high.
The practical units of most frequent occurrence are: The volt, the ohm
and the ampere.
The volt, or measure of E. M. F., or difference of potential, is equal
approximately to the E. M. F. possessed by one “Daniell” cell;
accurately it is 0.95 of the E. M. F. of a cell.
The ohm, or measure of resistance (sometimes called the British
Association or B. A. unit), is approximately equal to the resistance of
129 yards of copper wire ¹⁄₁₆ inch in diameter, or to 106 centimeters of
mercury, one square millimeter in section.
The ampere (formerly called the “Weber”) is the measure of strength of
current. If an E. M. F. of one volt be applied to send a current through
a resistance of one ohm, the strength of current will be one ampere.
That is to say, the strength of a current in amperes varies directly as
the E. M. F. applied to produce it, and inversely as the resistance of
the circuit.
The watt or practical unit of work (or rather, the rate of doing work)
is equal to 10,000,000 ergs per second, or to the work produced in one
second by one ampere of current of an E. M. F. of one volt, acting
through the resistance of one ohm.
The practical electrical units are called after the eminent scientific
investigators whose names they bear.
BATTERIES.
The portion of the copper plate (or carbon) from which the current flows
through the wire is called the positive pole (sometimes anode), and the
zinc plate the negative pole (sometimes cathode).
Elements, or the parts that produce current, are usually understood as
the lower portion of the cell contents, in which the plates are
immersed. When the term “pole” is reversed, the zinc being the positive
element, and the copper or carbon the negative element, it will be noted
current flows from positive pole (copper or carbon) and returns by the
negative (or zinc) pole.
The bubbles of hydrogen gas liberated at the negative element (copper or
carbon) resist the passage of the current, and being readily oxidizable,
will set up an opposing E. M. F.
A battery in this condition is polarized—that is, neutralized—and must
be renewed.
The E. M. F. of a cell is equivalent to the difference of potential
between its electrode when unconnected, and is independent of the size
of the elements, and is determined solely by the materials of which it
is constructed.
The difference of potential between zinc and carbon being greater than
that between zinc and copper, a cell of greater E. M. F. will result
from zinc and carbon.
The cells commonly used for annunciators, bells, etc., are the “Laclede”
and “Laclanche,” and are generally taken to have an E. M. F. of one and
one-half volts; the “Danniell,” one volt; others vary from one to two
volts when in good order.
To renew these cells fill the jar two-thirds full of clean water, add
six ounces sal ammoniac, let it dissolve; then put in the zinc and
carbon; be sure they are perfectly clean; and that the zinc is not worn
out or eaten away. There are two ways to connect up these cells; the
first is “in series” for E. M. F., the second “in parallel” for
quantity. The first method “in series” is as shown. This way the E. M.
F. is in proportion to the number of cells, three cells having three
times the E. M. F. of one volt.
[Illustration]
The second method, “in parallel” for quantity, is as shown; all the
negatives (zinc) are connected, and all the positives (carbon)
connected, making the current obtained of much greater volume, but only
of the E. M. F. or intensity of one cell.
[Illustration]
The strength of a current given by a battery varies with the resistance,
as well as with the E. M. F., and can be increased not only by adding
more cells “in series,” but also by lessening the internal resistance,
viz., by increasing the size of battery plates, or more simply by
coupling all the + (positive) poles together, and all the - (negative)
poles together. The E. M. F. of cells coupled in this way is only equal
to that of a single cell, but the current will be greater because the
internal resistance will be only one-third that of a single cell. This
plan is called coupling up for quantity, or “in parallel,” to
distinguish it from the plan of “in series,” or for intensity.
The E. M. F. of a large and small cell are both the same (using same
size elements). To increase E. M. F. multiply the cells “in series.”
The ordinary battery carbon is a mixture of carbon and peroxide of
manganese—“Oh, Mr. Window Trimmer, please see if you can make this bell
ring.” Bell No. 7 is dead, and there is no end of trouble; this is
something met with occasionally. Examine the battery, see that it has
not become crystallized (polarized), and if so, disconnect one cell at a
time. Clean it well, without wetting the outside of jar, recharge with
new zinc (if required) and six ounces powdered sal ammoniac, jar being
first filled two-thirds full of warm water, or enough to avoid overflow;
replace cell, connect up and take out another. Be sure to reconnect the
cells left in battery, so as to keep it working while you are cleaning
each one. A good way, if you don’t think the cells need changing, is to
take a small call bell or buzzer, with short wires, disconnect both ends
of battery, then test every cell by placing a wire on each pole of the
cell at same time. If cell is all right, bell will ring. Suppose you
find cells all right, proceed to bell No. 7, the dead one, examine the
push button, and trace the wires from bell to battery, being sure they
are not grounded by lying on some steam or gas pipe with the insulation
worn off. (If it should be a case of continual ringing, the wires are
crossed.) You may expect a “ground” if the battery has run down suddenly
or too quick. If the trouble is found in the annunciator, don’t bother
with it, unless you are expert or want trouble. Send for an electrician;
it will save time—in other words, money.
SPECIAL WINDOW WIRING.
Many houses have ample facilities for electrical work, but as they do
not employ a house electrician many beautiful and attractive effects are
barred in their windows. Even when an attempt is made to introduce
electrical effects into displays the results are tame and insignificant,
because of a lack of special wiring. Yet we know that the success of
many windows depends largely upon their illumination.
In some mercantile establishments the trimmer has an electrician at his
beck and call, and when a design is ready he simply pushes the button
and Mr. Electrician does the rest. But I know that these are exceptional
cases, and that in the majority of establishments the trimmer is thrown
upon his own resources, and has no one to help him out of his
difficulties. And if he is not posted on electrical appliances, his
designs are not properly illuminated—a deficiency that annoys the
conscientious trimmer as much as it does his employer.
Electricity, properly applied, is an important factor in selling goods
through the show window. Therefore the window trimmer who understands
wiring his own windows is a more valuable man to his employer than one
without this knowledge. I shall endeavor to be plain and avoid the use
of unnecessary technical terms.
No doubt your windows have permanent lights. The first thing to do is to
have a switch or “cut-out” run in for special work. Any electrician will
do this for you in an hour or so, and it saves you from tapping your
permanent wires, which should never be done.
Be sure to ascertain the voltage and amperes; or, to be plainer, find
out how many lights your “cut-out” will carry.
Before you begin work you must have proper tools to work with, and
sufficient supplies to meet any case of emergency.
ELECTRICAL TOOLS.
The following is a list of tools required:
Pair of nippers to cut and twist wire.
Brace and bit.
Screw driver.
An old pocket knife.
Burner. (Similar to that used by painters to burn off paint.)
That is not a formidable list, nor difficult to procure; but each item
is necessary.
STANDARD ELECTRICAL SUPPLIES.
The list of supplies you should keep on hand is as follows:
No. 10 or No. 12 insulated wire.
Insulating tape.
Bushing.
Clay bushings.
Sockets.
Lamps.
Porcelain knobs.
Solder.
This last item you can get prepared with resin, and it needs no acid to
make it adhere.
No quantities are specified in the list. Your judgment will enable you
to determine how much you will need or can use to advantage.
ARCS AND INCANDESCENTS.
Perhaps I would better explain here the difference between arc and
incandescent wiring. If we had a row of arc lights to put up we could
run our wires as in Fig. 1. The current going to the first light passes
through to the next, and so on until it reaches the last light, when it
returns to the dynamo.
[Illustration: Fig. 1. Fig. 2. Fig. 3. Fig. 4. Fig. 5.]
With incandescents we run two wires parallel, and make our connections
as in Fig. 2. This is called “multiple arc.” Each lamp is independent of
the others, and if one “dies” the current passes through the others
uninterrupted.
Suppose you have a “cut-out” of 110 volts, carrying sixteen or twenty
lamps, and wish to run six lamps on a strip. (This is figurative, and
only used to demonstrate, for you can use any number up to the capacity
of your switch.) You proceed as follows: Lay out the place for each
lamp. Bore two holes the size of bushings, and between each two lamps
place two knobs, as in Fig. 3. Cut two pieces of wire, long enough for
all the lights, allowing enough extra to knot each knob and for the last
lamp, and also leaving enough to reach the switch. Fasten the wire to
the knobs nearest the last lamp, as in Fig. 4. Stretch tightly to the
next knob, and repeat until the wire is all laid. For each lamp remove
about one and one-half inches of insulation on each wire. Take pieces of
wire five inches long for connections, and remove one and one-half
inches of insulation from the ends of each. Twist these ends tightly
around your lead wires, as in Fig. 5, and solder them. The simplest way
to solder is to heat your exposed wires until they are hot enough to
melt the solder when it is held against them.
Let me say here that when I have laid out my wires, and marked my
connections, I then unloose the wires, make my cross-connections and
replace them. It takes time, but it is easier, and is the proper way to
work.
When the soldering is finished take your tape and carefully wrap each
exposed wire. Then through each hole put a piece of bushing, and run
your connections through the bushings. Run the two ends through for the
last lamp. No short wires are attached for these, and your work should
now appear as in Fig. 6.
[Illustration: Fig. 6. Fig. 7.]
Then you are ready for your lamps. Turn the strip over and fasten the
sockets in place, positive sides all on the same edge of your strip. Cut
the connecting wires the required length and remove one-half inch of
insulation from the ends. Loosen the brass screws, place the ends of the
wires under them, and fasten down. Fig. 7 shows one side of socket
connected. Attach brass hoops and rubber rings, and you are all ready
for placing and connecting. It is probably unnecessary to state that the
same principles above explained will enable one to place lights in
circles, horseshoes or any other designs that may be required. Once you
know how to wire a window, a great field of operations is open to you.
THE FUSE.
The next important step in show window wiring is the proper fusing of
circuits. The fuse is to the lighting wire what the safety valve is to
the steam boiler. A fuse is composed of a fusible metal, which contains
lead, zinc, etc., and becomes fusible at a certain degree of
temperature. The fuse is supposed to be “the watch dog” of safety.
Ninety-five per cent of the electrical fires are caused by improper
fusing.
My advice to the amateur is to apply to the nearest office of the
National Board of Fire Underwriters for a copy of the rules on
incandescent wiring. They may be obtained for the asking.
THE TRANSFORMER.
Usually the electric fluid (?) is conveyed into the building from the
alley, where the high tension wires are strung, carrying a pressure of
2,500 to 3,500 volts from this line. By the aid of a “transformer” the
current is reduced to a pressure of 110, 105 or 50 volts, as required,
entering the building, when it is conveyed to a double-pole switch; that
is, a switch which cuts off both positive and negative wires at the same
instant.
[Illustration: TRANSFORMER.]
The “transformer” is a device for reducing the current from one
potential or tension to another, and consists of a ring of many turns of
insulated wire; the high tension wire is then wound around and through
this ring several turns, and the low tension wire carrying the current
into the building is wound around the opposite side of the ring in like
manner. The difference in pressure is controlled by the number of turns
around the ring on either side, as shown.
All the wires being insulated, the reduction is made by “induction”
only. The size of the wire makes no difference in the voltage or
pressure, but it makes all the difference in the “amperes” or quantity
used to supply the building.
The electric light company will supply a sufficiently large wire from
transformer to switch; the firm does the remainder of the wiring.
FEEDERS.
From this large double-pole switch (which is the main cut-off) radiate
“feeder” wires to the various parts of the building, to supply the lamp
circuits. These feeders have to be carefully gauged according to the
number of lamps, or rather, amperes, they are required to carry, in
order to avoid resistance in the wire; or in other words, must not crowd
the carrying capacity of the wire, or the resistance will make the wire
hot and might cause fire.
A “feeder” to the circuits for fifty incandescent 16-candle power lamps
should be of somewhat higher capacity, say a No. 10 Brown & Thorp Gauge
(B. & S. G.) which has a safe carrying capacity of thirty-two amperes or
sixty-four 16-candle power lamps, allowing one-half ampere to each lamp;
a No. 12 B. & S. G. wire is allowed to carry twenty-three amperes, or
about forty-five 16-candle power lamps; No. 13 B. & S. G. wire is
allowed to carry sixteen amperes, or about thirty 16-candle power amps.
The “feeder” should have considerably more carrying capacity than is
required in order to permit the addition of extra lights, as occasion
may require, and to provide for the addition of extra window lights, if
there be not a special feeder for the purpose.
The feeder wires are tapped for lamp circuits by a branch block carrying
a fuse for the protection of the circuit. The construction and operation
of the branch block, or cut-out, will be understood at once on
inspection. The fuse here is the important part; it must be of smaller
carrying capacity than the wire it is to protect, and not depend upon
the amount of current in the feeder; thus, a No. 10 B. & S. G. might be
protected with a 20-ampere fuse (forty lamps, sixteen candle power), or
with a 25-ampere fuse, leaving a margin of seven amperes, the wire being
allowed to carry thirty-two amperes. It will be understood that “open
work” is meant in every case, and wires that are concealed are not
allowed to carry so much. The No. 12 wire B. & S. G. is allowed
twenty-three amperes, and would be protected by fuse of fifteen to
twenty amperes capacity.
The lamp circuits from feeders are in many cities restricted to a
certain number of amperes, usually six to ten, or say from ten to twenty
lamps (sixteen candle power). Each of these circuits must be protected
by its own fuse and have an independent switch. All fuse boxes must have
their porcelain cover kept on, and no inflammable material allowed near
them. “Twin wires,” or two wires encased, are objectionable.
Drop cords are not allowed except for drop lamps, and must be protected
by one-ampere fuse in rosette or cut-out. All wires where joined must be
soldered—to prevent an arc forming by making the path of the current
continuous or tight.
It is well for the beginner to know that a current of 110 volts does not
kill, though it might make the recipient seriously ill. Therefore, be
careful not to get yourself in the path of the current. Never touch both
naked ends or openings in wires at the same time, nor stand upon the
ground while working live wires. Always stand on some non-conductor, a
dry board, for instance. The inexpert can always protect himself by
disconnecting a fuse behind him both sides; or, better, open the “main
cut-off” or first switch.
CONNECTIONS.
When your design is wired and set up in your window, your next step is
to connect it to your “cut-out.” You will find two wires leading from
it; to these you connect the two wires leading from your design.
It is not necessary to solder this connection; simply remove sufficient
insulation and twist the wires together tightly.
[Illustration: Fig. 1. Fig. 2. Fig. 3. Fig. 4.]
There is a way to do this that every one should know, and I will tell
you how to make a
WESTERN UNION HITCH.
After removing the insulation from the wires at the ends to be
connected, bend the wires as in Fig. 1, lay them together as in Fig. 2,
then with a pair of pliers hold one side, and with another pair twist
the end around the lead wire tightly and closely, as in Fig. 3. When
this is done hold the twisted wires with pliers and repeat the twisting
process on the other side. This is a perfectly safe connection, and does
not waste electricity as does a loose joint.
DIFFERENT VOLTAGES.
Sometimes it happens that your electric system is of higher voltage than
you need use in special work; for instance, you may have a 220-volt
circuit, whereas 110-volt lamps are amply strong for your work; or
again, you have a 110-volt circuit, and want to use a number of small
lamps, 1-candle power, for example.
These are usually of lower voltage, fifty-five or thereabouts.
In these instances we resort to a method known as wiring in series,
which is done as in Fig. 4.
Of course the number of lamps to a series is to be governed entirely by
the voltage, and the trimmer must resort to his own judgment in
determining this.
You will see by the diagram in Fig. 4 that you have two lights for each
connection with your lead wires, therefore, if using a 220-volt circuit
and 110-volt lamps you have each connection using the full 220 volts,
otherwise your lamps would soon burn out, as every connection must
consume as many volts as your circuit carries.
Special Designs.—These few instructions answer for a single string of
lights, such as a circle, arch, cornice, etc., where your leads run
uninterruptedly from first to last lamp; but “how about a design that is
impossible to wire that way?” you ask. It is simple, and I have made a
few diagrams to illustrate the method employed.
You may have a cornice about your windows, and must bring your wires
from the corner. Fig. 5 will show how to do it. A cross, or such designs
as have two breaks, are wired as in Fig. 6.
[Illustration: Fig. 5 Fig. 6 Fig. 7 Fig. 8]
Again, you may wish to use more than one design in a window; for
example, you may have three circles, one at back and one at either side.
Fig. 7 shows the easiest method.
These principles apply to many varieties of designs, and it is only the
principles I am endeavoring to make plain.
And now I will give a few hints or, better yet, some don’ts which will
be valuable for amateurs.
SOME “DON’TS.”
Don’t be negligent in handling your connections. Insulate every joint,
and don’t leave loose joints; they consume too much current.
Don’t cross wires that are insulated without bushing the overlying
wires, and never cross uncovered wires.
Don’t bring a wire through the floor or back of window without using
clay bushings; that’s what they are for.
Don’t run wires (as in Fig. 8) without using a lamp, or cutting wires
where X is marked; it saves a short circuit.
Don’t let the wires to your lamps touch brass, except under the screw.
Don’t attempt to connect your design to your “cut-out” until you are
sure your switch is open. You may short circuit yourself. It is not
necessarily fatal, but is decidedly unpleasant.
Don’t handle live wires; 110 volts won’t kill you, but through
carelessness you may some day touch a stronger circuit. Practice
caution.
Don’t leave an uncovered wire to show in your window. If you suspend a
design, wrap the wires with the same color as your background.
Don’t imagine you are an electrician because you can run a string of
lights. Keep digging away; you’ll learn something every day.
Don’t try to do all kinds of joint soldering by heating the wires
merely. When you become a little more accustomed to the work, get a
larger tool kit, and among the first things get a soldering iron. In
many places it is necessary.
LETTERS IN ELECTRIC LIGHT.
In the following illustrations are shown plans of a sign to be
electrically illuminated. The electrical work is necessarily done in the
electric working shops, but as many illuminated signs are being used
nowadays, the description may be useful to decorators who contemplate
putting in something of the kind. In the first figure the letter is on a
casing, A, having a back or support carrying incandescent lamps in
channels. The form of the letter is sheet metal and is set-screwed to
the base piece at the places marked C. The disks B are plate glass
colored to conform to the requirements. The commutator is shown in the
other figures. In the first, E is a wood cylinder, which turns in
bearings, D. F F are spring contractors, and G G wire connections which
join those of the lights. Another view is in the next drawing, in which
the cylinder is B, bearings D and spring contractors C. The cylinder is
driven by a small electric motor, G, through a reduction gear,
consisting of a train of wheels or worm gearing, as at F and E. The
spring contacts are electrically joined to the terminals of the lights.
The terminals are joined by a combined return to one pole of the source
of electric supply, and the other pole is connected to the contact
pieces. The rotation of the cylinder consequently breaks and joins the
circuit as desired, producing alternate changing of the lights and
colors, resulting in attractive effects.
[Illustration]
THE WEBER COMMUTATOR.
[Illustration:
FIG. 1.
]
Fig. 1 is end view. H is a wooden cylinder six inches in diameter and
twelve inches long (length is optional according to number of lights),
this, as well as all other bearings, run on bearings of curtain
fixtures. G is pulley wheel connected with reducer in Fig. 3, D are
projections of soft rubber ¼ inch thick placed on cylinder H, and work
as follows:
When D reaches E it forces E to the left and forms a contact at F F,
thus closing the line and causing lamp or lamps to burn. The position of
D on cylinder, and length of same, must be determined by the length of
time the lamp or lamps continue to burn and when they shall burn.
The distance from A B to B is 5¾ inches, from A C to C is 7¼ inches.
F F are made of spring copper cut in strips ⅜ of an inch wide and bent
to shape, then fastened in base with screws and washer.
[Illustration:
FIG. 2.
]
Fig. 2 shows front view of commutator and needs no explanation. The
above can be operated with water, motor or electricity; but where
electricity is used it becomes necessary to reduce speed of motor (which
is 2,200 revolutions) to about 40 or 50 revolutions; this is done by
building the reducer as shown in Fig. 3.
Fig. 3 shows machine made at an outlay of labor only. Procure six
tobacco pail lids, join them face to face with screws and you have three
grooved wheels. Make axles of curtain poles twelve inches long, then
make frame, again using curtain fixtures as bearings.
[Illustration:
FIG. 3.
]
Attach motor to No. 1, then from axle of No. 1 run belt to No. 2, from
axle of No. 2 run belt to No. 3, then attach axle of No. 3 to pulley G
on cylinder and you have a machine on which you can operate from 1 to
100 incandescent lamps alternately.
The Weber commutator is very inexpensive, and has been made by a
decorator with an outlay of only fifty cents for the three parts.
THE REYNOLDS FLASHER.
The most reliable machine we now have is one manufactured by a Chicago
firm, which is perfect in its construction and operation and will not
break down or cause danger from sparks. The expense is about fifteen
dollars and the adjustment is so easy that any one can operate it.
A CHEAP HUB SWITCH.
No doubt every one has seen revolving wheels, stars, pyramids, spiral
stairs, etc., strung with lights, and many have envied the man who had
the facilities for this work; but by following these instructions they
can make an appliance that will do the work perfectly.
First make a pulley wheel twelve inches in diameter; then make two
circles of one-inch wood six inches in diameter; nail together and
fasten in exact center of pulley; insulate the 6-inch circles perfectly.
Next take two strips of spring copper three-eighths inch wide, and make
two hoops to fit snugly over the insulation and to each hoop fasten a
wire eighteen inches long; then put your hoops on your 6-inch circles
about one inch apart, taking care to have them even and tight.
Bore a hole through pulley wheel, and run wire from hoop nearest it
through hole; then bore a hole through 6-inch circles and pulley, and
run the other wire through it. Use bushings in holes, and insulate
uncovered wires. Next take two pieces of copper three-eighths inch wide,
six inches long, bend in half circles, attach wire to end of each,
fasten to a piece of 1×2, so they will form contacts with copper bands
on circles.
[Illustration: Fig. 1. Fig. 2. Fig. 3.]
Fig. 1 shows band of copper, two half circles on 1 × 2, and pulley when
finished.
Now suppose you want to use revolving wheel on pivot. Fasten your
appliance in center of wheel, run wires from lamps to wires running
through pulley and connect them; then when your wheel is in position,
fasten piece of wood with two half circles so each presses tightly on
one of the copper bands; connect the wires from half circles to wires
from switch, and as your wheel revolves you have a steady contact.
Fig. 2 shows front of wheel, and 3 shows wheel from rear with half
circles in position.
For a pyramid or such fixtures simply fasten your appliance to bottom or
top as serves your purpose best.
Make your work as near perfect as possible, so the half circles never
leave the bands, and exercise great care in insulating, for, while
neglect does not always result disastrously it is well to be on the safe
side.
THE RUBENS DOUBLE-REVOLVING EFFECT.
[Illustration]
The idea is novel and simple. The construction of this machine is
inexpensive. Go to any machine shop and have them bore out a piece of
shafting so that one will fit into the other snugly. The contact plates
are made of copper, lined with asbestos, mounted on wooden circles. In
fact, the entire machine can be built for $12. There is no limit to
designs that can be made for this arrangement. The novelty of two large
pieces revolving in opposite directions, apparently from the point of a
single shaft, is in itself a worthy attraction in any window. You will
observe in photo that there are two pulleys on main shaft, also a
countershaft below. One belt is up straight, the other belt is twisted
so as to reverse either shaft. The large pulley on the countershaft is
the main driver. The belt attached to this pulley leads to your motor or
whatever power you wish to employ. This device is safe as well as
simple, as you have ample room for cut-outs.
[Illustration]
A—Inner shaft, ⁷⁄₁₆ inch diameter.
B—Outer shaft, 1³⁄₁₆ inch diameter.
C—Contact plate.
D—Holder for brushes.
E—Driving pulley for outer shaft.
F—Driving pulley for inner shaft.
G—Contact for feed, inner shaft.
H—Boxing for shaft.
I—Flange for inner shafting.
J—Flange for outer shafting.
K—Cut-outs.
L—Binding posts for outer shaft.
M—Feed wires.
[Illustration]
THE TYLER AUTOMATIC SWITCH.
A is a wooden cylinder, twelve inches long and six inches in diameter. B
is brush made of three layers of copper, and is screwed down at lower
end, No. 1, so as to work as a spring. C is piece of copper one-half
inch wide fastened around cylinder, and comes in contact with B, so as
to make one feed wire run to switch. D is piece of copper running
one-third of the way around, and comes in contact with another brush, E.
Then fasten a small piece of wire from C to D that carries the current
to No. 2, while E is on copper. The other feed wire is direct from main
circuit to window. F is pulley wheel running to reducer. No. 3 is fuse
blocks, which can be used and are much safer than without. This switch
cost me twenty-five cents. Of course, I am my own electrician. It will
cost no more to any one, as it is very simple.
HOW TO MAKE AN ELECTRIC WAVING FLAG.
This would appear to the uninitiated as a hard one to build, yet it is
one of the simplest electrical devices to construct.
First ascertain size of flag you want to make, as there is no limit to
size. Build the body of your flag of thin boards, say half an inch
thick. The next important thing is to outline on your woodwork an exact
flag. Be sure you get the requisite number of stars and stripes. You are
now ready to proceed to fasten on your sockets. I may further add here,
the flag should not be square. Have a wave running through your stripes;
saw out your edges (see cut) accordingly. You now have the general
outline, as far as the flag is concerned.
[Illustration: WAVING ELECTRIC FLAG By Geo B. Rubens, INDIANAPOLIS IND.]
[Illustration:
FRONT VIEW OF THE WAVING FLAG.
]
[Illustration:
REAR VIEW OF THE WAVING FLAG.
]
Now, then, for the mechanical part of it: Saw out two wooden disks,
twelve inches in diameter, with a ⅞-in hole in the center. Next you
procure a piece of slate, fourteen inches square. Take a compass and
strike a 12-inch circle. By drawing your compass around several times,
you will find it will cut a fairly deep line. You can then take a hammer
and by a few light taps break the square edges of your slate, leaving a
perfectly round disk of slate. Next, you want a ⅞-inch hole in the
center of the slate. Now mount this on the wooden disk; next, cut the
copper contacts and shape them the same as a keystone. It will require
fifteen of them for that number of circuits. To each one of them solder
a piece of No. 14 wire, as shown in cut G. Then bore the holes in the
slate so that the wires will go through the back of the disks, as each
wire must run from the disk to the flag; that is the negative side, and
the positive side runs right straight from your feeder to the flag. For
your second wooden disk cut out a copper ring, two inches wide, and
fasten it securely to the wood, and solder your wire on the back of
this, say a No. 8 wire. This will need contacts, as shown in cut E.
You next make a brush holder. This is a very simple arrangement. The
holder is made of wood. Fasten brushes on securely, as shown in F of
cut. When automatic switch is set up, it will appear as shown in cut E.
Now fasten belt to pulley J, and then to motor, as shown in cut. This
switch should make 300 revolutions per minute. As the brushes strike
each section on the contact plate, it causes a wave of light to pass
through that section of stripes or stars, as the case may be.
This may seem complicated and difficult, but I will venture to say, if
you will study this ten or fifteen minutes you can without much
difficulty or expense proceed to duplicate it.
Remember, each wire running from the disk must run into cut-out and from
cut-out to the flag (see cut B). Also note how wire is soldered on in G.
You can bunch and group all wires from A, and form them into a cable, as
shown in cut I, as they are all of one polarity.
This description is for flag 4½ × 6 feet, to contain about 450 lamps.
There are a number of different ways of producing this effect, but I
have tried this one as described, and found it very satisfactory,
likewise inexpensive to construct.
ELECTRIC ILLUMINATED FOUNTAIN.
A really beautiful center feature, with the addition of a few potted
plants, a little moss and some pebbles.
How to construct it: First, have a tinsmith make the center bowl A out
of tin, any size you wish, according to your window. This resembles a
large cake tin, hollow in the center. Have it enameled white (it will
not cost very much). Then cut a hole in the center of your window; place
this tin over the hole; secure a circular glass shelf, B, from any
ordinary notion or perfumery counter stand; put a large rubber band
around the center tin cone and rest the glass shelf B upon it. Have a
fancy stem, C, made of tin and enameled white and soldered to water
pipe, which passes through the hole in center of glass shelf B, and is
attached to main pipe in the basement. A rubber washer on the glass
shelf makes it water tight. Fine holes are punched into the stem, C, at
top and bottom. The water flow is regulated by water stop. The surplus
is carried off through waste pipe. The skeleton pulley D is arranged so
that half of it is in center of the fountain. In the four openings of
pulley are four pieces of colored glass, red, green, yellow and blue,
held in position by tacks.
A strong electric light with reflector, F, sends its rays through the
colored glass upward and through the center cone on to the water, giving
a very beautiful effect. The changing of the colors can be reduced in
speed by means of the reducer E. Three electric bulbs, colored green,
with wires made waterproof, are well insulated and enameled white and
laid in the lower bowl. A few pond lilies and gold fish, together with
other accessories suggested, makes a magnificent center feature.