This is a favourite problem in woodwork for boys, because the tabourette can be put to many uses. It may hold books or magazines, serve as a pedestal for a jardinière, for vases of flowers, for smokers' sets, etc. Its forms are many, and the methods of finishing and decorating infinite.
The five styles shown inFigs. 177and178are perhaps the most common ones, and they are arranged according to the difficulty of construction.
No. 1. Has a circular top supported by square legs, bound to a lower shelf.
No 2. Has an octagonal top supported by flat legs, which are held together by two strips halved together at the centre, and mortised through the legs. It is stronger than No. 1.
No 3. Is the familiar hexagonal form, with only three legs, made rigid by fastening to an hexagonal shelf.
No. 4. Is the standard square form in mission style, mortised together.
No 5. One of the simplest in appearance, is the most difficult to construct, because of the six long joints mitred at 120 degrees, the well-known Moorish style.
As it is easily possible for any boy to make any of these tabourettes with ordinary tools and ordinary patience, they will be taken up in detail.
Stock.—Four pieces for the legs, 11⁄2inches square.
The height varies, usually being between fourteen and eighteen inches. It is purely a matter of proportion. Sixteen has been adopted in the drawing as a good average. The top, a circle thirteen inches in diameter, is cut from a piece thirteen inches square and7⁄8inch thick. The shelf may be an exact duplicate of the top, but it appears much better, as shown in the drawing, as a square with corners cut off to fit against the legs. The method of getting this form is shown by dotted lines on the circular top.
Fig. 177. Three styles of tabourettes
Fig. 177. Three styles of tabourettes
The method of construction is very simple. The top piece being laid out, is cut close to the line with turning saw, and finished to line with chisel and spokeshave. The square openings for legs are sawed out and the wood removed with a chisel.All chisel work should be done on a bench hook or on a piece of scrap board, as a cutting block.
In preparing to assemble, lay the four legs side by side on the bench top or fasten in the vise. Make sure they are equal in length. Four and a half inches from one end draw a pencil line with try square across all four. Half an inch from the other end draw a similar line; this end is to be the top. These pencil lines are for locating the holes for the screws, so that they will all be on the same level. Bore a hole on each line with a bit or drill, large enough so that the body of a round-head blue screw either 21⁄4or 21⁄2inches long will just slide through.
Before assembling, bevel or round the top of each leg about1⁄8inch. Fasten the four legs to the top with the screws, slip the shelf into position, and make fast in the same manner. Stand the tabourette on a level surface, and if it needs levelling, proceed as explained in the making of saw horse.
Tabourette number two may be modified by designing legs with slight curves. Before cutting these, lay out the four mortises just as the centres for screw holes were located in previous model so that all four will be equally distant from the floor. Cut out mortises by boring several holes withinthe space to be cut and finish to line with chisel. These mortises should be laid out on both sides of the leg by squaring lines around the four sides.
The top needs no description, as it is just a plain octagon. The principal work in this model is on the cross pieces. They should be laid out carefully, side by side, to make sure that the distance across from shoulder to shoulder is exactly alike on both. The tenon may have two shoulders, as shown atb, or only one, as ata, but in either case the mortises cut in the legs must exactly fit the tenon. The halved joint in the centre must also be carefully fitted.
When all the parts are ready to assemble, drill two holes near the top of each leg for the round-head screws. Insert all the tenons into their mortises and fasten the legs to the top. A little glue may be used in the mortise and tenon joints and one brad should then be driven from the side or edge of each leg through the tenon. Sink the brad below the surface with nail set.
See chapter onmechanical drawingfor laying out hexagon. This form will appear crude unless the legs are modified, and two or three suggestions for this are shown.
The construction consists in fastening to the under side of the top piece a hexagon of7⁄8-inch pine eight inches in diameter, making sides four inches long. Every alternate side of this under piece should be made with a sloping edge to conform to the slant of the legs, of which there are only three. Drill or bore four holes in each leg, two7⁄16inch from the upper edge, and two to hold the hexagonal shelf. The top edge of the legs should be bevelled with a block plane to fit snugly against the under side of the top. Three sides of the shelf—every alternate one—should be bevelled in the same way to fit against the inside of the legs.
When ready to assemble, fasten pine hexagon to the under side of the top with six 11⁄4-inch screws.
Fig. 178. Two styles of tabourettes
Fig. 178. Two styles of tabourettes
Attach the legs to the three sloping edges of this under hexagon lightly with round-head screws. Leave the screw heads projecting about1⁄4inch until the shelf has been fastened in position, then drive them home with the screw-driver. This is one of the simplest of tabourettes to make, but it is open to criticism. The sloping legs give it a wide base so that it is less easily upset than the other forms; but the pressure from above tends to spread them and pull the structure apart. This tendency must be counteracted by a tie piece, which in thiscase is only a shelf held by screws, some of which are in end grain.
Of course any form may be criticised. The most beautiful of all, the Turkish or Moorish, on account of its overhanging top and small base, is the most easily upset, and in designing new forms all these points must be considered.
This is an ideal example of the mission type taken from Mr. Fred D. Cranshaw's book, "Problems in Furniture Making." It calls for forty mortise and tenon joints, and as it is usually made in oak, it requires considerable time for laying out as well as for cutting.
Twenty-four of these joints can be dispensed with by panelling the sides in place of the lattice work. By hinging the top and putting in a bottom, the tabourette becomes a ladies' work box, a shoe box, etc.
In a project of this kind it is absolutely necessary to work systematically. Letter or number each part. Mark the legsabcd, and proceed to work in pairs. After squaring up all the pieces, take sidea b. Lay out the four joints onaandbwhich are to face each other, finish these ready for assembling, lay asidea, and lay outb c, etc. When you have finished all four sides around to the starting point, stand the four legs up in the position they are to occupy and check up the work to see if any mistake has been made. Treat the cross bars in the same way, marking the tenonsa1,a2,b1,b2, etc. When you have gotten around the second time, assemble the whole thing and look again for errors.
Take apart and lay out mortises in cross pieces by pairs. Fasten 1 and 2 together in the vise with the edges which are to face each other up as shown inFig. 177.
Square the lines across both pieces, remove from vise and gauge the horizontal edges of mortises with marking gauge.
To avoid confusion and for change of work, cut out these mortises before laying out the next set, and so for the third time work around to the starting point.
A fourth trip around, making and fitting the upright slats, and the tabourette is ready to assemble. By using liquid glue, which hardens slowly, the whole structure can be put together, fastened with large hand screws or clamps, and left over night to dry.
While the glue is setting, measure carefully for the top, to see if there is any variation from dimensions on drawing, and cut out the top piece. By this time, the amateur woodworker will have more respect for the mission style than ever, and will appreciate the difficulty of reaching simplicity.
The best method of securing the top is with small angle irons fastened to it and cross pieces on the inside. Invert the tabourette, after screwing the angles to the cross pieces, and with the top on the floor, drive home the last four screws.
No; it is not finished! There remains the polishing. SeeChapter XLIX.
This is so radically different in construction from the previous forms that it requires special consideration. Twelve edges must be planed to a 60-degree mitre throughout their entire length and the fit must be perfect. To accomplish this, first cut out two hexagons from1⁄2-inch pine, 8 inches in diameter, and exactly alike. Construct a special shooting board, at least three inches longer than the legs. Plane a strip of white pine to the shape of a wedge whose angle is 30 degrees. Nail it to the top of shooting board, as shown inFig. 178ata. By laying the piece to be mitred on this, the edge can be planed to 60 degrees. Lay this on the twopine hexagons as shown atb, and with the knife make a mark at the angleaon both ends. Connect these two points by a sharp line drawn with a straight edge. Plane this edge on the shooting board to pointa, giving anglea c. Tack this leg by brads to the two hexagons, at each extreme end, driving brads only partly in, so that they can be easily withdrawn. Fit the second leg to the first, and so on around to the starting point. Number or letter the legs, and the corresponding faces of the hexagons, so that they may be easily replaced.
Next take off the legs, lay out and cut the openings with the usual tools. These may be plain Gothic arches or simple modifications.
When the legs are finished, make the hexagonal top and prepare to assemble. Use the best glue. Fasten the first leg in its original position on the pine hexagons, using 11⁄4-inch brads at the top, driving them all the way into the original holes. Put a coating of glue on one edge throughout its whole length, and rub the next leg up close into position. The brads in the lower hexagon must be driven in only part way, as they are to be removed again. Put all six legs into position in this manner. To bind the legs together while the glue is drying, heavy cord should be wound around them, usingstrips of wood to prevent marring the angles. Let the whole stand over night.
Next day, plane off any glue that may show, removing the two brads at the bottom, dressing down one side at a time until you have reached the last leg. The pine hexagon at the bottom may be taken out, if it doesn't fall out. Sand-paper the sides with No. 0 sand-paper, wrapped around a block.
The top only remains to be adjusted.
Drill six holes in the pine hexagon at the top, and pass six3⁄4or7⁄8inch screws through from the under side into the top piece by inverting, with top on the floor.
There is so much careful work on this tabourette that it is worthy of good material. Mahogany is very suitable, the light coloured bay wood being the cheapest variety; but of course other woods will do. In case bay wood is used, it can be given the appearance of old mahogany by first coating it with a wash of potassium bichromate. Polish.
While most mission furniture is put together with the mortise and tenon joint, cabinet work calls for the dovetail. All the skill and accuracy possible are needed in dovetailing, and when well put together with this style of joinery, a piece of furniture should last indefinitely.
Fig. 179. The Dovetail Joint
Fig. 179. The Dovetail Joint
The making of joints just for practice may not be very interesting, but in the case of the dovetail it is decidedly advisable. This is what Ralph decided in Harry's case, and he was required to make first a single open joint as shown inFig. 179. The piece markedawas laid out first, after squaring up the stock, and the shaded portion removed with back saw and chisel, sawing so close to the oblique lines that no chiselling was required on these two sides. Piecebwas next fastened upright in thevise, pieceabeing laid overbin a horizontal position, and the form of the dovetail scribed with a knife point. In other words, the first piece cut out was used as a template for laying out the second. The form of the dovetail appeared in knife lines on the end of pieceb. The laying out ofbwas then completed as shown atd. The darkened portions were removed with back saw and chisel, and the two parts carefully fitted and glued together.
Fig. 180. The Dovetail Joint
Fig. 180. The Dovetail Joint
This method of laying out dovetails is much surer than that of laying out each piece separately according to the dimensions, as any variation from the figures is duplicated on the second piece, so that they must fit.
This single dovetail was followed by a box dovetail joint comprising three dovetails on one piece, as shown inFig. 180. The method was the same as before, the three spaces being laid out, sawed, and chiselled. After testing to see that the bottoms of the cuts were square, piecefwas laid out, cut, and fitted. Seven-eighths pine is good for this practice work, but white wood gives better practice, in that it is harder, and the dovetails cannot be forced together without breaking, unless the fit is good. The harder the stock used, of course the more true this is.
After successfully making these two practice joints, the boy was ready to try his skill at cabinet work. He began with a toilet box in black walnut, to be inlaid later and polished. The over-all dimensions were 11 × 7 × 31⁄2inches, the height, exclusive of top and bottom pieces, being three inches.
The bill of material read:
2 pcs. walnut 11 × 3 ×1⁄22 pcs. walnut 7 × 3 ×1⁄22 pcs. walnut 11 × 7 ×1⁄2
Fig. 181. The dovetail joint used in box design
Fig. 181. The dovetail joint used in box design
The process was as follows: Sides squared up and tested. Ends squared up and tested. Sides and ends compared to see if all were exactly thesame height. Dovetail joints laid out on side pieces. (The two sides can be glued together with paper between, and cut at the same time, but on this first box the boys laid out each side separately.)
Joints cut and chiselled to line and lettereda b c d. This was to avoid confusion in laying out the ends from the sides. Ends laid out from sides with knife. Ends cut and fitted to sides. This short description meant the fitting of four box dovetails, or twelve individual dovetail joints, and it took considerable time. The four pieces were glued and fastened in hand screws over night. Particular care was taken to see that the pressure was evenly distributed, so as not to throw the box out of square.
While the glue was hardening, the top and bottom were squared up half an inch shorter and half an inch narrower than the finished box was to be.
A quarter-inch rabbet was cut on the four edges of both top and bottom. When the box was taken out of the hand screws next day the rabbet allowed top and bottom to fit sides and ends as shown ing(Fig. 181). They were glued into position, and again placed in hand screws.
This construction left a quarter-inch rabbet all around the top and bottom of the box. Thisspace was to be filled with square pieces of white holly as an ornamental feature. While the glue was hardening a second time, these little square strips were prepared. The boys found that it would not be necessary to square up the four sides, for if one corner were made perfectly square, the other sides could be planed off after the strips were glued on.
When the hand screws were removed again, all traces of glue in the rabbet were carefully taken off with a sharp chisel. The strips of holly were sawed in the mitre box, and fitted around the four sides of top and bottom. The construction at this stage is shown ath, with the holly strips projecting beyond the walnut sides, ends and top.
The strips were fitted and glued in position, and then held in place during the drying process by winding the box in all directions with stout twine.
When thoroughly hard and dry, the whole thing was squared up, as if it were a solid block, and scraped with a steel scraper.
Gauge lines were then made for the cover, as described in the chapter on toilet boxes, sawed, fitted, hinged, and polished.
When a box like this is to be inlaid, the inlayingshould be done after the squaring up, but before the cover is sawed off.
The method of ornamenting the edges by strips of different coloured woods may be omitted, and the work considerably simplified by gluing the top and bottom on, as shown inFig. 181ati, and if this seems too crude, a bevel1⁄4inch on the sides and ends and1⁄2inch on the top can be made with the plane. Still another method is to round the edges as shown atj.
Where the top is to be inlaid, eitherjorkis preferable, as ornamented corners combined with a decorated top is rather too much ornamentation for good taste.
In our search for the simple life with its mission furniture, etc., inlaying has become almost a lost art, but it is so easily done, and if used in moderation so pleasing to the eye, that every boy ought to try it at least.
If simple designs are adhered to, the results are bound to be satisfactory. The materials required are a few pieces of veneering of different thicknesses and two or more kinds of wood. Veneering can be obtained from1⁄8inch thick down to1⁄64inch, but for ordinary work the thickness should be1⁄8inch,1⁄16inch, and1⁄32inch, and the woods, ebony, holly, walnut, mahogany.
A good collection for simple designs is:
1⁄8-inch ebony, holly, mahogany1⁄16-inch holly, rosewood, walnut1⁄32-inch holly, mahogany
The tools required are a mitre box, back saw, socket chisel, and mallet.
The process consists of building up the design,cutting out the opening, gluing the design in the opening, and dressing down.
It pays to make a full-sized drawing of the design, as the relation of the inlaid work to the space it is to occupy is important. For a box proportioned like the one just described, 11 × 7 inches, the inlaid design should be in about the same general proportion. A square centre piece in such an oblong space would not look well; it should be about one and a half times as long as the width. The best plan is to draw the box top full size and then carefully work up the design.
This sort of designing will be a new experience, as the veneering is all cut in a mitre box, no tool but a saw being used, and this fact limits the designs.
Several pieces of the veneer are glued together and placed in hand screws over night.
Suppose the combination shown atFig. 182is used. Five thicknesses composed of two1⁄16-inch walnut, next two of1⁄16-inch holly, and in the centre one1⁄8-inch ebony, will make a strong combination3⁄8inch thick.
Fig. 182. Inlaid designs cut in a 45-degree mitre box
Fig. 182. Inlaid designs cut in a 45-degree mitre box
The dimensions should be about 18 inches long by 3 inches wide. These five pieces when gluedtogether make a solid piece 18 × 3 ×3⁄8inches. This built up board is sawed into strips1⁄8inch thick, and these strips3⁄8×1⁄8inch form the basis of the design.
In drawing the centre piece, border, or whatever form the inlay is to take, it must be constantly kept in mind that3⁄8inch is the width of the pieces.Fig. 182shows the shapes possible on a 45-degree mitre box. Four pieces likeamake a square. To make an oblong design from this shape, ten pieces will giveb. Four pieces likedwill give a hollow square, in which may be fitted a piece of fancy wood such as rosewood, snake wood, satinwood, or some other South American wood.
The Greek cross is a favourite figure, and it is composed of twelve pieces, eight likef, and four likea. Some of its variations are shown inc c.
This design can be elaborated as shown ate. Some of the most pleasing combinations are extremely simple. An oblong piece of beautiful wood such as bird's-eye maple, with a simple mitred frame, is far more satisfying than the more complicated figures.
The Swastika is a favourite among boys, and it is shown atFig. 183applied to an oblong box design. In such a figure the border strips are not put onuntil all the pieces for the Swastika are cut out, fitted, and glued.
In many of these designs two, three, and sometimes four gluings are necessary. The pieces, having been cut and fitted, are all brought together on a piece of paper and glued with liquid glue. The hot glue dries too quickly. The paper holding the design is laid on a piece of pine7⁄8inch thick, and wire brads driven into the pine up close to the inlay to hold the design together while it dries. Two nails should be used against each piece of the outside border. These nails may be used to exert pressure by bending them with the fingers over the design to force the pieces together.
Fig. 183. The Swastika used as an inlay
Fig. 183. The Swastika used as an inlay
When each piece has been pressed into place, allow it to stand over night. Next day bend the nails back, and lift the design, paper and all, out of its nail fence, tear off the paper and cut away any gluethat projects beyond the edges with a knife or chisel.
You now have a solid inlaid design1⁄8inch thick ready for use. Find by measurement the exact place where you want this figure, lay it on the surface and with a sharp knife scribe a line around the design. Place the inlay to one side, and cut out to a depth of1⁄8inch the whole space inside the knife lines. This can be done with socket chisel and mallet, or with a router. The final cut should be made with the chisel, bevel side in and straight down.
You now have a space cut in the surface the exact size of the design, except possibly the depth. Coat the bottom of this space with glue, press the design down into the space and hammer it tight with the mallet and block of soft wood.
Allow the glue to harden thoroughly, plane the design down to the surface, scrape, and sand-paper.
This is one of the things much more easily done than described on paper.
Instead of the solid designs just described, an inlaid border is sometimes preferable.Fig. 182atggives a good idea of a very neat one. In this case, the groove to receive the inlay is drawn directly on the surface of the box, and cut out to the usualdepth,1⁄8inch. The pieces of inlay are sawed out in the mitre box and fitted into the groove individually, but not glued until the entire border has been fitted. They are done all at one time, and then a piece of board is laid over the whole top, and it is placed in hand screws over night.
Fig. 184. Built up borders for inlaying
Fig. 184. Built up borders for inlaying
The number of combinations which can be obtained from three or four veneers of different thicknesses is astonishing, but perhaps the most interesting form is called built up work.Fig. 184shows several forms of built up borders. The method of makingais as follows:
Ebony and holly1⁄8inch thick are required and two separate combinations are glued up, one containing two pieces of holly with one ebony, and the second two of ebony with one holly.
When dry, saw out of each combination a strip an inch or an inch and a quarter wide. From strip No. 1 saw a dozen or more pieces an inch or so long. To make these pieces exactly alike, drivea nail into the bottom of the mitre box an inch from the 90-degree saw cut. By pushing the strip up to this nail each time a cut is made the pieces must be the same length.
For combination No. 2, shift the nail to3⁄8inch from the saw cut, and saw out an equal number of pieces as from No. 1.
By gluing these pieces together alternately, borderawill result. It is necessary on these built up combinations to add an outside retaining strip of thin veneer to hold the pieces rigidly together.
Fig. 185. Method of making an Inlaid checker-board
Fig. 185. Method of making an Inlaid checker-board
When the final gluing has dried, the usual1⁄8-inch strip should be sawed out. This is best done on a power, band, or circular saw, but it can be done by hand if the rip saw is good and sharp.
Other built up combinations may be handled in the same way. For square spaces, the checker-board is a great favourite. It calls for a dark and light veneer of1⁄8inch thickness. Glue up four light and four dark pieces in alternation as shown inFig. 185. When hard, saw out eight strips as wide as the veneer is thick. Glue these eight stripstogether, reversing four of them, so that the black and white squares come together. The result will be a solid piece one inch square, and by sawing off1⁄8-inch slices, each slice will be a checker-board composed of1⁄8-inch cubes.
The very best glue obtainable is needed for this work, especially if the woods are ebony and holly, as these are so hard that the glue cannot penetrate.
When a 30-60-90-degree mitre box is used to cut the strips, an entirely different class of designs is obtained.Fig. 186shows some of the endless possibilities of these combinations. They are suitable for the top and shelf of an hexagonal tabourette, and the oblong figures are suitable for the top of an oblong box or the space between the wells of an inkstand.
Some of the simplest yet most effective forms give the impression of overlapping shown ata,Fig. 183, this being an oblong piece of fancy wood with a narrow mitred frame around the four sides;b bare pieces of the same kind of wood but different froma, with a narrow frame on three sides;aappears to be laid overb, andc c, still another kind of wood, both cut from the same piece.
It looks more uniform and harmonious if theframes of the five pieces representing three distinct kinds of wood are the same.
It is important in choosing these borders to see that the outside veneer be in marked contrast to the surface into which the design is to be set.
A very simple centre piece may be made interesting by surrounding a plain oblong or rectangle of rare wood with an interlaced border.
Inlaying of curved designs means some difficulty in accurately cutting out the opening to fit the design; but this is overcome by reverting to the ancient art called marquetry work. Three or more veneers1⁄16inch thick are glued together at the corners and the design drawn or glued on the top layer.
Suppose the figure is that of a butterfly. Assume that the veneers are holly, mahogany, and rosewood. With a fine fret saw cut or saw directly on the lines. The three thicknesses being sawed at one time, the pieces must exactly fit. The rosewood may be used for the outer edge of the wings, the holly for the main part of the wings, and the mahogany for the body. As all these parts fit accurately, they may be glued to a1⁄4-inch backing piece and dried under the pressure of hand screws. Flowers, birds, etc., in infinite variety, and even landscapes,can be cut out and used in this way. Veneers coloured green are on the market and may be used for leaves or foliage effects.
Fig. 186. Designs cut on 30-60-90-degree mitre box
Fig. 186. Designs cut on 30-60-90-degree mitre box
A great deal might be written about this old style of ornamental woodwork, but it would deal almost entirely with questions of design, as the method would be practically the same in every case. One form of this interesting art is called buhl work, in which sheet brass, German silver, or even the precious metals are used. Brass and ebony were a favourite combination at one time, the two layers being glued together with paper between. The design was sawed out, and then a sharp knife blade inserted into the joint to separate the brass from the ebony. That gave two distinct designs. In one case it wasa brass background with ebony inlay. In the other, an ebony background with brass inlay.
There will always be as many resulting combinations as there are original layers of material. A backing of cheap material is always necessary to support the finished work to which it must be securely glued. In polishing the finished surface, a steel scraper must first be used, followed by fine sand-paper; then polish.
Some of the newer forms of decoration, while lacking the richness of inlaid work, admit of greater freedom. Pyrography, for example, is closely akin to drawing, and in the hands of a careful worker may be made to produce very artistic effects. Like all arts, it also has its limitations. In woods of the pine family, it will not do at all, on account of the pitchy sap. In dark-coloured or very hard woods, it is equally unsatisfactory, so that it is used almost exclusively on basswood, because of the white colour, softness, even grain, and freedom from pitch.
Outfits for pyrography may be purchased quite reasonably. They consist of a glass bottle containing benzine; the vapour from this is forced through a rubber tube by means of a bulb held in the left hand out to a platinum point. This point is firstheated in the flame of an alcohol lamp sufficiently to ignite the benzine vapour as it comes out through openings in the point.
While the left hand keeps pumping the vapour, the right hand guides the point along the lines of the design, which has been drawn or traced on the wood.
Many articles made and stamped with designs are to be had at the art stores; but the joy and satisfaction in achievement come from making the articles and originating the designs.
Basswood is very easily soiled by handling and a coat of white shellac should be applied after the burning is finished. Sometimes staining is used on certain parts of the design, as for flowers or fruit, and in that case the staining must be done before the shellac is applied.
A favourite project among young woodworkers is the checker-board. While it is closely akin to inlaying, the method of making it to avoid unnecessary labour is here suggested. As the checker-board consists of sixty-four squares of equal size and divided equally between two kinds of wood, one dark and the other light, some way must be devised to insure their being exactly alike to make the board a success. Considerable care should be used in the selection of the woods, for while they must present a strong contrast in colour, they should be as nearly as possible of the same degree of hardness, to make the working uniform.
If soft woods are used, red gum and basswood make an agreeable contrast in colour. Basswood is not a very satisfactory wood to polish in its natural colour, however.
Among the hard woods, a combination of black walnut and rock maple, or mahogany and maple,or even cherry and maple, can be used. Any one of these combinations will be more satisfactory in the finished work than the soft woods mentioned. The work will be harder of course, but in woodwork as in other things, nothing really good is obtained without effort.
Assuming that the woods have been selected, four strips of dark and the same number in light coloured wood should be squared up to a width of 11⁄4or 11⁄2inches according to the size of the squares to be made.
Fig. 187. Method of making a checker-board
Fig. 187. Method of making a checker-board
As in other woodworking problems, have a full-sized or half-sized mechanical drawing ready before using a tool.
A checker-board built up of 11⁄4-inch squares will be ten inches square without the frame. (SeeFig. 187.) With 11⁄2-inch squares, it will be twelve inches on each side. This is amply large and asatisfactory working size. The material should be either1⁄4inch or3⁄8inch thick. Plane the strips about sixteen inches long by one inch and a half wide.
Lay the four strips of dark wood on edge on the bench top and carefully fasten the four in the vise. Remove a light shaving to insure their width being all alike.
Treat the light strips the same way.
Next place all eight strips together and examine for inequalities. Too much care cannot be exercised at this point, as the success of the problem depends on it.
To make doubly sure, reverse every alternate strip end for end, and if inequalities appear place all eight strips in the vise and remove a light shaving. One of the best methods for making these strips of equal size and with perfectly square edges is to construct a shooting board, or arrange one already made, as shown ata.
The stripsis set to a gauge line made 11⁄2inches from the edge. The strips are laid in this space and planed in the usual way, until the plane touches the stop. This makes the width of all pieces the same and gives true edges.
These eight strips placed alternately light and darkare now glued upon a backing of soft wood,1⁄4inch or less in thickness. Gluing must be done thoroughly, each strip being rubbed back and forth until a good joint is made with its neighbour.
A piece of newspaper is spread over the top, heavy pieces of flat stock placed top and bottom, and the pressure from several hand screws applied while the glue is drying.
The best liquid glue obtainable should be used, and the paper on top prevents the hand screws being glued to the wood.
This combination must stand until the glue is thoroughly hard, if it takes forty-eight hours, which it does sometimes in damp weather.
When dry, remove hand screws and tear off paper. Square outside edges if backing projects or glue adheres. With a large try square or steel square lay out parallel lines across the combination 13⁄4inches apart. Saw on the lines with cross cut saw, unless a mill is handy, when it can be done more accurately with a circular or band saw.
The new strips will be 13⁄4inches wide, less the amount removed by the saw. Dress them down to a width of 11⁄2inches on the shooting board. This should bring the eight pieces on each strip to squares 11⁄2inches on a side.
Eight of these strips make the checker-board. The original pieces, being sixteen inches long, allow for two or three extra strips in case any are spoiled in sawing or planing.
These finished strips are now to be glued together on the permanent backing, which should be1⁄4or3⁄8inch in thickness, of the same material as the frame is to be and about eight inches each way longer and wider than the checker-board proper.
This should be placed carefully in the centre of the backing, joints rubbed and fastened by cleats 1 ×1⁄2inch tacked to the backing on all four sides.
While this is drying under pressure of the hand screws as in the first gluing, square up the moulding which is to act as a frame:dshows two styles. In both mouldings, a rabbet1⁄2inch or so wide and1⁄8inch deep should be made with rabbet plane. The outer edges may be square, rounded, or bevelled.
When the checker-board is removed from its final gluing, this moulding is to be mitred and fitted about it as in making a picture frame. Before doing this, remove all glue from edges with a chisel so that the frame will fit snugly to the checker-board.
The frame is to be glued to both backing and checker-board and again placed in hand screws. While this is drying, an inlaid border strip as wideas the rabbet, either plain or built up, should be prepared.