Lost Art Press

Author: meghanlostartpress

Dovetailed Housings

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Dovetailed-housings1
FIG. 1. SIMPLE THROUGH DOVETAILED HOUSINGS Both are strong, but the joints show at the edge. The depth of the groove should be rather less than half the thickness of the wood.


This is an excerpt from “The Woodworker: The Charles H. Hayward Years: Volume III” published by Lost Art Press.

This type of dovetail sometimes creates a difficulty because of the length of the joint. It is, of course, essential that it grips throughout its length, and the usual fault is to make it tight in some parts and slack in others. The practical process is dealt with here.

In its simplest form this joint consists of a plain groove with either one or both sides at the usual dovetail angle cut right across the wood, and a joining piece cut dovetail fashion to fit, as in Fig. 1. It is a thoroughly strong joint and is satisfactory for many jobs, but suffers from two disadvantages. One is that the dovetail necessarily shows at the front edge; the other is that, since the one piece has to slide right in from the edge, it is awkward to make a joint that is tight enough to be strong, yet free enough to slide across. The wider the joint the more awkward it is.

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FIG. 2. TAPERED AND STOPPED DOVETAIL HOUSING.


Tapered Dovetail. To overcome these drawbacks the stopped and tapered dovetailed housing shown in Fig. 2 was introduced. It is extremely handy for carcase work, and forms a strong fixing for shelves and similar parts. Its special use is in tall structures in which the ends might be inclined to bow outwards. The dovetail effectually prevents this, yet it is entirely concealed by the stop. Note that the top cut (which is cut in square) is at 90 deg., whilst the taper is formed beneath. The dovetail is formed on this sloping cut. It will be realised that it is really a bare-faced dovetail and that the bare face is at the top. In this way the shelf is bound to be square.

When marking out the joint, square across the sides the over-all thickness of the shelf, cutting in the top line with the chisel and the lower one in pencil. Then mark in the tapering line with the chisel. The depth of the stop can be marked with the gauge (keep the gauge set so that the shelf can be marked with the same setting.)

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FIG. 3. HOW GROOVE IS MARKED OUT AND CUT.


Cutting the Groove. The sides of the groove have to be sawn in, and many workers find a difficulty in using the saw because this cannot be taken right through. There is no difficulty, however, if a recess is cut up against the stop as shown inset in Fig. 3. Chop it with the chisel to the same depth as the groove and work the saw with short strokes, allowing the end to run out in the recess. One side of the latter must be at the dovetail angle, of course.

To form a strong joint it is clear that the saw cut on the dovetail side must be at the true angle and that it must agree with that of the shelf. Fig. 4 shows how this can be assured. A piece of wood is cut off at one end at the required angle, 78 deg., and is held down on the wood with a cramp or screw and the saw held against the end as shown. Before fixing it, however, it is generally advisable to make a few strokes with the saw upright. This saves any tendency for it to slip owing to the angle. In any case the usual practice of chiselling out a small sloping groove is advisable (see inset in Fig. 4).

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FIG. 4. CUTTING DOVETAIL SLOPE

The preliminary removal of the waste is done with the chisel, this being followed by the router. If this is held askew it will generally be found that the cutter will reach right under the dovetail slope—unless it has an extra high pitch, in which case the chisel will have to be used to reach beneath.

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FIG. 5. TRIMMING SHELF DOVETAIL


The Dovetail. In the case of the dovetail on the shelf the simplest plan is to gauge in the depth and cut a square rebate with the saw and rebate plane. Form the taper (also with the plane) and then cut in the dovetail angle with the chisel. It will be realised that the preliminary saw cut is deep enough to reach to the dovetail depth. If the work is done with the wood cramped down on the bench, a spare piece of wood with the end at the correct angle can be used as a guide, as in Fig. 5. Adjusting the wood away from or towards the work will enable the chisel to take up the true angle. In any case, it is intended purely as a guide. The advantage of the joint will become obvious when it is fitted, because it is loose until driven right home when it at once becomes a tight fit throughout its length. It should make a close fit, but over-tightness should be avoided as this tends to force the ends out of truth.

— MB

Moxon’s Jointer Plane

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Jointer-Plane
Moxon’s jointer plane. Ever wonder why the handles look so odd on the plane? I don’t think they’re particularly British. These illustrations were borrowed from the French.


This is an excerpt from “The Art of Joinery” by Joseph Moxon; commentary by Christopher Schwarz. 

The jointer is made somewhat longer than the fore plane and has its sole perfectly straight from end to end. Its office is to follow the fore plane and to shoot an edge perfectly straight, and not only an edge, but also a board of any thickness; especially when a joint is to be shet [shot]. Therefore the hand must be carried along the whole length with an equal bearing weight, and [al]so exactly even and upright to the edges of the board, [so] that neither side of the plane inclines either inward or outwards, but that the whole breadth be exactly square on both its sides. Supposing its sides straight, [then] so will two edges of two boards, when thus shot, lie so exactly flat and square upon one another that light will not be discerned between them. It is counted a piece of good workmanship in a joiner to have the craft of bearing his hand so curiously [in this way], even the whole length of a long board. And yet it is but a sleight [task] to those [where] practice hath accustomed the hand to [it]. The jointer is also used to try tabletops with {large or small}, or other such broad work. And then joiners work as well upon the traverse with it, as with the grain of the wood, and also angularly or corner-wise, that they may be more assured of the flatness of their work.

Its iron must be set very fine, so fine, that when you wink with [close] one eye, and [look at the iron with your open] eye, there appears a little above a hairs breadth of the edge above the surfaces of the sole of the plane, and the length of the edge must lie perfectly straight with the flat breadth of the sole of the plane. [With] the iron being then well wedged up and you working with the plane thus set, [you] have the greater assurance that the iron cannot run too deep into the stuff; and consequently you have the less danger that the joint is wrought out of straight.

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Proper edge jointing. Whether you use a straight or curved iron, this is the proper way to joint an edge. The fingers of your off-hand serve as the fence against the work.


Analysis
In Moxon, the primary job of the jointer plane seems to be working edges to make them straight and true. Not only to make them pretty but to glue them up into panels.

Now here is one area where Moxon vexes me. Moxon calls for the jointer plane to have an iron that is sharpened perfectly straight across, like a chisel. And the way you correct an edge is through skill – Moxon says it looks hard to the layman but is easy for joiners.

As one who has practiced freehand edge-planing with a jointer plane that has a straight-sharpened iron, I object. I think it’s easier to correct an edge with an iron with a slight curve. You can remove material from localized spots by positioning the iron to take more meat off one area.

This jointing technique with a curved iron appears in British workshop practice throughout the 20th century. It is today a fight as fierce as tails-first or pins-first in dovetailing. So give both jointing techniques a try and take your side. And just be glad Moxon doesn’t write a word about dovetailing.

One note here on long-grain shooting boards. Moxon doesn’t mention them, though they are frequently mentioned and employed starting in the 18th century. When you use a jointer plane with a shooting board to true an edge of a board, the iron of the jointer plane can be either curved or straight.

Both approaches work.

Several of my contemporary hand-tool woodworkers have suggested that perhaps Moxon simply could not see that the jointer plane’s iron is slightly curved. And indeed, the curve used on the edge of a jointer plane’s iron looks straight if you don’t show it to a second piece of straight material. However, I prefer to simply take Moxon at his word here. The joiners he observed use jointers with straight irons.

Art-of-Joinery
Criss-cross. Working corner to corner is a powerful technique for flattening a board. You can work both ways, though you’ll get more tear-out one way than the other.

Other jointer techniques in Moxon are quite helpful. He says you can traverse with a jointer and that you can work diagonally (corner to corner) across the grain with wide stock. Both of these techniques help flatten your boards because the jointer’s sole is removing high spots at the corners, which is commonly known as “twist” or “wind.” Note that Moxon says joiners use this for tabletops or other boards that are quite broad.

Other period accounts discuss other long planes. Richard Neve’s “The City and Country Purchaser” (1703) calls out two long planes: “The Long Plane,” which is about 24″ long, for faces of boards; and the jointer plane, which is about 30″ long, for edge joints.

Moxon’s instructions for setting a jointer plane can be interpreted as follows: Turn the plane over and sight down the sole. Close one eye. Peer down the sole and adjust the iron until you see it as a fine black line (about the thickness of a hair) that is even all across the width of the sole. That’s a good description of what it looks like. To my (one) eye, a hair’s breadth usually gets me a shaving that’s about .004″ to .006″ thick.

— MB

Spiling Batten

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This is an excerpt from “From Truths to Tools” by George Walker and Jim Tolpin; Illustrated by Andrea Love. 

Just out of curiosity, let’s see what happens when we draw a circle, then switch the dividers’ legs around. Being sure to keep the same setting (i.e. the radius of the first circle), we set the point anywhere on the rim and swing the other leg around to construct a second circle.

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We now have before us two circles of the same size, which yields the birth of “symmetria” (symmetry) – one of the most useful and foundational principles in geometry (not to mention keeping the universe itself intact).

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The intersection of the symmetrical circles at each other’s focal points is the geometric truth underlying a powerful layout tool called a spiling batten. To see how this wool works, follow the steps in the drawing.

1.) Swing an arc (about one-third of a circle) from a focal point.

2.) Keeping the same radius. swing back a little arc from any place on the first arc.

3.) Swing back another arc from a second point on the first arc. The intersection of these two small arcs is the location of the original focal point.

Be aware that you need to be careful to maintain the same setting for all these arcs.

A common application of spiling in boatbuilding is in the fitting of a boat plank perfectly between two other previously installed planks. We begin by tacking in place a thin piece of wood (the spiling batten) in the opening between the planks. Next, from station points we’ve made on the upper and lower planks (usually at the centerline of frame locations) we swing an arc onto the batten.

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To avoid errors due to a change in the divider setting, we will record the divider span somewhere on the the batten to provide a double-check.

When we are done making arcs from all the station points, we remove the batten and lay it on the stock to be cut to shape. Then we swing two arcs from each arc drawn on the batten.

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The intersection of these arcs will be the location of the original station point. Finally, we’ll use a bendable length of wood to connect the transferred station points onto the stock. Cut to the line and we are rewarded with a ready-to-plane-to-perfect fit.

— Meghan B.

Rosette

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Deeply carved rosette in cherry on a antique wardrobe, George Davis Antiques & Interiors, Savannah, Ga.

This is an excerpt from “Carving the Acanthus Leaf” by Mary May.

Various styles of rosettes have been used since the Roman Empire as decorative accents and are often used as appliqués (applied to a surface) to adorn furniture and architectural features.

Here are some of the design elements for rosettes:

• They are symmetrical and can be circular, oval, square or rectangular.

• There is a small bead in the center that is either plain or carved.

• In oval or rectangular designs, this center bead is also oval.

• Square or round rosettes that are symmetrical can be turned on a lathe before carving to establish the basic profile.

• There are typically four primary leaves evenly positioned around the rosette.

• The leaves start at the center bead and flow outward toward the edge, with the tips of the leaves defining the outer edges.

• For square or rectangular rosettes, the tips of the leaves end at each corner.

• The midribs or center stems get narrower as they reach the ends of the leaves.

• They often have small, secondary leaves that are between and appear to be positioned under each primary leaf. This example does not contain these secondary leaves.

HOW TO DRAW THE LEAF
This design has similar structural elements to other leaves, but some details, such as positioning the eyes, will need to be visually located without guidelines.

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STEP 1: Draw a square. This example has slightly curved edges. Draw the center circle and the midrib (center stem) of each leaf ending just before each corner. Notice for this design that the midrib connects from one leaf to the next. This is often done to create a continuous flow between the leaves.

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STEP 2: Draw the eyes close to the center circle. These eyes represent where two leaves overlap.

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STEP 3: Draw eight circles as shown that intersect and slightly overlap at the pointed end of the eye. These locate the edges of the overlapping lobes.

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STEP 4: Erase the parts of the circles that are no longer needed. The remaining lines should extend from the pointed end of the eyes. The dotted lines represent the edges of the lobes underneath.

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STEP 5: Erase the dotted lines. Draw the two eyes on each leaf about a third of the way up the leaf at a slight distance from the midrib.

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STEP 6: Draw circles as shown that represent the overlapping secondary lobes. The edges of these lobes should extend from the eyes drawn in STEP 5. The dotted lines represent the parts of the lobe that are underneath. Sometimes drawing the edges of the lobes first can help locate the eyes, so steps 5 and 6 can be reversed.

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STEP 7: Erase the dotted lines. Draw the pipes that start from the eyes drawn in STEP 5 and curve and flow them alongside the midrib.

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STEP 8: Draw the lines that locate the serrations as shown. These are typically positioned perpendicular to the center veins on each lobe, but in this design there are no center veins on the side lobes. Draw these lines at an angle located approximately halfway between the eyes and the tip of each lobe. Note that the center lobe has two of these guidelines that are perpendicular to the midrib. After learning how to position the serrations in the next few steps, these lines are usually no longer necessary as guides.

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STEP 9: Take a deep breath. It really isn’t as complicated as it looks. Draw small circles that locate the serrations along the edges of the leaf. These lines should start at the edge of the leaf and curve down to meet the guidelines drawn in STEP 8. The dotted lines show the correct direction of the curve. These circles are simply used to show the curvature of the serrations. Erase the parts of the circles that are not necessary. This process of drawing the circles is often not necessary after learning to understand the shape and position of these serrations.

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STEP 10: Erase all lines that are no longer needed. Complete the edges of the leaf by connecting the serration lines as shown and also complete the tips of the leaves.

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STEP 11: Erase any unnecessary lines.

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STEP 12: Draw lines starting from the inside corners of the serrations that flow down each lobe. These lines represent a high edge (or high corner) in the leaf.

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This is the finished drawing with all details.

— MB

Door Types

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This is an excerpt from “The Essential Woodworker” by Robert Wearing. 

In making plain or flush doors the obvious choice of material appears to be a well-chosen board of solid wood (Fig 353). However this is no solution since the wood may swell or shrink, spoiling the fit, or warp, making any fit impossible. A stable, light door suitable for painting or lower-quality work can be made from a mitred frame to which are glued two sheets of thin ply (Fig 354).

A heavier and more robust door is shown in Fig 355. Here a stronger frame is dowelled or tenoned together with two ply skins. Extra cross members are added to stiffen the door. Air holes are drilled in the cross members and in the bottom rail to equalize air pressure inside and outside. Such cross members must not be too far apart, nor should the ply be too thin (minimum 6mm (1/4in.)), otherwise an impression of the framing may show through.

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A door from multi-ply or blockboard is extremely stable, but the edges are unattractive and do not take the hinge screws well. Such a door is generally lipped (Fig 356). The lipping may be butted or mitred at the corners. The tongue is essential for good adhesion, particularly on the end grain of blockboard. The lipping may be applied to veneered material but for better work the lipping is concealed by veneering the whole face after the lippings have been glued and planed flush. Lippings must be made from thoroughly dry material, otherwise shrinkage will take place and the lipping will show through the veneer.

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Good-quality handwork makes frequent use of the framed and panelled door (Fig 357), the inner edge of which is moulded or chamfered. The following illustrations show some of the possible combinations of frame and panel.

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— Meghan B.