Design and Construction in Wood | by William Noyes
The purpose of the following studies is, (I) to give to beginners in woodworking an opportunity for the acquisition of skill in the handling of tools, and, (II) some practice in designing simple projects in wood.
| Title | Design and Construction in Wood |
| Author | William Noyes |
| Publisher | The Manual Arts Press |
| Year | 1916 |
| Copyright | 1916, The Manual Arts Press |
| Amazon | Design And Construction In Wood |
By William Noyes Assistant Professor of Industrial Arts Teachers College, Columbia University New York City
Books By William Noyes:
Handwork in Wood
Wood and Forest
Design and Construction in Wood
Foreword- The purpose of the following studies is, (I) to give to beginners in woodworking an opportunity for the acquisition of skill in the handling of tools, and, (II) some practice in designing simple proje...
- Chapter I. Wood
- Next to food and clothing, wood is to man the most useful of substances, and there is no other single substance that has as great a variety of human uses. The prosperity of any nation is largely measu...
- Wood. Part 2
- Wood shrinks most cir-cumferentially, that is, in the direction of the annual rings, and somewhat, radially. This explains why boards often warp as they do, that is, in the direction opposite to that ...
- Wood. Part 3
- Cypress is a soft, easily worked wood, that does not warp badly but is likely to contain many fine checks. It nails well and is very durable. Hence it is much used for shingles, posts, railway ties, a...
- Wood. Part 4
- Fig. 5. Clamping up boards to keep them from warping. Mahogany is a general name covering a number of species, all of which are imported. The chief varieties are Central American mahogany, African ...
- Chapter II. Wood A Medium Of Artistic Expression
- Projects in wood that admit of artistic variation are subject to the same fundamental principles of design that underly all the space arts. The constant problem of the artistic woodworker is to famili...
- Wood A Medium Of Artistic Expression. Part 2
- 5. The article should also be convenient for use. The socket of a candle stick should be of the proper size to hold ordinary candles. A pen-tray should be long enough to hold pens and pencils and shou...
- Wood A Medium Of Artistic Expression. Part 3
- 3Notan - a Japanese term meaning dark-and-light. 3. Color. Thirdly, there is the consideration of color. The natural hues of the woods give a considerable variety, ranging from the light yellow brown...
- Chapter III. Equipment
- The equipment necessary for beginning to work in wood may be very inexpensive, costing not more than $25. It is better to begin with a few good tools, well chosen, adding to the number others as they ...
- Equipment. Continued
- Glue. Star glue (imported) is the strongest, but it sets quickly. Peter Cooper's White Glue is excellent, and comes in convenient form. Bibliography William Noyes. Handwork in Wood. Manual Arts Pr...
- Chapter IV. A Scrap-Basket
- In designing a scrap-basket, matters for early consideration are: I. The fixing of the essentials, a. Of these the size must be approximately determined at the beginning. For ordinary purposes a wast...
- A Scrap-Basket. Part 2
- Spruce, cypress, or yellow poplar Fig. 11. A handle well designed for use and beauty. 2 pieces, x8 x 16 1 piece, x 8 x 8 or 1 board, x 8x 40 1 piece heavy tin, ...
- A Scrap-Basket. Part 3
- 1These numbers refer to the numbers of the parts as given in Fig. 101 of Handwork in Wood, p. 6q. Fig. 14. A deep basket with feet made by shortening the central slats. Fig. 15. A broad substant...
- A Scrap-Basket. Part 4
- Fig. 24. Testing an edge for squareness. Fig-. 25. Holding the plane so as to square up a beveled edge with the beam resting on one arris, Fig. 29, and the head sliding along the edge of the boar...
- A Scrap-Basket. Part 5
- Fig. 28. Gaged lines on piece to be sawed into slats. The saw-kerfs are to be in the middle of the ¼ spaces. Fig. 29. How the beam of a marking-gage runs on its arris. Fig. 30. Ripping with woo...
- A Scrap-Basket. Part 6
- Fig.32. End of slat. Fig. 33. Slicing off an arris with a chisel. Fig.. 34. Testing a planed surface for flatness by using the arris of the plane. Fig. 35. Scoring with a knife along the tr...
- A Scrap-Basket. Part 7
- VIII b. Making the frame (mitered). If the cleats binding the slats together are fastened, not inside of the slats, but outside, as in Fig. 10, the ends should be mitered. Mitering is done in the mit...
- A Scrap-Basket. Part 8
- Fig. 43. Lay-out of the tin braces. Fig. 44. Tin brace. Fig. 45. Tin brace nailed to cleats. Fig. 46. Position of slats. The next step is to nail the slats to the cross-cleats which have a...
- A Scrap-Basket. Part 9
- Fig. 51. Box screen for flowerpot. The principal processes in this first project are the sawing and planing of a number of cleats. Other projects involving the same processes are (1) the letter tra...
- Chapter V. Picture-Frame-Clamp
- Design. A picture-frame-clamp is of good design when it serves its purpose well. As shown in Fig. 53, this clamp meets this requirement. In Fig. 54, the details of its construction are made plain. The...
- Picture-Frame-Clamp. Continued
- Fig. 56. Perpendicular chiseling. Next gage a center line from end to end on both broad sides of each piece. Then set the dividers at 1 ½ between points and beginning at the square end, step off a...
- Chapter VI. The Mitered Picture-Frame
- I. THE FRAMING OF PICTURES The first thing to do in making a picture-frame is to select the picture, because such details as the use of a mat, the size, proportion, tone, and decoration of the frame,...
- The Mitered Picture-Frame. Part 2
- Fig. 65. The upper arrangement of spaces is good because it conforms to the proportions of the picture. The lower one is not good because the square frame is out of harmony with the long picture. If ...
- The Mitered Picture-Frame. Part 3
- In selecting the wood for a picture frame, it is well for a beginner to choose some soft wood like white pine or yellow poplar, until he is used to working the necessary tools and can make the joints ...
- The Mitered Picture-Frame. Part 4
- Fig. 72. The blacks in the print balanced by the black in the frame. Fig-. 74. Japanese print framed with mat and narrow dark frame with bead. Fig. 73. Japanese prints framed with mats and nar...
- The Mitered Picture-Frame. Part 5
- 13½; the frame is an inch wide and the rabbet wide. Hence the Fig. 77. Device for holding strips when rabbeting. Fig. 78. End view of rabbeted strip. Fig. 79. Rabbeted and inhered m...
- The Mitered Picture-Frame. Part 6
- Fig. 83. Kerfs cut in corner of picture-frame to receive slip feathers. Then wash the glass. An easy way to do this is with Bon Ami soap, rubbed on with a damp cloth, allowed to dry and polished of...
- The Mitered Picture-Frame. Part 7
- Prepare thin strips of wood, say thick and wider than the frame is thick. Round off one edge as follows: - Fasten the jack plane upside down in the vise, hold the strip at an angle a...
- Chapter VII. The Candlestick
- Altho the essential features of this project set fixed limitations to its design, yet a great variety of forms and embellishments are possible; see Fig. 95. The success of the design depends, primaril...
- The Candlestick. Part 2
- B. I piece, x2x8½. C. I piece, i¾xi¾x3. Brads ¾ No. 18. Copper, gage No. 20, 1 piece ixi. One piece Ix3. I. The Base. When the practice joint has been satis...
- The Candlestick. Part 3
- Fig. 104. Drillholes in pedestal for brads. Fig. 105. Cutting copper with snips. Fig. 106. Ends of strip for socket beveled so as to butt well. Take for the capital a piece of wood several in...
- The Candlestick. Part 4
- Fig. 109. Method of hammering a cylinder out of a strip. Fig. 110. Cylinder wired to hold joint in place. To hammer this strip into shape, you need a cylinder of iron thick with flat su...
- The Candlestick. Part 5
- Apply soldering fluid to the joint from the inside of the socket, lay a couple of pieces of wire solder next the joint, hold the pan and socket over the gas flame just until the solder melts, and then...
- Chapter VIII. Taboret
- In order to keep the construction of this project as simple as possible, the limitations imposed are that the frame shall consist of two cross-lap joints made of boards under one inch thickness, to wh...
- Taboret. Part 2
- Fig-. 126. Lay-out of joint of lower stretcher with leg. ¾ from each edge to indicate the centers of the holes for the dowel-pins, with which the joints are to be fastened together. See Fig. 126. ...
- Taboret. Part 3
- Put a little hot glue on the end of a stretcher, B, locate it by means of the marks already made in it by the nails in the leg, and drive in the nails, leaving the head of the brad projecting half an ...
- Taboret. Part 4
- Fig. 136. Method of squaring- up angles. Fold a piece of sandpaper, sand side in, hold it near a dowel as a buffer, and with a chisel, bevel side down, resting on this sandpaper, slice off the arris ...
- Taboret. Part 5
- The taboret is now ready for staining and finishing. If it is made of chestnut, a very handsome seal brown can be obtained by shutting it up in an air tight box with one-half pint of strong ammonia (2...
- Chapter IX. Mallet
- The excellence of design in a mallet depends primarily upon its utility. The fixing of essentials is paramount in importance. Whatever grace of form or refinement of proportions it may have are the ...
- Mallet. Continued
- Fig. 158. Lay-out of sides of mallet-head. Next lay out, according to the dimensions given in Fig. 154, the shape of the head on the broad side. The curve for the outer edge can be obtained by making...
- Chapter X. Trays
- One of the most valuable projects for a beginner in woodwork to make, looked at either from the point of view of the discipline of technique or from that of design, is a tray for pens or cards, trinke...
- Trays. Part 2
- Next gouge out the trough of the tray with a large (1) outside bevel gouge. Work both with the grain and across it, noting carefully any dips in the grain, and taking particular pains at those places...
- Trays. Part 3
- Fig. 173 Depth-gage: nail in a strip of wood. Fig. 174. Tray and blotter with tool marks of gouge left showing. Be careful at the ends of the lines. Do not let them fade away, as A, in Fig. 175,...
- Chapter XI. Rolling Blotter-Holder
- The essential features of a convenient rolling blotter-holder are that it be the proper size and shape, say an oblong not larger than 3½x6½; that it be easily grasped; that the blotter be so fastene...
- Chapter XII. Small Boxes
- The size of such a box as is contemplated in this project is determined by its use. If it is for gloves it should be approximately 4x5xl2. If for men's handkerchiefs, about 6 square and 4 or 5 d...
- Small Boxes. Part 2
- Fig. 186. Methods of affixing top of box. Fig. 187. Rabbetted side of box. The reasons for this careful location are: at the double dotted line apart, the box is to be cut in two, the u...
- Small Boxes. Part 3
- Fig. 192. Gluing the top on to the box. Fasten the top without brads using only glue, hot glue, if possible. Since it has not yet been dressed to exact size, take care that the edges overlap all ar...
- Chapter XIII. Lanterns
- This project consists essentially of a frame covered with translucent paper or cloth. Fig. 196. It may be worked out in two different ways, either as a hanging lantern, Fig. 197, suspended by chains, ...
- Lanterns. Part 2
- Lay the pieces of one side, outside down, in their proper position in this space. Put in the strip 0 and drive in the wedges B, B, making all true and square, and seeing that there is no buckle. At a...
- Lanterns. Part 3
- Fig. 200. Method of clamping up the parts. For gluing the panels together, prepare a few forms of the shape shown in Fig. 203. Put a thin film of glue (liquid glue will do) on those edges of the pa...
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