Copper Work Part 1

Copper Work.

by Augustus F. Rose.

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 ill.u.s.trative 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 a.s.sistance in making some of the ill.u.s.trations.

AUGUSTUS F. ROSE.

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, bra.s.s 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 bra.s.s from copper and zinc.

Work in sheet copper and bra.s.s 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 bra.s.s 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 cla.s.s 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 s.p.a.ce for four vises at each bench. A swivel vise that may be turned at any angle will be found satisfactory.

[Ill.u.s.tration: 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 ill.u.s.tration, 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.

[Ill.u.s.tration: FIGURE 2.]

[Ill.u.s.tration: 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.

[Ill.u.s.tration: FIGURE 3.]

[Ill.u.s.tration: FIGURE 4. Sand bag or engravers pad.]

Plate 1 ill.u.s.trates 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 a.s.sortment of drills.

[Ill.u.s.tration: PLATE 2. HAMMERS]

[Ill.u.s.tration: PLATE 3. SHEARS AND PLYERS]

[Ill.u.s.tration: FIGURE 5. Chasing tools and punches for embossing.]

[Ill.u.s.tration: FIGURE 6. Engraving tools.]

[Ill.u.s.tration: FIGURE 7.]

Compa.s.ses.

Calipers.

Surface gauge.

Surface plate.

a.s.sortment 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 bra.s.s or silver.

Bra.s.s may be used successfully in the flat work, but for raised work copper is the best material for the beginner.