Posts about Great Book of Shop Drawings for Craftsman Furniture written by Bob Lang. The book that came from the printer was a far cry from the PDF . shortly after the publication of my book "Shop Drawings for Craftsman Furniture ". Almost from the beginning I've been asked to create plans in PDF format that. Great Book of Shop Drawings for Craftsman Furniture, Revised & Expanded Second Edition: Authentic and Fully Detailed Plans for 61 Classic Pieces (Fox.
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Shop Drawings for Craftsman Furniture: 27 Stickley Designs for Every Room in DOWNLOAD PDF Measured Drawings of 18th Century American Furniture. echecs16.info Shop Drawings For Craftsman Furniture PDF tags: Firewood Storage Shed Plans A Simple Solution Simple. DOWNLOAD in #PDF Great Book of Shop Drawings for Craftsman Furniture, Revised & Expanded Second Edition: Authentic and Fully.
Lang, an expert furniture and cabinet maker and executive editor of Popular Woodworking, measured original Craftsman antiques to create detailed plans and published them in a series of Shop Drawing books.
Inside this expanded edition, you ll find plans for 61 classic pieces, including: SlideShare Explore Search You.
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Using a wide-sweep gouge, make cuts from the arc back toward the scored line. Carefully lever up chips. Once the depression has been formed, you can give the pull a smooth surface, or, as I've done here, you can give it a bit of texture. Included in the article was a sidebar in which Maloof discussed several technical issues, closing with the recipe for his finishing mix. My dad—who designed and built several of the pieces displayed in this book, including the crotch-grained chess table—began experimenting with MalooFs finish and found it wonderfully adapted to the small shop.
After years of spraying lacquer, a toxic experience inevita- bly preceded by the emotionally toxic experience of attempting to vacuum every particle of dust from every shop surface, he found in Maloof's formula a finish that not only produced a very appealing surface but also, just as importantly, was impervious to dust contamination. Preparation is no different for this finish than it would be for any other. Scrape the wood, then sand it with a variety of grits, finishing with a thorough sanding using paper no coarser than grit.
Then wipe the wood clean with a tack rag. Maloof's recipe calls for equal parts mineral spirits, boiled linseed oil, and polyurethane varnish an extra dollop of varnish seems to add body to the dried film. Brush on this mixture liberally with only minimal concern for drips and runs—coverage is the focus at this stage. Allow the finish to set until it gets a bit tacky. Depending on temperature and relative humidity, this could be anywhere from ten to sixty minutes.
Wipe the surface with clean rags to remove any excess that has failed to penetrate into the wood. As the finish dries, it lifts wood fibers and hardens them producing a rough texture.
This first coat acts as a sanding sealer. Again, depending on temperature and relative humidity, this could take anywhere from one to three days.
In humid Ohio, I've found it best to wait three days before sanding that first coat. Otherwise, areas of raised, roughened grain may not make their appear- ance until after the last coat has dried. The thinner clots the re- moved material into a slurry which may help to smooth the surface; however, my reason for dunking the paper in mineral spirits is to unload the grit in order to get more mileage out of each piece of sandpaper.
Once you have sanded and thoroughly cleaned the surface with a tack rag, apply a second coat of the three- part mixture. It is particularly important that this coat and any subsequent coats be wiped clean. Any residue remaining on the surface will dry there and leave a roughened area. Sam Maloof tops this finish with a layer or two of boiled linseed oil into which he's mixed enough shaved beeswax to achieve the consistency of cream.
He applies the wax, allows it to dry, then buffs it out. You can achieve similar effects with a number of commercially prepared waxes. This can be fabricated from any scrap that can be glued together to make up a sufficient thickness. This is then band sawn and sanded to the inside profile of the finished box.
Undercut the face of the bending form at one point to allow for the thickness of the lapped material underneath the box's glue joint.
Screw a thin strip of metal I used a scrap of aluminum siding to the form underneath which an end of the sidewall material should be inserted prior to being wrapped around the form.
At this time, saw a clamping caul see photos, below with a slightly greater radius than the bending form from scrap material. This caul will protect the sidewall material from the clamps. The next consideration is the sidewall material itself. There are three possibilities. I would recommend using one of the new waterproof glues between the lamina- tions, although I have built boxes using regular aliphatic resin glue to bond the thicknesses of veneer.
Then, soak the sidewall stock in a tub of cool water for twenty-four hours; dunk it briefly in warm water and take it directly to the bending form.
Tuck one end of this softened, plasticized material under the metal strip on the bending form. Wrap the remaining length around the form and secure in place with clamps and the caul. Four or five days later, remove the sidewall material from the form and cut the profile of the lap joint.
A bench extension to which is nailed a piece of scrap sawn to the inside radius of the box simplifies the cutting of the joint. Then, glue the lap, wrap the sidewall material around the form once again and clamp with the aid of the caul.
This time, however, do not insert the end of the sidewall material under the form's metal strip. The clamping caul is visible on the right. A lap joint is be- ing cut on the bench extension.
Here, the glued lap joint is being clamped with the aid of the caul. Notice that the end of the sidewall material is not positioned under the metal strip as it was during its initial clamping for shape. Screw a faceplate to a band-sawn turning blank with large y sheet metal screws. Then, install it on the lathe.
Above the bead, notice the flange that will fit inside the box's sidewalls. Before removing the parts from the lathe, sketch pencil lines on the lid approximating the shapes to be created. Then with gouges of various sweeps, define those lines shown above. Remove material below the line as shown above , and create the stippled texture by repeatedly tapping a nail set into the surface of the wood. The repeti- tion of these angles—in addition to the consistent color of the walnut—unifies this piece.
Construction begins with the two sides the faces of the table showing the wide sides of the legs. Fasten the apron parts to the legs with wide tenons glued only halfway across their widths in order to minimize the potential for cracking as these cross-grained constructions expand and contract in response to seasonal changes in humidity.
The creation of these joints is complicated by the com- pound angles at which the legs meet the tabletop. The dovetailed ends of the stretcher are simpler to lay out, as these can be marked once the apron tenons have been dry-fit into their leg mortises. Once dry-fit, glue and clamp these sub-assemblies— each of which consists of two legs, apron part, and stretcher.
On the table saw, give the center stretcher a dovetailed bottom that extends from end to end. Then fit this into dovetail mortises cut into the side stretchers.
Again, in order to avoid cracking as a result of this cross-grained construction, glue the tenon only across half its width. Screw glue blocks into place behind this joint to reinforce these stubby tenons.
Cut the two drawer-guide pieces to length and install them on the inside faces of the apron sides. The top is the next concern. If woodworkers stay in the discipline long enough, they inevitably become wood collectors.
My dad is no exception. Over the years he's put together a hoard of native hard- woods with an emphasis on black walnut, his personal favorite among American species. At the time this table was built, he had in his collection a number of short lengths of crotch-grained walnut he'd harvested several years before, and he selected four of these for the top of this table because the swirling grain in the walnut echoed the swirling figure in the onyx frame of the chessboard.
Once you have chosen the stock for the chessboard frame, give it a shaped outside edge, and rabbet the bottom inside edge to receive the base on which the chessboard will set. Cut the slots for the splines. You can cut these by hand with a tenon saw, but I find it much easier to perform this operation on the table saw with a Universal Jig. See 12 Please note, however, that in order to cut the slots for the splines on the frame of the chess table, the work would be aligned so that the mitered end of the frame stock sets flat on the saw table.
Thickness and cut splines, and assemble the frame. The moulding under the tabletop is not merely decora- tive—it's also functional, serving to fasten the top to the base via a number of wood screws passing up through the moulding into the top and passing through the apron into the moulding.
The drawer is a simple open-topped, butt-jointed box, to the front end of which a section of the apron and the moulding are affixed so that when the drawer is closed, both the apron and the moulding appear to run continu- ously around the table. Slide the runners screwed to the outside faces of the drawer sides into the grooves ploughed in the drawer guides.
Construct a drawer stop by screwing a strip of wood across the bottom of the drawer guides.
When the drawer is opened to its greatest extension, a pair of screws turned slightly into the bottom edge of the drawer sides strike this strip, preventing the drawer from coming out too far and spilling its contents.
After finishing the table, set the chessboard into place on a felt pad. Note the shim between the drawer front and the apron. This causes the apron to be canted at the same angle as the table's legs. Note also the spline set into the end grain of the apron.
This prevents the corners of the apron from breaking off because of the grain runout on the apron's triangular tips.
Screws passing up through this moulding into the top and passing through the apron into the moulding hold the top to the base. The drawer can be seen sliding in the groove ploughed in the drawer guide. When the screw turned into the bottom of the drawer side strikes the stop strip, the drawer is prevented from being pulled completely from the table. This can be done on the band saw, but because of the length of the top, it is probably easier to cut this, at least, with a handheld jigsaw.
Next, using a cutoff box on the table saw or crowded against the fence of the radial arm saw , form the dadoes on the underside of the top. Cut the through mortises cut using the method described in chapter twelve. Then, on the band saw, cut the through tenons at the tops of the legs. Then, fit them into their mortises. Next, cut the edge cross lap joints that will fasten the stretcher to the legs.
Two notches are required at each leg. Cut the other, 1" deep, into the bottom edge of the stretcher. Then cut the notches in the ends of the through tenons using a fine-toothed backsaw. This will prevent the tenon from splitting when the wedge is driven into the notch. After the parts have been dry-fit, glue the joints and assemble the bench. Then, dress down the glued-up panel to a flat surface and a consistent thickness.
In a shop with a big planer, this involves nothing more than feeding the stock into the machine; but in a small shop, like mine, this 15" panel must be flattened and smoothed with hand planes.
If the boards used to create the panel were all flat and all aligned correctly at glue-up, you may not need to do more than scrape away the glue squeeze-out and make a couple of token passes with a jack plane.
However, boards are rarely flat, often undulating along their lengths like bacon. In such cases, more substantial plane work may be needed.
I begin by exchanging the regular iron in my jack plane for one that's been crowned across its width. This shape eliminates the sharp corners on either side of the iron's width, corners that can dig too deeply into the planed surface when the craftsman is attempting to remove material quickly.
With this crowned iron, it's relatively easy to re- move significant amounts of thickness. It does, however, leave a rippled, rather than smooth, surface, so it must be followed by a plane fit with a conventional iron.
Next, cut the grooves into which the scrollwork will be inset. But the grooves in the two end panels must be handled differently. Because the scrollwork is only two inches high, stopped grooves are necessary. You can cut these freehand with a mallet and chisel or start them on the table saw and finish them by hand. The scroll is then thicknessed, ripped to width, and profiled on the band saw. Following the procedure discussed in chapter twenty- five, cut the through dovetails joining the end and top panels.
Then, glue-up the riser around the strip of scroll- work, and plug the holes in the ends of the grooves. Due to the circular shape of the dado cutters, a bit of material will remain in the end of the groove. This is removed with a chisel. Matching figure and color is the first step.
Here, two walnut boards with sapwood edges are being matched. These two pieces of cherry were both cut from the same board, assuring a consistent color. Also, making the joint at the edges of the board where the lines of figure cluster close together helps to pro- duce an invisible glue line. Once you have matched or, as in this case, contrasted color and grain, form glue joints the lowly butt joints on the edges of each board.
You can create the joint by hand, using a jack or jointing plane. However, this is fussy work requiring experience and a steady hand.
You can also create the joint on the jointer, a stationary power tool designed to perform this very task. After cutting the joints, coat each edge with glue and align them in pipe or bar clamps. These are necessary in order to bring the joints tightly together. Clamp arrangement should follow the pattern shown above.
Position them no more than 12"" apart on alternate sides of the panel. After a couple of hours, you can remove them; within eight hours, you can work the panel. This rabbet will ultimately receive the glass and the glass backing. Form a radius on the two front edges of the frame stock.
Then miter the frame parts. You can do this on a miter box or a table saw or radial arm saw using a very fine- toothed blade. At this point, cut the slots for the feathers that will later join the frame parts.