Handwork in Wood

Japan is a varnish-like liquid made of shellac or other resin, linseed oil, metallic oxides, and turpentine. It is used as a medium in which to grind colors and as a drier.

WOOD FINISHING

References:25

(1) Stains.

Hodgson, II, pp. 25-59, 155-164.

Van Deusen, Man. Tr. Mag., 6: 93.

Maire, pp. 46-64.

(2) Fillers.

Hodgson, II, pp. 7-25.

Maire, 65-72.

(3) Oil Finish.

Hodgson, II, pp. 99-103.

Maire, p. 117.

(4) Wax.

Hodgson, II, pp. 93-99.

Maire, pp. 112-116.

(5) Varnish.

Shellac.

Maire, pp. 73-80, 101-111.

Journal, Soc. Arts, 49: 192.

Ency. Brit., Vol. XIV, "Lac."

Hodgson, II, pp. 66-93.

Inter. Encyc., Vol. X, "Lac."

Oil Varnish.

Hodgson, II, pp. 59-66.

Clark, pp. 1-69.

Maire, pp. 81-100.

Encyc. Brit., Vol. XXIV, "Varnish."

(6) Paints.

Brannt, p. 134-152.

Building Trades Pocketbook, pp. 357-360.

For detailed directions for the treatment of different woods, see Hodgson,

II, pp. 112-153, Maire, pp. 124-141.

1

Hulbert: The Lumber Jack; Outlook, 76: 801, April 2, '04.

2

For general bibliography see p. 4.

3

A "cant" is a squared or partly squared log.

4

For general bibliography see p. 4.

5

For general bibliography see p. 4.

6

Another confusing nomenclature (Goss) gives the name "inside gouges" to those with the cutting edge on the inside, and "outside gouges" to those with the cutting edge on the outside.

7

The numbers and names in italics are those given in Stanley's Catalog, No. 34. Some of these names, as "plane-iron," are survivals from the days of the wooden plane and are obviously unsuitable now.

8

In whetting a plane-bit, a slight crown may be given it by rubbing a bit harder at the ends of the edge than in the middle. Strop in the same way as a chisel (p. 59).

9

See footnote 4, p. 70

10

For general bibliography see p. 4.

11

Made by the Empire Implement Co., Albany, N. Y.

12

For general bibliography see p. 4.

13

For recipes for this and other glues, see Woodcraft, May '07, p. 49.

14

For special directions, for particular joints, see under the various joints, (Chap. VII.)

15

For general bibliography see p. 4.

16

For general bibliography, see p. 4.

17

For general bibliography see p. 4.

18

See the School Arts Book for Nov., 1906, "Design in the Woodworking Class," by Anna and William Noyes.

19

For general bibliography see p. 4.

20

Professor Rankine's Five Principles:

1. To cut the joints and arrange the fastenings so as to weaken the pieces of timber they connect as little as possible.

2. To place each abutting surface in a joint as nearly as possible perpendicular to the pressure which it has to transmit.

3. To proportion the area of each surface to the pressure which it has to bear so that the timber may be safe against injury under the heaviest load which occurs in practice, and to form and fit every pair of such surfaces accurately in order to distribute the stress uniformly.

4. To proportion the fastenings so that they may be of equal strength with the pieces which they connect.

5. To place the fastenings in each piece of timber so that there shall be sufficient resistance to the giving way of the joint by the fastenings shearing or crushing their way thru the timber.

21

For general bibliography see p. 4.

22

For detailed directions for treatment of different woods, see Hodgson, pp. 112-153.

23

For other effects obtained by chemical changes, see table on pp. 185-189 in Brannt's Painter, Gilder and Varnisher, and also Woodcraft 9: 71, June, '08.

24

Made by the Bridgeport Wood Finishing Co., 155 Fulton St., N. Y.

25

For general bibliography see p. 4.