[Illustration: CHAFING DISH.]
COPPER WORK
A Text Book for Teachers and Students
IN THE
Manual Arts
FULLY ILLUSTRATED
BY
AUGUSTUS F. ROSE
Providence Technical High School and
Rhode Island School of Design
THE DAVIS PRESS
Worcester, Massachusetts
1906
Copyrighted, 1906
By Augustus F. Rose
TABLE OF CONTENTS.
PAGE
Chapter I.--Introduction, Equipment, Materials 11
Chapter II.--Problems, Escutcheons and Hinge Tail 23
Chapter III.--Drawer and Door Pull and Hinge 30
Chapter IV.--Finger Plates, Pad Corners, Box
Corners, Stamp Box and Match Box 45
Chapter V.--Sconce, Picture Frame, Soldering,
Repousse or Embossing 63
Chapter VI.--Raised Forms 77
Chapter VII.--Porringer, Trays or Plates 88
Chapter VIII.--Ink Pot, Sealing Wax Set and Watch
Fobs 94
Chapter IX.--Spoons, Sugar Tongs and Tea Scoops,
Rivets, Drawing Wire and Tubing, Polishing,
Stamping Work, Coloring 105
Chapter X.--Enameling 114
PREFACE.
In this book the subject of Copper Work, as it may be introduced into
the public schools, is treated to the extent of specifying an equipment
and suggesting some of the possibilities of a course. Not only will
there be found an abundance of illustrative material on this subject,
consisting of drawings and photographs of various objects executed by
upper grammar and high school pupils, but also a detailed description of
the processes necessary for the execution of many of the designs. It is
not expected that the problems as given will be slavishly copied, but
rather that they will make clear the methods and processes that may be
applied in the working out of similar problems. It is hoped that this
volume will be especially helpful to teachers in the Manual Arts who are
trying to introduce Metal Work into the regular school course.
The author is indebted to Charles J. Martin and Antonio Cirino, for
valuable assistance in making some of the illustrations.
AUGUSTUS F. ROSE.
LIST OF ILLUSTRATIONS.
PLATES.
PLATE PAGE
1. Anvils 15
2. Hammers 17
3. Shears and Plyers 18
4. Escutcheons 24
5. Escutcheons. Photograph 25
6. Escutcheons 27
7. Escutcheons 28
8. Escutcheons 29
9. Drawer and Door Pulls 31
10. Drawer and Door Pulls 32
11. Drawer and Door Pulls 33
12. Drawer and Door Pulls. Photograph 34
13. Hinges 40
14. Hinges 41
15. Hinges 42
16. Hinges 43
17. Hinges 44
18. Finger Plates 46
19. Finger Plates. Photographs 47
20. Pad Corners 49
21. Box Corners 51
22. Box Corners 52
23. Stamp Boxes 54
24. Stamp Boxes 56
25. Stamp Boxes. Cover Designs 57
26. Stamp Boxes. Photograph 59
27. Match Boxes 61
28. Match Boxes. Cover Designs 62
29. Sconce A 64
29a. Sconce A. Pattern 65
30. Desk Set. Photograph 66
31. Sconce B 68
32. Picture Frame 70
33. Picture Frame Designs 72
34. Raised Forms 78
35. Raised Forms. Photograph 81
36. Pitchers 83
37. Tea Set 86
38. Pupils at Work. Photograph 87
39. Porringer 89
40. Porringer Handles 90
41. Porringer. Photograph 92
42. Ink Pot 95
43. Ink Pot. Photograph 96
44. Ink Pot 98
45. Sealing Wax Set 100
46. Watch Fobs 102
47. Watch Fobs. Photograph 103
48. Spoons 106
49. Sugar Tongs and Tea Scoops 107
50. Rivets 109
FIGURES.
FIGURE PAGE
1. Annealing Tray 13
2. Sawdust Box 14
3. Saw Frame 16
4. Sand Bag or Engraver's Pad 16
5. Chasing Tools 19
6. Engraving Tools 19
7. Dapping Tools and Die 20
8. Sawing 23
8a. Sawing. Photograph 26
9. Draw Pulls 30
10. Draw Pulls 30
11. Draw Pulls 30
12. Draw Pulls 35
13. Draw Pulls 35
14. Draw Pulls 35
15a. Draw Pulls 36
15b. Draw Pulls 36
15c, d, Draw Pulls 36
15e. Draw Pulls 36
16a. Draw Pulls 37
16b. Draw Pulls 37
16c. Draw Pulls 37
16d. Draw Pulls 37
16e. Draw Pulls 37
18. Stamp Box 53
19. Stamp Box 55
20. Stamp Box 55
21. Chasing. Photograph 76
22. Chasing Hammer 76
23. Hammering. Photograph 79
24. Raised Bowl, First step 79
25. Surface Plate. Photograph 82
26. Snarling Iron 84
27. Snarling Iron in use. Photograph 85
28. Soldering Porringer 88
29. Dapping Tools in use 94
30. Drawing Tubing 110
31. Drawing Tubing 110
32. Drawing Wire. Photograph 111
33. Stamp 112
34. Engraving. Photograph 115
35. Engraving 117
Chapter I.
INTRODUCTION.
During the past few years many experiments have been tried in the
development of Manual Training Courses and much time has been spent in
discussing of what lines of work they should consist. Wood and iron were
the first materials used and are yet indispensable, but experience has
led those who are developing this work to believe that there are other
materials as well adapted to Manual Training work in all its various
forms. Clay, used not only for modeling but for ceramic work as well,
leather, brass and copper are materials that have also been put to the
test and found satisfactory in many ways.
In ancient times copper was known as a useful metal, and down through
the ages it not only held its own but increased in usefulness. Among its
valuable properties may be mentioned toughness and ductility; its
toughness enables it to be beaten into thin strong sheets, while its
ductility enables it to be drawn out into fine wire. Copper readily
forms important alloys, such as brass from copper and zinc.
Work in sheet copper and brass has been introduced into the public
school course with gratifying results. It has proved itself to be a
valuable departure from other branches of Manual Training work and gives
promise of being permanent. Sheet, copper and brass offer possibilities
for various kinds of treatment, either in the flat work which includes
saw piercing, embossing and enameling, or in the raised work.
There is something about this work that appeals to pupils and holds
their interest. The nature of the material, hard enough to offer some
resistance and yet pliable enough to allow its being wrought into many
forms, the durability of the object when completed, and the variety of
colors that may be obtained, especially with copper, all tend to make
the subject not only interesting but fascinating.
All exercises in sheet metal should be of some real value to the pupil;
no time should be spent on work done simply for practice, but the
various steps should be learned in the making of useful objects of
artistic worth. In this, as in other work, it seems best to give each
member of the class the same work for a while until he has become
acquainted with the different tools and learned the limitations of the
material. When this has been accomplished, each pupil may be allowed to
work out his own designs. In this the educational value is very greatly
increased. The pupil conceives the idea and makes several sketches of
it, carrying it through repeated changes until it is brought to the
perfected design appropriate in every way to the idea. Some may not be
fortunate enough to get a full equipment so that all of the various
kinds of metal work may be done, but such may be able to make a
beginning by doing light work in saw piercing, which requires a very
limited equipment.
EQUIPMENT.
The equipment necessary for a start in Copper work need cost but little
if the teacher is somewhat ingenious, for the patterns of the various
anvils may be made by him; from these patterns the castings can be made
at any foundry for three or four cents per pound. It is better to begin
with a few anvils and tools and to add one or two at a time as the need
is felt for a more varied supply. If the work can be done in a room
already fitted with benches and vises, it will reduce the first cost
considerably. Any home-made bench will do if a regulation one is not to
be had. One that has given satisfaction was made of 2" × 4" studding
with plank tops in lengths of 12 feet, giving space for four vises at
each bench. A swivel vise that may be turned at any angle will be found
satisfactory.
[Illustration: FIGURE 1.]
An annealing tray made of a piece of sheet iron in the shape of a box
about 18" square and 3" deep, with the corners lapped and riveted and
filled with slag, answers very well, but one similar to the
illustration, Figure 1, is better. In this the top is circular and
rotary, which is an advantage. A pair of light long nose-tongs are
needed to handle the work. Any ordinary foot bellows and blow-pipe will
do.
[Illustration: FIGURE 2.]
[Illustration: PLATE 1. ANVILS]
A box, Figure 2, large enough to hold two 2-gallon
stone jars and about half a bushel of sawdust, is needed.
One of the jars is for water in which the object is cooled
after being annealed; the other is for pickle which is used
to clean the work. The sawdust is used to dry the object
after it has been dipped in the water.
[Illustration: FIGURE 3.]
[Illustration: FIGURE 4. Sand bag or engravers pad.]
Plate 1 illustrates forms of anvils that have been found
most useful.
Plate 2 shows a variety of hammers needed.
Plate 3 shears and plyers.
The following tools are also necessary:
Cutting shears--straight and curved.
Steel square 12".
Jeweler's saw frame. Figure 3.
Piercing saws.
Breast drill and assortment of drills.
[Illustration: PLATE 2. HAMMERS]
[Illustration: PLATE 3. SHEARS AND PLYERS]
[Illustration: FIGURE 5. Chasing tools and punches for embossing.]
[Illustration: FIGURE 6. Engraving tools.]
[Illustration: FIGURE 7.]
Compasses.
Calipers.
Surface gauge.
Surface plate.
Assortment of files.
Sand bag or engraver's pad. Figure 4.
Pitch block.
A set of chasing tools and punches. Figure 5.
A set of engraving tools. Figure 6.
A set of dapping tools and dapping die. Figure 7.
Plyers--flat nose, round nose, and pointed.
Cloth and felt buffs.
Borax slate.
Two 4-gallon stone crocks.
Mortar and pestle (Porcelain.)
Mouth blow-pipe.
Bench pins.
MATERIALS.
Copper is the material best suited for the work outlined in this book,
although the processes as described may be applied to brass or silver.
Brass may be used successfully in the flat work, but for raised work
copper is the best material for the beginner.
Copper is obtainable in different thicknesses and in various grades but
the best grade should be used. For most of the work from 18 to 24 gauge
is used, while metal from 12 to 18 gauge is used occasionally.
Copper wire is used in several sizes for making rivets.
No. 22 and 28 iron wire is indispensable for binding when soldering.
Easy running silver solder may be made by the user, but as a small piece
will solder many joints, and as it is not practical to make it in small
quantities, it is better to buy it ready made as desired.
Powdered or lump borax is used as a flux in soldering. Charcoal or
asbestos blocks are used when soldering small work.
Cut-quick and rouge are used for polishing.
Nitric and sulphuric acids are used to clean work.
PICKLE.
Pickle is a trade name given to solutions used in cleaning work.
Different proportions of acids are used according to the work to be
cleaned. For copper and silver a dilute bath of sulphuric acid is used
of 1 part acid to 15 parts of water. The solution may be used cold but
when used hot it becomes much more effective. When used hot a copper
dish is necessary. The object being placed in the dish with enough
pickle to cover it, it is then placed over a gas plate and allowed to
come to boiling heat. The pickle is then poured off and the object
rinsed in clean water. A dilute solution of nitric acid is used for
brass.
GAUGE.
Gauge, as referred to in this book, is a term used to denote the
thickness of sheet metal. The Standard Wire Gauge is divided in gauge
numbers from 5 to 36; and is used for measuring the thickness of wire
and sheet metal. It is usually a plate of steel having round its edge a
series of notches of standard openings.
[Illustration]