SCONCE A.
The pattern for this sconce as shown at Plate 29A is transferred to the
metal which is then cut out. The part which serves as a reflector is
raised by placing the metal face down on a sand bag, or on pitch and
with the pein end of a chaser's hammer or with a pointed horn hammer,
driving the center down to the required depth. If the face is somewhat
irregular, it can be trued up by placing it on a block of wood and going
over it with a rawhide hammer.
The shelf on which the candle socket rests is formed by bending the
lower part of the sconce at right angles as shown by the dotted line.
The projections at 2, 3, 4, Plate 29A, when bent into shape as shown on
Plate 29 form the supports for the candle socket. The projection at 5
Plate 29A when bent into shape serves as a bracket to support the shelf.
The candle socket is made from a strip of metal bent into cylindrical
shape with the ends riveted together. When the socket has been riveted
and holes drilled as indicated, the sconce is finished according to
taste and mounted on a back of wood stained to harmonize with the color
of the metal.
[Illustration]
[Illustration: PLATE 29. SCONCE A.]
[Illustration: PLATE 29 A. SCONCE A.]
[Illustration: PLATE 30.]
SCONCE B.
A rectangular piece of metal is cut out about 1/2 inch larger on all
sides than the design calls for and given a hammered surface with the
pein end of a large hammer. After the design has been transferred to the
back of the metal, it is then placed on pitch face down, and with a
suitable tool the lines are sunk at A and B, Plate 31, about 1/16", as
shown in the section at C. It is then removed from the pitch and, after
cleaning, is put over a sand bag face up, and with a rawhide hammer, the
part that is to serve as a reflector is concaved a little.
The candle socket is made like the pattern as shown at D. It is bent
cylindrical in shape and the ends are riveted together, then the laps on
either side are bent nearly at right angles and serve to hold the socket
in place. The cup is made from a circular piece of metal hammered into a
slightly conical shape, E. A rod the length required is bent at right
angles with a shoulder left at each end. The bracket is made next like
the pattern F and bent into shape as at G.
When all the parts are finished, they are put together. Place the rod in
a vise with the short end up. The cup is put over the pin at H, and also
the socket, so that the pin passes through the holes in both laps. The
pin is then headed up, holding all securely in place. The bracket is
next riveted to the back at K, through which the rod is put, the pin
passing through the back is headed up at L. After finishing, the sconce
may be mounted on a wood back.
[Illustration]
[Illustration: PLATE 31. SCONCE B.]
PICTURE FRAME.
This object is made as follows: Take a piece of metal quite a little
larger than the outline of the frame that is to be made. Draw on this
piece of metal the outline of the frame and also the extensions which
are folded back to give the thickness necessary for the reception of the
picture, glass, and back, as shown at B. Have the side opposite to that
on which the drawing is done free from scratches as it is to serve later
as the front. Any decoration that is used must be of the simplest sort.
This decoration may be pierced or in repousse. The frame here
illustrated and the plate of designs were intended for repousse as more
satisfactory results have been obtained by this process. After the
design for the decoration of the front of the frame has been transferred
to the same side of the metal as the outline, it must be prepared for
the repousse process. This is done by placing it on a pitch pot. The
pitch is softened enough so that the metal will stick to it. After
placing the metal on the pitch, work a little of the pitch over the
edges as this will hold it more securely. It is then allowed to cool or
harden before working. With a suitable tool and hammer, after the pitch
is hard, follow the lines which make up the design or decorative part of
the frame. The lines should be gone over lightly, slowly, and carefully
at first until the design is fairly well started; then they may be gone
over again, sinking them a little deeper each time until they have been
carried deep enough to give the design the required relief on the face
of the frame. For this part of the work the tool should not be used as a
punch, driving the metal down in one place and then moving it to another
and so on, but it should be kept moving all the time and should at the
same time receive a repeated number of light blows from the hammer. By
so doing the face of the work will be smooth, otherwise each blow from
the hammer will show.
[Illustration: PLATE 32. PICTURE FRAME]
If there is doubt as to the depth to which the lines should be carried,
the work may be taken off the pitch occasionally, so that the face may
be seen. It is not an easy thing to reduce relief in this work,
therefore it is better to go carefully working it up slowly. After the
repousse part of the frame is done, clean it with kerosene and pickle.
The corners may then be cut out as at B, filed up square, and beveled as
in the box. The sides are then bent back over a block of wood or metal,
bringing the corners well together. They are then soldered. A metal saw
is used to make the opening, A, the edges of which are then filed up
square.
The back for this frame is made in the same way as the front except that
it is left perfectly plain. This should be made to fit inside of the
frame tight enough so that no fastening will be needed to hold it in
place.
A frame of this size and kind may be made to hang or to stand. If it is
to hang, a small ring may be made and fastened to the back as shown at
C. If it is to stand, a support of some kind such as is shown at D is
needed. This is made of the same thickness metal as the frame and may be
made in many outlines. This support may be made stationary by riveting
it to the back, or hinged, which is much better, as is shown at E and F.
The hinge is made by taking a piece of about 1/8" tubing and cutting
three pieces, making one of the pieces equal in width to the other two
and having the three equal in width to the top of the support. The two
short pieces are soldered to the back and the long piece to the support.
A piece of wire equal in diameter to the hole in the tube is then cut
and put in place which hinges the back and support together.
The method of making the tubing used for the above is described on page
100.
[Illustration: PLATE 33. PICTURE FRAME DESIGNS]
SOLDERING.
A piece of silver solder, a slate slab such as is ordinarily used for
grinding ink, powdered or lump borax, and a soft hair brush of some sort
are all that is necessary for the process of soldering in addition to
what we already have.
The pieces of metal that are to be soldered must be absolutely free from
all foreign matter. To insure this the joint is scraped bright with some
sharpe-edged tool. Care must be taken to keep the fingers away from the
joint as any moisture or greasy substance will prevent the solder from
running. The best results are obtained only by being extremely careful
as to cleanliness throughout the process. Being sure that the slab is
perfectly clean, a little water is put in it and the lump of borax is
ground around until the water becomes like thin cream. If powdered borax
is used a block of wood will answer as a pestle to grind the borax to
the right consistency.
The solder may be obtained any gauge, but about 20 answers for most
purposes. After cutting the solder into pieces about 1/16 of an inch
long and about the same width, drop them into the borax that has been
ground to give them a coating of borax and to remove any grease that may
have adhered to them. Coat the surfaces that are to be soldered with the
borax being careful to get no more borax about than is necessary. Put
the parts together and bind them with No. 24 iron wire, not too tightly.
The pieces of solder are then lifted with the brush used for the borax
or with a pair of tweezers and placed next to the edge that is to be
soldered, about one inch apart. The object is then placed on the
annealing tray, which answers for soldering as well, and with the
blow-pipe it is heated, very slowly at first until the water has
evaporated and the borax crystallized and dissolved, the flame may then
be applied more directly and the object brought to a soldering heat. If
the heat is applied too quickly, it will throw off the solder; and if
heated hotter than necessary it is liable to melt or burn the parts
being soldered, so the process demands the closest attention from the
start.
The object is then pickled, washed in clear water and dried in the
sawdust.
If the above directions are carefully followed good results may be
expected.
REPOUSSE OR EMBOSSING.
Repousse or embossing involves practically the same principle as
modeling in clay or wax, the only difference being that metal is used as
the material and that different tools are employed. In this, as in clay
or wax work, it is desirable to bring certain parts of a design into
relief; to do this with metal the work must be placed on a substance
which will give some resistance and yet allow each blow of the hammer or
tool to make an impression. The substance commonly used for this purpose
has the following composition, in the proportions given:
Black pitch 1 lb.
Tallow 3 teaspoonfuls.
Plaster of Paris 1/2 cup.
The pitch is put in some kind of dish (agate is good), placed over a gas
plate, and melted. The tallow is then added and the plaster sprinkled
and stirred in, the whole being well mixed. It is then poured into the
pitch pot, or whatever it is to be used in. When used in hot weather
more plaster must be used. A pot, hemispherical in shape, Figure 21,
made of cast iron about 1/2 inch thick is generally used. This, when
placed on a chaser's pad or ring, Figure 21, may be turned at any angle,
and is found to be a great convenience. An ordinary 7" × 12" baking pan
of iron serves the purpose, or a box may be made of wood, but of course
this is not so durable.
After allowing the composition to cool partly, yet while soft enough to
stick, the piece of work that is to be embossed is placed on it, the
right side next to the pitch. It is then allowed to cool still more;
when quite hard or when it is difficult to make an impression on it with
the thumb nail, it is ready to work on. The design is next drawn or
transferred to the metal by the use of carbon paper and then scratched
on with a scratch awl to make the drawing more permanent, as in going
over the piece of work the pencil or carbon lines are easily erased.
The tools necessary for this work may be made as needed according to
each individual design. There are a few general ones that are always
found useful, such as those shown at Figure 5. Figure 22 shows a hammer
generally used for this work.
[Illustration]
[Illustration: FIGURE 21.]
[Illustration: FIGURE 22.]