Lost Art Press

Author: meghanlostartpress

The Technique of Glueing

Posted on by meghanlostartpress
the-woodworker1
THE CORRECT PREPARATION AND USE OF GLUE ARE OF THE UTMOST IMPORTANCE IN WOODWORK

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

The process of glueing up is one of the most important in woodwork, and requires the attention of all craftsmen who strive to endow their work with the vital qualities of endurance and stability. Often the best methods are the easiest to use; they save labour, and result in a cleaner finish to a job.

PREPARATION OF GLUE
Quality in glue depends upon its purity; therefore it is advisable to pay a good price. The best Scotch glue is pale in colour, and is usually in thin cakes. It is is prepared by soaking in water overnight so that it absorbs the correct amount of moisture to make it of the right consistency when hot.

It is, of course, heated in the glue pot with proper water container, and is ready for use when a skin forms on the top of the liquid. If a little powdered alum is stirred in during the heating the glue will be rendered waterproof, or, at any rate, resistant to damp. Never heat glue over a naked flame. It only burns it and causes it to deteriorate.

APPLICATION
The butt or rubbed joint is usually one of the first to be prepared and glued up in most jobs. For this joint the glue MUST be thin, that is, will run from the brush in an unbroken stream, but not thin enough to splash, or break up, as it falls. Certainly it must be hot, and be kept hot while being used, preferably in a warm atmosphere.

We all know how this joint is made; it has been described so many times, but many workers, both amateur and professional, find that it sometimes comes apart after a short time, the parting generally commencing and “running in” from the ends of tops, etc.
A butt joint that is completely and permanently successful is obtained by the writer in the following simple manner: The edges of the boards to be joined are first shot straight and true, as usual. Next, they are planed a trifle hollow, usually about 1∕32 of an inch, each edge, or sufficient to make the ends of the boards pinch together tightly when the joint is cramped up. These hollow edges are lightly toothed and are warmed before being glued and rubbed together.

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FIG. 1. GLUEING UP RUBBED JOINTS

When being assembled they are placed across two trestles or similar supports.They are quickly cramped together, the number of cramps varying according to the length of the joint.

The advantage of this method is that the greatest pinch or holding power occurs at the ends of the joints, where fracture generally begins.

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FIG. 2. APPLYING GLUE TO DOVETAILS

GLUEING DOVETAILS
Drawers and other dovetailed joints can be cleanly assembled by brushing the glue on the inside corner of the tails or drawer side, at the same time forcing glue into the small openings where the pins fit (Fig. 2). Glue is transferred to the base of the pins by quickly rubbing the glued end grain of the drawer side across the width, at the back of the drawer front, care being taken to avoid smearing glue below the gauge line. (Fig. 3).

The drawer side is lightly tapped into position with a light hammer, and a joint is obtained with the absolute minimum of surplus glue adhering to the inside corners of the drawer.

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FIG. 3. HOW PINS CAN BE GLUED WITHOUT MAKING MUCH MESS


VARIOUS JOINTS
With mortise and tenon joints the best procedure is to apply a little glue to all four sides inside the mortise, at the same time allowing a little to adhere to the edge to join up to the shoulders of the tenon, thus effecting a clean joint.

To ensure a permanent dowelled joint, it is best to countersink the holes, and tooth or roughen the dowels before they are cut into short lengths from the whole stick. After cutting to length, a saw cut is made along the length of each to allow surplus glue to escape. After inserting a little glue into the holes on one side of the joint, using for the purpose a foot of dowel rod sharpened at the end, the dowel pegs are driven in.

Mitres and similar small butted faces should be warmed before glueing, and are then rubbed together. If pins are to be used these can be driven in after the glue has set. Glue-blocks should always be rubbed on, and if previously warmed so much the better.

With all joints the aim should be to use sufficient glue to make the joint, with only a very small surplus to be afterwards cleaned off: there is no need to smother it with the glue. Remember that only the glue in the joint is used, the surplus is wasted.

As a final word, always wipe off surplus glue before it sets. Keep a clean swab and can of clean hot water for the purpose. Do not use the water in the glue pot. It is usually dirty and will probably discolour the wood.

— MB

Drying Wood

Posted on by meghanlostartpress

drying-woodThis is an excerpt from “With the Grain: A Craftsman’s Guide to Understanding Wood” by Christian Becksvoort.

A commonly encountered misconception is that wood breathes. As we know, heartwood is composed entirely of dead cells, while sapwood has some living cells, which die after the wood is cut. Nonetheless, wood is an organic substance that by its nature responds to climatic changes. Moisture is absorbed or given off as the seasons dictate.

When the relative humidity rises, the wood fibers absorb moisture that penetrates from the outside and causes the wood to swell. As the humidity decreases, excess moisture is given off by the fibers to be reabsorbed by the surrounding air. Wood is constantly trying to maintain a balance between its moisture content and that of the surrounding environment. This balance is called the equilibrium moisture content (EMC). Simply expressed, it is the amount of moisture present in wood at a given temperature and relative humidity over a period of time (Fig. 4-9).

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Fig. 4-9
A closer look at Figure 4-9 shows that humidity is only one factor in determining EMC. Temperature also plays a role. For instance, at a given temperature as humidity rises, the EMC of the wood increases dramatically. This is to be expected. On the other hand, as relative humidity remains constant and temperature rises, the EMC of the wood goes down. Water in the cell walls is in liquid form. As the temperature goes up, the water becomes gaseous and escapes into the warmer air.

Relative Humidity

Relative humidity is expressed as a percentage of the amount of moisture that the air is capable of holding at a given temperature. Warm air can hold more water vapor than cold air. For instance, at 86°F (30°C) and 100 percent relative humidity can hold five times as much water vapor as air at 43°F (6°C) and 100 percent relative humidity. Hence, it is a good idea for a well-equipped wood shop to have a thermometer and hygrometer.

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Fig. 4-10. (A) Average relative humidity in July, at noon, local time. (B) Average annual precipitation, in inches. (C) Average recommended moisture content of wood for interior work.
Location, as well as time of year, determines the average humidity. Figure 4-10 shows the average humidity in the United states for July, as well as the average rainfall. The third map takes both of these into account, as well as the corresponding equilibrium moisture content from Figure 4-9, to arrive at a general composite map of average moisture content of wood intended for interior use in various parts of the country. This map should only serve as a rough guide, because local conditions can vary.

Air Drying

Numerous considerations influence the air drying of lumber, among them:Climatic conditions. Generally speaking, very little drying of lumber is possible during the winter, particularly in those areas where the temperature remains below freezing. Moisture close to the surface can evaporate by the process of sublimation, whereby the water goes from a solid state (ice) directly to a gaseous state (vapor) without becoming a liquid. In areas where winter temperatures are relatively mild, some drying will occur, as long as rainfall and humidity are not excessive. Drying rates are variable and often very localized. The location of the drying pile and even its orientation to the sun and prevailing wind all influence the rate of evaporation.

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Fig. 4-11

Species. The wood species makes quite a difference when it comes to length of drying time. Specific gravity is a fairly good general indicator of drying rate. The lower the specific gravity, the faster the drying time. The softwoods and lighter species of hardwoods dry faster under favorable conditions. The percentage of sapwood and heartwood also plays a part. For example, sugar maple dries faster than Northern red oak with roughly the same specific gravity, but sugar maple has more sapwood. Figure 4-11 lists the approximate air- drying times of some native woods.

Thickness. The old rule of thumb “one year of drying for each inch of thickness” has no basis in fact. First, it does not take species into account. Second, drying time is a function of the square of the thickness. This means that 8/4, or 2″ (5 cm) stock takes four times as long as 4/4, or 1″ (2.5 cm) stock. In fact, for some species the drying time is even longer than the square of the thickness. This is one reason (along with the differential between radial and tangential shrinkage, described in Chapter 5) why it is next to impossible to dry entire logs without serious cracking or checking.

Grain orientation. Quartersawn wood is slower to dry than plain-sawn wood. The ray cells aid in drying, and although they appear more prominent on quartersawn wood, not nearly as many are exposed on the face of the board.

Pile construction and foundation. The actual method of stacking the wood has a lot to do with the drying rate. Adequate space left around each board aids in drying. Many smaller piles dry faster than one large pile. The pile foundation should be well off the ground to allow for free air movement underneath. Weeds and debris should not obstruct the air flow. Finally, the ground should be well drained, with no standing water.

— MB

Forum Update 9/26

Posted on by meghanlostartpress

stakedchairs

Good morning! Another weekend over and another busy week is upon us. No matter how crazy life is, make sure to take some time to read the forum and see what your fellow woodworkers are up to. Remember, if you have a question about our products, procedures in our books or anything related to Lost Art Press, the fastest way to get an answer is our forum. Check it out here.

No. 7 Adjustment Issues
Kendall took apart his Lie-Nielsen No. 7. to sharpen the blade but now that he is putting it back together he cannot get the blade to adjust below the sole. He is looking for any help on what he may be doing wrong. Let’s see if we can prevent him from having to make a call into Lie-Nielsen. Help him here.

Handworks 2017
Does anyone who has attended Handworks have a recommendation for a place to stay? Steve is ready to get his plans together and is looking for input.

Spare Bedroom Workshop
Mark and his girlfriend have found a house that they love and want to buy but there is no garage or basement to use as a workshop. Mark is looking for feedback from anyone who has used a spare bedroom as a shop before. Did it work out? How was the noise? Was dust all over the house?

Crucible Dividers
Jason likes the pictures of the Crucible dividers but wants to get to the point and find out how they work. If you have a pair, let him know what you think.

Hot Hide Glue Gelling Quickly
Josh has had success with hot hide glue on small pieces but has had no success with it when trying to glue up a panel. Every time he finds he is unable to close the joint. He is wondering if anyone would be able to help with why this is occurring.

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Staked Chair
Travis has made a pair of staked chairs from “The Anarchist’s Design Book” and they turned out great. (Photo at top and to right.) The beveled edges are a great touch!

— MB

Collapsible Bookshelves

Posted on by meghanlostartpress
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A collapsible bookshelf modeled after a teak original.


This is an excerpt from “Campaign Furniture” by Christopher Schwarz.

Bookshelves that fold at or disassemble are common items among surviving pieces of campaign furniture. These ingenious units were generally pretty small. After all, it’s not as if you were traveling overseas with a Carnegie library, and books of the 19th century were usually compact items.

How small? A typical campaign shelf unit is 3′ wide, 2′ high and 8″ to 10″ deep. That’s not a lot of shelf space.

Many of these shelving units were designed to sit on top of another piece of furniture, such as a campaign chest or desktop. Or they were intended to hang on the wall, which was especially handy during a sea voyage.

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Screwed together. The metal uprights screw together with the shelves to produce a fairly sturdy set of shelves.


Common Types of Portable Shelves
The most common type of portable shelf isn’t one you’d expect to see in a book on woodworking because it’s mostly metal. These shelves are tubular metal uprights that screw together with two, or usually three, wooden shelves between.

These shelves look spindly but are robust enough for the job.

A less-common variant on these shelves replaces the metal with wooden uprights – usually turned spindles – that screw together with the wooden shelves to produce the finished piece.

Another type of shelving unit is a folding book rack. The simplest form of book rack has a at shelf with two “bookends” that fold flat while traveling. These simple racks are not exclusive to the campaign style; you’ll find variants during every furniture period where books were common.

The ends of the three boards are mitered and hinged. Sometimes the ends have handles so you can lift and move the loaded rack.

There are more complex mechanical book racks that also expand in length as well as having folding ends. These usually require some tricky hardware to make them function well, so I decided not to build one for this book.

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For hanging. These large folding shelves were designed to hang on the wall. Note that the barrels of the hinges on the uprights are equidistant from both the top and bottom of the case. This detail allows the unit to fold flat.

The third common type of collapsible shelving unit folds like an accordion. You usually remove a center shelf (or two), and the uprights fold in on themselves, turning your shelf unit into a flat pile of lumber. The first time you see it in action, it’s actually a little bewildering. But it is quite cool.

This type of shelf unit requires no special hardware – just a small pile of butt hinges. And there is almost no real joinery to speak of. So it’s an ideal project for the woodworker without access to a forge or a metal shop.

These accordion-style shelves came in several dierent sizes and configurations that were embellished or plain. Some versions were designed to hang on a wall; others sat on top of a chest or desk.

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The original. This is the original version of these shelves in teak. I altered the top profile slightly, but otherwise mine is quite similar. (Courtesy of Christopher Clarke Antiques)

The shelves I built for this book are based on a unit I admired in one of the Christopher Clarke Antiques catalogs. The original was made from teak; mine is mahogany. While the only joinery in the whole project is cutting two dados, you will become quite an expert at installing butt hinges. It takes 12 hinges to get the whole thing to work. And installing the hinges precisely makes the shelf unit sturdier and makes it collapse more smoothly.

— MB

The WIA Hangover Forum Update

Posted on by meghanlostartpress

campaign-build

Happy Monday! (Editor’s note: She wrote this on Monday; I was lax in getting it posted.) Hopefully everyone has recovered from Woodworking in America (or has stopped scouring Instagram for the most recent updates like I was) and is ready for a regular week of reading the forum and working. Remember, if you have a question about our products, procedures in our books or anything related to Lost Art Press, the fastest way to get an answer is our forum. Check it out here.

Is it Abnormal for a Brace to be Out of True?
Saul has a brace where the angle of the chuck to the crank arm is less than 90°. When using it, it causes the brace to oscillate. He wants to know if this is something common and if it is something fixable. Have you had a similar issue? Was it worth fixing? 

Sea Chest / Pirate Chest Plans
Adam wants to build a 1700s -tyle wooden chest similar to those used to transport goods on ships. He is looking for a source for plans or instructions. If you have any insight on where he could find some, let him know here.

Planing End Grain?
Stephan is puzzled by his recent planing experience and is curious to see if it is normal. He has an 8/4 x 14″ x 72″ ash slab that he is making into a bench. When planing the end grain he found that his smoother left the best finish if he planed radially, not simply across the end. He wants to know if this is a technique that other people use or if he and his ash are just weird. Comment here before he starts to think it is just him.

Scandinavian Planes
Anybody know of a source for vintage planes from Sweden or Norway? Michael is on the hunt. He knows they are difficult to find but would love some help if anybody has some to offer.

A Novice’s Campaign
Over 200 hours and two years later Todd completed an incredible campaign secretary. (picture at top) His daughter is crazy lucky to be able to call it her own. This is a beautiful piece and well worth the time! Congrats!

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Yet Another Workbench Newbie…
Also a shout out to Mark for finishing his workbench. I love the excitement when people finish their first couple builds and this is a great example. It looks awesome. Here’s to years of new builds coming from this one.

— MB