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HOW TO BUILD MODERN FURNITURE
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HOW TO
BUILD
Mario Dal Fabbro
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MODERN FURNITURE
JOHN MURRAY
FIFTY
ALBEMARLE
STREET LONDON WI
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Reprinted 1961
. (L ' t \ .O
\ 0 1 0
e' " ~ " " t
Jis
F - f
F.
W.
Dodge Corporaiion
1957
Published in Great Britain 1959
by John Murray (Publishers) Ltd.
all(/ reprinted by Lithography by Jarrold and Sons Ltd, Norwich
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SECTION 1, General I n s t r u c t i o ~
General
General notes about wood
Wood changes
Seasoning of timber
,......
.
, Selecting and buying wood
Cutting and assembling the parts
Wood finish
Woodworking
Marking the materials
Basic woodworking operations
Sawing
Surfacing
Shaping
Joinery
Gluing wood
Methods of joining boards
Basic joints
Basic joints
Scarf joints
Rail joints
Middle rail joints
Rail-to-frame joints
Panel-td-frame joints
Frame joints
Middle frame joints
. Back panel joints
Knock-down joints
Joining rails to legs
Joining legs to furniture
Knock-down legs
Joining legs to upholstered furn iture
Joining metal legs to wood top
Metal leg end fittings
Wood leg end fittings
Plywood and curves
Plywood, blockboard
and
laminated
wood
I
Plywood hollow-frame
Veneer
Gra;]"direction in curved pieces
3
4
4
5
5
6
8
9
9
11
12
14
17
18
19
21
22
25
27
28
Constructing curves
Special uses
of
plywood
Covering edges and p
Edge treatment
Fastening fabric to board
Metal borders
Plastic borders
Application
of
fabric to doors
Doors
54
55
Door
stops 56
Door hinges 58
Table hinges 61
Special hinges -- _. - -
62
Pivot hinges .../ .
,=,C I J ' ~
; '
, C ~ r -
--, /.
Drop
doors
I
'
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~
Upholstery
materials
105
100
Foam
rubber
108
.. .
I - Y
.......
'
.
101
Seats
109
: ; : - : - \ C y p ~ - ~ ' : : ' f f r ame S
chair and sofa frames
1'03
Backs
117
Armchair frame
104 Upholstery details
120
Upholstery tools
105
Chair angles
122
SECTION 2: Furniture
designs
"
Instructions for reading drawings
125
27.
Bench 2
164
28.
Sectional bookcase
166
1.
Family workbench
126
29.
Chair
167
2. Professional w o r k b e n ~ h
128
30.
Dining set 1: Table
168
3. Tool cabinets
130
31. Dining set 1: Armchair
170
4. Magazine rack
131
32. Dining set 1: Side chair
112
5.
Service cart
132
33.
Dining set 2: Side chair 173
6. Telephone cabinet
133
34.
Dining set 2: Armchair
174
7. Flower box
134
35. Dining set
2:
Table 176
8.
End
table I
135
36.
Easy chair
177
9. End table 2
136
37. 2
or
3 seater settee
J
179
10. End table 3
137
38.
Armless chair, 2 or 3 seater t t e e
180
1 I. Coffee table
138
39.
Armchair
182
12. Coffee table 2
139
40. Bed Settee
184
13. Side table
140 4l.
Dressing table 1
186
14. Extension dining table
141 42.
Dressing table 2
1
188
15. Television table
144 43.
Dressing table
stool
190
16. Record storage cabinet
145
44. Wardrobe
191
17. Radio cabinet 1 146
45. Chest 1
194
18. Radio cabinet 2 148
46. Chest 2
195
19.
Speaker cabinet 151 47. Chest 3 196
20. Open-shelf breakfront 152
48. Chest 4
198
21. Cabinet 1
154
49. Chest 5
200
22. Cabinet 2
156
50.
Single or double bed and night table
202
23. Desk 1
158
51.
Double bed
204
24.
Desk 2
_"
160
52. Beds and headboard
206
25.
Stool
162
53.
Night table
210
26. Bench I 163
Index
211
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SECT ION
1:
General" instructions
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In order to select the type of wood best
suited to the work to be done it
is
essential
to understand the characteristics of the ma
terial. I have, therefore, outlined some basic
information regarding its structure, as well
as methods of sawing and handling.
Structure of wood
Wood
is
derived from a tree. It
is
made up
of bundles of fibers or long tubes that run
parallel to the stem of the tree. These are
crossed
by other fibers that form the medul
lary or wood rays. These wood rays pass
from the center or pith to the bark and
serve to bind the units together. Concentric
rings are formed as a layer of wood is added
each year. These are called annual rings.
A-Partial section of a tree trunk
Note the location of its parts:
Medulla, or pith: This is the center of the
tree. I t
is
lighter in color and less strong
than the heartwood.
Heartwood: This section of the trunk, lo
cated between the medulla and the sap
wood, gives
us
the best building material.
Sapwood: The recent al1nual rings are con
tained here, between the heartwood and
cambium.
Cambium: This
is
the most recent
ring.
Bark: This external layer protects t n e l ~ t r e e .
Sawing the tree into planks
A tree is usually cut during the
when there
is
little sap in the wood. At
time the wood is less subject to fungus at
i
tack. After the bark has been stripped, the'
trunk
is
washed to prevent fungus, mold,
OJ;
other growth. This process also helps to
season wood.
At the end of the seasoning period the
trunk may
be
sawed into planks in any of a
number of different ways. One of the most
practical methods is sawing parallel to the
grhin. This
is
called plain, or bastard, saw
ing. Quarter sawing, another method,
is
used for higher quality work.
General Notes
About
Wood
GENERAL NOTES
ABOUT
WOOD
WOOD
R A Y S
--------._
CAMBIUM
--------
PIT
H
A
---_._----
-
-----,
HEART WOOD
I
- - - - - - - - - ~
I
\ I
\ I
I
t
\
"
\
\
',.\
"
- - - - - - - - - ~
ANNUAL RINGS
C-Quarter
sawing
3
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WOOD CHANGES
Planks undergo both warping and shrinking
during the seasoning process. Shrinking
is
most noticeable at the outer edges of the
plank, because the annual rings of the sap
wood are fresher and less dense. Warping
refers to the general change the plank
undergoes after being cut.
A-Warping
in a plank that includes the
pith
B-Warping
and
curvature of parallel
sawed (plain-sawed) planks: Note how the
curvature runs in a direction opposite to
the arc formed by the annual rings.
C-Aligning or
joining of two planks must
be done on their concave sides.
D-Joining two planks on their convex
sides will produce a weak joint.
A
r:--
I
I
I
L : ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~
SEASONING
OF
TIMBER
It
is essential
that
timber be well seasoned
before it is used. The usual methods are as
follows:
Natural seasoning: In- this -method sawed
timber is exposed to
free air after
it
has
been carefully stacked.
Water seasoning:
A somewhat quicker
method
of
seasoning consists
of
immersing
. the timber in running water for about one
4
c
o
month. The water entering the pores
of
the
wood washes out the sap.
The
timber is
dried
in
the open air.
Artificial seasoning:
In
this method the
till1ber is placed in a drying kiln,
and
a
current of hot air is allowed to circulate
continuously between the layers. For some
woods
steam may be used. This
is
the fast
est method.
Wood
Changes
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After the design has been selected and
studied, the next step is the ordering of ma
terial. One method is to buy the timber in
standard lengths and cut the required pieces
as listed. Another method is to ask the tim
ber dealer to cut the material into the sizes
you. need. There will be a minimum
of
waste whichever method is used, because
standard timber sizes have been considered
in the planning
of
the designs.
SELECTING
AND BUYING WOOD
pheric conditions, but screws or loose joints
will permit shrinkage or expansion. How
ever, wood and plywood may
be
safely
combined in edge treatment, as shown on
page 52.
Another point to keep
in
mind
is
that both
soft and hard wood shrink
in
the process
of seasoning. Thus the wood
is
usually
l J
6
in. narrower than the nominal thickness.
This difference is
of consequence only
in
fit-
A void using solid wood and plywood to- ting such parts as doors, shelves, or
gether in the same piece of furniture, par- drawers. I f the wood
is
of a different thick-
ticularly if a flush
board
is
to be visible.
If
ness from that specified in the design, ad-
such a combination of materials
is
unavoid- justments must be made in the dimensions
able, glue should never be used for bonding of the par t to be applied. Therefore it
is
the parts. Plywood and solid wood react best to secure timber of a thickness as close
differently to drying glue and to atmos- ~ _
__
ssible to that specified.
:./
~
~ C I I / ' (
: / ' ~ ' ' ' ' ' ' - ' ' ' - ' , ' ' :It .
? ~ C r r ,. ~ f .\- .
4.
~ O : " : :
c.
c L ~ . i I N ~ c l . N . b A S ~ . ~ B L l N G THE
PARTS
; (, ~ ~ : ;:
~ ) /
Whether wood is shaped by hand or jj 6 ? ~ \ \ . . . ::; - e ' l i n i i U a J . n ~ h i e joint and substituting nails.
of woodworking machines, the process
c
0..).,- ,-CYl efete"lhty.parts are joined, all should
be
sists of removing small parts of wood
6 .
- :
1\
P b e ~ . 9 f t o make sure they will
fit.
sawing, planing, or chiseling in accordance -
----c
.
with the selected design. Instructions for assembly are provided with
After the design has been studied and suit
able wood selected, the various pieces can
be traced directly on the wood for cutting.
See
details, page
8.
The parts should be laid
out in such a way that the handsomest sur
faces of the wood will be seen in the fin-
ished piece. In the cutting operation itself;
accuracy
is
very important; if the parts are I.
to fit together as designed, the timber must I
be
cut at the correct angle. The saw cut
should fall
outside
the pencil line,
so
that
the board can be planed or filed to correct
dimensions. (A plane
is
used on flat sur
faces, and a file on curved edges.)
When the parts have been cut and finished
to the right sizes, the joints may be marked
and executed
as
indicated in the details.
Sometimes it
is
possible to save time by
Selecting
and Buying
the Wood
each design. The glue must be spread on
both surfaces to be joined, and the pieces
clamped together for several hours. Simple
clamps or screws and nails may be used to
apply pressure. Wood clamps may be made
by nailing blocks of wood to the ends of a
rail slightly longer than the piece being
glued, and applying pressure by inserting
wedges between the wood and the blocks.
Large assemblies
Before assembling a large piece of furni
ture, particularly a built-in unit, it is wise to
measure passageways to make sure it can
be
moved from the shop to the site that has
been picked for it. It may be necessary to
assemble the piece in two or three units in
the shop, and complete the assembly in the
room where the piece
is
to be installed.
5
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WOOD FINISH
The kind of finish a piece of furniture
should receive will depend upon the quality
and appearance of the wood, the
use
it
will
receive, decorating tastes, and
so
on. Noth
ing shows off the beauty of the wood-and
the builder's achievement -quite so well
as a "natural" finish. Or it may seem pref
erable to add a touch of bright color to the
decorating scheme of a room by painting
the piece. Nowadays furniture makers
sometimes achieve bold, striking effects by
the carefully planned
use
of contrasting
panels on the same piece: for example, the
drawer fronts of a chest might be enameled
or lacquered pure white, while the frame
could be a strong, deep tone of almost any
other color that would "go well" in the
room. A word of caution to the amateur
decorator:
if
you lack confidence
in
your
judgment, or are wavering between color
and natural finish, remember that the latter
is never in bad taste. Furthermore, a natu
ral. finish can later be painted over,
if
you
find you are not happy with it. It is a far
more difficult proposition to remove the
paint, if you later decide you prefer the
"natural" look.
The subject of wood finishing is too exten
sive to receive adequate treatment here, but
a few general pointers are worth giving:
Carefully sand smooth all surfaces, both be
fore and between coats of finish. Grade M2
sandpaper is recommended for raw wood;
finer grades of waterproof sandpaper
such as 0 or OO-are suitable between
6
finish coats, and may be dipped in water to
prevent dogging and minimize dust. Other
methods of smoothing the surfaces, such as
rubbing with
fine
steel wool, pumice, or
other fine abrasives, may also be used. Dust
should be allowed to settle before liquid
finishes are applied, and the air in the work
room should be clear and still. Be sure that
a coat of
finish
is thoroughly dry before
sanding and proceeding with the next coat,
and never rub or sand the final coat of paint
. or enamel. Various rubbing compounds or
"Flour" sandpaper may be sparingly used
after the final coat
of
shellac or varnish.
Preparation of surface
Most raw woods need careful preparation
before they can be painted or finished. Neg
lect of this essential preliminary will not
only increase the number of coats necessary
to obtain proper coverage-with conse
quent waste
of
materials and labor-but
will produce less satisfactory results. Fill
ers, primers, and unde.rcoats are' not
cheaper types of finishing material to be
used where they won't "sfiow"-they are
indispensable components of a proper
finish.
In applying finishes, use good brushes and
ceep them in good condition. It is best to
keep special brushes for special uses: one
brush for shellac, another for varnish, a
third for lacquer. A nylon brush should not
be used with shellac, as the alcohol solvent
will
attack the bristles.
Wood Finish
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Open-grained hardwoods must be filled.
If
the wood
is
to be stained, this operation
should precede filling
or
be combined with
it-filler-stain
preparations
are
available
in a number of shades.
I f
wood filler is ap
plied separately, it should be brushed or
wiped
on
and the excess rubbed off with a
clean rag.
I t s
important to follow the man
ufacturer's instructions faithfully with all
finishing materials.
Close-grained woods do
not
need to be
filled,
but
a
coat of thin
shellac is recom
mended to seal fir before varnishing, be
cause
of the
soft grain.
If
there
are any
knots
or
resin pockets in the wood, they
should be sealed
with
shellac
or knot
sealer.
Plastic wood
or
crack filler (in shades
to
match the wood, if a
natural
finish
is
se
lected) should be used
to
fill nail holes
or
crevices after they have been primed, either
by the first finish coat
or by
swabbing with
linseed oil
or
varnish.
Natural finishes
Among natural finishes, the least discolora- ;
tion of the raw wood
is
obtained with wax, ;
but this method also offers least protection :
against
hard
usage. A single
coat
of white
I
shellac
or
clear varnish should precede
the;
wax. Combined varnish-wax preparations
are also available.
j
Clear lacquer can yield striking results, and
, I
Wood Finish
WOOD FINISH
there are now preparations available which
make it possible to apply this traditiomilly
difficult material with a brush instead of a
spray-gun.
A "white" shellac finish will discolor wood
less than varnish, but
is
not waterproof. A
"5-lb cut" shellac contains 5 lb of shellac
gum to the gallon of alcohol; "4-lb cut" con
tains only 4 lb. Either of these concentra
tions will give good results,
but
the "3-lb
cut" frequently found in stores
is
not rec
ommended, except for preliminary coats,
which should be thin.
Varnish finish combines durability with the
attractiveness of a natural finish. Spar var
niSh
is
suitable for pieces like kitchen cabi
nets,
that
are exposed to moisture.
Other
types of varnish are suitable for high-gloss
effects,
and
some types have pigment added
. to combine the coloring effect of pa int with
the natural grain of the wood.
Paint
or
enamel finish
If
the wood
is
to be painted, it must first be
primed, although some special formulations
and most rubber-base paints are self-prim
ing.
If
it
is
to be enameled, best results will
be obtained by using an enamel undercoat
preparation.
It is
generally advisable to mix
a little
of
the finish coat into the white
primer
or
enamel undercoat, in order to
tint it,
and
provide a better base for
the
final pigment. This measure
is
especially
advisable if the final color
is
very deep.
7
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MARKING THE MATERIALS
After obtaining the rough wood from the
timber yard, mark out the various pieces
on
the wood using the straight yard rule
(A), the try square (B),
or
the sliding bevel
(C). If you use the two latter devices, re
member
that
one edge of the material
should be straight.
The marking gauge
(D)
is
used to trace
lines parallel to a straight border or edge.
The marker can be adjusted to vary the
distance from the edge.
The
function
of
the compass
(E)
is
the
scribing of circles
or
partial curves.
8
c
Marking
the Materials
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BASIC
WOODWORKING OPERATIONS
The basic types of woodworking opera
tions required to shape the pieces and
make the
joints
shown in this book are il
lustrated on pages 9 through 16. To de
scribe the actual method of working the
wood would require a whole book in itself,
but the text does suggest the tools-both
hand and
power-
for each operatIOn.
In general, the tools mentioned are those
that will do the job most efficiently, but be
cause some operations can be accomplished
in many ways, the choice of method will
depend upon such factors
as
the equipment
available, the number of similar or identi-
A-Rip cut (with grain)
Hand: Rip saw recommended, but cross-
I
cut saw may be used.
Power:
Circular saw.
I
or band saw.
I
C-Angle cut
Hand:
Cross-cut saw or, for small pieces,
tenon saw. Power: Circular saw or band
saw.
Basic Woodworking Operations
1
I,
cal operations to be performed, the degree
of precision necessary, and so on. For all
operations involving power tools, the char
acteristics of the particular equipment and
the manufacturer's recommendations for
its use will also need to be considered.
It should be understood that careful sand
ing of the wood is ordinarily required after
the wood has been worked to the proper
size and shape. Depending upon the opera
tion, planing or filing may also be neces
sary. In the text that follows, such opera
tions have not beell mentioned unless they
are essential to the description.
SAWING
8-Cross cut (across grain)
Hand: Cross-cut saw or, for small pieces,
tenon saw. Power: Circular saw
or
band
saw.
D-Miter cut (45 degrees)
Hand:
Cross-cut saw or, for small framing
pieces, miter saw in miter guide. Power:
Band saw
or
circular saw.
9
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SAWING
A-Rip bevel (with grain)
Hand:
Rip saw recommended, but cross
cut saw may
be
used.
Power:
Circular saw.
C-Compound bevel
Hand:
Cross-cut saw or tenon saw.
Power:
Circular saw or band saw.
i
E-Curved cut
Hand:
Keyhole or compass saw, or (for
thin pieces) coping saw.
Power:
Band saw
or jig saw.
10
B-Cross bevel (across grain)
Hand:
Cross-cut saw or (for small pieces)
tenon saw.
Power:
Band saw or circular
saw.
D-Straight and curved cut
I
Hand:
Keyhole or compass. saw.
Power:
Band saw or jig saw.
F-Inside
cut
Drill hole (see 14A) to admit saw blade.
Hand:
Keyhole or compass saw, coping
saw.
Power:
Jig saw.
Sawing
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A-Surfacing a side
Hand:
Jack plane followed by smoothing
plane. Power:
Jointer or belt sander.
C-Truing an edge (with grain)
Hand:
Jack plane followed by jointer plane.
Power: Jointer.
E-Chamfer
Hand:
Use planes as in C or D, above, in
conjunction with plane gauge if desired to
maintain proper angle.
Power:
As in C or
D,
above, or disc sander.
Surfacing
SURFACING
B-Surfacing two sides
Hand: Jack plane followed by smoothing
plane, with marking gauge to control thick
ness. Power: Jointer, thickness planer, and
belt sander.
D-Squaring an edge (end grain)
Hand: Block plane or smoothing plane.
Power:
Jointer, or disc sander.
F-Stopped chamfer
Hand:
Planes and
files. Power:
Jointer or
spindle molder.
11
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SHAPING
A-Concave curve
Hand: Mallet and chisel directed toward
saw cut bisecting curve,
or
wood rasp. Fol
low with adjustable circular plane and files.
Power: Spindle molder.
C-Rounding a corner
Hand:
Block plane or files.
Power:
Spindle
molder. /
E-Rounding a convex edge
Hand:
Plane
and
files.
Power:
Spindle
molder.
12
B-Convex curve
Hand:
Mallet and chisel followed by ad
justable circular plane and files.
Power:
Spindle molder.
D-Rounding a straight e d g ~
Hand: Plane and files. Po-wer: Spindle
molder.
F-Rounding a concave or irreguiar edge
Hand:
Files.
Power:
Spindle molder.
Shaping
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A-Recess
on
edge (drawer pull)
Hand:
Chisels and gouges.
Power:
Spindle
molder or router.
C-Moldings
Hand:
Rabbeting plane or molding plane.
Power:
Spindle molder.
E-Turning
Hatld:'
Not recommended. A spokeshave
might be used for simple shapes. Power:
Lathe with turning chisels and gouges.
Shaping
SHAPING
B-Recess away from edge (drawer pull)
Hand:
Chisels and gouges.
Power:
Spindle
molder or router.
D-Relief
carving
Hand:
Gouges and special
files.
Power:
Drill press with router bits, or carving
cutters.
F-Irregular shaping
Hand:
Saws
for plan and elevation profiles,
followed by planes,
w
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JOINERY
A-Hole drilling
Hand: Brace and bit, with bit gauge if
depth of a stopped hole
is
to be regulated.
Doweling jig will insure accurate matching
of holes
if
a dowel joint is required. Power:
Drill press.
..'
C-Rabbet
Hand: Rabbeting plane, or combinatio l
plane. Power: Circular saw or jointer. /
E-Groove or slot
Hand:
Groove or combination plane.
Power:
Spindle molder, circular saw, or
router.
14
B-Slanted hole
Hand: Brace and bit guided by prebored
block (jig) clamped to work (face next to
work having been cut to angle required for
inclination of bit). Power: Drill press.
D-Curved rabbet
Hand: Chisels or round nibbeting plane.
Power:
Drill press with router bit o r spindle
molder.
F-Tongue
Hand: Tongue or combination plane.
Power:
Jointer, spindle molder,
or
circular
saw.
Joinery
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A-Housing
Hand:
Tenon saw and chisels.
Power:
Cir
cular saw or router.
E- Open mortise
Hand:
Tenon saw and
files.
Power:
Circular
saw or band saw.
Joinery
JOINERY
B-Stopped
housing
Hand: Chisels. Power: Circular saw or
router.
and chisels.
Power:
Cir-
F-Simple
mortise
Hand:
Mortise chisel and
files.
Power:
Drill
press with mortising attachment or router.
15
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A Box
;oint
or finger
lap
Hand: Tenon saw, chisel, and files. Power:
Circular
saw.
B Edg
e
dovetail
Hand:
Tenon
saw and chisel. Power: Dove.
tail router.
C-Dovetail
housing
Hand: Tenon saw and rabbeting
p1ane.
Power: Dovetail router.
E Lapped dovetail
Hand:
Dovetail saw,
fOllowed
by chisel.
Power: Dovetail router.
16
D Dovetail ;oinl
,
Hand: Dovetail saw and chisel. Power:
Dovetail
router. -
F-Secret
mitered dovetail '
Hand: Dovetail saw and chisels.
POwer:
Dovetail
router.
Joinery _
I
I
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B
Gluing Wood
GLUING WOOD
Either hot or cold glue may be used in wood
construction. After preparing the parts and
making sure that the surfaces are smooth,
spread the glue on both faces to be joined.
The glued pieces should
be
pressed together
for four to eight hours, dependfug on, the
type of glue used.
A-In assembling furniture, direct pressure
can be applied by use of a rope.
B-The adjustable bar clamp is used to
join boards together. Its spread
is
2 ft to 8
ft. .
C-Pressure is usually maintained by the
use of clamps.
D-Here
is a simple method of joining
boards without the use of clamps. Short
pieces of wood are nailed to the ends of two'
rails, and pressure
is
applied by inserting
wedges.
E and
F-
The steel spring is another type
of clamp.
G -The handscrew is /made
of
wood
and used for light work. The parts must be
kept parallel as they are screwed together.
H-The double bar clamp is used to press
together thin sections of wood, as in veneer.
17
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METHODS OF JOINING
BOARDS
Often planks are not large enough for the
work to
be
done. To obtain the desired
width or length it is necessary to glue two
or more planks together with what
is
called
a butt joint.
In order to obtain an invisible joint in ex
posed panels, the grain must be accurately
aligned. There are many ways of joining
these parts, each suitable for a particular
type of work.
A-Because
the planks sawed from the
center of the tree trunk are the weakest, it is
advisable to saw them in two and glue them
together to give them stability and strength.
B -
To obtain best results, the two planks
should
be
joined by matching either ex
ternal rings or interior rings, in order to
equalize shrinking or warping.
C-If the external part
of
the timber s
connected with the internal part, a very bad
joint may result. There will be no proper
seasoning of the two pieces, and after a
period of time there will be a noticeable
demarcation of the whole joint.
D-In
a solid panel it
is
necessary to have
the edge straight to form a perfect joint.
I t
is
of utmost importance to see that the
grain direction is alternated from each
plank to the next in order to equalize the
strain made by the annual rings.
E-I f
the grain is not alternated, the panel
will have a tendency to curl.
18
A
B
I)])))
[J
ill (un ((((I
c
Methods
of
Joining Boards
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-
Butt joint
This
is
one of the simplest and most
frequently used joints.
o
Dowel joint
A common method, often used where
the total area
is
large.
TOhgue
and groove
Flooring
is
usually made this way. It
is
also practical
in
furniture work.
Basic Joints
BASIC JOINTS
Rabbet joint
Similar to the preceding method, but
less used because it
is
more difficult.
Mortise-and-tenon joint
This joint
is
less commonly used than
the one
at
the left.
Feather joint
This
is
one of the most practical ways
of joining parallel planks.
19
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BASIC JOINTS
Loose
tongue and groove
With edges rounded
or
beveled, this
joint
is
often used in wall paneling.
Tongue-and-groove joint used.in
drawing board
The transverse rail
is
used (0 prevent
warping;",
Butt joint
with
wedges
20
/
Shiplap joint
This method is used extensively for
siding on houses.
I t
is easy to make a
watertight joint in t h i ~ way.
Wedge mortise and ten'on
This method
is
used wlren work
is
to
be exposed to the weather.
Butt joint with dovetail
wedge
This
is
a good method to use with a
straight joint, particularly for outside
work.
Basic Joints
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A
A-Zigzag scarf joint
This joint exposes more of the wood
grain to contact with the glue, and is,
therefore, stronger than a right-angle
scarf joint.
B-Dowel scarf joint
The dowels strengthen the joint. Glue
is
used with all of these joints.
C-Fork scarf joint
A good joint
is
obtained because the
surfaces are held naturally in contact,
permitting
firm
glue adhesion.
D-Double dovetail scarf joint
This joint
is
used where the joint is
subject to strain.
E-Tension scarf
joint
This jOint
is
held in place by wooden
wedges, and
is
used more commonly in
house carpentry than in cabinet mak
ing.
Scarf Joints
B
c
SCARF JOINTS
The right angle scarf joint is not often
used in furniture work for practical
reasons: It
is
not strong, glue will not
adhere easily to its surfaces, and the
joint is always visible.
o
21
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RAIL JOINTS
The execution of rail joints is of great
importance, because these are the
basic structural elements in furniture
framework.
Various types of straight rails and
transverse rails may be used to form
various types of frames, and an
ap
propriate joint must be selected for the
type
of
work to be done. You must
consider the thickness of the straight
and transverse rails, the quality of
wood, and the position of the frame
-whether visible or concealed. A
middle rail may be added to the
straight and transverse rails for extra
support. The series of joints illustrated
will
show the various types and explain
the characteristics of each.
Dowel joint
\.
.
Another joint commonly used in repa,ir
work.
' , . ; ~ .
- Open mortise-and-tenon joint
22
This joint is easy to make and is used
for ordinary furniture work.
"
End
half-lap joint
This joint is easily constructed, but un
less reinforced with pins and bolts or
screws it is not very durable. It is used
mostly in repair work.
Bridle joint
.
This
is
a joint often used by the ama
teur craftsman.
Stub mortise
and
tenon with
square
haunch
This is the most widely used joint in
the furniture
field.
It
has all the requi
sites of a perfect joint.
Rail Joints
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Double mortise
and
tenon
with
sloping haunch
This joint can be used where work is
exposed to the elements.
WEDGE
-----,
I
Miter
bridle
joint
Rail Joints
L
I
I
RAIL
JOINTS
Bridle with groove
and
miter on the
inner
edge
in
every type of
Miter
with
stub mortise
and
tenon
23
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RAIL
JOINTS
tf
---
_
_ j
SPLI
NED
Miter joint with spline
This joint
is
easy to make and
is
often
used
by
the amateur craftsman.
Miter
tongue
joint
This
is
very common
in
standard pro
duction.
/
MIDDLE RAIL JOINTS
24
Lap tee joint
This simple joint
is
often used
by
the
amateur; also in repair work.
Miter mortise-and-tenon joint
This
is
a very strong joint, used for
work exposed to humidity.
Miter stub
tongue
joint
Same as miter tongue, except
Jhat
feather joint
is
invisible.
Dowel joint
This
is
a good general purpose joint.
Rail Joints
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Through mortise and tenon
The addition of the wedge makes this
a very strong joint. It is used in work
exposed to weather.
Dovetail halved joint
This method is used to strengt4en the
frame where it will be subjected to un- :
usual strain.
Special dovetail joint
I
This joint is difficult to make and is
used only for precision work.
Middle Rail Joints
MIDDLE
RAIL
JOINTS
Stub mortise and tenon
This is an easily made and widely used
joint.
Oblique dovetail joint
Same as dovetail stub except that
tongue runs through and joint is in
oblique position.
Double dovetail joint
The principle here is the same as in a
single dovetail'joint. Both systems are
used Jor joints subject to great strain.
25
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MIDDLE RAIL
JOINTS
Mortise and tenon with rabbet
Here is one way of joining rails to form
a panel.
Mortise and tenon with mitered
rail and frame
Another mortise and tenon variation.
26
Cross-lap joint (1)
This easily made joint is one of the
most commonly used.
/
Mortise and tenon with groove
Note that mortise and tenon are re
duced in width.
Double mortise and tenon
I
This mortise and tenon has many uses
for cross-rail joints. The rail is mor
tised from both sides:
Cross-lap joint (2)
Here
is
another application of the
cross-lap principle.
Middle Rail Joints
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A-Molded
plywood
Light molded plywood
is
obtained by
gluing layers of wood together in metal
forms. The mold is pressed together
with clamps. This method
is
in wide
use in the production of chair seats and
backs. '
Cylinder and cone construction
B-Cylinder with feather
C-Cone covered with plywood for
c abin,et
work
For upholstery work, cardboard may
be substituted for plywood.
Special Uses of Plywood
SPECIAL
USES
OF PLYWOOD
\
\
\
- - - - - - - - - - - - - - - - - - ~
MOLDED PLYWOOD
SEAT
51
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EDGE
TREATMENT
In order to conceal the laminates in ply
wood or a blockboard panel, the edges
must be covered with hardwood. The
methods used are:
A
~
8
-
C
-
0
-
E
-
F
-
G
52
I
A-Painting the edge to match the wood:
This is the simplest and cheapest method.
B -Veneer banding
This material
is
now available in rolls.
C-Solid
edge
D-Tongued, frame and grooved edge
E-Tongued edge and grooved frame
F-Edge attached with feather
G-Mitered
edge used in
fine
work
H-Application
of hardwood edge (C-G)
(solid edge shown)
For
fine
work the corner will be formed
with a miter joint.
I-Roll
veneer is particularly suitable for
curved edges.
J
Edge Treatment
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A
B
c
o
\
\
____
1.
FABRI C
\
\
- - - - - - ~
COTTON
Fastening
Fabric to Board
FASTENING FABRIC TO BOARD
For simple upholstery, there are several
techniques for attaching the fabric to a
panel. Any of the methods shown will
give excellent results.
A-Fabric
tacked to the back
B - A
strip of wood fitted into the
back
C-Solid board attached to edge
D-Fabric
stretched over a frame:
This forms an independent panel front.
~
I
I
L
_ _ _ _
_ _ _ _
SOLID EDGES
53
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METAL
BORDERS
A through D-Metal borders. and
methods of fastening them to wood
edges
PLASTIC BORDERS
54
To cover wood edges one can use either
plastic material similar to that used on
surfaces, and applied
by
the same
method (E), or standard plastic bor-
ders (F). /
METAL BORDER
~ - - - - - - - - - - -
A'_
B . , .
PLASTIC
BORDERS
r ~ - - - - - - - - - -
,f
E
_
Metal
Borders
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APPLICATION OF FABRIC TO DOORS
fA
BRIC
------,
I
I
I
I
B
C and D -Two methods of applying a
fabric panel to a frame
Application
of Fabric
to
Doors
A-Application
of fabric to a sliding
door
B-Fabric held in place on a door by
molding
lole
~
&
55
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DOOR
STOPS FOR
SINGLE DOORS
The basic use of single or double door
stops
is
to seal a furniture compart
ment and so protect its contents from
dust and other injury. Door stops also
help to mask the gaps that appear when
the wood shrinks. Stops are seldom
used
in
~ a s s production; to save time
a straight board
is
used.
WOOD
OR METAL
ST OP
-----------------,
I
I
.......
A
B
""
- . - . ' . (
" .
A-Straight board door with wood or
metal stops: This
is
the normal method
used in standard production.
B-Straight stop board: A special so
lution, not commonly used.
C-Rabbet
stop on side
D-Rabbet
stop on door: A very good
method
E-Miter
stop, used
in fine
work
56
RABBET STOP
Door
Stops
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Door
Stops
WOOD OR
METAL
STOP
------------------,
I
I
I
DOOR
STOPS
FOR DOUBLE DOORS
A
A-Straight board with wood or metal
stop as used in mass production
B-Rabbet
stops: The score in the
front hides movement or shrinking of
doors.
C-Stop with tongue and groove: This
method allows simultaneous opening
of the doors.
D-Variation
of tongue-and-groove
stop
E-Isometric
drawing of door, show
ing position of rabbet stop: The score
indicated
in
(B) has been omitted.
57
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DOOR HINGES
There are several methods of attaching
standard doors
to
furniture; they vary with
the type of hinge to be used. Hinges are usu
ally fastened with screws.
The common types of hinges are illustrated
here and'on the following pages.
Butt
hinges
are shown below.
,
.:
,: '
....
Butt i n g e ~ ' a r ~ .
iised in mass proquction.
< >
oJ'
I
Recess doors with
butt
hinges: Note
that
side panel
acts as
door
stop.
58
Cabinet doors with butt hinges
BUTT
HINGES
@@
(Q)
@
@ @
@
@
o
O
@ @
@
@
@
@
o
Door
Hinges
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External doors with butt hinges: Doors using this
type of hinge open all the way.
Rabbet doors with butt hinges
Rabbet doors with offset hinges
Miter doors with butt hinges, used for special work
Door Hinges
DOOR HINGES
Q
=
BUTT
H I N G E
LOOSE PIN HINGE
R
IANO 0
CONTINUOU
H I N G
5
E
---v
cg
@
HINGE
v
-
@
l -
I-
@
l -
59
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DOOR HINGES
-
J
OFFSET HINGE
sass.
HINGES
DOUBLE ACTION
HINGE
0
....
FLUSH HINGE
COUNTER
H I N G E
60
@
0
@
External door application with offset hinge
Door application with Soss invisible hinges used in
fine furniture
f
'"
....
"
Door attached with folding-screen hinges: The dou
ble action permits -complete rotation of the door.
Hinges work in pairs to prevent gapping.
Flush and counter hinges, commonly used for exten
sion table tops,
Door Hinges
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A
OPEN
TOP
CLOSED
B
TOP
OPEN
Table Hinges
CLOSED
TABLE
HINGES
A-Standard
table hinges made to fas
ten extension table tops having molded
edges
B-Another type of extension table:
The straight edges are fastened with
extension hinge. Open, the extension
part
is
flush to the surface; closed, it
is
flush to the edge.
TABLE HINGE
61
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SPECIAL HINGES
I
1
..... ,/
....... _ - , . ,
62
I
\
\
,
,
' ~
-_
1
Cabinet with three doors: Such cabinets present spe
cial problems. Here
is
one solution, shown with butt
hinges.
Piano hinges used with two sets of doors: This is a
practical method of hiding the central divider when
two sets of doors appear on the front.
The
hinge may
be
cut into segments when two doors are hinged from
same post. See page 59.
Special Hinges
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A
8
.
A and
B-Doors
using internal pivots at top and bot-
tom. Note that (B) uses a stop pivot.
C-Door
installation with angle pivot hinge., With
this
ty,pe
of pivot the door can be opened all the way.
o
D-Another
angle pivot hinge, with a pivot of differ
entshape
Pivot Hinges
PIVOT HINGES
@
PIVOT
HI N
GE
PI VOT
HINGE
WITH STOP
63
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PiVOT
HINGES
_-
64
1 II
~
I \
I ,
/ -
"-
\
\
A
,
.. ; , ~ .
"
A-This three-door problem has been solved by using an
external pivot hinge (above left) on the two outside doors,
and an internal one (above right) on the door that hides
the dividing panel.
B-Use
of pivot hinges on a four-door cabinet also hides
the center divider.
t'
".
Pivot Iiinges
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SUPPORT
Drop
Doors
DROP DOORS
A drop door may use almost any type
of hinge along its bottom edge.
If
the
open door is to serve as a desk
or
sup
port, it
is
essential to have the door
held rigidly in position. This can be
done by using metal supports along the
outer edge.
A and B-Two types of supports for
drop doors, both attached with butt
hinges
C- A simple method of using a butt
hinge, without a special support.
The
door overhang acts as its own stop.
c
.....
..... _ - - Y
65
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DROP DOORS
66
A - A
combination hinge and support
is
used with this drop door. This
is
a
satisfactory method so long as the door
is small.
OMBINATION HINGE
AND
SUPPORT
B-Offset
hinges are used in this
scheme.
C and
D-
These .two similar drop door
1
stops are intended for use in fine furni
ture construction. Both employ pivot
hinges hung sidewise from the sides of
the cabinet.
Drop
Doors
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_____ ~ I J B B . Q E
DROP
DOORS
A-This
type of door stop
is
simpler to con
struct than the preceding two, but the differ
ence
in
level between the door and the in
terior would be a disadvantage for some
uses.
B-Pivot
door, suitable for dressing tables
B
FOLDING
DOORS
Folding doors leave free the space
needed to open conventional doors.
They are simple to make and to install,
but the work must be done very ac
curately.
I
I
I
I
I
,
I
I
I "
I I I
I I I I I
L_..J__..J.__ -' - _
_j
Drop Doors
HINGE
WITH
GUIDE PIN
"" ' ------------
-
.....
.....
67
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SPECIAL
DOORS
/
68
----,
----1
Combination drop and sliding door
. This design utilizes a pivot and a routed track.
Tambour door
VERTICAL
SECTION
Another space-saving door. This type, once very
popular
for
office furniture, is not difficult to build.
Special Doors
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I
-_________
CLEAT TRACK
c
'---------
WOODEN
STRIPS
E
Sliding Doors
8
I
_________
GROOVE
TRACK
CLEARANCE
fO
R
REMOVAL Of DOORS
METAL OR
PLASTIC
SLIDING DOORS
Sliding doors also save room space, but
do not allow so large an opening as do
folding or tambour doors. Several
methods of installing sliding doors are
shown. Note that for both installation
and removal of sliding doors space for
clearance must be allowed in the top
guide.
A and B-Sliding door with cleat track
and groove track
C-Easy-to-make guides, using
wooden strips
D and E-Metal and plastic guides
and their application
F-Plate glass or thin plywood doors
sliding
in
groove tracks
F
\
\.-
- - - - ------
CLEARANCE fOR
REMOVAL Of DOORS
...__.__-
69
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SLIDING DOORS
I
l 7
r=---===--r - - - - - - ,
I
I
I
I
,
I
I l r,
I
I \
..
v ,
L
______ .J
A A
fRONT
VIEW
A-Doors
will
move more easily if
wheels are used. These _ wo methods
will give very satisfactory results.
PLATE GLASS
~ - - - - - - - - - -
C
BALL TRACK
r - - - - - - - - -
I
I
B, C, D-Other methods of sliding:
Irregular groove to minimize friction,
ball track, and plastic rollers all make
for easy sliding of the doors.
70
SID
E
o
SI DE. SE.CTlON
PLASTIC OR
ME. T
AL
ROLLERS
r-----------
'/
/M ETAL ROD
/
r
/ I
/ I
/ I
I
I
I
I
I
,..--,
I ' '\
I \
1+,
I
fRONT VIEVi
Sliding Doors
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P R I C T I O ~
AT C H
MAGNET CATCH
Door Catches
DOOR CATCHES
Doors may be fastened with catches,
bolts,
or
locks. Locks, of course, re
quire keys. Several types of catches are
shown on this page. Bolts and locks are
illustrated
on
the pages that follow.
BULLET
CATCH
RUBBER ROLLER CATCH
DOOR
71
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DOOR
BOLTS
AND LOCKS
DOOR KNOB
A - A door knob installed in position
Band C-Application
of flush and neck bolts to
door back, for use with double doors
/
=
=
MORTISE LOCK
72
~
B
o
c
D-
The mortise lock
is
a common
type found in fUfl1iture work. I t can be
used with single or double dqors and
with drawers.
E
and
F-Mortise
end side lock that
may be used
in
either doors or drawers.
The keyhole should always be vertical.
Door Bolts and
Locks
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DOOR LOCKS
A-This
bar lock method closes both doors
at the same time.
Band
C-Plate glass locking devices which
are particularly useful:
(B)
is
secured with
screws; (C)
is
applied to the base of the
plate glass.
7----- . . i
A
74
PLATE
GLASS
Gl
Door
Locks
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I
I
I
I /
If.
______ _
MtTAL KNOBS
c
I
/
\
I
I
\
_ J . L J . : . I 1 L ~ ' _ \
L _____ _
METAL PULL
Pulls
L __
NUT
8
I
I
I
L __ ___ _
w
000
PULL
o
PULLS
A through D-Many types of pulls or
knobs made of wood or metal may be
purchased and applied to furniture.
Pulls may
be
used decoratively, but it
is usually best to build them into the
actual furniture as shown in (E).
E-Drawer or door pulls built into the
furniture
P U LL
------- ,
I
r 7 I ' 1 < : ~ ~ r - - - I
I
I
I
I
I
7S
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PULLS
A and B-Two examples of pulls cut
into the bottom of a drawer
C and
D-Pulls
built into cabinet
doors
E-Sliding door pulls are cut into the
wood; a similar method is used for
plate glass sliding doors.
C
"
"
:
'
: ,
\:
76
A
,,,-
"
f
.
"
"
.
c
I
I
_____
I
METAL I
PULLS
I
I
~ - - .
- - - - - - : 1
-
' I
0
I
\
\
"
,
:E
_ 1 ' ~
Pulls
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A
Adjustable Shelves
B
ADJUSTABLE SHELVES
Adjustable shelves have several ad
vantages, but the chief of these is that
the spacing between them may be
varied to suit the objects to be dis
played. These shelves are often used
for bookshelves, kitchen cabinets, and
china cupboards. Here are several
types.
Various examples of adjustable
shelves: Type
(D) is
one of the best
arrangements.
SHELVES
- - - - - \ - - . . .
\ -...
-y-- ,
,-or--
\
./
./
I
//
./
./
./
IL ________ _
L _
SHELf BRACKETS
~
ADJUSTABLE
~
SHELf" PINS
c
SECTION
FRONT
VIEW
77
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ADJUSTABLE SHELVES
AOJ\)S'TABLE.
SHELF'SUPPORT
AND
STANDARDS
,-
/
J ~ . / ":-
Supporting the shelves w i t ~ ~ b r a c k e t s
offers a simple method
9;'
?uilding
bookcases and similar d i s R l a y . ~ s p a c e s .
Several styles of brackets are available,
commercially. " .
"
'; .
\ ' .
..... . . . .
'.
....
78
t :?
@
@
@
BRACKET KEYHOLE
::J
V
BRACKET
KNife:
Adjustable
Shelves
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A
SECTION
DRAWERS
A drawer is one of the most useful and
important parts
of
furniture construc
tion,
and
smooth operation
of
the
drawer depends upon the perfect de
sign and assembly of the furniture
piece.
Drawers may be hidden by doors
or
they may be exposed. Many solutions
are possible
with
either design.
The
drawings in this section give a clear
idea of their construction
and
applica
tion.
A-Simplified
drawer construction
Here
is
a drawer adequate for normal
use which
can
be easily made by hand.
It
is designed in the form of a box
without cabinet joints,
and
is
assem
bled with nails.
The
front
is
attached
with screws driven from the inside,
so
that
the visible portion
is
unbroken
' ~ ~ ~ ~ ~ t d
resembles a standard drawer. A
~ ~ c : , C ~ ~ ( &.no.
. pull
can
be attached in ex-
~
~ r'....
- ; a e ~ f y \ same way as for the more
/ f
IJ >- f O r ? p l f c a ~ d type.
, uC::
4
c "( : CC
(j
:: :
B_;Box.fbi t often used by craftsmen
. , -cr : : )Q:.I
'oj \
c;;:
c: .' S I D E ) ~ E i TlON
\.. :z:
.
.:..
~
\.... C'
~ . r - ' - # - - - - - l
~ t ~ ; ~ / ~ ' 7.,
~ . ~ ~
... -
I - o . - . ~ ........ . . . . . . . ~ ~ \
~ ~ " " " " ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' . > A . I \ I
JO\NlNG-l"Ht 1wo R A W E R - f - R O ~ I
PIECES WITH fOUR
seRE WS
PLAN VIEW
PLAN VIEW v ~
r
II
.
I I
I
I
Drawers
79
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DRAWERS
A-Drawer
constructed with dovetail
A
joint
B-For
fine drawer construction the
lapped dovetail joint is often used.
PLAN VIEW
80
8
SIDE
SECTION
_41.
PLAN VIEW
SIDE VIEW
I I
, . l _ l ___
1 -
___
J
1.
r I I
Drawers
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A
SIDE SECTION
B
SIDE SECTION
Drawers
c
DRAWERS
A and B-Some type of dust panel
is
usually installed between drawers.
The one shown in (A)
is
visible from
the front of the chest; in (B) the panel
is
concealed by the overlapping
drawer front.
C-Disappearing
drawer front
- - - -
--.,
I
~ " ' N - i r - - - - - - - _.J
I
/
/
J
/
/
~ ~ ~ ~ ~ ~ ~ ~ ; ; r "
./
SID E
SECTION
81
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SPECIAL DRAWERS
Drop-top mirror used inside a drawer
m
HANNEL
I R O N
HOUSING
- -7
/
/
Drawer with vertical removable divi
sion.strips: This method uses a housing
or a channel iron in the side of the
drawer.
Drawer with oblique 'removable divi
sion strips: Either housing or channel
iron may be used.
82
I
MIRROR
I
\
I
1
7
\ I
\
\ /
\ I
~ ~ _ O _ ' { _ ~ ~ : : . ~ 1 '
----------,.._
,
I
......
I '
I '-,
I "
I ~
Special
Drawers
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SPECIAL
DRAWERS
A-Interior
drawer for wardrobe or
cabinet
B-Shirt
drawer
C-Drawer
with pull, for use as tray
D-Drawer
with plate glass front
PLASTIC DRAWERS
4114
These drawers can be purchased in '
standard sizes, with various types of
guides. Pulls and knobs can be ap
plied to them as easily as to wooden
types. These plastic drawers can well
be substituted for wooden ones in
many pieces of furniture. In some
designs, however, the dimensions of
the framework may have to be ad
justed to fit the size of ready-made
drawer avaihible.
84
..
'-,
..
-....-
PULL
- - - - - ,
I
I
I
I
Special Drawers
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Drawer with screwed cleat
Drawer with bottom rail
,
>
Drawer with rail on side: A mortise
may'
be
cut in the side of the drawer
to lUow the drawer to slide between
two cleats attached to the side of the
chest.
Drawer
Slides
DRAWER SLIDES
85
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DRAWER
SLIDES
Rollers are used with heavy drawers.
's
.. .
' ' 't
;.
Drawer with center guide: A " ' g ~ i ~ e
~ a c i l i t a t e s the travel of the draWer._.
~ n d some form of guide should be in
cluded if possible.
rIeavy drawer with special ball bear
ing glides
I
._ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __
PLASTI C
OR
METAL ROLLERS
Drawer Slides
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,
\
\
\
STOP
FASTENED
~ ~ D ~ . ~ . ~
J
-----------,
I
I
/
/
I
I
I
/
Drawer Slides
I
_j
".
I
DRAWER SLIDES
Ball bearings
in
bottom of drawer:
This
is
still another way to assure an
easily-gliding drawer.
DRAWER STOPS
/ '
I
I
{l
::.-
87
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JOINING WOOD AND GLASS
Attaching glass, plate glass, or a mir
ror to wood
is
one of the most delicate
operations in furniture construction.
The possibility of breaking the glass
during the working process makes it
imperative that great care be taken.
Plate glass or a mirror may be at
tached to the wood in a horizontal,
vertical, or oblique position. It may
also be welded to the wood with glue
or cement.
A through
C-Application
of the
plate glass shelf:
(A)
shows the in
stallation of glass with a rough edge;
(B) and (C) show the method used
with finished glass.
D-Installing
glass
in
a picture frame
E-Rabbet frame, showing plate
glass held
in
place with putty
F-Plate glass in a groove
88
o
- - - - - - '
PUTTY
I
/
PLATE
GLASS
------------7
o
I
I
Joining
Wood and Glass
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D
E
A
_
MLR_RQJ
_P_A"'p_E_B
. - -T/UI
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JOINING
METAL
AND WOOD
In the cQnstructiQn
Qf
furniture it
is
Qften necessary
to. jQin
WQQd and
metal parts. While it
is
custQmary
to.
jQin
these materials with bQlts
Qr
screws, special adhesives may be used
instead. By means
Qf
glue, metal
sheets
can
be welded
to.
cellular
CQres
to.
fQrm
large waterproQf panels.
(])
90
SHEET
METAL
r-----
'V.. ":
.
. .
B
A-Three
different methQds
Qf
jQining
metal sheets to.
WQQd
panels: Glue
may
also. be
used.
c
METAL
~ _ o _ . 9 _ . Q __
Band
C - ( B )
shQWS
a
WQQd
and metal
pane l in a rabbet frame with mQlding.
(C)
is a metal sheet in a groQved frame.
I
JQining Metal
and WQQd
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A and
B-
Two different ways of at
taching decorative metal strips to
wood surfaces: With Method
(A)
the
metal is easily applied, but has a tend
ency to pull out in time. Method (B)
is preferable.
C-Wooden
arm rest fastened to
tubular metal chair arm with screws
D-Metal wire or tube fastened in
wood frame by means of holes previ
ously made in the wood
,
Joining
Metal
and Wood
JOINING
METAL
AND WOOD
I
.. :I
_____
.l
METAL
METAL
PIPE
, - - - - - -
, ~ ~ ~ ~ ~ ~ ~
,
'\.
,
,
,
,
"
"
91
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JOINING
MARBLE
AND WOOD
A
B
I
I
I
I
I
I
MARBLE
_________ .1
MARBLE
-------7
/
/
/
/
C
\'L.Q_Q.g___
J f ' : : - ' _ ~ ~
-
..
---""
92
/
c
4
Marble and wood may be joined in a
number of ways. Basically, the meth
ods are the same as those used with
glass. Several common methods are
shown on this page. Screws and bolts
may also be used.
A and
B -
Two simple methods of
using marble tops: The example be
low uses
a stub tenon with a mortise
in the marble.
C - A short prong incased in the
marble will prevent any sliding of the
top.
D - A rubber cup may be sufficient to
prevent the top from sliding.
MARBLE
------,
\
\
..
~ ~
~ ' : ~ ' _ / . 1 : _
METAL PIPE
v
-
- ...
Ii
-
o
Joining Marble and Wood
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A
RUB BER
-------..,
I
\
\
\
)..
I
9,
I
I
/
,.
I
Joining Rubber and Wood
JOINING RUBBER AND
WOOD
Rubber is a good material to use in
protecting furniture. Here are some
ways it may be used.
A-Flat
sheet of rubber attached with
adhesive
B-Grooved
rubber, also attached
with adhesive
C - A
rubber dome can be attached
to the undersides of stacked tables.
D - A rubber dome can also be used
to cushion the swing of a door.
c
RUBBER
93
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COMMON METAL
JOINTS
Here are several common metal joints.
Metal may be used for complete fur
niture pieces or for parts of furniture.
A-Union
of pipe and metal strip
se
cured with a locking pin
D -
Two metal strips joined by cross
lap joint
94
B
I
~ ~ = - - - - -
J .....
I
I
Band C-Sliding metal joints: Note that
either piece may be fixed in place with
screws.
E-Two metal strips fastened with
rivets
Common Metal Joints
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COLLAR
, - - - -
A-Removable pipe joints held in place
with screws
WELDED
WEL DE D
--------,
\
C-Welded
pipe and strip joints
Common Metal Joints
COMMON
METAL JOINTS
B-Metal
strip joint
held in place
with bolts
PIPE
A
D-Pipe
joints using screwed ends
95
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JOINING
PLATE
GLASS TO METAL
Method of applying plate glass to
metal frame
Glass box with wood base using metal
corners
Various ways of attaching metal
frames to glass
CORNER
BRACKETS
FOR
PLATE GLASS
- - - - - - - - - - - - - - - - - - - - - - - - - - - ~
'"
Joining
Plate Glass
and Metal
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Joining
Rubber
to Metal
JOINING RUBBER
TO METAL
A
BACK SECTION
RUBBER
- - - - - . . : : . : . ~ ..\
........... ' \
~ - ~ - ~ - - - - - - ~ \ ~ - - - - - - ~
SIDE
SEAT
VIEW
A-Rubber
supports can be applied between
metal frame and seat, and between frame and
back, to make the chair more comfortable.
"'----
RUBBER
C-Rubber
bumpers can be screwed to the
undersides of tables to protect the tops.
D - A
protective rubber pad under a metal tray
97
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BONDING SURFACING MATERIAL TO PLYWOOD
VERTICAL
SECTION
A and
B-Surfacing
materials can be ap
plied to only one side when the frame is
totally enclosed.
The sketches show the steps to be followed
in attaching surface material to plywood.
I f the panel to be laminated
is
securely
fastened to the frame of the cabinet, only
the outer surface need
be
covered, but if
the panel
is
simply to rest on the frame, a
balance sheet must be applied to the under
surface to prevent warpage.
1.
Smooth the plywood with sandpaper.
2.
Cut the surfacing material carefully to
size with a saw. For a clean cut use clamps
and keep the saw as nearly parallel to the
surface as possible.
3. Place the surfacing material on the ply
wood to check the
fit;
shave off any excess.
4.
A plastic adhesive and pressure give
the best contact bonding. Manufacturer's
instructions should be observed.
5. Roll the surface to insure a tight bond.
An ordinary rolling pin may
be
used.
6. When the surfacing is firmly bonded to
the plywood, edges may be beveled with a
file and metal molding applied, or strips of
the surfacing material may be applied to
the edges of the plywood.
98
8
I
I
I
_ _ _ _ _ :1
SUR fAe
I NG
MATERIAL
Bonding
Surfacing
Material
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BONDING SURFACING MATERIAL TO
CURVED
SURFACES
BACKING SH EET
TO
PREVENT WARPAGE
- - - - - - - - - - - - - - - - - - - - ,
~
- - - - - - - - - ~
PLASTIC
SUR f'
ACE
ADHESIVE
NAIL
- - - ~ --7
Bonding Surfacing Material
A - A plastic sheet can also
be
ap
plied over a curved surface. Follow
the directions given on page 98 and
keep the plastic sheet bent until the
glue has dried. A wood form should
be used.
B,
C, and
D-Three
methods of fas
tening plastic parts to wood
MOLDED PLASTIC
Within their own domain, plastics pos
sess at least as broad a range of prop
erties as metals, and are capable of at
least as great a diversity of composi
tions. In general, they have the advan
tage that they can be molded
in
forms.
It
is
only comparatively recently that
plastics have come into common
use
in the furniture field. Continuous re
search
is
being conducted
in
further
development of their many uses.
We do know enough about the charac
teristics of plastics today
so
that they
may be used with the assurance that
they will withstand wear. However, it
is
best to check the specific character
istics of each plastic before using it.
E-Heat-treated plastic can be used
to form a curve.
F - A
molded plastic chair: With
molded plastic, any desired form can
be
obtained.
99
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UPHOLSTERY
WORK
Upholstering is an art in itself. While
most other operations in furniture
construction are done by machine,
up
holstery work
is
still done by hand.
Expert workmen have usually served
a long apprenticeship before acquir
ing the skill necessary for upholstering
a chair or divan. There are, however,
several ways that upholstery work can
be
done by apprentices and amateurs;
for example,
by
substituting foam
rubber for the materials used in nor
mal work.
I shall not go into detail about uphol
stering, but I have illustrated several
types of frames, materials and meth
ods of application. I have tried to sim
plify the presentation to enable even
the beginner to understand each
method.
The frame,
in
either wood or metal, is
the skeleton of the furniture piece.
Upon. its construction depend both
the comfort and the strength of the
chair.
A and B -Two different types of
bench frames
D-Frame
for ~ e b b i n g seat
C-Round frame covered with card
board: The. }lpholstering material is
added later:
100
' >ee detail Cpage 41
~
\1\ 0
11\
\
1 \
\ I \
\ \
A
Upholstery Work
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WELDED
- -
- - - \
' \
I \
I \
\
\
Metal
frame
stool
for
cord or
canvas
seat
See page 95 for details of joints.
RUBBER
, . ----------
,
\
\ I
L
____ _
WE L
D
EO
. I
One example
of
a metal frame chair
The rubber supports between the seat
and back give elasticity to the seat.
Types
of Frames
TYPES OF
FRAMES
see detdil page 25
r------------
1\
I ,
I
I
I
I
Common type of wooden chair frame that will
take an upholstered seat
101
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TYPES
OF FRAMES
A-Wood frame for armchair with
seat and back upholstered.
B-Frame for an upholstered office
armchair. A swivel base may be sub
stituted if desired.
I
I
1
\ \ \ 1
\ \ , I
'\1
_____________
l
102
.....
.
..
--
see
detail A page 41
8
31"
see
det'ail page 24
T----------
I
I
B
-+----- 2 4 - - - - _ + _
Types
of
Frames
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A
\
\
\
,
"
,
.
,
,
~
~ e e detaIl p-a-g-.-22
, \
' - - - - - - - - - - - - -
see dt"tail A pa g
" 41
Chair
and Sofa Frames
CHAIR
AND
SOFA FRAMES
A-A modern armchair that will have
both seat and back upholstered
B-Frame
for modern type of arm
less sofa, using an upholstered finish
for back and seat
..
\
\
\
\
\ SACk f"ABRfC
- -;+-----------
\
I
\
\
\
\
SEAT fABRIC B
~ - - - - - - - - - -
__ ' L - - - - - - - - - - - ~
r
1 6 ~
+ - - - - - - 2 6 ~ - - - - - - + _
....
.....
.....
' - - - - - - - -
CONCAVE
R A I L
103
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ARMCHAIR FRAME
Frame for modern armchair, with
loose seat construction. Increasing the
width will convert the same design to
a sofa.
104
30"
\
\
\
\
\
t
8
11
\,.....
- - - - - - - - - - - - - - -
"
" 15
II
II
If:
=-
-=---- -= -=---=--=
-=--=-=- =
= = "=
7"
4-
Armchair
Frame
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WEBBING
STRETCHER
~ UPHOLSTERY MALLET
E.XTENSION COT SPRING
NO-SAq,A
SPRIN G
ZIGGER
WI
RE
-
~
COIL SPRINGS
UpholstelY
Tools
UPHOLSTERY TOOLS
The tools most commonly used in up
holstery are shown here.
CURVED
STEE.L NEEDLE
RIPPER AND TACK PULLER
UPHOLSTERY MATERIALS
Here are several types of springs used
in upholstery work.
105
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UPHOLSTERY MATERIALS
06
J U T
E
WEBBING
HORSE
HAIR
018
hfiiiiiiS)
COTTON SEWING TWINE
@5 L,
CiJ
LINEN
SEWING TWINE
fA
BRIC
. LEATHER
. ~ .
".
PADDING
Upholstery Materi als
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,,
,,
--------- : : . .
FLAT
STOCK
Upholstery
Materials
L
I
I
UPHOLSTERY
MATERIALS
A-Rubberized
hair
is
a light and
elastic material of relative low cost
which
is
used
in
mass production. It
can be easily applied with staples or
tacks, and is available in the same
sizes as foam rubber.
B and C - F o a ~ rubber
is
made from
liquid latex, which forms a cream-like
foam after being put through air pres
sure. It is then poured into molds of
desired size. In upholstery work it
gives better results than stuffing, and
is
quicker and easier to use. Foam
rubber is made in different grades of
firmness, and the right grade should
be selected for the job to be done.
Solid-slab utility stock (B) comes in
many thicknesses from in. to 1 in.
Cored utility stock (C)
is
molded
with cylindrical openings in the core.
Its thickness varies from
%
in. to
4Y2
in.
D-Full
molded cushions can be pur
chased in a variety of sizes and
shapes.
E-Cut
foam rubber with either scis
sors or band saw. Cutting
is
easier if
the scissors are dipped into warm
water.
F-Small pieces glued together with
rubber adhesive to form one large
piece
G-Flat
stock glued to a slab
H-Full
cushion made from cored
stock
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FOAM RUBBER
,
\
L ___ _
RUBBER
T A C KIN G
TAP E
-------------71
",
/ /
/ ,
/ I
/' I
I
I
A-Method
of applying tacking tape or ad
pesive-backed tape around the edges of a
'oam rubber slab, using cement.
B
c
B and
C-
Two different
uses
of tacking
~ a p e :
The rubber cushion is cut 'l.I in. larger
than the piece it covers.
~ 0 8
I
E
D and
E- In
making contoured edges the
foam rubber should be cut
%
in. larger than
the piece being upholstered.
F
and
G-Another
way of making a curved
edge
Foam Rubber
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A and B-Simple leather seats like these
are easily installed, as the details show.
c
..Q_It.Q_/- - - - . ,
I
I
I
I
/
I ,
/
I
I
C and D-Seats made with cord are expen
sive because they take time to make.
Seats
SEATS
The seat design is very important in uphol
stery work, for upon its construction de
pends the usefulness of the chair
or
divan.
Each seat must be made in accordance with
the type of frame to which it is attached.
It
may be movable or fixed, light or heavy. A
wide variety of materials may be used.
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~ E A T S
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II
Y
iee
de tdil
1
2l
+=+-
"
0
0
1"
de tail 1
42" -
I D l l D l ? D ~ 1
'ART
NO. FUNCTION
A
top
B
rail
C
2
rail
D
4
leg
E
1
bottom
'F
2
side
G 1
drawer
front
H 2
drawer side
J
1
drawer
bottom
K
1
drawer
back
tt
1'1
+-15-+
DIMENSIONS IN INCHES
thickness X width X length
3,4
15
42
3,4
4
23
*,
4 1
2Y:z 30
%
12
13
Y2
4 12
3,4
3%
13
% 3Y:z
11%
%
llY:z 12Y:z
%
3 12%
Side Table
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14 EXTENSION DINING
TABLE
DIMENSIONS IN
INCHES
PART NO.
FUNCTION
thickness X
width
X
length
A
top
3,4
30
42
B
2
extension top
%
14
30
C
4
leg 2
2
28
'
,4
D
2
side rail
3 ~
3 7 ~
E, E'
2
end rail
3V2
25Y2
F 3
rail
%
3
26V2
G 6
guide
~
~
24
H
4
extension
support
114 114
30
c
bottom
of 0
Extension Dining Table
141
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de
ta i
I
c
- - - - - -42
------,.----+--- 14"
)
.
.
I
I
.
:
-
,.
.
- - - - - ~
I
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