Carpentry for Boys Part 14

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CENTERING BLOCKS.--Next provide a 4" 4" piece (G), 40 inches long, through which bore a 3/4-inch hole (8), 2 inches from the upper end, and four bolt holes at right angles to the shaft hole (8). Then, with a saw split down this bearing, as shown at 9, to a point 4 inches from the end. Ten inches below the upper end prepare two cross gains (10), each an inch deep and four inches wide. In these gains are placed the top rails (A), so the bolt holes in the gains (10) will coincide with the bolt holes (11) in the piece A. Below the gains (10) this post has a journal block (12), intended to be in line with the journal block (7) of the piece F.

[Ill.u.s.tration: _Fig. 242. Tail Stock._]

Then make a block (H) 2" 4", and 6 inches long. This also must have a shaft hole (B), and a saw kerf (14), similar to the arrangement on the upper end of the post (G); also bore four bolt holes, as shown. This block rests between the upper ends of the lugs (C).

Another block (I), 2" 4", and 6 feet long, with four bolt holes, will be required for the tail end of the frame, to keep the rails (A) two inches apart at that end.

THE TAIL STOCK.--This part of the structure is made of the following described material:

Procure a scantling (J), planed, 4" 4", 24 inches long, the upper end of which is to be provided with four bolt holes, and a centering hole (15). At the lower end of the piece is a slot (16) 8 inches long and 1-1/2 inches wide, and there are also two bolt holes bored transversely through the piece to receive bolts for reinforcing the end.

A pair of cheekpieces (K), 2" 4", and each 12 inches long, are mitered at the ends, and each has four bolt holes by means of which the ends may be bolted to the upright (J).

Then a step wedge (L) is made of 1-3/8" 2" material, 10 inches long.

This has at least four steps (17), each step being 2 inches long. A wedge 1-3/8 inches thick, 10 inches long, and tapering from 2 inches to 1-3/8 inches, completes the tail-stock.

THE TOOL REST.--This is the most difficult part of the whole lathe, as it must be rigid, and so constructed that it has a revolvable motion as well as being capable of a movement to and from the material in the lathe.

Select a good 4" 4" scantling (M), 14 inches long, as shown in Fig.

243. Two inches from one end cut a cross gain (I), 1-1/2 inches deep and 1 inch wide, and round off the upper edge, as at 2.

Then prepare a piece (N), 1 inch thick, 8 inches wide, and 10 inches long. Round off the upper edge to form a nose, and midway between its ends cut a cross gain 4 inches wide and 1-1/2 inches deep. The lower margin may be cut away, at an angle on each side of the gain. All that is necessary now is to make a block (O), 8 inches long, rounded on one edge, and a wedge (P).

[Ill.u.s.tration: _Fig 243. Tool Rest._]

A leather belt or strap (Q), 1-1/2 inches wide, formed into a loop, as shown in the perspective view (R), serves as a means for holding the rest rigidly when the wedge is driven in.

MATERIALS.--Then procure the following bolts:

4-3/8" bolts, 10" long.

8-3/8" " 6" "

20-3/8" " 5" "

5-3/8" " 9" "

THE MANDREL.--A piece of steel tubing (S), No. 10 gage, 3/4 inch in diameter, 11-1/2 inches long, will be required for the mandrel. Get a blacksmith, if a machine shop is not convenient, to put a fixed center (1) in one end, and a removable centering member (2) in the other end.

On this mandrel place a collar (3), held by a set screw, and alongside of it a pair of pulleys, each 1-1/2 inches wide, one of them, being, say, 2 inches in diameter, and the other 3 inches. This mandrel is held in position by means of the posts of the frame which carry the split journal bearings. This form of bearing will make a durable lathe, free from chattering, as the bolts can be used for tightening the mandrel whenever they wear.

[Ill.u.s.tration: _Fig. 244. Mandrel._]

The center point (1) is designed to rest against a metal plate (4) bolted to the wooden post, as shown in the large drawing.

FLY-WHEEL.--It now remains only to provide a fly-wheel and treadle with the communicating belt. The fly-wheel may be of any convenient size, or it may be some discarded pulley or wheel. Suppose it is two feet in diameter; then, as your small pulley is 2 inches in diameter, each revolution of the large wheel makes twelve revolutions in the mandrel, and you can readily turn the wheel eighty times a minute. In that case your mandrel will revolve 960 revolutions per minute, which is ample speed for your purposes.

The wheel should be mounted on a piece of 3/4-inch steel tubing, one end having a crank 3 inches long. This crank is connected up by a pitman rod, with the triangularly shaped treadle frame.

Such a lathe is easily made, as it requires but little metal or machine work, and it is here described because it will be a pleasure for a boy to make such a useful tool. What he needs is the proper plan and the right dimensions to carry out the work, and his own ingenuity will make the modifications suitable to his purpose.

The ill.u.s.tration (Fig. 245) shows such a lathe a.s.sembled ready for work.

THE TOOLS REQUIRED.--A few simple tools will complete an outfit capable of doing a great variety of work. The ill.u.s.tration (Fig. 246) shows five chisels, of which all other chisels are modifications.

A and B are both oblique firmer chisels, A being ground with a bevel on one side only, and B with a bevel on each side.

C is a broad gage, with a hollow blade, and a curved cutting edge, ground with a taper on the rounded side only.

D is a narrow gage similarly ground, and E is a V-shaped gage.

[Ill.u.s.tration: _Fig. 245._]

[Ill.u.s.tration: _Fig. 246._]

It may be observed that in wood-turning sharp tools are absolutely necessary, hence a good oil stone, or several small, round and V-shaped stones should be used.

CHAPTER XV

ON THE USE OF STAINS

As this subject properly belongs to the painter and decorator, it is not necessary to go into details concerning the methods used to finish off your work. As you may not be able to afford the luxury of having your productions painted or stained, enough information will be given to enable you, if the character of the wood justifies it, to do the work yourself to a limited extent.

SOFT WOOD.--As, presumably, most of your first work will be done with pine, poplar, or other light-colored material, and, as many people prefer the furniture to be dark in color, you should be prepared to accommodate them.

USE OF STAINS.--Our subject has nothing to do with the technique of staining, but has reference, solely, to the use of stains. I recommend, therefore, that, since all kinds of stains are now kept in stock, and for sale everywhere, you would better rely upon the manufactured goods rather than to endeavor to mix up the paints yourself.

STAINS AS IMITATIONS.--It will be well to remember one thing as to stains. Never attempt to stain anything unless that stain is intended to produce an imitation of some real wood. There are stains made up which, when applied, do not imitate any known wood. This is bad taste and should be avoided. Again you should know that the same stain tint will not produce like effects on the different light-colored woods. Try the cherry stain on pieces of pine, poplar, and birch, and you will readily see that while pine gives a brilliant red, comparatively speaking, pine or birch will be much darker, and the effect on poplar will be that of a muddy color. In fact, poplar does not stain cherry to good advantage; and for birch the ordinary stain should have a small addition of vermilion.

By making trials of your stains before applying them to the furniture, you will readily see the value of this suggestion.

GOOD TASTE IN STAINING.--Oak, mahogany, cherry, black walnut, and like imitations are always good in an artistic sense, but imitations of unfamiliar woods mean nothing to the average person. The too common mistake is to try to imitate oak by staining pine or poplar or birch. It may, with good effect, be stained to imitate cherry.

Oregon pine, or some light-colored wood, with a strong contrasting grain may be used for staining in imitation of oak.

GREAT CONTRASTS BAD.--Violent contrasts in furniture staining have the effect of cheapness, unless the contrasting outlines are artistically distributed throughout the article, from base to top finish.

STAINING CONTRASTING WOODS.--Then, again, do not stain a piece of furniture so that one part represents a cheap, soft wood, and the other part a dark or costly wood. Imagine, for instance, a cabinet with the stiles, rails and mullions of mahogany, and the panels of pine or poplar, or the reverse, and you can understand how incongruous would be the result produced.

On the other hand, it would not be a very artistic job to make the panels of cherry and the mullions and stiles of mahogany, because the two woods do not harmonize, although frequently wrongly combined.

HARD WOOD IMITATIONS.--It would be better to use, for instance, ash or oak for one portion of the work, and a dark wood, like cherry or walnut, for the other part; but usually a cherry cabinet should be made of cherry throughout; while a curly maple chiffonier could not be improved by having the legs of some other material.

These considerations should determine for you whether or not you can safely use stains to represent different woods in the same article.

NATURAL EFFECTS.--If effects are wanted, the skilled workman will properly rely upon the natural grain of the wood; hence, in staining, you should try to imitate nature, because in staining you will depend for contrast on the natural grain of the wood to help you out in producing pleasing effects.