Part 3 (1/2)
Read novel on
[Ill.u.s.tration: _Fig. 23._]
[Ill.u.s.tration: CHINESE SAW. _Fig. 24._]
THE CHINESE SAW.--This saw is designed to saw with an upward cut, and the ill.u.s.tration (Fig. 24) shows the handle jutting out below the tooth line, in order to cause the teeth to dig into the material as the handle is drawn upwardly. Reference is made to these features to impress upon beginners the value of observation, and to demonstrate the reason for making each tool a particular way.
THINGS TO AVOID.--Do not oscillate the saw as you draw it back and forth. This is unnecessary work, and shows impatience in the use of the tool. There is such an infinite variety of use for the different tools that there is no necessity for rendering the work of any particular tool, or tools, burdensome. Each in its proper place, handled intelligently, will become a pleasure, as well as a source of profit.
[Ill.u.s.tration: _Fig. 25._]
THE PLANE.--The jack plane and the fore plane are handled with both hands, and the smoothing plane with one hand, but only when used for dressing the ends of boards. For other uses both hands are required.
ANGLES FOR HOLDING PLANES.--Before commencing to plane a board, always observe the direction in which the grain of the wood runs. This precaution will save many a piece of material, because if the jack plane is set deep it will run into the wood and cause a rough surface, which can be cured only by an extra amount of labor in planing down.
Never move the jack plane or the smoothing plane over the work so that the body of the tool is in a direct line with the movement of the plane.
It should be held at an angle of about 12 or 15 degrees (see Fig. 25).
The fore plane should always be held straight with the movement of the plane, because the length of the fore plane body is used as a straightener for the surface to be finished.
[Ill.u.s.tration: _Fig. 26._]
ERRORS TO BE AVOIDED.--Never draw back the plane with the bit resting on the board. This simply wears out the tool, and if there should be any grit on the board it will be sure to ruin the bit. This applies particularly to the jack plane, but is bad practice with the others as well.
A work bench is a receptacle for all kinds of dirt. Provide a special ledge or shelf for the planes, and be sure to put each plane there immediately after using.
THE GAGE.--A man, who professed to be a carpenter, once told me that he never used a gage because he could not make it run straight. A few moments' practice convinced him that he never knew how to hold it. The ill.u.s.tration shows how properly to hold it, and the reason why it should so be held follows.
You will observe (Fig. 26) that the hand grasps the stem of the gage behind the cheekpiece, so that the thumb is free to press against the side of the stem to the front of the cheekpiece.
HOLDING THE GAGE.--The hand serves to keep the cheekpiece against the board, while the thumb pushes the gage forward. The hand must not, under any circ.u.mstances, be used to move the gage along. In fact, it is not necessary for the fingers to be clasped around the gage stem, if the forefinger presses tightly against the cheekpiece, since the thumb performs all the operation of moving it along. Naturally, the hand grasps the tool in order to hold it down against the material, and to bring it back for a new cut.
THE DRAW-KNIFE.--It is difficult for the apprentice to become accustomed to handle this useful tool. It is much more serviceable than a hatchet for tr.i.m.m.i.n.g and paring work. In applying it to the wood always have the tool at an angle with the board, so as to make a slicing cut. This is specially desirable in working close to a line, otherwise there is a liability of cutting over it.
This knife requires a firm grasp--firmness of hold is more important than strength in using. The flat side is used wholly for straight edges, and the beveled side for concave surfaces. It is the intermediate tool between the hatchet and the plane, as it has the characteristics of both those tools. It is an ugly, dangerous tool, more to be feared when lying around than when in use. Put it religiously on a rack which protects the entire cutting edge. _Keep it off the bench._
CHAPTER IV
HOW TO DESIGN ARTICLES
FUNDAMENTALS OF DESIGNING.--A great deal of the pleasure in making articles consists in creative work. This means, not that you shall design some entirely new article, but that its general form, or arrangement of parts, shall have some new or striking feature.
A new design in any art does not require a change in all its parts. It is sufficient that there shall be an improvement, either in some particular point, as a matter of utility, or some change in an artistic direction. A manufacturer in putting out a new chair, or a plow, or an automobile, adds some striking characteristic. This becomes his talking point in selling the article.
THE COMMERCIAL INSTINCT.--It is not enough that the boy should learn to make things correctly, and as a matter of pastime and pleasure. The commercial instinct is, after all, the great incentive, and should be given due consideration.
It would be impossible, in a book of this kind, to do more than to give the fundamental principles necessary in designing, and to direct the mind solely to essentials, leaving the individual to build up for himself.